Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a detailed ritual manual for the practice of the Buddhakapāla Tantra, centering on the visualization and invocation of the deity Heruka and his consort Viśvamātā. The text guides the practitioner through a complex process of internal and external transformation, beginning with the incineration of the physical body into emptiness via the syllable HŪṂ and the subsequent construction of a multi-storied palace maṇḍala. The practitioner is committed to a rigorous meditative architecture involving the visualization of seed syllables, the four great elements, and a retinue of twenty-four goddesses. The ritual culminates in the attainment of empowerment and the offering of nectars and cakes to elemental spirits. By integrating somatic markers—such as the seven locations of the body—with mantra recitation and deity yoga, the text aims to transition the practitioner from the mire of saṃsāra to a state of wisdom and empowerment through the identification with the wrathful deity.
Provenance
About this text
A ritual manual for the practice of the Glorious Buddha Skull, the Śrībuddhakapālasādhana belongs to the genre of sādhana and is attributed to the Indian author Saraha (II). The work was translated into the Tibetan language by Gayādhara and bod kyi lo tsa ba gyi jo zla ba’i ’od zer. It is preserved in the Tengyur, volume ར, where it spans nine pages and is categorized within the Other Wisdom Tantras collection of the classical Tibetan period. The text enacts a complex process of deity yoga and internal transformation, beginning with an invocation of Viśvamātā and the incineration of the physical body into emptiness through the syllable HŪṂ. It guides the practitioner through the visualization of a sun disk, a crossed vajra, and the four great elements, culminating in the construction of a multi-storied palace maṇḍala adorned with bells and pillars. A scholar or serious reader consults this work today to examine the specific meditative architecture and somatic markers used to transition the practitioner toward empowerment, as well as the integration of seed syllables and mantra recitation within the ritual framework of the Buddhakapāla tradition.
Sanskrit title
Śrībuddhakapālasādhana
Indian author
Saraha (II)
Tibetan translators
Gayādhara, bod kyi lo tsa ba gyi jo zla ba’i ’od zer
Cite thisAnuvāda, “A Sādhana for the Glorious Buddhakapāla Tantra” (Toh 1655), machine draft, 2026.https://naxiai.com/tibetan/works/toh1655
Summary & commentary
Significance
The work is significant as a representative example of the Anuttarayoga Tantra tradition, specifically the Buddhakapāla cycle, illustrating the use of wrathful imagery and seed-syllable visualization to achieve rapid transformation. For the modern reader, it demonstrates the intersection of somatic practice, sacred geometry, and the ritualized use of taboo substances (the five nectars) to transcend dualistic perceptions.
Structure
Passages
Section
Description
1-3
Preliminary and Visualization
Introduction, homage to Viśvamātā, and the visualization of the body's incineration and the construction of the elemental maṇḍala and palace.
4-5
Deity Description
Detailed iconographic descriptions of Heruka, his consort Viśvamātā, and the goddesses residing on the spokes of the maṇḍala.
6-9
Ritual Practice and Empowerment
Instructions on the interaction with the twenty-four goddesses, the manifestation of Heruka, somatic mantra placement, and the necessity of empowerment.
10-12
Offerings and Conclusion
Visualization of the five nectars and meats, the structure of the emanation wheels, and the final mantra for offering cakes to elemental spirits.
Themes
Deity Yoga and Visualization (2-7, 11)
Somatic Ritualism (8)
Empowerment and Wisdom (9)
Ritual Offerings (10, 12)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana for the Glorious Buddhakapāla Tantra·
In the language of India: Śrī-buddhakapāla-sādhana-nāma. In the language of Tibet: dPal sangs rgyas thod pa’i sgrub thabs zhes bya ba (The Sādhana of the Glorious Buddha Skull). Homage to the Glorious Buddha Skull!
I bow perpetually to Viśvamātā, who possesses the profound qualities of the Blood-Drinker (Heruka), who is the supreme nature of all phenomena, and who delights in benefiting all sentient beings.
Just as it was taught by the Guru, I shall explain this sādhana, which has come down through the lineage of Gurus, so that any sentient being may understand it.
First, the yogi should sit upon a comfortable seat. At one’s own heart, there is a moon maṇḍala arisen from the first vowel (A). Upon that, one should visualize the syllable HŪṂ, endowed with five-colored light rays, the essence of the five Tathāgatas.
Then, from the light rays of that HŪṂ, the offering goddesses such as Yamadaṃṣṭriṇī and others are emanated. One should make offerings of the five nectars to Heruka, who embraces Viśvamātā and is surrounded by the twenty-four yoginīs, such as Mālavatī and the rest.
Having made perfect offerings with all these, one should, in his presence, recollect the Three Jewels and so forth, and perform the confession of misdeeds and other practices. In the Yoga Tantras, compassion is meditated upon first; however, in this Yoginī Tantra, loving-kindness should be meditated upon first. Following that, compassion is practiced, and at the end of all [the others], equanimity is practiced. Then, one should visualize a HŪṂ situated upon a sun disk at one’s own heart.
Then, ignited by the maṇḍala of the wind below, light rays radiate from the syllable HŪṂ, completely incinerating the entire body; one should contemplate everything as emptiness. Then, from the transformation of the syllable RAṂ comes a sun disk. Upon the sun disk, from the complete transformation of those syllables HŪṂ, comes a crossed vajra. In the center of the crossed vajra, one should contemplate only the syllable HŪṂ. From this, black vajra light rays radiate, and one should bind the boundaries with a fence and a lattice. From the transformation of the vajra, one should meditate on the ground of the crossed vajra. In the center of the vajra ground, one should meditate on the source of phenomena (dharmodaya) in the form of a triangular E. Then, in its center, one should contemplate the four great elements. From the transformation of YAṂ, one should contemplate a bow-shaped maṇḍala of wind, marked by two banners. Furthermore, the yogin should abide in its center, which has the form of the moving channels and is the place where all the wheels are dissolving. This explains the purification of the wind. From the transformation of RAṂ, one should visualize a red triangular maṇḍala of fire, blazing and marked by seven flames, which causes the [essence] to drip from the locations of the eighteen channels. From the transformation of VAṂ, one should contemplate a white circular maṇḍala of water, marked by a vase, and contemplate all the channel wheels dissolving into the maṇḍala of water. From the transformation of LAṂ, one should contemplate a yellow square maṇḍala of earth, marked by a vajra.
In that way, one should meditate on the maṇḍala of the four great elements as blessed by the four syllables. Then, from the transformation of the four great elements, one should visualize a four-sided, multi-storied palace adorned with four gates and four archways, decorated with lattices and half-lattices, beautified by networks of tinkling bells, and embellished with eight pillars. In the center of this, one should visualize an eight-petaled lotus. In the center of that, one should visualize a corpse, the nature of the dharmadhātu. There, from the transformation of the thirty-two syllables formed by doubling the sixteen vowels beginning with a, there arises a moon maṇḍala. This is the purity of the mirror-like wisdom (ādarśa-jñāna).
There, from the forty syllables formed by adding the six—ya, ra, la, va, ḍa, ḍha—to the thirty-four consonants beginning with ka, and doubling them to eighty syllables, there arises a sun maṇḍala. This is the nature of the wisdom of equality (samatā-jñāna). In the center of these, one should visualize the syllable HŪṂ, representing insight and method. This is the nature of the discerning wisdom (pratyavekṣaṇā-jñāna). From the transformation of HŪṂ, one should also visualize a HŪṂ at the hub of the vajra. This is the nature of the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna).
From the complete transformation of these, one should meditate on the Buddha Skull Heruka embraced by Viśvamātā, possessing a radiance equal to a white kunda flower and the moon, shining like the moon and emitting light like the glow of a jewel, with one face and four arms.
In the right hand is a curved knife and a skull-cup; in the left, a khaṭvāṅga and a vajra. One should understand these as being meditated upon according to the oral instructions. His consort, Viśvamātā, has one face and two hands, her hair is loose, and she embraces Heruka. She is naked, wears a garland of heads, and carries the sacrificial thread. She perceives all bliss and possesses a beautiful form. In her right hands she holds a hand-drum and a curved knife; in her left, she brandishes a khaṭvāṅga and holds a skull-cup. One should meditate on her as having the form of the Blessed One. On the eastern petal is Mālikā, white in color. On the northern petal is Kāminī, yellow in color. On the western petal is Bhīmā, red in color. On the southern petal is Durjayā, black in color. These should be visualized as dwelling upon sun discs in the dancing posture of half-lotus, with one face and two hands holding a curved knife and a skull-cup. On the four intermediate petals are four skull-cups filled with nectar. The central petal is adorned with a vajra garland. On the eight spokes of the second tier, which is adorned with a lotus garland: on the eastern spoke is Śubhamekhalā; on the northern spoke is Rūpiṇī; on the western spoke is Vijayā; on the southern spoke is Kāriṇī; on the Ishāna spoke is Khaṇḍarohā; on the Agni spoke is Mahāyudhā; on the Nairṛti spoke is Tantrī; and on the Vāyu spoke is Māriṇī. These yoginīs are red in color and dwell upon sun seats.
She has one face and two hands, abides in the dancing posture of half-lotus, and holds a curved knife and a skull-cup in her hands. On the eight spokes of the third tier, adorned with a vajra garland, are the following: on the eastern spoke is Tārakī; on the northern spoke, Bhīmā; on the western spoke, Lāmā; on the southern spoke, Aparājitā; on the northeast spoke, Śubhā; on the southeast spoke, Kṣepaṇī; on the southwest spoke, Kālarātri; and on the northwest spoke, Mahāyaśā. These yoginīs are white in color, abide upon sun seats, and have one face and two hands, holding a curved knife and a skull-cup. At the eastern gate is Lāsyā, white in color; at the northern gate, Dhāraṇī, yellow in color; at the western gate, Bhadrā, red in color; and at the southern gate, Yaśodharā, black in color. These yoginīs abide upon corpses and sun seats, are of the nature of Maitreya and the others, and stand in the posture with the left leg extended, performing a dance. They have one face and two hands, hold a curved knife and a skull-cup, and gaze intently at Heruka. One should meditate on all the yoginīs—excluding the gatekeepers—as abiding in the dancing posture of half-lotus, their waists wrapped in tiger skins, adorned with bone ornaments, shrouded in red light, with yellow hair blazing upward, and all of them with mouths spitting blood and possessing semen. At the time of the completion of the Blessed One, all the yoginīs are perfected instantaneously from the syllable HŪṂ.
In that way, one should meditate on oneself as being endowed with the twenty-four goddesses. Then, having been worshipped by the twenty-four goddesses, he partakes of the five nectars in the skull cup. Then, having visualized the syllable A on the lotus of Viśvamātā and the syllable Hūṃ on the vajra of Heruka, the vajra and lotus of both Viśvamātā and the Blessed One are joined. Furthermore, having engaged in desire with the twenty-four goddesses, through the great passion of intense attachment, he melts and abides as seminal fluid in the center of a sun maṇḍala. Upon seeing that seminal fluid, the gatekeepers, whose natures are loving-kindness and so forth, exhort him with songs:
"If the world is being crushed, why are you not pleased? If you would listen to my words, abandon all displeasure." This is the exhortation of Lāsyā.
"Do not make your mind empty; make your own intention renowned. Since all beings are deceived by the fears of existence, arise, O friend of the yoginīs!" This is the exhortation of Mālyā.
"O Lord, if you would listen to my words, do not neglect your activity. If you are not seen, all beings will fall into the lower realms and become unhappy." This is the exhortation of Gītā.
"Do not harbor false pride; see the nature of emptiness through renown. Abandon all entities and enjoy the assembly of yoginīs!" This is the exhortation of Nṛtyā.
Immediately upon being exhorted by these songs, from the form of the seminal fluid, from those two syllables A and Hūṃ, a curved knife and a vajra [arise].
From the curved knife and the vajra, Heruka appears, blue in color, with one face and four arms. Prior to the proclamation of the syllable HŪṂ by the principal deity, he is endowed with the previously described marks. He abides in the dance posture of the half-lotus, possessing a terrifying and wrathful nature, clad in a tiger-skin garment, and wearing a garland of forty-nine fresh heads. One should visualize the principal deity as the great fierce one, laughing intensely, whose nature is compassion, and who wears the sacrificial thread.
He is adorned with armlets, necklaces, bracelets, and a belt bound at the waist. His anklets resound with a tinkling sound as he utterly subdues all māras. He is perfectly endowed with a crown of matted locks and has the five buddhas as his head-ornament. The deity holds the crescent moon and is pressed upon by a crossed vajra upon his head. The protector holds the five mudrās: the wheel, earrings, necklace, bracelets, and the belt itself. He is smeared with the dust of ashes and is fearsome. His skull-cup is adorned with pearls; the hero liberates beings from saṃsāra. Having the nature of the seed of awakening, one should meditate with unshakable breath.
The principal deity’s great wisdom consort, Viśvamātā, the yoginī, is naked and free of a garland of heads. She is without ornaments and free of the sacrificial thread, possessing all bliss. She has one face and two arms, with loose hair and a white complexion. Her face is highly expressive, and she is fearsome with her fangs slightly bared. In her right hands she holds a hand-drum and a curved knife; in her left, she holds a khaṭvāṅga and a skull-cup. One should meditate on the goddess of the perfections in this manner.
Now, one should perform the ritual at the seven locations of one’s own body: the heart, the forehead, the crown of the head, the two shoulders, the two eyes, the secret place, and the entire body, using these mantras: OṂ HĀṂ HAIṂ HEṂ HĀṂ HĀṂ HĀṂ. At the heart, from HŪṂ, arises the Vajra Mind; at the throat, from ĀḤ, arises the Vajra Speech; at the crown, from OṂ, arises the Vajra Body. Having blessed the body, speech, and mind, one should invite the Jñānasattva. Visualizing the light rays of the HŪṂ situated upon the moon at the heart as being like hooks, one recites the mantra with a majestic bearing: OṂ BUDDHAKAPĀLINI ĀḤ KHAṂ GRAṂ DRŪṂ ŚRŪṂ AḤ AḤ AḤ HŪṂ HŪṂ HŪṂ PHAṬ. By reciting this, the Jñānasattva is summoned and made to enter the Samayasattva; one should contemplate that they dissolve into one like water and milk.
Having thus seen the Hero complete, the channel-wheels overflow. From that flow, one should generate eight Yoginīs, twelve years of age, adorned with youthful forms, wearing various garments, and endowed with the great compassion of all the Tathāgatas. They abide in the direction of space, holding eight vases completely filled with bodhicitta and adorned with mango leaves. With faces of supreme clarity and laughter, they cry out, "Victory to Heruka!" Upon seeing them, the Protector, one should supplicate for the supreme empowerment:
"O Compassionate One of great renown,
Empower me, O Vajrayoginī!"
"Me, who am submerged in the mire of saṃsāra, deliver me through empowerment! Just as a house without an heir becomes empty immediately upon the death [of the owner], likewise, if one is devoid of empowerment, one will be empty of all wisdom. This verse teaches the secret empowerment. Just as a lute, though all its parts are assembled, cannot be played if it lacks strings, likewise, if one is devoid of empowerment, mantra and meditative concentration will not be accomplished. This verse teaches the wisdom-gnosis empowerment. It is also said that the fault of lacking empowerment is great: 'Any fool who, without empowerment, says, "I am empowered," will go to hell along with his disciples for as long as the Buddhas remain.' This verse teaches the fault of lacking empowerment. Thus, O Yoginī, please know this; pray, grant me empowerment once more! If empowerment is not born, may I become Heruka!" Then the Yoginīs, saying "May you be victorious," performed the ritual bath and empowerment for the Blessed One. By the mere conferral of the outer and secret empowerments, the sound of drums resounded from the expanse of space, and a rain of sandalwood and flowers fell. Once the empowerment was complete, the Yoginīs dissolved into the channel-wheels. All the deities of the maṇḍala circle were sealed by their respective families. Then, one should worship the Blessed One with songs of praise, offerings, and the five nectars. Then, from the transformation of the syllable YAṂ, the wind maṇḍala [arises]..."
Above that, from the transformation of RAṂ, arises a fire maṇḍala. Above that, from the transformation of AṂ, arises a skull cup. In the center of the skull cup, from the transformation of VI-MU-RA-ŚU-MA, arise the five nectars. One should visualize the five meats from the transformation of GO-KU-DA-HA-NA. Then, the wind ignites the fire, and the fire heats the skull cup, from which steam emerges in the form of vajras. Furthermore, to cool it, about a span above the skull cup, from the transformation of OṂ, arises a moon maṇḍala of the nature of nectar, blessed by the syllable OṂ; from that, nectar falls like snow, and it becomes cool. One should satisfy the deities with the three suchnesses. Then, one should constantly meditate on the maṇḍala circle as being like a dream or an illusion. At the navel is ĀḤ; at the heart, HŪṂ; at the throat, OṂ; and at the forehead is the indestructible HAṂ, possessing sound and the bindu.
By the four great elements, earth and so forth, the four wheels are thoroughly distinguished. They are blessed during the four sessions and perfectly arise from the four lotuses. By the nature of the four joys, they rely entirely upon the four unions. In the form of supreme joy, the agent of activity is the nature of the glorious form of Vajrasattva. Enjoy yourself here as you please. By meditating on the coming and going of the winds, they dissolve and great bliss arises. The eight petals in the cardinal directions are the nature of the four great elements. The four petals in the intermediate directions are the nature of the five nectars; there they abide in the form of offerings.
Through the divisions of body, speech, and mind, twenty-four are correctly taught. That very external maṇḍala is of the nature of twenty-four. Together with Viśvamātā, the Blessed One resides in the center. In the center of the sixty-four emanation wheels is the syllable OṂ in the form of a bindu. In the center of the eight heart wheels is the syllable HŪṂ in the form of a bindu. When the light rays of the OṂ travel upward and the light rays of the HŪṂ travel downward, and both meet and dissolve into the form of the bindu, at that time bliss is attained. In that way, one should meditate on the exiting and entering. By training in the application for six months, there is no doubt that accomplishment will be achieved here. If one becomes weary from meditating, one should perform the mantra recitation: OṂ HRĪḤ BUDDHA HŪṂ KAPĀLINI ĀḤ. For entering, OṂ; for exiting, HRĪḤ; for abiding, BUDDHA; for bliss, HŪṂ; for setting, KAPĀLINI; for arising, ĀḤ. In that way, one should perform the mantra recitation through the inner nature of the six limbs. Through the application of training in this very [practice], one becomes a buddha; it is not otherwise. This is the root mantra: OṂ BUDDHA KAPĀLINI. OṂ HRĪḤ HAI HŪṂ PHAṬ. This is the heart mantra: OṂ KAPĀLA VAJRĪNI HŪṂ HAṂ DURKṢE HŪṂ PHAṬ. This is the near-heart mantra: OṂ MAHĀKAPĀLA VAJRE CETRIPU CATRI ALAMBANE PRINAYA SARVABHŪTAMĀRĀN MĀRAYA SARVAMĀRĀN KĪLAYA SARVADUṢṬĀN UCCHĀṬAYA SARVAVIGHNĀN VITRĀYA BHO BHAGAVATI YAKṢA RAKṢA.
SAPIŚĀCANA ŚOṢAYA TRAYA SAPTAPĀTĀLAGATA NARASARA SARAPRASARA HŪṂ HŪṂ HŪṂ PHAṬ PHAṬ PHAṬ. Having emanated the maṇḍala four times during the four sessions, the offering cake should be presented here. This is the mantra for the offering cake to all elemental spirits. The Sādhana of the twenty-five deities of the Buddhakapāla, composed by the great master Saraha, is complete. It was translated and edited by the great Indian abbot Śrī Gayādhara and the Tibetan translator Gyijo Dawé Özer.
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.