Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā, attributed to Ratnākaraśānti, provides a ritualized system for the practitioner to achieve the state of the Great Illusion (Mahāmāyā). The text guides the practitioner through a complex process of visualization and mental transformation, beginning with the generation of seed syllables (HŪṂ, SVĀ, Ā, HĀ) and the manifestation of the four tantric families. It commits the reader to a rigorous internal alchemy involving the manipulation of the central drop, the visualization of deities such as Vairocana and the Buddha-ḍākinī, and the use of specific mantras. The ritual incorporates elements of cemetery practice, such as the use of a corpse as a support for deity visualization, and concludes with the establishment of a maṇḍala. By synthesizing these elements, the text aims to transition the practitioner from ordinary perception to the realization of the ultimate nirvāṇa and the unsurpassed wisdom of the Tathāgata through the union of method and wisdom.
Provenance
About this text
A sādhana focused on the practice of the Great Illusion, the Mahāmāyāsādhana is a work of classical Tibetan Buddhism. It is attributed to the Indian author Ratnākaraśānti. The text was translated into Tibetan by Jetahandu Śāntibhadra and bod kyi lo tsa ba ’gos lhas btsas, and it is preserved in volume ཡ of the Tengyur, where it is situated within the Other Wisdom Tantras collection. Spanning nine pages in this edition, the work enacts a ritual process designed for the welfare and happiness of all sentient beings, aiming to establish them in the unsurpassed wisdom of the Tathāgata and the ultimate nirvāṇa. The practice involves the visualization of the nature of mind as non-existence appearing in various ways, utilizing the manipulation of a central drop and the emanation of seed syllables—HŪṂ, SVĀ, Ā, and HĀ—to manifest the vajra, jewel, lotus, and action families. A scholar or serious reader consults this text today to examine the specific ritual instructions and visualizations used to transition the practitioner from ordinary perception to the realization of the Great Illusion.
Sanskrit title
Mahāmāyāsādhana
Indian author
Ratnākaraśānti
Tibetan translators
Jetahandu Śāntibhadra, bod kyi lo tsa ba ’gos lhas btsas
The work is significant as a representative of the Indo-Tibetan tantric tradition, specifically illustrating the intersection of deity yoga and the internal energy systems. Its attribution to Ratnākaraśānti suggests a link to a sophisticated lineage of Indian Buddhist philosophy and practice translated into Tibetan by Śāntibhadra and 'Gos Lhas btsas.
Structure
Passages
Section
Description
1-2
Preliminary Homage and Intent
Initial salutations to Vajrasattva and the Sangha, and the declaration of the bodhisattva's intent to benefit all sentient beings.
3-6
Visualization and Emanation
Instructions on visualizing seed syllables, the four tantric families, and the transformation of the wisdom-essence into deities.
7-9
Ritual Action and Offerings
The role of the Buddha-ḍākinī, the use of mirror-like wisdom, and the specific arrangement of syllables and the Hero in union.
10-11
Maṇḍala Establishment and Conclusion
Daily practices for emanating the supporting maṇḍala and the final colophon identifying the author and translators.
Themes
Seed Syllables and Mantras (3, 4, 5, 9, 11)
Deity Yoga and Visualization (4, 5, 6, 8, 10)
Tantric Families and Wisdoms (3, 6, 7)
Bodhisattva Motivation (2)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Mahāmāyāsādhana. In the language of Tibet: Sgyu ma chen mo’i sgrub thabs (The Sādhana of the Great Illusion). Homage to Vajrasattva!
To the four-faced and four-armed one,
And likewise to the bodies of the goddesses,
And to the others in the four directions—
Homage to the Great Illusion!
I shall now properly explain the sādhana
Of the one known as Mahāmāyā,
The Great Vajra-Holder himself,
Who appears in a terrifying form out of compassion.
Here, regarding the practice of meditation: the practitioner, having been awakened by the four songs of the four goddesses, should rise early in the morning. With the light rays of the syllable HŪṂ abiding in the sun at one’s own heart, one should perform the purification of oneself, the cleansing of the mouth, and so forth. By reciting "HŪṂ PHAṬ," one should protect the place, oneself, and the yoga. Having entered the meditation cell and consecrated the water for the ritual ablution with the syllable HŪṂ, one should sit upon a comfortable seat.
One should visualize the Blessed One together with his retinue in the space before one. With the five offering substances arising from the light rays of the mantra at the heart, one should make perfect offerings and perform the confession of misdeeds and so forth. One should individually confess all of one’s own misdeeds, rejoice in all the merit of the Buddhas, Bodhisattvas, Āryas, and ordinary beings, and dedicate all of one’s own virtue toward unsurpassed, perfectly complete awakening. Until awakening, one takes refuge in the Three Jewels: the Buddha Jewel, the Dharma Jewel, and...
To the Jewel of the Saṅgha: "Ema! For the sake of the welfare, benefit, and happiness of all sentient beings, having fully awakened to unsurpassed, perfect, and complete awakening, I shall establish them in the utterly ultimate nirvāṇa and the unsurpassed wisdom of the Tathāgata." Following that, these are the nature of mind itself: non-existence appearing in various ways. Thus, one should cultivate the conviction that they are like a dream. One should view them as being entirely free from all aspects, stainless like the sky, non-apparent, infinite, and mere clarity. One should then consecrate with: oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ. Following that, one should visualize a crossed vajra (viśvavajra) in the sky before one, arising from the syllable hūṃ. From its blazing rays of light, one should meditate on a vajra ground below, a vajra fence in the directions, a vajra canopy above, and within, a charnel ground of human bones. In the center of that, one should visualize a celestial mansion with a single courtyard, composed of all precious gems. It is square with four doors, adorned with four archways (toraṇa), and its four pedestals are adorned by the four goddesses of the lattice and so forth. In its center, one should visualize a red eight-petaled lotus. At its hub, one should visualize a drop (bindu) of the nectar of primordial wisdom (jñāna), without beginning or end, as clear as a pearl. This is the absorption of the first application.
From that very central drop, drops are emanated into the directions. One should visualize them as having completely transformed into the form of seed syllables: in order, they are HŪṂ, SVĀ, Ā, and HĀ. From these, in order, the vajra, the jewel, the lotus, and the action family, along with their respective families, are perfectly emanated and then reabsorbed back into that very same [central drop]. From the complete transformation of that, one should visualize the four yoginīs.
On the eastern petal is Vajraḍākinī, blue in color, with a blue, yellow, white, and green face. She holds a vajra, a skull-cup, a bell, and a staff. On the southern petal is Ratnaḍākinī, yellow in color, with a yellow, blue, white, and green face. She holds various jewels, a trident, a bound jackal, and a banner. On the western petal is Padmaḍākinī, white in color, with a white, yellow, blue, and green face. She holds a variegated lotus, an arrow, a skull-cup, and a bow. On the northern petal is Viśvaḍākinī, green in color, with a green, yellow, white, and blue face. She holds a sword, a hand-drum, a lasso, and a skull-cup. All of them are upon moon seats and possess light. The remainder is as for the principal [deity].
By this vajra song, they cause the Protector to arise:
HA LE SA HI BHA I I A KA MA LU BA BHO HI U VAJJE |
A LA LA LA LA HO MA HĀ SU HE ṆA |
Ā RĀ HI U ṆE DHE |
RA VI KI RA ṆAṂ ṆA VI PHULLI U KA MA LU MA HĀ SU HE ṆA |
A la la la la ho! Mahāsukheṇa ārahi uṇettam. Then, through the power of that song, the Blessed One abandoned the form of the wisdom-essence (jñānabindu) and transformed into the aspect of two seed-syllables: Oṃ and Hūṃ. From the syllable Oṃ, Vairocana and his family are emanated and reabsorbed. From the syllable Hūṃ, the five Victorious Ones (Jina) and their families also emerge. Then, the Blessed Heruka, together with the Buddha-Ḍākinī arising from the syllable Oṃ, should be generated from the syllable Hūṃ.
Smeared with ashes, his body is black, beautified by a sun seat and radiance. His tawny hair is swept upward, and he is adorned with a crown of skulls. His four faces are blue, yellow, white, and great green. He holds a skull-cup, an arrow, a khaṭvāṅga, and a bow—these are the four. He is fully adorned with the five buddhas: a wheel, earrings, a necklace, bracelets, and a belt. He wears a garment of human skin, has twelve red eyes, and is fierce, enveloped in a garland of blazing flames. He is beautiful with supreme joy, dwelling in the dance of the half-lotus posture, endowed with the nine dramatic moods (navanāṭyarasa). From infinite rays of light, the hosts of Victorious Ones perform the benefit of beings.
The consort is similar to the Lord, but with red weapons. The glorious Buddha-Ḍākinī is red, with yellow, white, and green faces. She is the Śavarī who confers the empowerment of the buddhas, just as it was taught in the Hevajra [Tantra]. Likewise, the Buddha-Ḍākinī is perfectly united with Heruka.
These red buddhas and sentient beings, in order to make offerings to the buddha-body, are of the nature of pure phenomena; the master of speech is white. Here, all the deities also press down upon the heart of the corpse. Following that, one should visualize a red syllable OṂ at the eye-faculty of the Blessed One, a blue syllable HŪṂ at the ear-faculty, a yellow syllable CI at the nose-faculty, a white syllable A at the tongue-faculty, a green REPHA at the site of the uṣṇīṣa, and a white syllable KHE at the mind. The arrangement of these six syllables upon the six faculties is the armor. OṂ ĀḤ HŪṂ is the blessing of the body, speech, and mind, located respectively at the head, throat, and heart. Between the breasts, one should visualize the seed-syllable of one’s own deity, the nature of wisdom, resting upon a sun disk. With the hook of its light rays, one invites the wisdom maṇḍala; with the syllable HŪṂ, one expels obstructors and offers the water for the feet. With JAḤ HŪṂ BAṂ HOḤ, one performs the summoning, entering, binding, and subjugating. One should then visualize the samaya maṇḍala as having merged with that. Then, by the light rays of the wisdom seed-syllable being stirred, the five yoginīs sent by the tathāgatas arrive; with precious vases filled with the water of the five wisdoms, they confer empowerment upon the Blessed One and the yoginīs. Through the empowerment, one should generate the lord of one’s own family at the crown: for the Blessed One, it is Akṣobhya.
In the sequence of the Buddha-ḍākinī and so forth, there are Vairocana, Akṣobhya, Ratneśa, Vāgīśvara, and Amoghasiddhi. Then, by means of the light rays from the seed syllable of wisdom, one should make offerings to the Blessed One and the Blessed Lady with the five requisites and the offerings of the five sensory qualities. Then, the Blessed Lady offers praise to the Blessed One from her mouth:
"Baring your fangs, you are most terrifying; adorned with a garland of intestines, you partake of the great flesh. To the glorious Heruka, I prostrate."
Then, through the application of emanating the goddesses of the directions, they dissolve into the Buddha-ḍākinī. Then, one should meditate on the syllables OṂ, HŪṂ, SVĀ, ĀḤ, and HĀ in sequence upon her head, heart, navel, secret place, and thighs. Through their mutual emanation, they completely pervade her body. From the syllable HRĪḤ arises a red lotus; from the syllable ĀḤ arises a pearl-like anther; and likewise, from the syllable HŪṂ arises a jewel. With the mantra "ANURĀGAYĀMI," one should intensely contemplate joy. Then, by the stimulation of light rays from the two jewels, the Tathāgatas arrive and enter the mouth. Melting and falling into the lotus, that is the nectar of the five wisdoms; one should contemplate taking it up with droplets on the tip of the tongue. This is the second meditative stabilization, called the "Supreme Sovereign of the Maṇḍala."
Then, the five [deities] such as the Buddha-ḍākinī, who were exhorted by the Blessed One, and the clouds of emanations from the Blessed One’s own body, act for the benefit of sentient beings in successive order: through the mirror-like wisdom, the wisdom of the utterly pure dharmadhātu, the wisdom of equality, the wisdom of individual discernment, and the all-accomplishing wisdom. They generate the attainment of the state of the Great Vajra Holder, and the clouds of their own bodies are withdrawn back into the root body; this is called the third absorption.
Whenever a yogi desires to stabilize the mind and swiftly complete all absorptions, he should meditate on the three absorptions in brief. At the filaments of the navel lotus, one should visualize the union of the moon and sun without any intervening gaps. In their center, upon something the size of a tiny mustard seed, one should visualize the form of the wisdom-tilaka—white and luminous, the nature of great bliss, the Great Hero.
One should visualize the lines of its light rays, like lotus fibers, emerging from the center of the moon and wrapping and binding the two sides of the union three times. One should visualize the sixteen syllables strung individually along half of each of the three wraps resting upon the moon. As stated in the Śrī Saṃvara-guru:
"From 'ka' to the end of 'da',
Excluding 'ṅa' and 'ña', they should be placed.
From the letter 'dha' to the end of 'kṣa',
The two garlands should be written evenly."
"In the center is a garland of As, to be arranged upon a moon maṇḍala," it is said. Here it is also stated: "By means of the garland of excellent syllables." Thus, upon the filaments of the lotus at the navel, one should meditate on the Hero within the union of the sun and moon. In order to cultivate the conviction that the meditation has reached full maturity, one should observe the second stage, where the subtle lines of light rays blaze forth and a single [line] blazes upward. By its light, one attains the Hero who is filled with the nectar of descent; that light ray is also similar [to the previous]. Then, having fixed the Hero, one should observe until the signs of attaining a stable mind are clearly perceived. When the stability of those signs is blissful, one should contemplate the various appearances as they clearly manifest through the lines of light rays, viewing everything as clearly as a myrobalan fruit in the palm of one's hand. This is called "the swift completion of all absorptions" (samādhi); it is the yoga of the drop (bindu).
Regarding "the accomplishment of the recitation of awareness," the recitation is to be explained: likewise, the yogi endowed with the wheel of the six deities should visualize the Hero within the union of the sun and moon situated upon the filaments of the lotus at the navel. Upon the lines of light rays of that very [Hero], which are adorned with a garland of syllables, one should perform the mantra recitation while wrapping and binding the union. In this tantra, there are three mantra syllables; therein, the mantra of the Blessed One is Oṃ Hūṃ Hūṃ.
The syllables are Oṃ Oṃ Hūṃ for the Buddha-ḍākinī and so forth in their respective order; Oṃ Hūṃ Hūṃ; Oṃ Svā Hūṃ; Oṃ Āḥ Hūṃ; and Oṃ Hā Hūṃ. How should the recitation be performed? One should recite within the union [of the channels]. Having arranged the seed syllables, the Hero (vīra) should be taken at their head. When the syllable Oṃ is uttered, rays of light emanate from the Hero together with the exhalation wind and ascend, illuminating all beings and establishing them in the nature of the Buddha. When the seed syllable Hūṃ is uttered, one should visualize all those Buddhas as being of the nature of one's own deity. When the final Hūṃ is uttered, they are summoned together with the inhalation wind and the beings who are of the nature of the Buddha are absorbed into the Hero. In this way, one should practice again and again until weariness arises. When weary, one should rest and dedicate all these virtues toward unexcelled, perfectly complete awakening and the desired accomplishments (siddhi). One should perform offerings as before and dissolve the maṇḍala into the syllable at one's heart. Then, having arisen, one should visualize oneself as the essence of one's deity. All actions and all food should be made into the nature of the five seed syllables and the five wisdoms (jñāna). One should contemplate the visualization of the deity's wheel at one's heart. One should offer the amṛta dripping from the sacrificial ladle of the tongue. When bathing, one should visualize it as the ritual of the deity's empowerment.
At midday and in the evening, one should remain in the maṇḍala house and emanate the supporting maṇḍala through the light rays from one’s own heart. Then, from that very seed syllable, the four yoginīs should be emanated in succession and placed in their respective positions. As before, one should perform all the rituals, such as the empowerment, and then dissolve the maṇḍala. Upon rising, one should again perform the yoga of meditative equipoise as before. At midnight, the distinction is as follows: having made perfect offerings and presented the water for the feet, one should request the wisdom maṇḍala to depart with "Oṃ vajra muḥ." Then, the samaya maṇḍala dissolves into one’s own wisdom seed syllable, and one goes to sleep while resolving into the non-apparent bodhicitta. In the same way, on subsequent days, one should arise, exhorted by the songs of the goddesses, and perform everything as before. Thus, one should practice every day until the signs of accomplishment are attained. In that regard, accomplishment is achieved by reciting the mantra of the lord of the maṇḍala one hundred thousand times; the remainder are achieved by reciting them ten thousand times. The garland mantra should be taken from other tantras. All of these should be visualized in one’s own heart, either on a sun or a moon, arranged in a circle as appropriate, blazing like a row of lamps, clearly inscribed by the mind and recited with mental repetition.
From whatever virtue has arisen from my speaking this Sādhana of Mahāmāyā, by that merit may I become a Buddha, a powerful lord who accomplishes the welfare of diverse beings.
This concludes the work composed by the great learned master, the glorious Ratnākaraśānti. It was translated, edited, and finalized by the great paṇḍita Śāntibhadra and the Tibetan translator 'Gos Lhas btsas.
OṂ ĀḤ HRĪḤ HŪṂ PHAṬ. This is the mantra for recitation.
ŚRĪ HERUKA MAHĀVAJRA ĀGACCHAYA PRAVEŚAYA PRAVEŚAYA BANDHAYA BANDHAYA TOṢAYA TOṢAYA SARVA ḌĀKINĪNĀṂ HṚDAYA HŪṂ PHAṬ. OṂ BUDDHA ḌĀKINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ OṂ. OṂ VAJRA ḌĀKINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ HŪṂ. OṂ RATNA ḌĀKINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ SVĀ. OṂ PADMA ḌĀKINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ ĀḤ. OṂ VIŚVA ḌĀKINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ HĀḤ. OṂ SARVA ḌĀKINĪYOGINĪ PRATĪCCHA MAṂ BALIṂ HŪṂ HA HA HA HA HRĪḤ. Thus is the ritual for the torma offering.