Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a ritualized sequence for the visualization and invocation of Mahāmāyā and associated deities. The text guides the practitioner through a progression from physical purification to complex internal visualizations, beginning with the placement of a black HŪṂ syllable at the heart. The ritual employs a seed-syllable system to articulate ontological claims regarding the nature of phenomena—specifically their lack of arising, ceasing, and location—while simultaneously summoning the Sugatas of the ten directions. The practitioner is committed to a precise somatic mapping, blessing six specific points of the body with colored syllables to prepare for the manifestation of the Father and Mother deities. The process culminates in the visualization of a multi-faced, multi-armed deity holding ritual implements such as the kapāla and ḍamaru, established upon sun seats. By integrating mantra, color, and geometry, the text aims to transform the practitioner's perception of reality into one of non-conceptuality and bliss.
Provenance
About this text
A sādhanā for the practice of Mahāmāyā, the sgyu 'phrul chen mo'i sgrub thabs is a ritual manual attributed to the Indian author Akāyavajra. Preserved in the Tengyur (vol. ཡ) within the Other Wisdom Tantras collection, this work of the classical Tibetan period extends over four pages. The ritual enacts a sequence of purification and visualization, beginning with the practitioner's face and moving to the heart, where a black HŪṂ syllable is visualized upon a moon maṇḍala. Through the radiation and reabsorption of five-colored light, the practitioner purifies the world-realms and invokes the Sugatas of the ten directions. The text utilizes a system of syllables to articulate ontological assertions regarding the nature of phenomena—specifically that they are without arising or ceasing, beyond speech, and without location—while summoning Vajraḍākinī and other goddesses to exhort the deity to abide in equanimity. Scholars and serious readers consult this text to examine the precise somatic mapping and the intersection of seed-syllable meditation with the philosophical claims of the tradition, as evidenced by the ritualized invocation of the four immeasurables and the use of vajra songs.
The work is significant as a representative example of Vajrayāna deity yoga, demonstrating the use of seed syllables to encode philosophical views on emptiness. For the modern reader, it illustrates the intersection of somatic practice and metaphysical inquiry in Tibetan ritual technology.
Structure
Passages
Section
Description
1
Preliminary Purification and Heart Visualization
Instructions on physical purification and the visualization of the HŪṂ syllable and five-colored light rays.
2
Ontological Affirmations
A series of statements linked to syllables describing the nature of phenomena as non-conceptual and without location.
3
Invocation and Generation
The summoning of the Sugatas and the generation of four goddesses based on the four immeasurables.
4
Somatic Blessing
The placement of specific colored syllables at six points of the body to bless the practitioner.
5
Deity Visualization
Detailed description of the deity's appearance, colors, implements, and elemental nature.
Themes
Non-conceptuality and Emptiness (2)
Somatic Mapping and Syllable Visualization (1, 4)
Deity Manifestation (3, 5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
The Sādhana of Mahāmāyā
Homage to Vajraḍākinī!
First, the practitioner should purify their own face; this is the worldly custom. The ultimate yoga is as follows: at the heart, upon a moon maṇḍala, one should visualize a black HŪṂ. From it, light rays of five colors radiate forth, illuminating the world-realms, and then reabsorb, purifying the face. Then, the ground for meditation should be sprinkled with the five nectars (amṛta). Sitting upon a comfortable seat there, one should visualize a moon maṇḍala with a HŪṂ at the heart. From that, light rays radiate intensely, inviting the natural maṇḍala, which one should visualize in the sky before oneself. From the HŪṂ at one’s own heart, the four ḍākinīs are emanated, and one should perform the outer and inner offerings, praises, and so forth. Then, one should confess misdeeds: all misdeeds committed by body, speech, and mind, and all sins such as those one has personally committed, are confessed to the pure natural maṇḍala. Having rejoiced in the merit of the Buddhas and others, one dedicates this merit of rejoicing for the sake of all sentient beings. One takes refuge in the Three Jewels and, through the two types of bodhicitta, offers one’s own body, speech, and mind to the Buddhas and others. Having performed the seven-branch offering, one should visualize the three natural syllables upon one’s own body, speech, and mind. These three syllables are as follows: HE, RU, and KA. "HE" signifies that all phenomena are without cause.
HA: all phenomena are without arising or ceasing.
E: all phenomena are beyond speech and expression.
RU: all phenomena are like echoes.
RA: the body of authentic great bliss.
U: all phenomena rely on non-conceptuality.
KĀ: all phenomena are without a location.
KA: all phenomena possess bliss.
From A, the non-arising of all phenomena is shown.
These three syllables are the nature of one’s own body, speech, and mind.
One should meditate upon them with diligent application.
OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ.
Having stabilized the mind in emptiness, that very [emptiness] becomes a sun maṇḍala.
Upon that, one should visualize a black HŪṂ; that transforms and is to be meditated upon as a vajra.
Within the vase of the vajra, visualize a black HŪṂ. From that, vajra light rays radiate forth.
Having constructed a square vajra wall, and having visualized a vajra canopy above, the ground below is a vajra foundation.
Outside the vajra fence, from LAṂ comes a square earth maṇḍala marked with three-pointed vajras.
Outside the earth maṇḍala, from VAṂ comes a circular water maṇḍala. In its center, visualize vases.
Outside the water maṇḍala, from YAṂ comes a bow-shaped wind maṇḍala, marked with banners on the left and right.
Alternatively, outside of that, visualize a triangular fire maṇḍala from RAṂ.
Inside the vajra fence, in the four cardinal and four intermediate directions, one should visualize the eight charnel grounds.
Visualize a red lotus from PAṂ. Upon the pericarp of the lotus, visualize a sun maṇḍala.
In the center, visualize a dark blue HŪṂ.
From the syllable HŪṂ, light rays are intensely radiated, summoning the Sugatas of the ten directions. These dissolve into the HŪṂ and melt. Upon the four petals of the lotus, the four goddesses are to be generated. From the nature of the four immeasurables, the four—Vajraḍākinī and the others—should exhort [the deity] to abide in equanimity with these four vajra songs:
O supreme kinsman, may the vajra light fully open the lotus! A la la la la ho! Perform the dance of the great bliss of supreme delight! Just as the sun’s light fully opens the mouth of a lotus, A la la la la ho! Perform the dance of the great bliss of supreme delight!
Having sung the vajra song, that very mass becomes the syllable HŪṂ. From it, light rays are intensely radiated, summoning all the Sugatas of the ten directions, which are visualized as dissolving into the HŪṂ itself. Through the power of compassion, it becomes a vajra. It is dark blue in color with four faces, beautifully adorned with four arms. The central face is dark blue, the right face is yellow, the left face is green, and the remaining face is white. The two right hands hold a kapāla and an arrow; the two left hands hold a khaṭvāṅga and a bow. He sits upon a solar maṇḍala seat. Each of the four faces has three eyes. He wears a necklace of fresh human heads strung on a cord of fresh intestines, and his head is adorned with a garland of dry skulls. He is perfectly endowed with the ornaments of great bone. With a joyful, laughing face, his fangs are bared. His orange-red hair blazes upward.
Then, the six places are blessed. At the brow, visualize a yellow ci; at the two eyes, white oṃ; at the two ears, red ā; at the two nostrils, white khe; at the throat, visualize a red āḥ; and at the heart, visualize a red re. Having perfectly blessed the six places, the bodies of the Father and Mother are simultaneously perfected. They embrace emptiness most intensely, and from their non-dual bodies, light rays radiate forth. Having illuminated the world-realms, they are adorned on the crown by Vajradhara. Their body, speech, and mind are blessed. The essence of the utterly pure wisdom of the expanse of phenomena (dharmadhātu) is the self itself.
On the eastern lotus petal, visualize Vajraḍākinī. Her body is dark blue with four faces: the right is yellow, the left is green, and the remaining face is white. Her two left hands hold a khaṭvāṅga and a bell; her two right hands hold a kapāla and a vajra. She is the earth element, the nature of the mirror-like wisdom.
On the southern lotus petal, visualize yellow Ratnaḍākinī. Her right face is black, her left is green, and the remaining face is white. Her two left hands hold a banner and a jackal; her two right hands hold a trident and a jewel. She is the water element, the nature of the wisdom of equality.
On the western lotus petal, visualize white Padmaḍākinī. Her right face is yellow, her left is green, and the remaining face is black. Her two left hands hold a bow and a kapāla; her two right hands hold an arrow and a variegated lotus. She is the fire element, the nature of the wisdom of individual discernment.
On the northern lotus petal, visualize green Viśvaḍākinī. She is the wind element, the nature of the all-accomplishing wisdom.
The right face is yellow and the left is blue; the remaining face is white. The two left hands hold a noose and a kapāla; the two right hands hold a sword and a hand-drum (ḍamaru). She is of the nature of the wind element. The four, Vajraḍākinī and the others, are firmly established upon sun seats. Their ornaments, such as the kapāla and so forth, are explained as being consistent with the ornaments of the principal deity. Their eyes are likewise consistent with the principal deity. With their mouths slightly agape and fangs bared, their orange-red hair blazes upward. From the bodies of them all, rays of light radiate from a mass of blazing fire. One should meditate on being surrounded by these four goddesses, the Vajra Ladies of the power of compassion. As for the completion stage, one should inquire of the masters. One should visualize a wind maṇḍala at the crown and an earth maṇḍala at the heart. One should visualize a water maṇḍala at the navel and a fire maṇḍala at the secret place; these are to be meditated upon by the neuter. OṂ ĀḤ HŪṂ. In order to rest, the yogin should recite the mantra: OṂ ĀḤ HRĪḤ HŪṂ PHAṬ. Having arisen from meditative absorption, one should meditate on the non-duality of saṃsāra and nirvāṇa. This concludes the Sādhana of the Great Illusion, composed by the Indian abbot Śarīrābhāva-vajra.