Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text serves as a detailed exegetical commentary on the Vajrāmṛta Tantra, a twelve-thousand-verse Guru Tantra focused on achieving awakening through the integration of great bliss and wisdom. The work functions as a technical manual for the practitioner, bridging the gap between abstract tantric theory and concrete ritual application. It argues that the path to perfect awakening is found in the realization of a non-dual state where no distinction exists between ordinary beings and the Sugata. To achieve this, the text commits the reader to a rigorous system of visualization, the generation of complex mandalas involving specific deities like Māmakī and Heruka, and the precise use of seed syllables and mantras. The author emphasizes the necessity of specific ritual conditions—including timing, location, and the use of unconventional substances—to transform ordinary perception into the nature of truth. By detailing the iconography of deities and the mechanics of the vajra path, the text provides a roadmap for the transformation of the practitioner's consciousness into that of a Tathāgata.
Provenance
About this text
A commentary on the Vajrāmṛta Tantra, the Vajrāmṛtatantraṭīkā belongs to the classical Tibetan tradition. The work is attributed to the Indian author Guṇabhadra. It was translated into Tibetan by Smṛtijñānakīrti and is preserved in the Tengyur, volume ར, where it comprises 73 pages and is situated within the Other Wisdom Tantras collection. The work argues that there is no distinction between ordinary beings and the Sugata, asserting that the path to perfect awakening involves overcoming the agitation of the mind and avoiding the pride of impaired discipline. It emphasizes the necessity of explaining methods to generate faith for those following the Dharma, specifically addressing why certain absorptions are taught despite their apparent contradiction with the world. A scholar or serious reader consults this text today to examine the technical arguments regarding the realization of a non-dual state and the specific conditions required for awakening, as detailed in this exegetical tradition.
Cite thisAnuvāda, “An Explanation of the Vajrāmṛta Tantra” (Toh 1650), machine draft, 2026.https://naxiai.com/tibetan/works/toh1650
Summary & commentary
Significance
The work is significant for its preservation of the specific ritual protocols and iconographic details of the Vajrāmṛta tradition. It illustrates the intersection of high-level philosophical claims regarding non-duality and the highly specific, sometimes transgressive, ritual practices characteristic of Anuttarayoga Tantra.
Structure
Passages
Section
Description
1-12
Introductory and Theoretical Foundations
Homages, the purpose of the teaching, and the philosophical basis for the method of absorption and the nature of truth.
18-52
Iconography and Mandala Generation
Detailed descriptions of deities such as Lāsyā and Māmakī, their physical attributes, and the visualization of the earth mandala.
61-86
Advanced Ritual Practice and Deities
Instructions on meditating on Yamāntaka and Akṣobhya, and the distinction between the Vajrayāna and outer vehicles.
92-100
Specific Ritual Protocols and the Vetālī Practice
Technical instructions on mantra recitation, the use of corpses in the Vetālī practice, and the final achievement of accomplishment.
Themes
Non-duality and the Nature of Truth (3-5, 27, 77)
Deity Visualization and Iconography (7-9, 18, 61, 98)
Mantra and Seed Syllable Mechanics (4, 18, 43, 94)
Ritual Transgression and Materiality (18, 96-97)
The Path of Great Bliss (10, 12, 27)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Vajrāmṛtatantraṭīkā. In the language of Tibet: rDo rje bdud rtsi’i rgyud kyi bshad pa (An Explanation of the Vajrāmṛta Tantra). Homage to the glorious Vajrasattva!
I bow to that essence of the Victorious Ones, the sublime bliss, whose accomplishment is luminous, stainless, and whose wisdom is mature and unerring; who, though the single equal taste of method, insight, and great compassion, appears as duality; whose lotus face is sipped by the supreme bees of the sidelong glances of Māmakī and the other goddesses. Having bowed to that, I shall write the Vajrāmṛta.
Having taught the entire meaning of the tantra through the secret of secrets, the mind, I have composed this clear commentary for the benefit of myself and others. Following the sequence of the condensed connection, I have expanded the Tibetan text through faith.
In this tantra, the Blessed One Akṣobhya, surrounded by Māmakī and the others, is the meaning. The tantra is the words. The purpose is the actualization of the wisdom of great bliss, the Vajrāmṛta. When beings engage in the afflictions of desire and so forth, they are not stained by faults; rather, it becomes the path to liberation. Thus, through the light rays of the non-dual play of the Father and Mother, method and insight, sentient beings are drawn into the secret place and empowered. By the power of this, the afflictions of desire and so forth are purified in their place. The ultimate purpose is that the signs of the five wisdoms—the mudrās—spontaneously and effortlessly manifest as the bodies of the five families to act for the benefit of sentient beings.
In order to benefit those individuals who follow the Dharma by generating faith, these [methods] must also be explained without hesitation. One might ask: "Why did the Blessed One not teach any other method for sentient beings to attain perfect awakening than this [worldly] absorption, since it contradicts the world?" The reason is that the minds of beings have been agitated by the web of all afflictions, such as desire, habituated since beginningless time. Because the mind cannot remain without attachment and the like, those very [afflictions] are accepted as the very cause for attaining perfect awakening. By employing mantras, mudrās, and the summoning of the wisdom-being (jñānasattva), one generates a capacity that is extremely effective for accomplishing awakening.
Ultimately, both desire and the one who desires—this bond and the bound—are not established by way of their own essence. When analyzed through reasoning, they are found to be without objective reality. Wherever there is attachment, whatever is the object of attachment, or whoever is the one who attaches—none of those phenomena are to be perceived. If one asks, "Is attachment without perception faultless?" it is not so; it is not something to be attached to. These minds that are free from desire are not afflictions.
Those who hold a view that dwells upon a perceived self are caused to fall into the lower realms by that attachment. That very phenomenon of desire is the phenomenon of a Buddha; there is not the slightest difference between the two.
There is no defining characteristic of a single syllable or a single mode; there is no distinction between ordinary beings and the Sugata himself. Having realized the difference between impaired discipline and the practice of discipline, who would be intoxicated by the pride of discipline? For such a person, there is no awakening, nor are there the qualities of a Buddha, because they abide in a view of objective apprehension. Furthermore, it is said: "Neither in attachment nor in the absence of attachment, nor even in the middle, is anything apprehended," and so forth.
The teacher of this tantra is the Blessed One Akṣobhya. The requester and compiler of this tantra is Māmakī. The retinue begins with the goddess Rūpiṇī and extends to the female gatekeepers. The phrase "Thus [have I heard]" and so forth marks the beginning of the tantra. "Thus" refers to the Vajrāmṛta Tantra to be explained later. Alternatively, "thus" is the Sanskrit evam; e is the triangle, the lotus, and vaṃ is vajra, the vajra. Since the meaning of this tantra is that it is accomplished through the union of the vajra and lotus from beginning to end, "this" should be understood as the lotus and "thus" as the vajra.
In that context, "by me" are the words of the compiler Māmakī, indicating that she heard it directly from the mouth of the Blessed One, and not that she heard it from another source. Furthermore, it was not heard by her alone, as that would contradict the excellence of the surrounding retinue. "Heard" (śruta) means "known," because it is an object of the mental consciousness.
If one asks whether sound, which is the object of the auditory faculty, is also the object of the mental consciousness, the answer is yes; for it is the common object of both the engaging consciousness and the conceptual consciousness. Therefore, it is not contradictory to say that the meaning of what was heard is "knowledge." As for the phrase "at one time," it means at one particular time, namely when the Blessed One Akṣobhya entered the secret lotus; that is the meaning of "what was heard." Alternatively, it is because this tantra was not heard in terms of a specific number of years or dates from beginning to end. "The Blessed One" (Bhagavān) is so called because he has conquered the four Māras, or because he possesses the six excellent qualities such as sovereignty (Īśvara) and so forth. It also means that he is one who constantly abides in the secret bhaga-lotus. Why is it called "bhaga"? Because it is non-dual insight (prajñā); therefore, the four Māras are conquered within the secret bhaga. As it is said: "Afflictions are overcome by insight; therefore, insight is called bhaga." Furthermore, the causes such as sovereignty and the perfection of generosity are also possessed by the Blessed One who abides in the secret bhaga. "Of all the Tathāgatas" refers to Vairocana and the others. Their body, speech, and mind are what is meant by "body, speech, and mind," which are the saṃbhogakāya, the supreme dharma of selflessness, and the pure mundane wisdom. These alone are the "heart mantra," such as the goddess Māmakī and the others.
It is the nature of truth, free from fear and harm, because it bestows the desired fruit. That itself is the vajra-amṛta, the vajra. Regarding the phrase "the secret nectar," it refers to Māmakī and the others, because they are extremely secret. As it is said: "In order to benefit the non-Buddhists, the Buddhas' consorts are thoroughly known." Their bhaga is the lotus; in the central, supreme location of the bhaga, it is because it possesses a lotus generated from the syllable Bhrūṃ within the secret bhaga. "He dwells in such a bhaga" means he is perfectly situated. The meaning is as follows:
In the lotus-bhaga of those goddesses, Māmakī and the others, the Blessed One dwells in the form of the bodhicitta-vajra-amṛta, with the essence of supreme joy and equal flavor, for as long as existence endures; it is not merely a matter of the four modes of conduct. Therefore, the yogi who wishes to manifest the union with the deity should also train in this. Regarding the phrase "the tiered celestial mansion" and so forth: having entered into union with Māmakī, the Blessed One sports together with the goddesses, Śrī and the others. "In the house" refers to the maṇḍala. "Māmakī" is so called because she is the mother of all Buddhas. "The Blessed One" has already been explained. "The Vajra-holder" refers to the vajra of the five wisdoms, the five families, and cause and effect.
Because it possesses that [quality]. Therefore, the hand symbols are also five-pointed vajras, upper and lower. Thus, it is also stated in the Explanatory Tantra of the Guhyasamāja: "The result of the purification of the five tantras is taught as the 'vajra'." The meaning is explained as follows: within the maṇḍala of the source of phenomena (dharmodaya) of Māmakī and the others, which possesses qualities such as being square, there is an eight-petaled lotus of half that size. On each petal reside the eight goddesses, such as the one called Lustrous Beauty (Lalanā). At the gates are the gatekeepers, such as the Frowning One (Bhṛkuṭī), and at the corners are goddesses such as the Flower Goddess (Puṣpā). On the ledges are goddesses such as the Lute Goddess (Vīṇā), all of whom are to be visualized abiding while holding their respective hand symbols. Furthermore, the Blessed One Akṣobhya, in union with Māmakī, resides in the heart of the lotus. Thus, the Blessed One, the central principal deity Akṣobhya, has three faces and six arms. His central face and body are blue, the right is white, and the left is red. With the first two hands he holds his breasts; with the two right hands he holds a vajra and a sword; and with the two left hands he holds a noose and a bell. The Blessed Lady Māmakī also has three faces and six arms. Her faces correspond to those of the principal deity. In her first right hand she holds a vajra while leaning against the principal deity’s thigh. With the two lower [right hands] she holds a wheel and a sword, and with the three left hands she holds a noose, a hook, and a bell.
On the eastern petal is Lāsyā, with three faces and six arms. Her central face and body are white, the right face is black, and the left is white. Her first two hands are in the gesture of embracing. Her two right hands hold a rosary and an arrow, and her two left hands hold a wheel and a bow. This configuration of three faces and six arms should be understood to apply to all [the goddesses].
On the southern petal is Śāntā; her central face and body are yellow, the right face is black, and the left is white. Her first hands are in the gesture of embracing. Her two right hands hold a vajra and a sword, and her two left hands hold a jewel and a noose.
In the west is Candrā; her central face and body are red, the right face is black, and the left is white. Her two hands are in the gesture of embracing. Her two right hands hold a rosary and a vajra, and her two left hands hold a lotus and a guṇḍī drum.
In the north is Śaṅkhinī; her central face and body are green, the right face is black, and the left is white. Her first two hands are in the gesture of embracing. Her two right hands hold a sword and a crossed-vajra (viśvavajra), and her two left hands hold a hook and a noose.
On the petal in the northeast is Śaśadharā; her central face and body are white, the right face is black, and the left is red. Her three right hands perform the gesture of generosity (varada), hold a vajra, and hold an arrow. Her three left hands hold a bow, a cluster of jewels, and make the threatening gesture (tarjanī).
In the southeast is Citrā; her central face and body are black, the right face is white, and the left is red. Her three right hands hold the gesture of granting protection (abhaya), a vajra, and an arrow. Her three left hands hold a bow, a threatening gesture, and a noose.
In the southwest is Manoharā; her central face and body are red, the right face is black, and the left is white.
The three right hands hold the gesture of fearlessness, a vajra, and an arrow; the three left hands hold a bow, a lotus, and a rosary. In the wind direction is the goddess Manasāgarbhiṇī, whose central face and body are green, the right face black, and the left face white. Her right hands hold the gesture of fearlessness, a vajra, and an arrow; her left hands hold a bow, an utpala flower, and a threatening gesture. Alternatively, it is not contradictory to depict all the hand-symbols of the eight goddesses mentioned above as being identical to those of the central deity, for the tantra itself does not specify any other hand-symbols.
Puṣpā (the Flower Goddess) has a central face and body that are white, a right face black, and a left face red. Her first two hands hold a flower basket; the remaining hands are identical to those of the principal goddess Māmakī. This should be understood to apply to all the subsequent goddesses as well.
Gandhā (the Incense Goddess) has a central face that is yellow, a right face black, and a left face white. Her first two hands hold an incense burner.
Dīpā (the Lamp Goddess) has a central face that is red, a right face black, and a left face white. Her first two hands hold a lamp.
Dhūpā (the Perfume Goddess) has a central face that is green, a right face black, and a left face white. Her first two hands hold a perfume conch.
Vīṇā (the Lute Goddess) has a central face that is white, a right face black, and a left face red. Her first two hands hold a lute.
Vaṃśā (the Flute Goddess) has a central face that is yellow, a right face black, and a left face white. Her first two hands hold a flute.
Mṛdaṅgā (the Drum Goddess) has a central face that is red, a right face black, and a left face white. Her first two hands hold a large drum.
Murajā (the Clay Drum Goddess) has a central face that is green, a right face white, and a left face red. Her two hands hold a clay drum.
Bhṛkuṭī (the Frowning Goddess) has a central face that is white, a right face black, and a left face red. Her first two hands hold a vajra hook.
Bhīṣaṇī has a yellow central face, a black right face, and a white left face; her first two hands hold a noose. Hayarūpā has three faces and six arms; her central face and body color are red, with a black right face and a white left face; her two hands hold a vajra and an iron chain. Gaṇamātṛ has three faces and six arms; her central face and body color are green, with a black right face and a white left face; her first two hands hold a bell. Thus, the sequence of face colors is taught in the Guhyasamāja-kārikā: "Not all are black on the left, nor are the right faces red; following the tradition of Jñānapāda, the Guhyasamāja should be understood in this way." Now, the Blessed One, abiding in the center of the palace, should be made into the equal taste of the bliss of supreme joy. The goddess Māmakī then requested [the teaching] in order to purify the elements of sentient beings who are attached to desire and so forth. Regarding the phrase "the goddess requested," it refers to the palace where the Blessed One is seated together with Māmakī, surrounded by goddesses such as Śobhā. "That goddess" refers to the compiler Māmakī, because she causes [beings] to be born into the class of gods, or because she illuminates [the teaching] with her own light. "Requested" means she requested by engaging in the play of method and wisdom; it is not in the manner of placing one's knees on the ground and so forth. "The Great Secret" refers to the non-dual, individual self-cognizing wisdom of great bliss.
Regarding that, "abiding greatly" means the nature of experiencing bliss. As for the Vajrāmṛta Tantra, it is the twelve-thousand-verse Guru Tantra, the method for accomplishing the welfare of beings through expansion and joy. If one asks what it teaches: "In the past" refers to the fact that in the first eon, O Goddess, you will teach out of compassion; now, for the sake of beings who delight in condensation, it is requested that you grant the instruction. This is the connection.
"Amṛta" (nectar) refers to the superior bodhicitta, which, by separating one from the phenomena of death, becomes the primary condition for manifesting the wisdom of great bliss. Why? Because, having viewed the self as mere mind, one sees the net of stains of internal and external conceptualization—which has become the three realms of the aggregates—as being non-dual and non-existent. Following that, one sees the nature of the Pāramitā of Insight, which has become of one taste with the wisdom of great bliss.
In the source of phenomena of the thirteenth ground, in the center of an eight-petaled divine lotus within the maṇḍala of space and the four elements, there is a blazing vase from which a stream of the nectar of wisdom flows. It pervades the foundation of space, is fully emanated from the syllable BHRŪṂ, and is the maṇḍala of the celestial palace of Vajradhātvīśvarī, adorned with squares and so forth. Within this, one should meditate on the wisdom being (jñānasattva) upon a moon maṇḍala and a vajra. Having offered the praises and offerings that follow, one should request forbearance.
Having entered through the mouth of the wisdom-being (jñānasattva) and emerged via the vajra path, one sees it melting into the moon; then, together with the Blessed Lady Māmakī, the Blessed One is to be made manifest. Following that, having generated the maṇḍala wheel of subsequent union, the principal deity is to be placed in the center. This arising of Vajrāmṛta is merely a concise summary of the five awakenings (pañcābhisambodhi). Thus it is said: "The mind and the samādhi of the being, one should meditate upon the conduct of awakening," and so forth. Furthermore, it is said: "Having entered into the equipoise of the two organs, the wise one, having emitted his own fluid, the yogi should always make it the ornament of the maṇḍala within the maṇḍala." Therefore, one must ascertain that very meaning. Specifically, since in this Yoga Tantra that very [meaning] is the primary method of accomplishment and not otherwise, why was it taught as this alone? It is because it is said: "The fluid of nectar (amṛta) certainly generates the three worlds," and: "For the sake of accomplishing body, speech, and mind, the practitioner brings about bliss." "Great Bliss" (mahāsukha) is the name of Akṣobhya, because he possesses the nature of the bliss of the play of method and insight (prajñā). "Please speak" is a request for the method of accomplishing nectar. The Blessed One replied, saying "Thus it was said," and so forth. In that context, "Thus it was said" refers to the words that follow, beginning with "inconceivable" (acintya).
The Blessed One and so forth have already been explained. In that regard, first, the Teacher is presented by way of the nature of nectar (amṛta): "inconceivable," and so on. This is taught as the specific wisdom of great bliss, the condition for Vajrāmṛta. Regarding that, "inconceivable" is because the web of stains consisting of the conceptualization of both existence and non-existence has been cleared away. "Inexhaustible" is because the bliss of one's own family arises as an essence that is not subject to any other number, and because the continuity of the tantra has not fallen. "Subtle" is because it is not an object of expression in words. "Meaningful" is because it brings about the very awakening of clear realization attained over many countless eons. "Beyond the senses" is because it has utterly transcended the sense bases such as the eye. "Supreme" is because it is the principal of the five wisdoms, such as the mirror-like wisdom. "Peaceful" is because it is unsullied by the stains of afflictions such as desire. "Pure" is because it is the very nature of the wisdom of the utterly pure dharmadhātu. "Vajra" is because it destroys that which is indestructible. "Nectar" is because it is the essence that revives the continuum of the body through the transformation of its distortions. Now, the nature of Vajrāmṛta is shown, as it is said: "Then the Blessed Vajra..." and so forth.
Regarding that, the phrase "Then" (tatas) is a connective expression linking the beginning and end of the section that teaches the very nature of the amṛta immediately following the teaching on the nature of amṛta. If one asks who teaches it, it is "the Blessed One with the vajra," as has already been explained. If one asks how he teaches it, it is "from the union with Māmakī," meaning he possesses the bliss of union with Māmakī. "By means of the absorption (samādhi) of Vajrāmṛta" means that the bodhicitta arising from the secret vajra is the Vajrāmṛta; having dissolved into the mouth of the wisdom-being (jñānasattva) and melted into the moon, it emerges from the secret path. Having entered the one-pointed absorption of the mind that meditates upon this, he "manifested the Great Secret." In this context, "Great Secret" refers to the bodhicitta which is the nature of the non-dual wisdom of great bliss, so called because it is secret in other tantras. "Manifested" means that after the bodhicitta substance has become clear, it is called the "liquid amṛta" that emerges from below; this is the intended meaning when he teaches it to Māmakī. Therefore, it is said: "In all tantras," and so forth. In this context, "all tantras" refers to the Action Tantras (kriyā-tantra), the Performance Tantras (caryā-tantra), and some of the Secret Tantras (guhya-tantra). "Great Secret" means it is not shown as a physical substance. "Wisdom" (jñāna) refers to the non-dual wisdom of great bliss. That itself is the Vajrāmṛta, as has already been explained. Furthermore, it is "supreme" because its essence is nirvāṇa.
The meaning of this is as follows: "O Māmakī, I shall explain that which is the secret vajra-amṛta wisdom of all tantras." In that regard, first, the method for accomplishing the substance of the amṛta is shown by the words "firmly embracing" and so forth. Therein, "firmly embracing" means embracing after having cultivated and adopted supramundane great compassion for the sake of causing sentient beings, who are submerged in the mud of ignorance, to attain the unsurpassed fruit. "Kissing" refers to the nine locations: the breasts, the fingertips, the throat, the lips, the eyes, the ears, the nose, the crown of the head, and the secret place. "The play of joy" refers to the five [actions] such as kissing the lotus [vagina] as it appears below, speaking gentle words, scratching with the nails, and the five types of binding the limbs. "Union" means that immediately after the play is finished, one joins the secret vajra and lotus in accordance with the absorption to be described below. "Melody" refers to [mantras] such as "Emit, emit!" "Cymbals" refers to the lute and so forth. "Dancing" refers to the dance of the waist and so forth. Regarding "Vajra-amṛta" and so forth: having performed the embracing and so forth in that manner, because intense effort is not required for this supreme tantra, the swift accomplishment of the arising of vajra-amṛta will occur. To show the amṛta accomplished by that, [it says] "the amṛta fluid" and so forth. Therein, "the three worlds" refers to the three realms: the desire realm, the form realm, and the formless realm.
Regarding the "three families of beings": it is because they come from and go to all five families of beings. As for the phrase "generated by that," it means that the amṛta generates the three families of beings. Having thus shown the nature and substance of the amṛta, the accomplishment through it is shown: "To you, the Joyful One," and so forth. In this context, "to you" refers to Māmakī. Her specific qualities are described: "the Joyful One" is so called because she generates joy. "The One with the Beautiful Face" refers to a face that is beautiful, endowed with the illusory nature of a woman. She possesses eyes that gaze with a playful, coquettish manner accompanied by music. As it is said in the Saṃpuṭa-samvara: "The wise woman, a great illusion, transforms her beautiful face; with music and the finest coquetry, she performs a dance endowed with beauty." "By that" refers to the amṛta. "The accomplishment by that" refers to Akṣobhya, the three realms, and the body, speech, and mind. The Teacher makes a formal promise by saying, "I shall explain that." If one asks how it is explained, it is with the words "Listen!" and so forth. In this context, "Listen!" is an address to Māmakī. These are the words of the answer to the question you asked, starting from the state of her mind. "In brief" means that I shall explain by summarizing from the Dvādaśasāhasrikā (the Twelve Thousand Verse). In order to generate faith in the goddess or all sentient beings, he teaches by way of the qualities of accomplishment, starting with "all sentient beings," and so forth.
In this context, "sentient beings" refers to those whose nature is to have gone beyond this [state]; those who possess that mind are called "sentient beings." Furthermore, since all those sentient beings are that very [nature], they are the sentient beings of the ten directions, who are immeasurable. "For the benefit of them" means that they are freed from suffering, meet with happiness, and attain buddhahood. "Yoga" refers to the practitioner, because they possess the union of method and insight, as well as the non-dual wisdom of great bliss. "Of cyclic existence" refers to the intermediate state, the state of birth, the state of the previous time, and the state of death, because one cycles through them by way of the twelve links of dependent origination. "From its bonds" refers to the three: being bound by desire, being bound by hatred, and being bound by delusion. "Swiftly" means that while it is said in the Vehicle of the Perfection of Insight that one becomes a buddha after three immeasurable eons, and in some sūtras it is said that one becomes a buddha after an immeasurable number of immeasurables, and in the Hearer Vehicle it is said that one attains liberation in three lifetimes, this [Vajrayāna] is accomplished more swiftly than those; it means that one becomes a buddha in a single lifetime in the Vajra Vehicle. The meaning is as follows: whichever yogi, having focused on the benefit of sentient beings, unites method and insight and realizes the knowledge of Vajrāmṛta, is swiftly liberated from those bonds.
It is said that one is not liberated through the power of craving and desire. Now, the actual practice is shown: "That which cannot be shown," and so forth. Regarding that, "that which cannot be shown" means that the nature of the thoroughly established reality is inexpressible. As it is stated in the Cittamātra view:
"The intellect does not perceive the other,
Nor is that perceived by another;
Because of the absence of the aspects of subject and object,
The self is the clarity of suchness itself."
What is that? It is "great wisdom," the non-dual wisdom of great bliss, the nature of Akṣobhya. As it is stated in the Guhyasamāja:
"Akṣobhya-vajra, the great wisdom,
The vajra expanse, the supreme great."
This is the meaning of "achieving the accomplishment of such nectar." To show the specific qualities of that accomplishment, it says, "the three worlds are accomplished." This means that the afflictions of the three realms, which are to be abandoned through seeing and meditation, are cleared away by the non-dual wisdom of great bliss, thereby becoming free from perverted desire.
Regarding the phrase, "For the sake of accomplishing the body, speech, and mind," and so forth, this shows the accomplishment of the body, speech, and mind through Vajrāmṛta; the meaning is that they will be generated in the essence of great bliss. The method for that practice is taught: "Vajra and lotus," and so forth. In that context, "vajra and lotus" refers to one's own practice.
The manner of the vajra thoroughly conceptualized by the syllable HŪṂ is adorned, encircled by a jewel and a crossed vajra generated by the syllable BHRŪṂ. Regarding the generation of the form of the goddess Māmakī: within the bhaga of a girl of the outcaste class or similar, one places the syllable BHRŪṂ in the center of a lotus generated from the syllable HRĪḤ. Having visualized a tiered celestial palace [therein], one does not engage in union; otherwise, it would be a fault. Thus, having meditated on the vajra and the lotus, the "Vajra Amṛta"—the emission of the extraordinary bodhicitta—is the sādhana. Immediately after the amṛta has been emitted, it is placed upon the vajra and the lotus. Regarding the statement, "One should take up the extraordinary bodhicitta," it says: "Kissing the lotus of the bhaga, kissing the vajra Māmakī." Therefore, if both the yogin meditating on Akṣobhya and the yoginī meditating on Māmakī and so forth desire the unsurpassed fruit, they should practice in that manner. The passage beginning with "Vajra Amṛta" has already been explained. Regarding the phrase "He spoke that": the meaning of the words as they were spoken was spoken by the Blessed One alone; this indicates the source, showing that it was not spoken by any other desirous person. Now, the question is asked regarding the conditions for actualizing that deity yoga and what the maṇḍala and offerings are like: "Kissing the lotus of the bhaga," and so forth. In that context, the phrase "the goddess of joy" refers to—
One sees the Blessed One kissing the lotus and blessing the bodhicitta, and thus there is joy. "Arising from the Vajra Amṛta" means arising from the sequence of this tantra. "Delightful" means that, like a wish-fulfilling jewel, it fulfills the desires of sentient beings; thus it is called the "delightful maṇḍala." Alternatively, it is the joy based upon the bhaga-maṇḍala for the sake of manifesting clear realization. "Secret" refers to the goddesses such as Śrī. Their maṇḍala is the "secret maṇḍala," because the principal of the maṇḍala, the Blessed One Akṣobhya, is surrounded on the right by goddesses such as Śrī. The meaning is as follows: Māmakī requested the illusory maṇḍala of Vajra Amṛta from the Blessed One. The words of the request are stated as "the sequence of the ritual," and so forth. In that context, "this" refers to the sequence of the Vajra Amṛta tantra. "Great joy" is the awakening that is the nature of the wisdom of non-dual great bliss. "Difficult to attain" means that it is not attained even in countless eons by those who have entered the lower vehicles. "Being greatly pleased" is by way of a pure mind. The response to that is stated as "the Blessed Vajra," and so forth. In that regard, "by kissing, one becomes joyful" means:
Regarding the phrase "Māmakī kissed the secret vajra, and he was delighted": "delighted by the kiss" means he was pleased by the act of kissing. "Having desired" means for the sake of great compassion. "Thus" refers to the words of the response that follows. If one asks what was spoken, it is "of the body, speech, and mind," and so forth. In that context, "the ocean of saṃsāra" is called an ocean because it shares the same characteristics as an ocean. Just as an ocean is moistened by water, filled with sea monsters and the like, and is deep and difficult to cross, so too is it moistened by the profound nature of phenomena (dharmatā), filled with the sea monsters of afflictions such as desire, and is deep and infinite. "In order to cross that" means in order to abandon saṃsāra and attain nirvāṇa. The phrase "Māmakī asked here" connects to the meaning that the Teacher spoke exactly what Māmakī asked at this point. Regarding that, one should first generate passion, thinking that the Teacher is speaking to reveal the meaning of the requested maṇḍala.
Externally, all women are bound and tightly fettered; as soon as the desire is grasped, the yoginī will generate the attainment of the taste of great bliss and supreme joy. Now, for the purpose of massaging the body, the principal lady Māmakī and all the other yoginīs each taught their respective binding mudrās: "the gathering and the elbow," and so forth. In that context, "gathering" refers to the binding known as "the gathering." "Lifting up" refers to the binding known as "the offering."
Regarding the "extended" and "thoroughly extended": one should understand these as names designated by the Teacher. Furthermore, the definition of what is called "the union" is explained as follows: "Embracing the woman's neck, placing both of the man's arms upon her two elbows is explained as the 'union of the thighs'." This is the explanation of the definition of the elbows. "Bending the woman's knees and placing them upon the man's elbows is explained as 'knees on elbows'; such is the desired sequence of purification." This is the explanation of the definition of the "extended." "Sitting upon the man's thighs, the woman always places the soles of her feet [there]; both look toward the back, and because the feet are stretched out, it is the 'extended'." This is the explanation of the definition of "raised." "Placing the woman's sole upon the channel at the man's navel, and the man rising up at the end of the descent, is renowned as 'raised'." This is the explanation of the definition of "thoroughly extended." "Because both stretch out both feet, it is held to be the 'thoroughly extended'; the woman remains with her body positioned below, looking up at the man." Regarding "by the application of action," this refers to the playful movements and so forth that benefit the supreme joy. Regarding "by the application of binding," this refers to whatever binding and application were mentioned above. "The three levels are to be accomplished" means the accomplishment of the subterranean, the terrestrial, and the celestial realms. Now, the accomplishment of the gaṇacakra is taught:
Regarding the passage beginning with "Great flesh and great blood," and so forth: "great blood" refers to the vermilion of the lotus. The latter [terms] are easy to understand. As for "should be accomplished": one should visualize a skull-cup (bhandha) emanated from the syllable A, purify it with the syllable HŪṂ, and having expanded it, meditate upon the amṛta; this is what is meant by "should be accomplished." By merely consuming that, the renowned accomplishments (siddhi) will be granted.
Regarding the passage beginning with "If I, the Vajrāmṛta of great bliss, desire accomplishments," and so forth: "all purposes" refers to one's own purpose, which is the state of a Buddha, and the purpose of others, which consists of activities such as pacification (śānti) and so on. To clarify this, it is said: "The practitioner will achieve the supreme." This means that by means of that amṛta, the practitioner achieves the supreme accomplishment of nirvāṇa. The passage beginning with "Empowerment, summoning," and so forth, describes the activities to be performed for others. The word "and so forth" should be understood to include pacification and enrichment (puṣṭi).
Thus, the meaning is as follows: the Blessed One, who has taught and explained the great power of the yogi who undertakes the samaya of great flesh and so forth, has spoken of this bliss. Therefore, the meaning is that yogis should also undoubtedly act in that manner. The [explanation of] Vajrāmṛta and so forth has already been given. "Of all the Tathāgatas" refers to Vairocana and the others, who are as numerous as the atoms of the world. "Of their body, speech, and mind" refers to...
The body of the Tathāgata, the selflessness of all phenomena, and the pure mundane wisdom. That itself is called "Vajra," because it is the nature of Vajrasattva, or the nature of non-dual great bliss. One who possesses that is called "the possessor." What is that? It is the "Vajrāmṛta of Great Bliss." Regarding the phrase "from the King of Tantras, the Vajrāmṛta": it is because everything appears everywhere through the nature of Vajrāmṛta alone. Regarding the phrase "the chapter teaching the secret maṇḍala and the manner of performance from that tantra": it is a collection of words that primarily explains the meaning of the secret maṇḍala and the meaning of the activities to be restrained. "The first" is understood to be prior to the second. This concludes the explanation of the first chapter from the Commentary on the Vajrāmṛta Tantra.
Now, since the realizations of the nature of the Dharmakāya cannot be accomplished without bodhicitta, the chapter on the wisdom of suchness is taught, beginning with the words: "Then that goddess, being delighted..." In this context, "then" is a word connecting the beginning and end of the first and second chapters. "Delighted" means that Māmakī was joyful upon hearing the nature of the superior bodhicitta, the secret maṇḍala, the secret offerings, and the gaṇamaṇḍala in the first chapter. "That goddess" refers to the compiler. "With a blooming lotus" refers to the qualities of the secret lotus.
[It is] like the back of a tortoise and so forth. "Māmakī" is the name, because she is the mother of all buddhas. "Having embraced firmly" is easy to understand. "Kissing all the sense organs" means that by kissing the locations of the nine channels, such as the eyes and so forth, the bodhicitta residing at the crown of the head will enter. "The siṃha sound and the mantra should be recited" means that one should recite the syllable hūṃ together with the siṃha sound. "Binding with the vajra and grasping the hair" means that, having embraced the neck with the vajra-bind, one grasps the hair with the right hand. Immediately upon being grasped in that way, without effort, merely by the vajra being inserted into the lotus, the yoginīs who possess the nature of experiencing bliss will arise. "Kept secret by the Vajra-holder" means that it is kept secret from those of the lower vehicles and from others such as the non-Buddhists. "Being attached, one should delight and engage in desire" means that, being attached to the Tathāgatas and to the welfare of sentient beings, one should delight in the meditation on the vajra and lotus as described above and engage in the desire of method and insight. "The siṃha sound, pleasant sounds, and so forth" refers to reciting the mantra pleasantly during the play of method and insight. "Kokila" refers to a particular kind of sentient being; the yoginī utters sounds similar to those. The word "and so forth" includes the lute, melodies, and so on. The passage beginning with "the goddess Māmakī" is easy to understand.
"Mark with the nail-pattern" means to stimulate by touching with the fingernails the palms of the hands, the two eyes, the forehead, the breasts, the armpits, the center of the bhaga, the navel-lotus, and so forth. By touching the hands and other parts with the fingernails, the bodhicitta residing in the crown is melted and flows down.
"Having removed her garment" refers to Māmakī. "One should look up and down" means that "up" is the lotus of the face and "down" is the secret lotus. Why look at these two with passion? Because once desire is seized, one will experience bliss very swiftly. "Having kissed the blossoming lotus" has already been explained. "One should also utter words of joy" means that the Blessed One utters words of delight to the goddess Māmakī.
If one asks what those words are, it is said: "O Māmakī, the lotus of the blossoming mother," and so forth. "Excellent, excellent" means: "Excellent is your request for the Vajrāmṛta for the sake of sentient beings; excellent is your worship of me with the secret offering."
"Whatever you desire, you have requested" means: "You have requested the Vajrāmṛta for the sake of sentient beings; O Māmakī, ask whatever you wish to hear regarding the meaning of bodhicitta and so forth"—these are the words of permission. "I shall also grant the supreme" means:
The supreme gift is said to be the blessing that endows one with miraculous powers, superknowledges, or might, such as traveling through space by means of aspiration. Now, the goddess Māmakī, having in mind the Blessed One who is eternally free from attachment, requested the wisdom of suchness because she desired to hear it. Regarding the passage beginning with "Then the goddess Māmakī," the phrase "the suchness of the Blessed One himself" and so forth means: "O Blessed One, please explain your own suchness." Why is this asked? Because the web of conceptualization is the nature of non-dual wisdom and emptiness. If one hears that the bodhisattva is formless and subtler than even the most minute atom, how could one experience the bliss of entering into the supreme union of the two? This is the meaning of the request: "O Blessed One, how is this so?" "Doubt" refers to the uncertainty regarding the profundity of awakening and its emanations. "Marvelous" means that which occurs without having been previously heard or seen. The response begins with "Vajra-amṛta, great bliss," and so forth. Regarding that, "reality" (tattva) refers to the unchanging nature. If one asks what that reality is like, it is said: "The piercing union of wisdom." This means that by piercing through the union of method and wisdom, and by distinguishing all phenomena as non-dual, it is taught as "the piercing union of wisdom."
That which is of the nature of great bliss, a state of pliancy beyond the senses, and the unchanging individual self-awareness previously described, is called "extremely subtle." This is because it cannot be expressed as an essence that can be conceptually imputed as "this is it." Because it is suchness, it is called the "Great Secret," for it is the exclusive domain of the extraordinary.
Regarding the phrase "wisdom is the essence of the knowable": here, "the knowable" refers to the essential nature that abides within the three realms. That which possesses this is the "essence of the knowable." Wisdom alone, in the manner of pervading all things, proceeds to appear as external forms as if they possessed aspects.
If one asks, "If wisdom is a single entity, how can there be saṃsāra and nirvāṇa?" Suchness itself is established as the nature of worldly bliss in all respects. Through ignorance, one wanders in saṃsāra. Furthermore, when those appearances are analyzed by insight, not even a single aspect of an object exists externally, nor is there anything to be grasped.
As it is said:
"All phenomena established by one's own mind
Abide everywhere;
Those phenomena abide as the vajra of space;
There is neither phenomenon nor the nature of phenomena."
And it is also said:
"Consciousness is the root of existence;
Objects are its sphere of activity."
"Buddha-awakening" refers to the manifest, perfect awakening to the suchness of the great vajra samaya of the Tathāgata.
Because it produces the characteristics of a similar family in a sequence of other times and other numbers from beginningless time, it is "indestructible" because it is inexhaustible. It is "inexhaustible" because, like the producer and the produced, it does not go to exhaustion. "Permanent" means that it is of a single mode throughout the three times. "Beginningless" means that there is no creator of conditions, such as Īśvara and so forth, who is imagined to have created it in the beginning. "Abandoned in the beginning" means that it has abandoned the form of the letter A, which is unborn and without marks. "Existence" means that it is the nature of bliss, which is personally experienced, because it has abandoned what is not the nature of bliss. Alternatively, "existence" means that the very nature of bliss is the object of experience, being directly perceived through individual correct awareness. "Non-existence" means that when analyzed by the wisdom of the three spheres being completely pure, it is not an object of the intellect. "With faculties" means that it is the very blessing of the faculties, such as the eyes and so forth. "Without faculties" means that it is not seen. "Seen in all elements" means that if one looks at all the elements, such as the eyes and so forth, it is not found; therefore, it becomes unseen in all elements. If one asks, "How then is its siddhi to be attained?" it is said: "Seen by the path of application," and so forth. In that context, "application" means becoming one with one's own consort of wisdom.
Having realized the identity of great bliss, the non-dual great compassion, one desires that which is unstained by the web of conceptualization. That itself is known through the path; those who sport in the absorption of great bliss perceive the external elements and their derivatives, such as blue and so forth, as being other than that, yet in truth, they are non-dual wisdom. The phrase "the applications" and so forth is easy to understand.
Having thus taught the internal application, the external application is now taught: "of the external form" and so forth. In that context, "all aspects are conventional" means that because they are thoroughly engaged by the wisdom of great bliss, in which method and insight have become non-dual, they are called "all aspects are conventional." The meaning is that without that wisdom, the five aggregates would not dispel darkness. The point is stated as follows: why is it that the five aggregates, which are the nature of the five great elements within the body and are conceptualized as the forms of the deities, are meditated upon in the center of the bhaga lotus? It is because they are nothing other than the wisdom being (jñānasattva) itself appearing externally. "By that alone" means that even the conventional external application arises solely from the single internal application of wisdom. To clarify that meaning, it is said: "all are consciousness alone." Furthermore, the Blessed One, in order to show its very definition, said: "Why is it that sentient beings are selfless?"
"It relies upon the aggregate of consciousness," it is said. Regarding the phrase "selfless phenomena," for sentient beings, the intermediate state (antarābhava) of the four aggregates, such as form and so forth, relies upon the aggregate of consciousness. Therefore, the meaning is that the external application relies upon the internal application, which is the non-dual wisdom of great bliss (mahāsukha). Consequently, that internal application appears as individual self-reflexive awareness (pratyātmavedya); it is the direct realization of the essence of that awareness, which pervades the three realms with the mind and dispels the darkness of the five aggregates. Thus, it is not understood by those of dull intellect. For that very reason, it is said: "By people of dull mind in this degenerate age, not a single one understands it."
That is the non-dual wisdom abiding in great bliss, which possesses the power of aging, birth, destruction, and so forth. The Teacher said: "From the mind, the object of thought arises; the very nature of the mind," and so forth. In that context, "mind" refers to the view of mind-only (cittamātra) as non-dual, free from the net of internal imputed selves. "Arising from thought" means when one accumulates the collections of merit and wisdom. "The very nature of the mind" refers to the mental consciousness (manovijñāna), which produces the object of thought. "Wisdom" (jñāna) refers to that which, having produced the external objects of the three realms as forms, perceives the aspects of self and other through consciousness; thus it is called consciousness. The external forms of the three realms are what is to be known.
It is taught that the conditioned is the mind; that which is conceptually imputed by the mental consciousness is known by the [six] consciousnesses, while the five [sensory consciousnesses] are imputed as seeing. As for "essential nature," the nature of intention, the entities of the mind, wisdom, and the objects of knowledge is mind-only, because it arises from that alone. To clarify this, it is said: "All are known by consciousness," meaning that consciousness exists as mind-only. Furthermore, the Vimśatikā states: "Mind, intellect, consciousness, and cognition are synonymous terms."
"When the body becomes the condition," means: when ordinary beings, not seeing the ultimate, perceive objects through the delusion of objects—such as the forms of seeds and sprouts—and thus conceptually impute them, at that time. "When it is from that" means it is from that very source. Its meaning is also stated as: "And the phenomena," and so forth. In that context, "phenomena" refers to the aggregates, sense bases, and so on. When these become a single essence in terms of their own specific characteristics, it is called "a single phenomenon." Therefore, it says: "At that time, things become [that]." This means that when the mind itself becomes external applications—the external things such as the aggregates—at that time, those things are of such a nature. To demonstrate the logical reason and example that clarify this: "Why is it that the phenomena of the subject are also many, like the flow of water into the ocean?"
And so forth. Just as a river completely filled with water becomes full of a multitude of waves and the forms of various agents, and is nothing other than that, in the same way, from mind-only, the mind, the objects of knowledge, and the conditions arise as mere conceptual imputations. Regarding some of these phenomena, it is explained in another sense: "Just as the ocean [is filled] by the flow of water." Just as the flow of water with various flavors, as soon as it enters the ocean, becomes of a single taste—namely, the taste of salt—likewise, the realization of liberation is the same whether it be the realization of existence or the realization of non-existence. Therefore, it is taught that liberation is not of many different doors, but is "merely a word," and so forth. This means that at the limit of reality, one does not find a multiplicity through the cognition of various objects, because those external words and objects lack any inherent meaning. Furthermore, when that very reality is established through the ultimate, it is indicated by the term "truth." If one asks how such a profound state is to be realized, it is easy to understand from the passage beginning with "Just as within," and so forth. Now, the Blessed One, through great bliss, spoke of "the lotus of the bhaga," and so forth. In that context, "the lotus of the bhaga" refers to the eight-petaled lotus at the center of the bhagas of the goddesses, adorned with a heart-mantra and filaments, blazing with light. That which shows the nature of such appearances is called "space." "Adorned by the five spaces" means:
By this, the great empowerment, fire, wind, water, and the expanse of space are adorned by the five maṇḍalas. The heart, the essence, and so forth are the limbs of the lotus, as has already been explained above. In the center of that resides the Vajra-holder. Regarding "bodhicitta," it refers to the Vajra-holder dwelling prominently upon the solar maṇḍala, whose nature is the extraordinary bodhicitta. Regarding "amṛta," it means possessing the extraordinary bodhicitta of Māmakī and the others; it signifies being one with that and non-dual.
If one asks what bodhicitta is like, it is said: "Liberated from parts and non-parts." In that context, "parts" refers to the sixteen vowels beginning with a. "Non-parts" refers to the consonants beginning with ka. These are liberated by the sixteen parts, which are like the moon and are one's own nature, and by those [consonants] which are like the forms of stars.
If one asks, "Is that mere drop (bindu) like suchness (tattva) and peaceful?" it is not so; it is said: "That drop is utterly transcended." The form of the yidam deity with such special qualities is "dwelling there," meaning residing in the center of the bhaga-lotus. "Amṛta" means the absence of the characteristic of death; it is "always leaking," which means arising.
Regarding the description of the special appearance outside of that: "The basis of all three realms," and so forth. In that context, "all realms" refers to the three realms of form and so on. It is said: "They are completely pervaded by those."
Alternatively, "of all the elements" refers to the elements of the eye, form, consciousness, and so forth. "Pervading them" means blessing and pervading them as the very triad. Furthermore, it is said that this refers to taking the objects of the eye and so forth as one's focus. By the words "seeing" and so forth, the meaning is clarified: "form is seen," "sound is heard," and "others are sleeping" and so on. This means that the Blessed One’s very nature is "sleeping," which is to say, being in a state of slumber. "Awakening and waking" means that even if one has fallen into the deep sleep of habitual tendencies and has become deluded, one awakens by oneself. "Laughing and likewise wailing" and so forth are easy to understand. "Insanity" refers to being driven by the disturbance of the elements or by grief and the like. "Madness" refers to the state of being under the influence of alcohol, desire, and so forth. Furthermore, "desire" and so forth are mentioned; therein, "delusion" refers to the Blessed One himself appearing as the nature of the afflictions of the foolish, such as desire and so forth, in that way manifesting to sentient beings. "Desire" is defined as the characteristic of the mind being attached to its objects; it is the state of not being free from attachment to phenomena such as form and the like. "Formless" is because of the nature of the four mental aggregates and unconditioned phenomena. "Many sentient beings" refers to...
It is in this way that he possesses the various, manifold, and distinct means for taming all sentient beings without exception. For that very reason, he is called "the one with manifold forms," because his conduct fulfills the desired aims of all beings in the entire vessel-like world. For that same reason, it is said: "The jewel of manifold forms." Furthermore, it is stated: "By whatever substance the minds of men are enriched, they become that very thing, just like a jewel of manifold forms." The phrase "by the pervasive entity" and so forth has already been explained. "Abiding in the supreme suchness" refers to the non-dual wisdom of great bliss, the nature of Mind-Only; the meaning is that this is the actual appearance of what was mentioned above, the abode of Kye Māmakī. "Suchness" refers to the ultimate, unchanging accomplishment. It is taught that for a yogi who has realized that external nature, external rituals are unnecessary; thus it says, "without recitation" and so forth. In that context, "recitation" refers to the grasping of the mantra's identity, while "holding the senses" refers to the restraint of the faculties within meditative absorption. The meaning is that such things do not exist in reality. The terms "rosary" and so forth are easy to understand. If one asks, "What then is the accomplishment of that?" it is said: "Having made offerings in the lotus of the bhaga," and so forth, which is easy to understand.
Now, the teaching on the channels and so forth as the conditions for the yogin and yoginī to attain great bliss is spoken: "That channel through which the nectar flows" refers to the emission of the seminal fluid. "That is the most supreme" means that very [channel]. Alternatively, "the channel through which the nectar flows, abiding in the center of the bhaga," refers specifically to the nine channels, which depend upon the nine gates such as the eyes and so forth. From those nine, the other channels are the thirty-two and so forth, extending as far as the eyebrows, the head, the body, the arms, and so on. Among those, it is the "principal," meaning it is the principal of the nine channels, because the others reside in the external body. For that very reason, by meditating on the bhaga as the nature of the nine goddesses, such as Māmakī and the rest, of the nine channels, accomplishment will arise. Thus it is also said: "Whatever arises from the feet, whatever arises from the body—all of those are gathered into one in the beak of the bird." And: "The channel in which the nine are entwined is the great flowing goddess; whatever channels flow with excrement and urine, they are connected to the end of what was spoken." Among those, "the others are the most supreme, abiding in the nine channels" has already been explained. Now, the Blessed One spoke to teach the meaning of the meditation on that Māmakī: "Abiding in the nine gates," and so forth. Regarding that, "the vidyās abiding in the nine gates" means:
One should meditate on the goddesses of the consorts who abide in the lotus of the bhaga, which is the nature of the nine gates such as the eyes, and the practitioner should worship them with the five types of desire and secret offerings. If one asks how the five desires should be visualized and offered, it is said: "Always view the Vajra-holder as equal." This means that one should meditate on the five qualities of desire, O Goddess Māmakī, as being always equal to the emptiness that is the nature of Vajrasattva. Therefore, because it is so, if one engages in them, the Omniscient Teacher has said, "One is free from attachment." This is the meaning: the Teacher, the All-Knowing One, has taught that if one makes those desires equal in nature to Vajrasattva and then engages with them, one is free from attachment. Furthermore, the Teacher, the Blessed One, shows the greatness of the wisdom of the yoga of suchness: "Those are the Great Secret," and so forth. In that context, "Great Secret" refers to the non-dual wisdom of great bliss. "Supreme" is said because it is the essence of the five types of wisdom. "O Fair-faced One" is an address to Māmakī, meaning she possesses the mudrās of facial expressions such as smiling. "Yoga" refers to the non-dual union of all phenomena as method and insight. The meaning is: "I have already explained that meaning to you, Māmakī." "Vairocana and the others, the various..." and so forth.
This is because the Tathāgatas, such as Vairocana and the others, differ in their body colors, families, wisdoms, aggregates, natures, and activities. The term "by the Tathāgata" has already been explained. Regarding the phrase "did not know": it is because Vairocana and the others who attained buddhahood through the Kriyā and Yoga Tantras did not know [this]. If one asks, "For what purpose did I teach you?" it is said: "By the mental bliss of eternal joy," and so forth. In that context, "by the mental bliss of eternal joy" refers to the mental bliss of the non-dual wisdom of great bliss through union with Māmakī. "Supreme union" refers to the union of calm abiding and special insight, or because it has become method and insight through the six-branch yoga. The meaning is thus stated: when one is joyful and blissful through the play of the secret birth of Māmakī and so forth, one demonstrates the union of suchness; such is the sense. To clarify that meaning, it is said: "By seeing the secret lotus," and so forth, which has already been explained. "All Tathāgatas" refers to Vairocana and the others, equal in number to the atoms [of the universe]. Their "body, speech, and mind" are as follows: the body is the saṃbhogakāya, the great mudrā; the speech is the dharma of selflessness; and the mind is the pure mundane wisdom. That itself is the "Vajra-holder."
This is because [the deity] is inseparable from the nature of Vajrasattva, the vajra of body, speech, and mind. The phrase "Vajrāmṛta, the Great Bliss" has already been explained. Regarding the phrase "The Great Tantra of Vajrāmṛta": it is so called because it is a continuous stream of the maṇḍala of Vajrāmṛta, the mantras, the mudrās, suchness, enlightened activity, meditation, and the [ultimate] nature. The phrase "the wisdom of the union of suchness" refers to the non-dual wisdom of the bodhicitta of method and insight. A "chapter" (paṭala) refers to a collection of words that teach this, or a sequential division. The word "second" indicates that it follows the first. This concludes the explanation of the second chapter of the Vajrāmṛta Tantra.
Now, in order to fully understand the emergence of the mantras, Māmakī, wishing to request [this] from the Blessed One, listened with a melodic voice and asked: "Then that delighted goddess..." and so forth. In this context, "delighted" means that Māmakī was pleased by hearing the union of suchness. "Hāra" refers to a necklace made of pearls, gems, and so on, worn around the neck. "With anklets" means possessing the tinkling sound of anklets on the feet. "Adorned" means that Māmakī is endowed with her attire, such as the hāra and so forth. These "melodies" refer to the melodic phrases of the "Emanation" and so on that appear below. "Having taken up" means having taken up [the song] in the languages of Dharaṇīdhara and so forth.
The term "mahāsattva" refers to Akṣobhya, because he is the fruition of the mahāsattva Vajrasattva. Accordingly, it is stated in the One Hundred and Eight Names of Vajrasattva: "The mahāsattva, the primordial supreme, the great joy, the great delight," and so forth. "To please" means to cause the Blessed One’s mind to be pleased through the offering of melodic praise. Regarding the words of the melody spoken, "Emanate, emanate," and so on: therein, "Emanate, emanate, from the great vajra" means: "From the secret vajra, may the essence of the wisdom of individual self-cognition of great bliss radiate forth." If one asks why it radiates forth, it is because: "I shall seek the supreme syllable." In this context, the "supreme syllable" is the wisdom of great bliss, the nature of non-dual nirvāṇa, because it is inexhaustible. "I shall seek it" is the meaning of "I shall manifest it." If one asks where it radiates forth, it is "into the lotus of the bhaga," which is a supplication: "May it radiate into the lotus of my bhaga." If one asks why it is "great bliss," it is because the lotus is the locus of non-dual individual self-cognition. The vajra is of an indestructible nature; alternatively, it is the secret vajra. Its meaning is "from great bliss," which is the actualization of that non-dual wisdom of individual self-cognition of great bliss. The melodic speech spoken is:
Regarding the phrase "Dharaṇīdhara and so forth," the word "and so forth" includes the fifth sage, Bhaṇḍa, the five powers, and the retinue of listeners. As for the "manner of the cycle," it should be understood from the language of the other sukhasampad [sections]. Regarding the phrase "through various common purities," although it is a single melodic verse, the language is to be taken in common with those [other sections]. If one asks how, it is said: "It should be taken with melodious sounds," meaning it should be taken in harmony with the conch, flute, lute, and so forth. If one asks what is accomplished by that melody, it is as stated in the passage beginning "those melodic words," and so on. In that regard, "through the emanation of a joyful and happy mind" means that the emanation which serves as the cause of a joyful and happy mind is called "dance." As it is also said in the Sarvabhūta: "Dance is the supreme emanation." "Vajra-amṛta, great bliss" has already been explained. "That itself is the awakening of the Buddha" refers to the manifest, perfect awakening to the suchness of the great vajra samaya of non-abiding nirvāṇa. Regarding "that should be accomplished," it is through dance and melody that nirvāṇa is attained, and not otherwise. Thus, after Māmakī had made offerings with melody and dance, she requested the meaning: "By teaching the secret maṇḍala, cut through the doubts regarding suchness." In this context, "cutting through doubts" refers to that which possesses the cutting through of doubts. The meaning is as follows:
The meaning is that by explaining the maṇḍala of the secret bhaga through the ultimate suchness, my doubts have been dispelled. If one asks by what those doubts are severed, it is said: "By your grace, O Vajra-holder." Regarding "wisdom" (jñāna), it is endowed with the bliss of the non-duality of method and insight. The definition of that activity which brings sentient beings to maturation and liberation is expressed by the phrase "the activity to be performed." "Blessed One" (bhagavān) is a term of address. "Free from attachment" refers to that cause which is utterly transcendent of the conceptualization of attachment. "This arising of the vajra nectar" is said because in this tantra, the five sensory qualities are shown to be the nature of Vajrasattva. Therefore, it means: "By way of the essence of non-referential bliss, I shall teach sentient beings the application of the arising of the Vajra Vehicle." To explain that very meaning: "By that Vajra Vehicle, the Blessed One Māmakī has become the equality of wisdom." Thus, having realized the wisdom of the application of suchness, Māmakī asked another question regarding the doubts that had arisen: "I still have doubts," and so forth. In that regard, the phrase "emanated by the two mudrās" asks: "In other tantras, the two mudrās—the inner mudrās of body, speech, and mind, and the outer mudrā of the hand—appear; which of these should be understood here?" The phrase "how do the mudrās truly arise?" is as follows:
Regarding the question, "Among the outer and inner mudrās, which is the authentic mudrā?" and "What are their mantras like?"—this asks what the recitation mantras of those goddesses arranged in the secret maṇḍala are like. Regarding "From what are the mantras born?"—this asks from which seed syllables those goddesses are generated. Regarding "In particular, what of the gods?"—this asks whether there are only male and female [deities] in the secret maṇḍala.
The Blessed One gave the reply: "The Blessed One, the Vajra-holder, spoke," and so forth. In that regard, the response to the question, "Emanated by the two mudrās," is as follows: "Three types of mudrās are taught." If one asks what those are, it says: "Arisen from body, speech, and mind." The Blessed One himself explained this in the commentary: "The body becomes the supreme mudrā." This refers to the Great Mudrā of the Tathāgata’s body; meditating on the Vajra of the Body is the Body Mudrā, because it is the Action Mudrā.
"Speech mudrā is the activity of the mantra practitioner" means that the Vajra of Speech—the essence of mantra activities such as pacification, which are free from the signs of subject and object—is the Speech Mudrā, because it is the Dharma Mudrā. "The mudrā of the signs of the mind abides in the non-dual painting of concentration" means that the Vajra of Mind, which is the painting of concentration abiding non-dually in the paintings of shape and color, is what is called the Sign Mudrā.
It is for the sake of the Great Seal (mahāmudrā). Thus, it is said in the Guhyasamāja-sādhana:
"Dharma, Enjoyment, and Emanation,
And the Mind and so forth, the Vajras in sequence—
These are the wisdom beings (jñānasattva);
They are asserted as the four seals."
Regarding the response to the question, "How do the seals truly arise?", it says in the Vajrāmṛta-mahātantra:
"Regarding that, 'union' (yoga) is the characteristic of thoroughly knowing all phenomena as non-dual. That itself is called the 'seal' (mudrā) because it seals all the clear appearances of the body that are otherwise erroneous. The union of method and insight is called the 'seal of union.' As it is said in the Guhyasamāja:
'The meditative equipoise of method and insight
Is explained as "union.'"
Therefore, it says, "Do not draw the seals of signs." This means that one should understand that for authentic wisdom, the hand seals and so forth are merely external. If one asks, "If one desires such authentic wisdom, how should it be known?" the method for accomplishing and manifesting it is taught:
"The seal is the manifest form."
This means that the manifest wisdom of meditating on the body, speech, and mind, or the secret lotus, or the vajra, is the seal; by means of that, authentic wisdom is to be accomplished.
Regarding the response to the question, "In particular, what are the deities?", it says:
"The deity is the goddess, the woman."
Goddess
Furthermore, [it is said that] only women who are in union with deities such as Māmakī and so forth [are suitable], and no others. Therefore, it is taught that "the secret offering should be performed through union," beginning with the words "all the faculties." Regarding the meditation on the goddess within the lotus of the bhaga, the example and meaning of how awakening is accomplished through that alone are shown by the passage beginning with "Just as the wish-fulfilling tree." Although the seed is only the size of a minute atom, it is the condition for the growth of a great wish-fulfilling tree adorned with roots, stalks, and leaves. In the same way, one should have confidence that meditating on the mudrā-forms of goddesses such as Māmakī within the nine channels where the amṛta flows in the channels of the bhaga-lotus is the unsurpassed condition.
Regarding the response to the question beginning with "And those mantras," it says "Then the Blessed One," and so forth. In that context, "having inserted the vajra" means joining the secret vajra and the lotus, which is the meaning of "the emergence of the mantra." The passage beginning with "First, Vairocana" teaches the emergence of the mantra, as follows: having drawn an eight-petaled lotus, one should arrange the eight classes of letters, such as the letter A, on each petal; that sequence is how the mantra is to be produced. "First, joining with Vairocana" means that the syllable OṂ should be joined at the beginning, and then it is joined with VAJRA AMṚTA MAHĀSUKHA. Vairocana is the syllable OṂ alone. Thus, it is also stated in the Vairocanābhisambodhi-māyājāla:
Regarding the first, Vairocana: "The pure and stainless mind emanates as Oṃ." As for "the four seed syllables," these are Jaḥ, Hūṃ, Baṃ, and Hoḥ. "Endowed with that" refers to the syllable Svāhā, which is also to be joined. This connects to the phrase "endowed with the final application." The mantra is as follows: Oṃ vajrāmṛta mahāsukha jaḥ hūṃ baṃ hoḥ svāhā. That is the Blessed One Akṣobhya. Regarding "Vairocana is also to be offered," this refers to the mantra of Māmakī; the syllable Oṃ is placed at the beginning. The second syllable is the syllable A. The fourth is the syllable I. "The fourth is endowed with" refers to the letter Ga, which is associated with the ṭa-group of consonants. Immediately upon being endowed with that, it is the heart mantra of the goddess Māmakī: Oṃ gṛ svāhā.
Now, the individual mantras of the eight vidyās, such as Śobhā and the rest, are taught: "Of the eight alone," meaning the eight pairs of syllables beginning with A, excluding the ka-group. "The central ones" refers to the long vowels. "Adorned by the eight" is a name for the bindus; they are to be adorned with the eight syllables. Then, having arranged the long vowels such as Ā and so forth upon the eight petals in their proper order, the mantras of the goddesses such as Śobhā and the rest are extracted. For these as well, the application of Vairocana at the beginning and the syllable Svāhā at the end must certainly be understood here as well, as was mentioned above.
Thus, it is taught in the Compendium of All Tantras: "All supreme mantras are joined with the namas and svāhā." On the southern petal is the mantra of the Peaceful Face: oṃ aṃ svāhā. On the eastern petal is the mantra of the Goddess of Action: oṃ aṃ svāhā. On the western petal is the mantra of Candrī: oṃ uṃ svāhā. On the northern petal is the mantra of Śaṅkhinī: oṃ raṃ svāhā. On the petal of the northeast is the mantra of Śaśāṅkamaṇḍalā: oṃ laṃ svāhā. On the petal of the southeast is the mantra of Śaśī: oṃ aṃ svāhā. On the petal of the southwest is the mantra of Manoramā: oṃ hūṃ svāhā. On the petal of the northwest is the mantra of Manasānandā: oṃ aṃ svāhā.
Foolish others, not knowing this, extract mantras from other vidyās. That is incorrect, and therefore I have not written it here. This extraction of mantras alone is to be applied to the arrangement in the maṇḍala, or otherwise to the gatekeepers and so forth. Regarding the words "by the gatekeepers" and so on, it is spoken with the desire to explain the mantras of the female gatekeepers. In that context, "Fortunate One" (bhāgyavatī) refers to Māmakī, because she is worthy of worship by the three realms due to her age, appearance, complexion, and elements, and because she possesses the fortune (bhāgya) to act for the benefit of sentient beings. "The end of the class" refers to the single class beginning with the letter a, and the other seven classes beginning with ka. These are a, ṅa, ña, ṇa, na, ma, svāhā. These eight seed-syllables are the mantras.
"By the deity of emanation" means by the one who is pressed by the bindu. "Endowed with Vairocana" means endowed with the syllable Oṃ at the beginning. "Endowed with the syllables Svāhā" means that the end is endowed with the syllables Svāhā. "The four are for the gatekeepers" means that the four mantras are for the four female gatekeepers: Oṃ Aṃ Svāhā is for the female gatekeeper of the eastern gate; Oṃ Aṃ Svāhā is for the female gatekeeper of the southern gate; Oṃ Iṃ Svāhā is for the female gatekeeper of the western gate; Oṃ Nṃ Svāhā is for the female gatekeeper of the northern gate. "The four are for the flower, incense, lamp, and so forth" means that the other four mantras are to be applied to the four [deities] beginning with the Flower Goddess: Oṃ Nṃ Svāhā is for the Flower Goddess; Oṃ Mṃ Svāhā is for the Incense Goddess; Oṃ Vṃ Svāhā is for the Lamp Goddess; Oṃ Hūṃ Svāhā is for the Perfume Goddess. Alternatively, others say that the mantras for the gatekeepers and so forth should be applied by taking their names and joining them to the mantra syllables: Oṃ Vajra Aṅkuśa Svāhā; Oṃ Vajra Pāśa Svāhā; Oṃ Vajra Sphoṭa Svāhā; Oṃ Vajra Āveśa Svāhā. In the same way, they should also be applied to the Flower Goddess and so forth: Oṃ Nṃ Vajra Puṣpe Svāhā; Oṃ Mṃ Vajra Dhūpe Svāhā; Oṃ Vṃ Vajra Āloke Svāhā; Oṃ Hṃ Vajra Gandhe Svāhā. Now, wishing to produce the mantras for the Flute Goddess, the Lute Goddess, the Great Drum Goddess, and the Clay Drum Goddess, it is said: "The neuter syllables," which are the letters Ra, La, La, and La. To each of those four, "Svāhā" and "Vairocana" are also [added], as has already been explained. The mantras are as follows:
Oṃ raṃ vajrapāśe svāhā. Oṃ raṃ vajravinī svāhā. Oṃ laṃ vajramukunde svāhā. Oṃ laṃ vajramuraje svāhā. The [passage] beginning with "the goddess Guhyā" is easy to understand. The Tathāgatas and so forth have also already been explained. Regarding the phrase "the teaching on the extraction of mantras," it is because the mantras and so forth are presented as the primary subject. The third [chapter] is the one following the second. This is the explanation of the third chapter of the Vajrāmṛta Tantra.
Now, since Devadatta will not become attached without the fire offering (homa), the ritual procedure for the activity of the fire offering is taught in the fourth chapter. Regarding the passage beginning with "Then, the activities of the fire offering," the sequence of the ritual is as follows: I shall explain the seizing of the site, the shape and color of the hearth (homa), the directions, the time, the substances for the fire offering, and so forth, according to the sequence of activities that appears below. If one asks, "By the sequence of which tantra is this to be explained?" it is said, "of the Yoga Tantra." Because it is the union of method and insight, the Secret Tantra is also a Yoga Tantra, but it is not the Tattvasaṃgraha and other such tantras. Regarding the phrase "by its ritual," it refers to the sequence of meditating on the secret lotus, generating the secret lotus and the vajra, and the union of method and insight, and so forth.
The result accomplished by that is stated: "The body, speech, and mind are accomplished." This is because the three bodies—the dharmakāya, the saṃbhogakāya, and the nirmāṇakāya—are accomplished.
Having thus possessed the internal ritual of meditation, the external activities to be performed are taught, beginning with the words "Pacifying and..." and so forth. In that context, "pacifying" is for the purpose of pacifying harm, disease, and the like. "Increasing activities" are those that cause life, power, wealth, and so forth to expand and increase. Likewise, "empowerment" is to bring the minds of others under one's control so that they act according to one's own wishes. "Wrathful activity" refers to actions that harm and ruin others. "Striking" is to engage in combat with the enemies of the Three Jewels. "Expelling" is to banish [the enemy] to another land. "Mantras" refers to the mantras for pacifying and the other activities. "Mudrās" refers to the specific bodily forms and hand gestures used to perform the activities of pacifying and so forth.
"These are the stages for accomplishing them; I shall explain them all," it is said. If one asks by the sequence of which tantra they are to be explained, it is the Vajrāmṛtodbhava. This means they are to be explained according to the sequence of that Vajrāmṛta tantra, and not otherwise. "Vajrasattva in a majestic posture" is a summary meaning that the yogi meditating on Vajrasattva should unite with the deity who possesses the majestic bearing of Vajra-Hūṃkāra. "With the physical support" means remaining while holding the two, the vajra and the bell. "The master should enter the maṇḍala" means:
The ācārya, possessing the aforementioned absorption and attire, enters the maṇḍala of the ground for the homa. Likewise, one should also enter the maṇḍala of colored powders. Regarding the phrase "having become victorious over the three realms," the meaning is that prior to purifying the ground through the ālīḍha posture and so forth, one should connect with the absorption of Trailokyavijaya. Regarding the phrase "the two-footed," and so on, one should apply the ālīḍha, pratyālīḍha, sama-pāda, and saṃgha postures to the four directions, starting with the east.
In that context, the ālīḍha is to remain with the left leg bent and the right leg extended. The reverse of that is the pratyālīḍha. Placing the feet side by side with the toes aligned is the sama-pāda stance. Some say it should be understood as the takaṭa interval. As it is said: "The two feet stand with the toes turned outward; the two knees are raised, and the distance between them is twenty-six finger-widths; by remaining thus, it is explained as the dance."
The meaning is explained as follows: the yogin, maintaining the pride of Vajra-Hūṃkāra, visualizes the sun and moon maṇḍalas in the right and left eyes with the two syllables maṃ. Above those, from the syllable hūṃ, a vajra is generated, and with its blazing rays of light, the entire host of vighnas is expelled. Furthermore, with the light rays of a crossed-vajra (viśvavajra) fully generated from the syllable a on the soles of the feet, the host of vighnas residing in the ground is cleared away.
One should meditate on the great maṇḍala of the powerful earth, generated from the syllable laṃ, as a square. In its center, one should meditate on the Earth Goddess, who is held by two golden [elephants], coming of her own accord to grant the supreme boon; she is then to be summoned with this mantra. Having summoned her in that way, one should make offerings, ask for her forbearance, and then begin to dig the homa pit—this is the meaning. To demonstrate this, the Teacher said: "As soon as the earth has been prepared..." up to "...accomplish the homa rite. Hrī hi hi hi svāhā." Before beginning the homa pit, it is taught that one should recite the mantra, sprinkle it with urine, and consecrate it by burning incense: "With feces, urine, blood, and semen..." up to "...one should offer the great flesh." Now, regarding the sequence for entering the wisdom consort of the yoginī into the maṇḍala when performing activities such as pacification, it is said: "Then, the consort should be made to enter," and so forth. In that context, the syllable hrī on the five limbs refers to the bhaga of goddesses such as the outcaste woman (caṇḍālī) and others, which are the "five limbs," and the syllable hrī is placed upon them. Some say it is taught that [the syllables] are placed on the limbs themselves. Alternatively, having meditated on the syllable bhrūṃ in the center of those very five limbs, one should meditate on the outcaste woman and others in their respective order as the forms of Locanā and the rest, as indicated by the words "Locanā and so forth." In that regard, "She who delights the mind" is the goddess placed in the northeast corner, who is identical in body color and hand symbols to the central principal lady, Māmakī.
Having thus established the meditation, the master should scatter flowers in the center of the bhaga. Regarding the phrase "then," it means immediately after the wisdom consort has been consecrated, the mantrin [should act]. Regarding "according to the measure," this refers to the shape of the hearth (homa-kunda) that accords with the pacifying activities and so forth to be described below. Regarding "having drawn," the meaning is that one should draw the dimensions and then dig them out. The dimensions, shapes, and colors are taught as follows: "The pacifying [hearth] should be circular," and so forth, which are easy to understand. In that regard, the dimensions for summoning and magnetizing are the same as for the wrathful [activity].
Having thus shown the shapes of the hearths for performing the activities of pacifying and so forth, the directions for performing the activities of pacifying and so forth are taught, beginning with the words "Having shown the hearth..." The colors of the hearth for the aforementioned rites of sorcery (abhicāra) and the colors of the hearths for magnetizing and so forth are taught as: "The color for sorcery is black; for magnetizing and so forth, draw with five colors." By the word "and so forth," summoning and expelling should also be performed with the five colors. Now, the substances for the fire offerings (homa) for pacifying and so forth are taught, beginning with "Rice and sesame..." In that context, the phrase "endowed with the five nectars (amṛta)" refers to the sequence of the secret tantra; thus, it means that all the offering substances should be mixed with nectar. Furthermore, the sequence for presenting the offering substances is as follows: "First, the sacrificial wood and clarified butter, honey, rice, sesame, and milk, or various foods and offering cakes (bali)," and so forth.
The mudrā of the Blood-Drinker is formed by opening the vajra-palms and making the two index fingers and the two thumbs into the shape of fangs. With that mudrā, one should utter the syllable Bhyo and, possessing the divine pride of the Blood-Drinker, offer the torma to the cardinal and intermediate directions; this is the meaning. Other activities are not explained here as they are easy to understand. Now, the time for performing the pacifying activity is shown: "In the summer season, [perform] pacifying," and so forth. The times for the magnetizing activity and others are not in the main text, but should be understood as being associated with the autumn season. Furthermore, the time of day is shown: "The morning is taught to be for pacifying," and so forth. Now, having thus constructed the homa hearth and caused the fire to blaze, one generates the deity to be meditated upon in its center and offers the homa; this is taught by the passage beginning with "With the syllable Hūṃ," and so on. Regarding that: "Having generated [the deity] with the syllable Hūṃ" means that one should generate the Blessed One Vajrasattva with the syllable Hūṃ. [He] melts into light, and one meditates on one's own yidam deity arising from that. Alternatively, it is a term for meditating on Akṣobhya with the syllable Hūṃ. "One should generate the yidam deity Vajrasattva" refers to the deity to whom the master has pledged. "Visualizing the mouth wide open" means visualizing the mouth of whichever yidam deity one is meditating upon as being wide open. "One should offer the homa to that" means that one should offer the aforementioned homa substances by pouring them into that wide-open mouth with the sruva and darvi ladles. First, the fire is to be summoned.
Regarding the phrase "and so forth": before making offerings to the yidam deity in the fire pit, one should perform the offering to summon the Fire God (Agni), the object of worship for all worldly deities. He is visualized as possessing a fierce form with blazing rays of fire, holding a rosary and a kundī vessel, the color of molasses, with yellow hair. This is the offering to summon the Fire God from the southeast corner for the sake of accomplishing the awakening of the Buddhas.
The mantra and verses for that summoning are: from "Oṃ ehyehi, come, come, O Fire God!" up to "Oṃ hūṃ hūṃ phaṭ phaṭ svāhā." The sequence of offering, the mantras, and the melodies for offering to the Fire God and the yidam deity are taught from the words "First, as for..." up to "the mantra of the fragrance."
Regarding "the left foot": this refers to offering [the water] to the feet immediately upon his arrival. Regarding "the Vajra-holder": this means "you who have become an object of worship even for Vajrasattva." Alternatively, it means "I offer while meditating in the absorption (samādhi) of Vajrasattva." The Blessed One himself spoke to clarify the meaning of the above: "First, the offering..." and so forth. This means that first, one offers three ladles of all the burnt offerings into the mouth of the Fire God, and also offers with gifts, melodies, dance, and so on. One should then meditate that [the offerings] dissolve into the blazing fire and become light. Subsequently, one should recite the mantra of one's own yidam deity, meditate, and make the offering. The mantra to be recited is: "Oṃ vajra amṛta mahāsukha jaḥ hūṃ vaṃ hoḥ svāhā."
In the same way, one should understand the mantra for the fire offering by inserting the mantra of one’s own yidam deity in between. Immediately after the fire offering is completed, the yogis and yoginīs should perform the offerings as taught, from the words "With song and dance..." up to "...satisfy the assembly with offerings." To demonstrate its qualities, it says: "The accomplishments of body, speech, and mind / Shall be swiftly attained by me."
Now, the ritual for the conclusion is taught: "The fire god, the Guru, the Vajra-holder..." and so forth. In this context, "Guru Vajra-holder" refers to the yidam deity of the tathāgata family; having made offerings to him, one dismisses him through meditative absorption. Then, visualizing the form of the fire god once more, one offers the remaining burnt substances, makes offerings, and makes a request. The words for requesting the fire god are: "Oṃ, may the fire god grant accomplishment..." up to the end of the mantra "Hūṃ Svāhā." In that regard, "that which moves" refers to those who fly in the sky; "that which does not move" refers to those who dwell on the earth; "the practitioner" refers to those who achieve invisibility; and "merit" refers to that which purifies.
"Bestowing the supreme accomplishment of mantra" means: "Please grant the accomplishment of the peaceful nature of the mantra, beginning with the syllable Oṃ and ending with Svāhā." The words "A A" and so forth refer to the recitation of the hundred-syllable mantra of Vajrasattva after the fire offering is finished. The explanation of the tathāgata and so forth is thus concluded.
Regarding the chapter titled "The Teaching on the Ritual of Homa": it is so called because it constitutes a collection of words that demonstrate the greatness of the homa. This concludes the commentary on the fourth chapter of the Vajrāmṛta Tantra.
Now, the fifth chapter is taught for the purpose of accomplishing eye salves and so forth. Following the statement, "Having explained the ritual of homa," and so on, the address "to you" refers to Māmakī. "Eye salve" refers to the substances that appear below, which cause one to see and accomplish activities such as pacification. "Great fat" is human fat. "Heart mantra" refers to the thread made of white lotus. "Take the smoke from the banner" means one should take the smoke from the skull of a person who has died from a weapon wound.
"Having burned the head of an owl," and so forth, means that the burned head of an owl and the blood of a woman are burned together and ground. This is then wrapped in vulture skin, filled with a vulture's shank bone, and set aside. "With a probe of human bone," and so forth, means that one takes the eye salve placed within the vulture's shank bone using a probe made of human bone. If one applies this to one's own eyes, one will constantly see all the various forms within the world—gods, nāgas, yakṣas, practitioners, ḍākinīs, and so forth. This is the meaning.
Regarding the question, "At what time should that eye salve be accomplished?" it says, "Arising from the Vajrāmṛta," and so forth.
In this context, "black" refers to the waning phase of the moon. "The eighth day" refers to the twenty-third day of the waning moon. "On the fourteenth" refers to the twenty-ninth day. Regarding the phrase "one should accomplish [the practice] in the center of the bhaga," and so forth: having placed the eye salve in the center of the yoginī’s bhaga and empowered it with the mantra of Māmakī, one meditates on the Bhagavatī Akṣobhya together with Māmakī and the others. Then, having visualized the yoginīs such as the Caṇḍālī with faces black, white, and red—just like Māmakī—one performs the union and accomplishes the eye salve. This teaches the various ritual actions to be accomplished through that very [salve], from the passage beginning "Pacifying and increasing" up to "likewise, one should also ward off obstacles." The meaning is as follows: the phrase "in the accomplished eye salve" means that if one applies it to the eyes of the yogin and performs actions such as pacifying and so forth, whatever is done will be accomplished; such is the intended sense. The mantra of the goddess Māmakī is taught from "Oṃ, you of desirable form, wide-eyed one" up to "haṃ haṃ svāhā." The specific colors of the faces and hand symbols for the meditation on Māmakī are described from "The first is black" up to "likewise, the vajra and bell." Regarding the phrase "one should meditate in the center of the bhaga": having placed the eye salve in the center of the yoginī’s bhaga and meditated on Māmakī, one should accomplish the eye salve on the twenty-third or twenty-ninth day. "Having filled the bhaga with saffron,"...
Regarding the phrase "and so forth," this refers to the medicinal substances taught for making one a fortunate candidate for yoga and yoginī. In that context, "having filled it" means placing saffron in the center of the yoginī’s bhaga. "Then placing the liṅga" means meditating on the yoginī as Māmakī and meditating on oneself as Akṣobhya; thus, having joined method and insight, one should recite the mantra. The mantra to be recited is taught as follows: "Regarding the mantra to be expressed," and so forth. In that regard, "the syllable Oṃ" means that the first syllable, Oṃ, is to be placed; the meaning is that the phonemes, words, and so forth are to follow after that. The actual phonemes and syllables are taught as: "vajra-amṛte," followed by the "thundering cloud" and the syllable Phaṭ. Here, "thundering cloud" refers to the syllable Hūṃ. The meaning is this: the mantra called vajra-amṛta should be endowed with the syllables Hūṃ and Phaṭ. The mantra thus becomes: Oṃ vajra-amṛta phaṭ svāhā. Although the word svāhā is not explicitly hidden in the text, it should be understood by implication, for it is said: "Most mantras are all endowed with homage and svāhā." "Endowed with amṛta" means having prepared it with the five kinds of amṛta, it should be brought forth in the center of the bhaga; this means it should be taken. "Having recited the mantra one hundred thousand times" means that after taking it from the yoginī’s bhaga, one should apply the aforementioned mantra one hundred thousand times externally. This is the meaning.
"With that, one should make only a drop" means that with that saffron, one should make a drop on the forehead of the yogin or the yoginī; such is the meaning. Regarding the qualities of the drop, it says: "Women will be enslaved by their husbands," and so forth. In that context, "women will be enslaved by their husbands" means that if any yoginī or woman makes a drop with this saffron, she will enslave even her own husband, let alone others. "Even the king together with his courtiers" means that not only her own husband, but even the king and his retinue, such as those who offer praise in his presence, are subdued by the yoginī who makes the drop with saffron; such is the meaning. "If any man makes that," means that if a male yogin makes a drop with saffron, "which woman will become fortunate?" [is the question]. "The queens of the king's palace" refers to the king's consorts; it means that they too will greatly honor the yogin who makes the drop with saffron. "He will exhaust his enemies" means that if one performs a rite of sorcery after making a drop with saffron, the enemies will be brought under control and will be killed; such is the sense. Now, regarding the killing of the enemies of the Triple Gem through the accomplishment of eye-salve, it says: "Taking the fruit of the dadūru and arka," and so forth. In that context, dadūru is a tree that causes madness, with large flowers and thorny fruit. Arka is a tree with white flowers from which milk flows.
"Taking the fruit of those two and mixing it with amṛta" is the instruction. Regarding "the fierce form with three faces": the yogin should meditate on the form of Yamāntaka with three faces and six arms, the right and left faces being white and red, the central face and the body being black, holding a sword and a hammer, a jewel and a lotus, and a vajra and a bell, adorned with snake ornaments, his body smeared with ashes, and trampling the enemy underfoot. "Having recited the wrathful Yamāntaka mantra" refers to the Yamāntaka mantra that appears below. "Great flesh and..." and so forth is easy to understand. To show the mantra for the recitation of Yamāntaka, it says "Oṃ hrīḥ ṣṭrīḥ" and so forth. Furthermore, the activity of subjugating men and women by a female yoginī is taught: "The mantrin [should use] bezoar..." and so forth. In that context, "one should write the syllables in the bhaga" means that one should write the syllables with bezoar in the bhaga of either the yoginī or the woman. "With sandalwood..." and so forth is easy to understand. Alternatively, to show the purpose of performing the rite of sorcery (abhicāra) against sentient beings who harm the Teaching and do not guard their samaya, it says "the image of excrement and urine" and so forth, which is easy to understand. Alternatively, to teach the performance of sorcery against those who are enemies of the Triple Gem through the fire sacrifice (homa), it says "mixed with excrement, urine, and blood" and so forth. In that regard, "the body of the great wrathful Yamāntaka" and so forth—meditating on the three faces, six arms, and so on, should be done in accordance with what was stated above.
The mantra should also be understood as being exactly as above. For example, having meditated on Yamāntaka, one should fashion an image out of excrement, urine, and so forth, and press it down with the left leg extended and the right leg drawn in. Having summoned the object of the rite, one should dissolve it into that image, recite the aforementioned mantra, cut it with a sharp weapon, and offer it into the mouth of a gaping rākṣasa in a blazing cremation-ground fire. The passage beginning with "From the Vajrāmṛta Tantra of Great Bliss" and so forth has already been explained. Regarding the "Chapter Teaching the Great Rites," this is a collection of words that primarily teaches the performance of rites such as pacification through the accomplishment of medicinal substances. This concludes the commentary on the fifth chapter of the Vajrāmṛta Tantra.
Now, the sixth chapter, which teaches the sādhana of Vajra-Hūṃkāra, is spoken: "From the great Vajrāmṛta Tantra," and so forth. Regarding that, "of the glorious Vajra-Hūṃkāra" means that the characteristic of Hūṃkāra is such that by the mere utterance of the syllable HŪṂ, the fierce worldly deities and others are subdued. I shall explain the sādhana of his maṇḍala in brief. Regarding the phrase "his maṇḍala," it is so called because the central principal deity is Hūṃkāra. As it is said in the Candraguhyatilaka Sādhana: "Wherever anyone resides, there one should construct their maṇḍala." If one asks what it is like, it is said: "It is the Trailokyavijaya [maṇḍala]." This refers to the deities of the maṇḍala and—
This is because they are of one nature in terms of family, body color, hand implements, and essence. Regarding the phrase, "Having laid the lines for the four corners," this refers to the four corners, four gates, and ledges of the maṇḍala, as well as the areas for the five colored powders, the pātra, the hāra, the pearl garland, the pearl hāra, and so forth, which constitute the four corners. Regarding the measurement of the maṇḍala, it is said to be "one cubit or two cubits." Regarding the shape of the inner maṇḍala, it is said to be "resembling a moon maṇḍala"; this means that within the square, one should draw a circular maṇḍala surrounded by a vajra garland. Regarding the phrase, "Amidst the swirling, blazing rays of light," this refers to the swirling of light rays radiating outward and converging back from the maṇḍala for the sake of sentient beings. Regarding the phrase, "Place the glorious Vajra Hūṃkāra," this means placing the Father and Mother in the center of the maṇḍala. The three faces are because they are the nature of the three doors of liberation: emptiness, signlessness, and wishlessness. Likewise, the six arms are because they are the nature of the six perfections, such as generosity and so forth. Regarding the phrase, "Completely adorned with ornaments," this is because he possesses all the great qualities of a Tathāgata. Regarding the phrase, "Adorned with mudrās in his hands," this means that his first two hands are endowed with his own mudrā. The mudrā is as follows: "Binding the two vajra fists, join back to back; linking the little fingers and raising the two index fingers, place them at the heart."
"Endowed with the four consorts" refers to the four: Vajrasattvī, Ratnavajrī, Dharmavajrī, and Karmavajrī. Their body colors and hand implements are as follows:
Vajrasattvī has three faces and six arms. Her central face and body color are blue; the right is white and the left is red. With her first two hands, she forms the mudrā of Vajrasattvī: from the vajra-binding gesture, the two middle fingers are raised and joined at the tips, held in front.
Ratnavajrī has three faces and six arms. Her central face and body color are yellow; the right is black and the left is white. With her first two hands, she binds the mudrā of Ratnavajrī: from that same previous mudrā, the three joints of the fingers are bent to form the shape of a jewel.
Dharmavajrī has three faces and six arms. Her central face and body color are red; the right is black and the left is white. With her first two hands, she binds the mudrā of Dharmavajrī: from that same previous mudrā, the middle fingers are formed in the shape of a lotus.
Karmavajrī has three faces and six arms. Her central face and body color are green; the right is black and the left is white. With her first two hands, she forms the mudrā of Karmavajrī: from the first mudrā, the tips of the two index fingers are bent and the middle fingers are joined behind. The remaining hand implements for all of them are the same as the principal deity.
"Dwelling between the breasts of Umā" means she dwells upon the breasts of Umā in the posture of right leg extended.
The fact that the right foot tramples upon the ear of Mahādeva should also be understood by implication. The phrase "slightly bared fangs" and so forth is easy to understand. That is to say: the central face has bared fangs, the right is wrathful, and the left is smiling, in order to subdue all those who are hostile. Regarding the instruction "to be drawn with four arms," this refers to the four [faces] mentioned above, excluding the holding of the two breasts of one's own goddess. "With two arms, she holds the breasts" means that with the left hand, one embraces from behind a consort who resembles oneself in face and so forth, holding her left breast, while with the right hand, one holds her right breast from the front. All the consorts have three faces; this means that the eight goddesses, such as Lāsyā and the rest, have three faces and, by implication, six arms. They should be endowed with their respective hand-symbols, body colors, and so forth, as explained in the first chapter. Likewise, "the gate-keepers: the hook and so forth" refers to Vajrāṅkuśī, Vajrapāśī, Vajrasphoṭā, and Vajraghaṇṭā. Likewise, "the Flower Goddess and so forth" is easy to understand. "The Graceful One and so forth" refers to the four offering goddesses. Their body colors and hand-symbols are as follows: the Graceful One (Lāsyā) is white in color, and her first two hands rest upon her hips. The Garland Goddess (Mālā) is yellow in color, and her first two hands hold a jewel garland or a flower garland. The Song Goddess (Gītā) is red in color, and with her two hands she plays the lute.
The dancer is green, performing a dance with her first two hands. Her other hand symbols and faces are consistent with what was explained above, and her seat is a moon maṇḍala. These are to be placed in the grid squares of the corners. Regarding the phrase "six arms," this means that all the goddesses, such as Aṅkuśī and the others, have six arms each; by implication, they also have three faces each, and their body colors and hand symbols should be understood accordingly. Aṅkuśī and the others are to be known from the first chapter.
The Fortunate Eon is also distinct. The phrase "two-armed and one-faced" refers to the sixteen bodhisattvas, such as Maitreya and others, who will attain buddhahood in this Fortunate Eon. They are to be drawn in the maṇḍala of Vajra-Hūṃkāra with one face and two arms. They are as follows: Maitreya, white in color, holding a guṇḍī drum; Mañjuśrī, yellow in color, holding an utpala lotus; Sarvadurgatipariśodhana, white in color, holding a scripture; Sarvaduḥkhapraśamana-Mati, white in color, holding a staff; Gandhahastin, white in color, holding a guṇḍī drum; Śūraṅgama, white in color, holding a sword; Gaganagañja, green in color, holding a precious wish-fulfilling jewel; Jñānaketu, black in color, holding a victory banner; Amitābha, green in color, holding a vase; Candraprabha, green in color, holding a moon maṇḍala; Bhadrapāla, black in color, holding a vase; and Jālinīprabha, white in color, holding a sun maṇḍala.
Vajragarbha is yellow and holds a vajra; Akṣayamati is yellow and holds a jewel; Pratibhānakūṭa is red and holds a makara banner; and Samantabhadra is a vajra-holder. The right hands of all [these deities] are in the mudrā of supreme generosity. Regarding the phrase "adorned with all ornaments" and so forth, the practitioner holding a vajra, a bell, and a rosary should also be depicted in front of the Noble One. The bali offering is the samaya offering, consisting of the five nectars and the five hooks. Having made an offering of those five nectars and five hooks to the Blessed One Vajra-Hūṃkāra, one should consume the remainder. The section beginning with "the bali offering" is easy to understand. Regarding the phrase "on the eighth and fourteenth of the dark fortnight," the lunar dates have already been explained above. Regarding "a square in the center," one should draw a square maṇḍala in the center of a nine-square grid within the center of a vajra-garland maṇḍala. Regarding "the single mantra syllable is the principal," one should recite the syllable HŪṂ. Thus, after the subsequent practitioners have performed the maṇḍala rites and presented offerings to their own ācārya, it is taught that they should offer the fee immediately upon completing the practice, as indicated by the passage beginning with "afterwards, an offering to the ācārya." Regarding the passage beginning with "of body, speech, and mind," and so forth:
The meaning is this: if any practitioner desires to accomplish the body, speech, and mind whose nature is non-abiding nirvāṇa—the essence of body, speech, and mind—they should meditate upon this maṇḍala of the Victory over the Three Realms. Why is that? Because it is said: "The maṇḍala of Vajrasattva arises from Vajrāmṛta." Since the maṇḍala arising from the Vajrāmṛta-tantra is the maṇḍala of Akṣobhya-Vajrasattva, even if one meditates on the Victory over the Three Realms, it is inseparable from Akṣobhya, and thus the body, speech, and mind will be accomplished.
Regarding the explanation of the method of accomplishment, it begins with the words "three-cornered" and so forth. In that context, "three-cornered" refers to the shape of the source of phenomena (dharmodaya), which is the nature of the earth of Vajradhātvīśvarī. "Maṇḍala" (center) refers to the essence, which is the wisdom of the nature of great bliss. "Cakra" (circle) means that which bestows that [bliss] or that which revolves around it; thus, it is called a maṇḍala. "Secret lotus" means that it possesses a lotus in the center of the secret place. "With the essence within" means that it possesses a moon maṇḍala within, which is the sphere of the essence. "In its center" means in the center of the eight-petaled lotus maṇḍala. "Great secret" refers to Māmakī, because she is the principal among the beautiful secret goddesses and so forth. Alternatively, "great secret" refers to Vajrasattva, because [Māmakī] arises from his family. "With the consort" means:
This is the name of the deity who resides in the form of the Wisdom Goddess, acting as the antidote to ignorance. Regarding the term "Principal One" (Ādibuddha), it refers to Akṣobhya, because he is the great self-nature that pervades both the mobile and the immobile. Regarding "three faces," this is because he is the nature of the three doors of liberation: emptiness, the absence of marks, and the absence of wishes. Regarding "six arms," this is because he is the nature of the six perfections, such as generosity and the rest.
"The first face is black" means that the central face and the body color are black; this is the sign of possessing the Vajra of Mind. "The right face is held to be white" means the right face is white; this is the possession of the Vajra of Body. "The left is red" means the left face is red; this is the sign of possessing the Vajra of Speech.
"Adorned with divine ornaments" means he is adorned with the attire of the divine realm, such as the crown, earrings, armlets, and so forth. "Divine garments" refers to various types of divine cotton cloth. "Flower garlands" refers to garlands of the Pārijāta and Mandārava flowers. "Bestowing divine accomplishments" means he performs the activity of granting the eight great accomplishments, such as the eye-salve and others. "Peaceful" means he possesses a face in the manner of peace.
"Possessing the Vajras of Body, Speech, and Mind" means that the head, throat, and heart are endowed with Body, Speech, and Mind. The meaning is as follows:
This is the meaning of the statement that the yogin should also meditate upon such a father and mother. Regarding the phrase "on the outside," it refers to the area outside the eight-petaled lotus within the triangle. The mention of "four gates" is merely a figurative designation. Furthermore, one should properly draw the square, the four toraṇa arches, the porticoes of the gates, and so forth. "East" refers to the eastern gate. "Having placed Bhṛkuṭī" means that the gate-keeper Bhṛkuṭī is stationed at the eastern gate. "At the south, Bhīṣaṇī, the Terrifier" is easy to understand. In the corners are placed Puṣpā and the others, and on the ledges are placed Vīṇā and the others. Having drawn such a maṇḍala, one should summon that maṇḍala into the basis of the sky with a mind of thorough visualization and make it non-dual. After praising and making offerings, presenting the samaya, and requesting forbearance, the ācārya—who has requested [permission] and attained non-duality with the divine pride of the deity—should then accomplish the secret maṇḍala. This is the sequence for drawing the maṇḍala.
Regarding the goddesses arranged within the maṇḍala thus drawn, it says: "The wise one, upon the eight-petaled lotus," and so forth. In that context, "the one who holds the hare" refers to the moon, because it possesses the skin of a hare in its center. The reasoning for this is clear within the Jātaka tales. Thus, it is called "the maṇḍala of the one who holds the hare, possessing a face as beautiful as the maṇḍala of the moon."
Regarding the phrase "the eight vidyās": the Blessed One taught that the antidotes to ignorance, the ālaya, and so forth, which are the wisdoms of awareness (vidyā-jñāna) appearing in the form of women, are the "eight vidyās," because they are the fruit of the perfection of wisdom. Alternatively, the four wisdoms such as the mirror-like wisdom and the wisdoms of the four immeasurables appearing in the form of goddesses are called the "eight vidyās." Regarding the "eight virtuous ones" (śubhā): these are the eight offering goddesses such as the lute player (vīṇā-dharī), because they are the ripened fruit of the Blessed One’s merit. As it is said in the Vairocana-māyājāla: "the virtuous ones who please [the deity]." The term "various" refers to the body colors, which has already been explained.
The presentation of the actual entities of the eight virtuous ones begins with "the offering flute" and so forth. The word "and so forth" includes the lute player, the drum player, the lamp goddess, and the incense goddess. The term "secret" refers to the goddesses such as the beautiful one (śobhanā). "They are to be accomplished" means: here, how is the offering performed? In response to that, it is said: "mother, daughter-in-law," and so forth. This refers to meditating by way of the forms and hand-symbols of Māmakī and the others. Furthermore, by associating the five mothers and so forth with the five principal goddesses such as Māmakī, one should accomplish them: the mother is associated with Māmakī, the daughter-in-law with Śobhanā, the daughter with Śāntamukhī, and the sister with Candrī.
The consort is joined with the "hare-holder" (the moon). This explains the purpose of taking the nectar, which is the quality of accomplishing the secret maṇḍala. Regarding the passage beginning, "Having taken the nectar from the mother," and so forth: "One becomes equal to Vajrāmṛta" means that the yogin becomes equal in form and power to Akṣobhya. "Amoghasiddhi" is so called because by relying on this nectar, one attains awakening, which is otherwise difficult to achieve even in countless eons. The rest is easy to understand.
Now, the tantra for generating desire for the aforementioned mother and sister is taught: "In the manner of a bee sporting," and so forth. This means that, like a bee, one should first engage in embracing and sporting to initiate bliss. The passage beginning with "the five nectars" and so forth is easy to understand. "By the vajra-snap of union" means that one should bind the two vajra fists, cross them, snap the fingers three times, and then, having meditated on the absorption of the vajra-gathering, recite the mantra three times to summon the maṇḍala deities. Alternatively, "vajra-snap" refers to the union of the vajra and lotus in subsequent application; through that, one generates the deities of the maṇḍala as nectar-drops in accordance with the tantra, thereby generating the accomplishment of great bliss.
Now, the accomplishment of nectar through the secret offering of the maṇḍala by means of the sequence of subsequent application is taught: "Of the yogin and the yoginī," and so forth. This teaches the faults of taking the nectar incorrectly.
"By the hand," and so forth. The conduct of the yoginī is also shown: "The great consort also appeared and kissed the vajra." Regarding its qualities, it is said: "That is the accomplishment of buddhahood itself." Thus, the yogin or yoginī who accomplishes through the play of method and insight has dispelled the sleep of delusion and, having realized the meaning of all words, has become a buddha. If one asks what that state of buddhahood is like, it is said: "The form of the fluid is the nectar." This refers to the realization of the self-knowing wisdom of non-dual great bliss. The passage beginning with "Vajrāmṛta" has already been explained. The chapter titled "The Teaching on the Accomplishment of Vajra-Hūṃkāra" refers to the complete collection of words and meanings for accomplishing the maṇḍala of the Blessed One Hūṃkāra. This is the explanation of the sixth chapter of the Vajrāmṛta Tantra.
Now, having first performed the offerings and settled into meditative concentration, the goddess Māmakī, desiring to praise the Blessed One with melodic verses, requested: "Then the goddess Māmakī..." and so forth. Regarding that, "She requested the great play of joy" means that, abiding in the play of method and insight, she joined her palms and sang these melodic verses. The words of the melody are spoken; first, the praise by way of the Vajra Body: "The hero with a body like a blue lotus," and so forth. Regarding that, "hero" means:
This is because he is victorious in battle against the errors of desire and so forth, which are accompanied by conceptual thought. This is a praise by way of his nature. Regarding the term "water-born," it refers to the utpala flower and the like; his body is similar to that, being blue. This is because he is averse to the conceptualization of duality. This is a praise by way of his body color. Regarding "surrounded by other heroes," this refers to the goddesses of the maṇḍala. To speak of that very point: "the assembly of mudrās" refers to the assembly that is to be surrounded by the eight types of consorts, such as the beautiful mātṛs and so forth. "In union with them" is the phrase. This is a praise by way of his retinue. This is to be connected with the words, "I pay homage to such a Blessed One." Regarding the praise by way of his speech: "resembling the autumn sky" means being signless and unstained by defilements. "The sound" refers to the recitation of the syllable HŪṂ. If one asks how it should be recited, it is said to be "like a bee"; just as a bee on a lotus makes a sound while sucking nectar, one recites the syllable HŪṂ and "sucks" the secret lotus of the goddess. "Dwelling in joy" means dwelling in the union of the secret lotus and the vajra. "Fortunate" means acting for the benefit of sentient beings. Thus, it is said in the Buddhasamayoga: "Because he thoroughly accomplishes existence, the Blessed Buddha is fortunate; whereas the unfortunate hearers in the world are for the sake of ultimate nirvāṇa." This is the meaning.
"I prostrate to such a one," is the connection. This is a praise from the perspective of the mind. Regarding the words "all" and so forth: "all" refers to all directions. "All" also refers to every aspect. Those who are "formless" are like space. "Omniscient" means that, having abandoned the obscurations to the knowable, one knows the characteristics of what is to be abandoned and what is to be adopted. "Beautiful in every way" means because [the Buddha] dwells in the minds of all sentient beings. Alternatively, Vajrasattva is the very essence of all nirvāṇas. To that Blessed One, "the authentic Indra" refers to the faculty of faith; "by means of that path" means that through the gateway of faith, "I prostrate"—this is the connection. Alternatively, "the authentic Indra" refers to the secret lotus, because it exercises mastery over authentic great bliss. One should make offerings by means of that secret lotus path; thus, "I prostrate."
Now, the praise from the perspective of the maṇḍala of the Victory over the Three Realms: "without exception" and so forth. Regarding "the three realms without exception," these are the desire realm, the form realm, and the formless realm of the ten directions. In those, "the peerless Vajrāmṛta" means that the analogy for the Vajrāmṛta, which is personally experienced, cannot be expressed by anyone. "The twenty-four jewels" means:
Regarding the passage beginning with "the goddess named Beautiful One who teaches the maṇḍala of Vajrasattva," this refers to the goddess Ratnī. In that context, there are twelve vidyās: the eight such as Beautiful One and so forth taught in the maṇḍala of Trailokyavijaya, and the four such as Vajrasattvī and so forth. Then there are the four such as Lāsyā, the four such as Puṣpā, and the four such as Vīṇā; thus, there are twenty-four goddesses of virtuous nature. The four goddesses of accomplishment, such as Aṅkuśī and so forth, are not included in the count of twenty-four, yet they are to be drawn in the maṇḍala. That which brings joy through intense passion for those goddesses is as described; that which becomes the activity of mere mental realization is "joy through intense passion."
Regarding the phrase "the body marked by nail-scratches and passion," this means that in order to generate great bliss, the goddesses have marked the body of the Blessed One with their nails. "Homage to the Vajrāmṛta who is like that" is the meaning. Having offered praise with the melodies of the Sanskrit language, now the praise is offered in the Prakrit language: "Blue utpala," and so forth. The Blessed One who possesses blue hands resembling a blue utpala is called "one with hands blue like the petals of a blue utpala." This is praise by way of the color of the body. "You alone are the Buddha" means that because you have fully awakened, the sleep of delusion has been dispelled. This is praise by way of wisdom.
By the term "Tathāgata," it is said that you are indeed a Tathāgata because you have fully realized the ocean of all that can be known. This is a praise by way of your knowledge. "Vajra" refers to fearlessness, because you have actualized the Vajrayāna. This is a praise by way of the vehicle. "You [have] a very joyful attachment to me" means: having arisen from abiding in the Dharmakāya, please enjoy me with the absorption of great bliss, the nature of non-abiding nirvāṇa. Why? Because "you are to be accomplished for the sake of the three realms," which means: please move for the sake of those who gather in various forms. This is a supplication for the benefit of sentient beings. Now, the praise by way of the five manifest awakenings begins with "You are," and so forth. In that context, "You" is an address to the Blessed One. "Faultless" means that the apprehending consciousness, which takes on the form of the external apprehended object, is like a crystal gem; when blue or other colors are near it, it appears in those forms due to adventitious superimpositions. That is a "fault," but the Blessed One is free of that, because those two [subject and object] are without objective reality. For that very reason, it is called "sublime," which is the state known as nirvāṇa.
Therefore, regarding the phrase "in emptiness," that which is called "empty" is the nature of emptiness itself. Why is this so? Because while all things appear as mere appearances, those who have not seen suchness naturally conceive of the non-existent subject and object. That very [conception] is established as delusion in the ultimate sense; when analyzed by the insight that penetrates all phenomena, since there is no arising of one thing from another, none of these are established by reasoning.
If all phenomena are emptiness, then in the ultimate sense, even the Blessed One abides in great bliss. His nature is the emptiness of non-dual, luminous, and personally realized vision. Arising from emptiness, you are the "syllable" (yaṃ), which is unmoving within both saṃsāra and nirvāṇa, because from the beginningless start there is nothing other than the conditions of the appropriated aggregates of existence.
"Having become the vajra" means that having generated the vajra by means of the syllable, one generates it within the vajra-vase as being endowed with the syllable. "O Protector" refers to the one who has arisen from that vajra as the saṃbhogakāya, the Great Mudrā, because he is the self-nature that pervades both the moving and the unmoving. This is the praise by way of the five aspects of manifest awakening.
Such a Blessed One as you—whosoever sees you, whether moving in the atmosphere or dwelling upon the earth and not moving—how could they go into saṃsāra? This means that they do not go.
Having thus taught the words of melody, the vajra dance is taught: "The vajra dance is performed," and so forth. In this context, the vajra dance arises from the vajra-bind and the vajra-fist. "Performing" refers to the waist-dance and so forth that appear below. What is meant by "performing the dance"? It is the dance of moving the waist and hips equally to the right and left. "With the arms" refers to the dance arising from the arms and hands. "The dance of the head" refers to the dance arising from moving the head, turning the eyes, and raising the eyebrows. "This source text of dance" refers to this source text of dance taught by the sage Bhaṭṭāraka. "The characteristics" refers to the four characteristics previously mentioned, such as the waist-dance and so forth. The Blessed One himself, who clarifies that very reality, teaches it as follows.
First, the explanation of the foot-dance: "The sequence" refers to the steps of the foot-dance, which consist of planting the tip of the big toe and lowering the heel. "Successive order" refers to the sequence of the right and left feet, or the sequence of the tips of the big toes and the heels. "Praising" refers to lifting upward. Now, the commentary on the waist-dance: "The majestic pose" means possessing a graceful, alluring manner. The commentary on the head-dance: "Expanding" means the manner of laughing; "bowing" means performing the dance by tilting the head to the right and left. "Making clear" means performing all of these without confusion. "Expanding" and so forth...
This is because the goddess Māmakī, together with her retinue, possesses the manner of expansion. Regarding the phrase "moving the eyebrows," it means moving the eyebrows in accordance with the dance. "The explanation of the dance of the shoulders: it is the application of the hand mudrās," refers to the dance of offering performed by the four [goddesses] beginning with Puṣpā and the four beginning with Mahāḍamarī. "They dance in the manner of the eight postures" means that they dance with the eight dances, from the substances and methods up to the movement of the eyebrows. Regarding the statement that while performing such dance offerings, Māmakī should perform the secret offering, it says "the expanded lotus" and so forth. In that context, "with the vajra-bind, the vajra" means that having grasped the secret vajra with the vajra-bind mudrā, one should "utter the vajra-club." The meaning is as follows: having offered the dance with the bodies of those four aspects, they requested [the teaching] after having perfectly worshipped the Blessed One with secret offerings. The response is stated as "Then the Blessed One," and so forth. Regarding that, "Dwell without wavering" means that when the Blessed One dwells in the great union and causes great bliss to arise, at that time the Blessed Lady is born without wavering. "The Blessed One is suchness, the nectar" means the internal essence in the form of great bliss. "Supreme suchness" means to contemplate that supreme bodhicitta as pervading one's own body. That is: "That which has the form of the nectar drop."
By this, the name of the Blessed One, who abides in supreme bliss, is stated as he transforms his abode and dwells as a drop (bindu) within the lotus of the bhaga. This is also described as the conventional bodhicitta. Regarding the phrase "in the center of space" and so forth: having visualized the jñānasattva in front, the instruction on the self-consecration is taught. In that context, "the mouth" refers to the visualization of the lotus, which is called the source of phenomena (dharmodaya). In its center, "the moon" refers to its shape, meaning it is level. "That very emptiness" is the bodhicitta. Because it flows like an ocean of the stream of amṛta, it is called "fearless." "Inexhaustible" has already been explained. "Subtle" refers to that very reality. "Vajrasattva, the fearless" refers to the syllable HŪṂ, which is the adhibodhicitta, so called because it is without fear. If one asks where it abides: "The goddess abides in the center of the navel; the heart mantra is the sphere of the goddess." Having first abided in that, the bodhicitta is perceived in the form of fluid for the sake of the joy of beings; thus it is said, "abiding in the center of the bhaga and liṅga." To show its qualities of greatness: "This is the life-force of those who possess life" means it is called the "great breath." "Meditate on such a thing" is the instruction. "Supported by the aggregate of consciousness" means that the adhibodhicitta relies upon the formless aggregate and manifests in various ways. By these, the five manifest awakenings (abhisambodhi) are taught.
The Buddha is Vairocana. Likewise, the one called Vajradhara is Hūṃkāra. In that very way, through the power of taming, the sequence of the emergence of the deities of the maṇḍala belonging to the five families is clearly manifest as the individual practice of direct cultivation. Therefore, seeing that all phenomena—which are mind-only and non-dual—appear as the display of the self, like a blazing vajra that illuminates the three realms, one dwells within the tiered celestial palace. By experiencing the absorption of the great bliss of the union of those means and insight, the wisdom beings dissolve into the mouth and become a drop (bindu) similar to a lunar maṇḍala of vajra-amṛta on the path of the vajra; thus it is said.
Therefore, even those called Brahmā and Viṣṇu should be considered to be that very bodhicitta, and one should always contemplate them as such. Furthermore, from the two maṇḍalas of the vowels and consonants, and from the fluid of the two virtues, the great bliss generated by the embrace of Māmakī is the form of the Blessed One, the birth of Vajrāmṛta. Regarding that, it is said: "From that, you and I are generated." This very sequence for accomplishing great bliss is unerring; it was taught extensively in the Guhyasamāja and other tantras, and was practiced by the Blessed One. Therefore, it is said that even Brahmā and the others, not having realized that very suchness—the ultimate reality—contemplate it as the nature of their own abode.
Regarding the term "Brahmā" and so forth, these refer to Vairocana and the others. From that very reality, birth and the absorption of death into the absorption of the nature of great bliss occur. The Tathāgatas are the nature of the non-dual wisdom of great bliss, the self-awareness that is free from the superimpositions of subject and object and clarifies all phenomena. Having entered into that very wisdom as the sovereign of the knowable, they contemplate and familiarize themselves with the clear appearance of all things in non-duality. For that very reason it is said: "The sovereign is the nature of the knower of the knowable; that is the supreme reality to be contemplated."
Regarding the phrase "birth and so forth," the phenomena of the birth, death, and abiding of all things are also the great wisdom of the non-dual wisdom of great bliss. They are produced and then dissolve into it. It is called the "producer" because it possesses the power to generate and destroy the world. These are the "sole supreme bodhicitta." "Becoming the self-nature" means becoming the very nature of all phenomena. "The single deity" means that, due to the condition of contemplation, there is no other second deity besides this sovereign. By those words, the activity that benefits all is taught. "Omniscient" means that because one knows all the phenomena of one's own emanations within the three realms exactly as they are through words and intellect, one is omniscient.
"Everywhere and all" refers to the state of abiding by way of birth, duration, and destruction. Because it leads to the three virtues, it is "pervasive," as has already been explained. Regarding the phrase "having filled the house," "house" refers to the maṇḍala; having filled that maṇḍala with the circle of goddesses in the nature of the emanated essence, it is performed. Therefore, it is explained as "the person." Alternatively, the word "house" refers to the bodies of Māmakī and the others. Having filled them by emitting the bodhicitta, it is for the sake of causing the birth in the womb; thus, the Blessed One is called "the person." Regarding that very point: "Because it abides in the body, it is the embodied one." "Because it is the means of knowing, it is intended as consciousness" means that it pierces all words and meanings. Regarding "the deity who knows the self by the self," even if one is in deep sleep, the fact that one is awakened by oneself is "knowledge"; because it appears, it is "deity." Because it enters the bodies of others, it is called "Viṣṇu" (the Pervader). "By speech, one becomes the Vajra-holder" means that by the mere utterance of "Vajra-holder" through speech, it is the ultimate non-dual meaning, and thus it is formless. Alternatively, "fearless" means that because it is inexpressible by speech, it is also called "Vajra-holder." "Without a teacher" means it is not within the domain of the sense faculties. "This secret" means it is the non-dual wisdom of great bliss. "One should keep it secret with diligence" means:
Such bodhicitta, the non-dual wisdom of great bliss, is the meaning of the statement that it should not be shown to others even through the doors of body, speech, and mind throughout the three times. If one asks, "To whom, then, should it be shown?" it is to those who are "not flawed" and so forth. In that context, "not flawed" means one who has not abandoned their own faults. "Not deceitful" means one who does not expose the faults of others to bring about their ruin. "Not transgressing the samaya" means that the words of commitment made in the presence of the ācārya are the samaya, which is the renunciation of killing and so forth. "Not transgressing" that is what is meant by "not transgressing." "Free from the view of nihilism" means that the view of nihilism is the conceptualization that virtue and non-virtue do not exist; being free from that is to possess the correct view and to have conviction that virtue exists. Being free from that is to possess the correct view and to have conviction that virtue and non-virtue exist. "Devoted to the guru" means that the ācārya who bestows empowerment, grants the samaya, and teaches the secret mantra is the guru; devotion to him is respect and faith. "Tamed" means the renunciation of the seven characteristics, such as the physical and verbal actions of killing and so forth. "Abandoning envy and attachment" means that envy is malice toward the excellence of others, while attachment is the characteristic of clinging to objects of experience such as form; the absence of both is what is meant by "abandoning." "Entering that maṇḍala" means that, in that regard, those disciples to whom the vajra is shown are the ones who see the secret maṇḍala.
This means: a disciple to whom the Vajrayāna is taught is not a disciple to whom the outer vehicles of the hearers (śrāvaka), the solitary buddhas (pratyekabuddha), or the bodhisattvas are taught. Regarding that, it says: "To those disciples who possess the qualities free from all the faults taught above, I shall explain the supreme suchness (tathatā) by sealing them with merit." This indicates that because the great bliss of awakening—the bodhicitta—pervades all those disciples who possess the aforementioned qualities, "I shall explain the supreme suchness."
If one asks how the master (ācārya) should teach, it is said: "The master, together with a consort, should bestow the empowerment upon them." This means that the master, possessing the pride of Akṣobhya, unites with a consort visualized as the goddess Māmakī, and having given the samaya to those disciples, should confer the empowerment of bodhicitta. The [explanations of] the Vajrāmṛta and so forth have already been given.
Regarding the chapter titled "The Teaching on the Great Apprehension of Suchness": this is a collection of verses that primarily teaches the meaning of suchness, which is the bodhicitta of the superior nature of great bliss. The seventh [chapter] is easy to understand. This is the explanation of the seventh chapter of the Vajrāmṛta Tantra.
Now, furthermore, for those who wish to generate or understand the wrathful Heruka, Māmakī requests of the Blessed One: "Then the goddess also arose," and so forth. In that context, "arose" means arising from the union of method and wisdom. Regarding that:
Regarding the passage beginning with, "The sublime self-generation of wonder," and so forth, it concerns the nature of peace.
If one asks, "From which tantra is the Blessed One, who is by nature great peace, generated in the form of the wrathful blood-drinker?" the answer to the question is as follows: For what reason do the deities, including those with power and so forth, [appear as] those who are hostile, fierce, and afflicted by epidemics, poisons, and zombies? It is because, out of compassion for those who come to me for refuge in the presence of Great Bliss, I myself have become the wrathful Heruka to protect all wandering beings. This is because other peaceful forms, such as Vairocana and the rest, are unable to subdue sentient beings who possess such hostility and ferocity.
To demonstrate that meaning, the passage "Then the Blessed One, the Vajra-holder," and so forth, is spoken. In that context, "The union of the vajra and lotus," and so forth, refers to this: having first performed the union with Māmakī, the Blessed One—who possesses a fierce garland of blazing flames and is terrifying—manifested the form of the glorious blood-drinker. This is connected to the statement that he has eight arms, which are the nature of the eight liberations, and four faces, which are the nature of skillful means regarding the four liberations, in non-dual union with the eight consorts.
Furthermore, that Vajra Blood-Drinker, in the manner of a sash, supports a vajra khaṭvāṅga with his left hand and holds a severed head. With his right hand, he holds a blazing vajra in the mudrā of the three-pointed banner. It is as follows: "Having opened the vajra fists, the middle fingers are joined with the ring fingers."
Joining the two palms together, the remaining fingers are raised as the "three banners." Furthermore, with two hands he holds a skull-cup filled with blood and a garland of entrails in disarray. With another two hands, he binds the empowerment mudrā above his head. It is as follows: "With the hands fully extended, the two index fingers are tied in a knot; the middle and thumbs are at the tips. Completely transform this into the vajra mudrā. Having completely transformed and raised it, if it is properly placed in a frown," so it is said. Furthermore, with two [hands] he binds the mudrā for entering the charnel ground; that has already been explained above. One should visualize such a Blood-Drinker (Heruka) seated upon a lotus, surrounded by the eight consorts. Regarding the phrase "surrounded by the eight consorts," one should meditate upon or draw the goddesses, such as Bhīmā and the rest, on the eight petals of the lotus in their proper order, pleasing the heart of the Blessed One. The [names of] the Great Blood-Drinker and so forth are easy to understand.
Who are the eight consorts? It is said: "First, the consort Bhīmā," and so forth. Having assumed the forms of Lāsyā and the others, they transform into the wrathful goddesses Bhīmā and so forth. With their first two hands they hold a khaṭvāṅga and a banner. Their body colors and other hand-symbols are consistent with the maṇḍala of Vajrasattva. The gatekeepers are Gajanāsā and the others. The offerings are consistent with the previous [section]. It is taught that the yogi who meditates on the Blood-Drinker in that way should recite the mantra and offer praise and offerings with song and dance.
Regarding the phrase "These mantras," and so forth: as for "Having recited these mantras," the meaning is that immediately after having meditated upon Heruka together with his retinue, one should recite the mantras that appear below without wavering from the meditation. "Performing the dance, one should sing the melody" means that one should also make offerings by performing the dance of the offering mudrā and singing the melody that appears below. The words of the melody are stated as "Great Terrifier," and so forth. In this context, "Great Terrifier" refers to Vajrāmṛta; because his nature is such, he is called "Terrifier," for by his very nature as nectar (amṛta), he fills all sentient beings and sports at all times. As it is said:
"Because he fills everything,
Because he sports at all times,
Because he abides in all things,
Therefore he is explained as the 'Terrifier.'"
Alternatively, he is called the "Great Terrifier" because he strikes terror into the hostile, the fierce, the graha spirits, and so forth, who cause harm to sentient beings. "Baring his fangs" is because of the nature of hatred and the Vajra family, or because he has triumphed over the worldly gods. As it is said in the Samayoga Cakrasaṃvara:
"A mouth with fangs slightly bared,
A face with a wrathful yet smiling expression,
Possessing the transformation of wrath yet smiling,
Clearly manifest and well-situated.
Together with the fierce Indra and Upendra,
Along with the Sun, Moon, Yama, and Brahmā."
“Adorned with intestines, he terrifies the three realms,” it is said. “Possessing all ornaments of a garland of intestines” means that he subdues all the spirits of the charnel grounds and all those who are hostile. “The great flesh” refers exclusively to the flesh taken from the life of Vajrasattva; “consuming that” means because he is inseparable from the body of Vajrasattva. “Glorious Heruka” refers to the Blessed One Heruka, who is endowed with the wrathful goddess Māmakī; “I prostrate to him with body, speech, and mind” is the meaning.
Now, regarding the passage beginning with “For the benefit of practitioners,” the extraction of the mantra is taught. First, the master should draw an eight-petaled lotus and arrange the letters from A to Kṣa, one on each of the eight petals. Following that sequence, the mantras of the deities are to be extracted. In this regard: “The third of the third” means that Ja, the third of the third class, the Ca-group, is extracted. “In the seventh” refers to the Ya-va-ra-la group; the fourth of that is the letter Va. This connects with the phrase “join the two letters Ja and Va.” “The third of the seventh Ma as well” means that from that same Ya-ra-la-va group, one should take the third letter, Ja, and the verbal expression Jvala Jvala is to be recited twice. This connects with the phrase “should be joined.” “Possessing the suchness of all” means possessing the Hūṃ syllable, which is the suchness of all. “Adorned with a half-letter” means:
The mantra word should be distinguished by the syllable phaṭ. "The sixth" refers to the pa-group. "Having extracted the fourth of that, the syllable ba" means that. "The seventh" refers to the ya-ra-la-va group. "The first of that" is the syllable ya. "Making that the seat for the syllable ba" means attaching the ya as a subscript. "The thirteenth shall press down from above" means: taking the syllable a as the first and counting up to the thirteenth, the connected syllable is ā. That is to be placed as the presser from above. By combining those syllables, it becomes byo. "At the end, the svāhā of the hidden mantra should be extracted" means that svāhā is to be placed at the end of all mantras. "First, offer Vairocana" means that the syllable oṃ is to be placed at the beginning of the mantra. Thus, the mantra of the Bhagavān becomes: oṃ jvala jvala hūṃ phaṭ bhyo svāhā. That very mantra also belongs to the goddess Bhīmā and the others. Now, to demonstrate by describing the great qualities of the mantra, it says "the king of mantras" and so forth. In that context, "king of mantras" is because it is the root mantra. "The three worlds" refers to the three brothers who are the lords of the three worlds: Jayanta, Madhuka, and Siddhārtha; or alternatively, Brahmā, Rudra, and Viṣṇu. "The three realms" refers to the desire, form, and formless realms. "It devours them, without a doubt" means:
If one recites the mantra and brandishes a blazing vajra, the three realms, including both the environment and its inhabitants, will be destroyed and one will be victorious; it is not that one eats the flesh and blood of sentient beings. Therefore, it is said: "By this, all desires are granted." This means that if one can reduce the three realms to ashes by means of this mantra, one can also restore them to life. As it is said in the Buddhasamayoga: "Even that which has become ashes, one restores to life."
The chapter titled "The Teaching on the Generation of the Glorious Heruka" is the collection of words that demonstrate the stages of meditating on the noble Heruka. This is the commentary on the eighth chapter of the Vajrāmṛta Tantra.
Now, regarding the various activities belonging to the Karma family that bring about accomplishment, the Blessed One Amṛtakuṇḍalī is introduced with the words: "Then, of Amṛtakuṇḍalī..." and so forth. Regarding the phrase "three faces" and so on: it refers to the center of an eight-petaled lotus situated within the source of phenomena (dharmodaya). The goddess Māmakī is transformed into a wrathful form.
The Blessed One, with three faces and six arms, abides in a fierce manner and so forth, possessing various unpleasant faces and suppressing the obstacle-maker Gaṇapati. One should meditate on him holding a battle-axe and a weapon in his first two hands; in the other hands, in successive order, he holds a pestle, a vajra, a noose, a threatening gesture (tarjanī), and a sword.
"Endowed with the eight vidyās" means that the eight vidyās, such as Amṛtā and the others, are to be arranged upon each petal of the lotus. "Perfectly endowed with the gate-keepers" refers to the gate-keepers, such as Vajrāṅkuśī and the others. The passage beginning with "One should meditate in the secret lotus" has already been explained. The passage beginning with "three faces" is easy to understand. "Diligently holding a lotus in the hands" means that the goddesses also hold a lotus in the first of their left hands. "Various forms" refers to their green body color. "The goddess of offering" means that the first of her right hands forms the mudrā of generosity. "The passionate one" is in harmony with the principal consort. The offering goddesses should also be understood through their essential meaning. "Laughing and sporting" means that one should meditate on the Blessed One sporting with those goddesses who were explained for the purpose of generating great bliss. Thus, it is said in the Buddhasamayoga:
"Intoxicated by the bliss of passion,
Pressing her protruding lips with her teeth,
By this supreme mudrā of the index finger,
She sports even with the three realms."
The offering goddesses, such as Vajrāṅkuśī and the others, should be understood through their essential meaning. Now, regarding the passage beginning with "The king of mantras should be brought forth," the mantras and so forth are extracted. In that context, "Having also offered Vairocana" refers to uttering the syllable OṂ, which is the first [syllable] of Vairocana.
"Filled completely by these words" means that all mantras are to be filled. "Of the first" refers to the class of the letter a. "Its second" refers to the letter e, which is to be joined; this is the connection. "Emptiness" refers to the letter ha. "Its seat" refers to the letter u, which is to be endowed with that; this is to be linked. Alternatively, "emptiness" is said to be the bindu (drop), as in: "The mantra that suppresses emptiness with emptiness." "All are joined with svāhā" means that svāhā is to be appended. The mantra is as follows: oṃ aṃ hūṃ svāhā. This mantra is to be understood by all goddesses. Regarding what is to be accomplished by that mantra, it is said: "Having joined in eternal, supreme bliss," and so forth. By joining method and insight non-dually, one brings forth the bodhicitta—which is like amṛta (nectar) and is the supreme amṛta—thereby eliminating the characteristics of death. Then, the bodhicitta which is like the amṛta of the wisdom of non-dual great bliss acts like amṛta to destroy aging and death for all beings without exception. The noble one who causes that to arise is the meaning of "Amṛtakuṇḍalin" (Amṛtīkṛta). That is what is to be accomplished; it is to be accomplished by practitioners who accomplish all things through various applications and the method and wisdom of the great bliss of the great subsequent application, and not otherwise.
Regarding the qualities that bring about that accomplishment, it is said: "All purposes and all accomplishments." This refers to the supreme accomplishment and the common accomplishments. In this context, "all purposes" refers to the perfect fulfillment of the welfare of oneself and others. Furthermore, the accumulation of wisdom is the welfare of oneself, and the accumulation of merit is the welfare of others. "All accomplishments" refers to the supreme accomplishment and the common accomplishments. Among these, the supreme accomplishment is the actualization of the Great Bliss Vajra Amṛta. The eight common accomplishments are: the keen eye, swift-footedness, the sword, the pill, invisibility, the raising of the corpse, the accomplishment of traveling underground, and the accomplishment of flying through the sky. Furthermore, "all abide in the palm of the hand" means that all accomplishments abide in the palm of the hand of that yogi or yoginī who meditates on Amṛtakuṇḍalī. Therefore, one should constantly contemplate the Great Bliss Vajra Amṛta. The passage beginning with "the Tathāgata" and so forth has already been explained. The chapter titled "The Emergence of the Glorious Vajra Amṛtakuṇḍalī" is the collection of words that teach the meditation on the Blessed One Amṛtakuṇḍalī. This concludes the commentary on the ninth chapter of the Vajra Amṛta Tantra. Now, possessing the application of the Heruka, one should first perform the preliminary service and accomplish the Great Vetālī, as it is said:
Then, regarding the passage beginning with "the great Vetālī," the lunar date for the practice is shown as: "On the eighth and fourteenth days of the dark fortnight." The location is shown as: "A single liṅga," and so forth. Here, a liṅga is a support for deities such as Mahādeva. "A single one" means that there is nothing else within the distance of a krośa. The rest is easy to understand. Regarding "all activities are to be accomplished," this refers to all activities to be performed, such as the rites of sorcery (abhicāra). If one asks what kind of corpse is required: "The corpses of those who have died by hanging," meaning those who died by hanging themselves. If one asks who they are: "Outcaste women and those of the me-śa [butcher] caste." If those two are not available, it says: "In their absence, those who have died by the hand of a dog." Here, the word "those" (rnams) should be understood as referring to the ḍākinīs. Regarding "all characteristics are fully complete," this means the limbs are complete and there is an extra tooth in the front. Alternatively, it means "possessing the Vedas" and "having fingers." "Beautiful" means possessing a fine appearance. "Excellent" means possessing a radiant complexion. "Unwounded" means the body has not been struck by a weapon. If such a [corpse] is found, then one should begin the practice. Regarding "thirty-two is praised," for this practice, a thirty-two-year-old is praised. Alternatively, it says: "Or one who has reached twenty-five years." If those two are not found, one may also practice with a young woman who has died after the cessation of her parents' activity. It is taught that one should wash that corpse with water and lac.
"Grasping the hair of a woman's corpse," and so forth. Having consecrated pure water with the root mantra of the Blood-Drinker (Heruka), one should also add the five medicinal substances: sahadeva, brhati, veta, girikarnika, and nagagandha. "On a stone slab" means that the corpse should be placed upon a flat rock and washed with that consecrated water. The master himself, having performed the yoga of the Blood-Drinker deity, should apply himself to reciting the root mantra. "With camphor and white sandalwood," and so forth, means that the body should be anointed with white sandalwood and camphor. Having made offerings with flowers and incense, one should place [the corpse] in a single spot and draw a maṇḍala in the shape of a crescent moon. "Skull" is the name for a skull-cup. Alternatively, it is visualized in the shape of a bow, with a square grid in the center. The exterior should also be arranged as a square with four corners, four gates, bells, banners, yak-tail whisks, lattices, half-lattices, and adorned with moons. Below that, the Blessed One, surrounded by the goddesses of the eight families, should be generated and placed in the center of the maṇḍala by means of the root mantra or the syllable HŪṂ. In each square, the goddesses such as Bhairavī and the others should be present, carrying a khaṭvāṅga over their shoulders, holding a skull-cup in their left hands, and possessing the mudrā of the three banners in their right hands.
That very mantra is the goddess. All [the deities] should be visualized with three faces and six arms, holding a khaṭvāṅga and a skull-cup with the first two hands. At the gates, the four gatekeepers—Glan sna (Gaja-nāsa) and so forth—should be arranged with one face and two hands, their hands occupied with a hook, a noose, a chain, and a bell. The goddesses known as Puṣpā (Flower), Dhūpā (Incense), Dīpā (Lamp), and Gandhā (Perfume) should also be drawn holding flowers and so forth. Having generated the Blessed One in the center of such a maṇḍala surrounded by goddesses, one should summon him, make offerings, and request [his presence], then scatter great blood in the four directions.
One should recite the mantra while uttering the syllable Bhyo. White mustard seeds smeared with great clarified butter should be struck against the face of that Vetālī. Then, she will let out a great roar, filling the three worlds with her own sound. Upon seeing this, one must not be afraid; rather, one should remain in the divine yoga with pride. Otherwise, if one deviates, the practitioner together with the disciples will die. Then, as soon as she is accomplished, she will say, "What shall I do?" and the practitioner should grant her the accomplishments (siddhi) of the sword and so forth as desired by the mind. If those two—the Caṇḍālī and the Śvapacī—are not accomplished, one should perform the ritual sequence of the Bhaginī and Kṣamāvatī using the forms of others.
Subsequently, the Blessed One Vajra Heruka—should one practice together with the practitioner as a single entity—will undoubtedly achieve accomplishment. This is the explanation of the tenth chapter, which teaches the practice of Vetālī.
Thus, having benefited those beings to be tamed through desire and so forth by means of that sequence, the Blessed One, having realized the nature of silence, pierced the entirety of body, speech, and mind with the flavor of non-conceptual great bliss and remained in the form of the Saṃbhogakāya. For that very reason, it is said: "Then the Blessed One, the Vajra-holder," and so forth. By abiding in the absorption of the breath characterized by inhalation and exhalation, in order to arrest the breath, he entered the supreme absorption without moving or looking, and thus became non-dual with the wisdom of great bliss. This is the meaning.
Now, a request is made to such a Blessed One: "The Blessed One, the subtle vajra," and so forth. In this context, "subtle vajra" refers to the wisdom of great bliss. If one asks how it abides, it is said: "It abides in the minds of all sentient beings." The meaning is explained as follows: through the sequence of the five aspects of manifest awakening, the wisdom-being (jñānasattva) abides in the center of the source of phenomena. By dissolving into the mouth, it melts into a moon; immediately upon melting, one should generate oneself in the form of Vajrasattva and so forth, using the moon mandala and the vajra generated from the syllable HŪṂ and so on. By means of that vajra, one should generate oneself in the form of Vajrasattva and the rest.
Subsequently, through the sequence of subsequent application, one emanates the maṇḍala of the deities and, sitting in the center of that maṇḍala, should maintain the divine pride of being the principal deity. Then, following that, one should visualize a subtle vajra of bodhicitta, endowed with wisdom, at one’s own heart. At its heart, one should also place the subtle syllables such as HŪṂ and one’s own yidam deity; this is the guru’s oral instruction on the actualization of the deity’s blessing.
Alternatively, "subtle vajra" refers to bodhicitta. Generating it as the nature of emptiness, which clarifies all phenomena, is expressed by: "It dwells in the minds of all sentient beings." Thus it is said: "It dwells in the minds of all sentient beings; it is the father of all Tathāgatas, and the supreme samaya of desire." The passage beginning with "That very [nature] is explained as before" is the response that teaches conventional bodhicitta.
Desiring to show the result of the accomplishment of consuming that, it is said: "One should taste it constantly and continuously," and so forth. Having consumed it oneself, one who is learned in the mantra tantras should eat it after having realized it for oneself. The stages of purification and refinement are not explicitly taught, because the bodhicitta and so forth are purified by the yoga of the deity alone.
The passage beginning with "This tantra of Vajrāmṛta" shows the greatness of this tantra and describes its assembly. Regarding that, the phrase "although there are many meanings" refers to the many ultimate meanings of accomplishing the mudrās and so forth.
"Where" refers to the concise summary of the endowment. Regarding "the secret stage": having been endowed with the characteristics of the secret experience, because it is the entirety of the Great Vehicle (Mahāyāna) of the Vajra, and because it arises from that, it is "possessing the secret stage." As for "this is the great secret" and so forth: the union of the two secret organs is the "great secret," which is called the non-dual wisdom of great bliss. Because it is the very essence of nirvāṇa, it is called "sublime"; because great bliss is personally realized, it is "delightful." It dwells eternally within the form of male and female as the self of all. For that very reason, it is said, "the Bodhisattvas do not know it," because even if the Blessed One teaches it, they do not attain it. For that very reason, it is "formless," because it is not the domain of visual consciousness. If one asks, "What is it like?" it is "empty," because the nature of suchness is the very clearing away of the web of internal and external conceptualization. "Unchanging" means the sense of being immovable. That is "suchness," meaning the truth. Thus it is said: "The Sattva is the essence of all Buddhas; Vajrasattva is the supreme bliss. In the joy of the supreme secret, the self of all dwells eternally." Regarding "the vajra crown jewel," it is because it is the very form of the ornament of the bindu. Therefore, being extremely secret, it is called the "dhāraṇī goddess."
Regarding the phrase "abandoning" and so forth: just as it is abandoned in this tantra, I have taught it to you, O Joyful One, so you should hold it, for it is extremely rare. Immediately after speaking thus, the Blessed One, together with the maṇḍala, became a subtle form. In the essence of great bliss, the nature of the wisdom of the perfection of insight, the identity of the three realms, the characteristic of the non-duality of all things, the source of phenomena (dharmodaya), the triangular expanse of the syllable E, the bhaga, he dwelt pervading the three [bodies] with the dharmakāya and saṃbhogakāya. Therefore, the yogi should also familiarize himself with the deity yoga and abide in the body of the gathered saṃsāra outside.
This is the tantra called the Vajrāmṛta, which possesses the secret meaning of extremely difficult words and secrets. From this, the stainless fool who desires to explain the meaning exactly as it is has arisen. Whatever stainless virtue I have gained from this commentary by knowing a little, may that also clear away the web of conceptualization for this entire world without exception, and may they be equal to supreme bliss. For the sake of the cause of the accomplishment of the non-dual mind of supreme bliss, the commentator of this heart of the infinite tantras is the one who has achieved the culmination of mantra through the joy of desire, and is thus called the stainless Bhadra.
Translation status: Not among 84000's published translations, and not in progress there. Translations published elsewhere have not been searched for, so one may exist. (source: 84000 catalogue + registry; checked 2026-11-10).
Set in Newsreader and EB Garamond; Tibetan in Noto Serif Tibetan; Chinese in Noto Serif SC.