Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a ritual procedure for the practice of the Rigyārali Tantra, focusing on the generation of a complex deity mandala and the attainment of empowerment. The text instructs the practitioner to establish a physical and mental environment conducive to meditation before visualizing a mandala at the summit of Mount Meru, constructed from the transformation of the sixteen vowels and consonants. The ritual involves the visualization of naked female deities performing a dance with ritual implements, specifically the curved knife and skull-cup. The practitioner is committed to a process of self-transformation, generating the wisdom-being from the heart center and seeking empowerment through the sprinkling of five nectars. By cultivating divine pride and utilizing specific mantras, the practitioner aims to align their identity with the deity, transitioning from an ordinary state to an empowered state within the framework of the Heruka Vajra tradition.
Provenance
About this text
A ritual manual for the practice of Rīgyārali, the Rigyāralisādhana is a sādhana belonging to the classical Tibetan tradition. It was translated into Tibetan by shA kya’i dge slong rin chen grub and is preserved in the Tengyur, volume ར, where it is categorized within the Other Wisdom Tantras. Spanning three pages in this edition, the work enacts a complex visualization process. It directs the practitioner to establish a meditative seat and visualize a maṇḍala at the summit of Mount Meru, constructed from the transformation of consonants and the sixteen vowels. The ritual involves the generation of the wisdom-being at the heart center and the visualization of naked female deities who dance while holding skull-cups and curved knives. Scholars and serious readers consult this text to examine the specific iconographic and meditative procedures used to align the practitioner with the deity through the use of syllables, light rays, and ritual implements.
Cite thisAnuvāda, “A Sādhana for the Rigyārali Tantra” (Toh 1658), machine draft, 2026.https://naxiai.com/tibetan/works/toh1658
Summary & commentary
Significance
The text is significant as a representative example of the visualization and empowerment rituals characteristic of Anuttarayoga Tantra. It demonstrates the use of seed syllables and the transformation of linguistic elements into sacred geometry to facilitate a shift in consciousness.
Structure
Passages
Section
Description
1
Preliminary Setup
Instructions on the physical environment and initial visualization.
2
Mandala Construction
The visualization of the mandala at Mount Meru based on the transformation of vowels and consonants.
3
Deity Generation
Description of the female deities and the generation of the wisdom-being at the heart.
4
Empowerment and Divine Pride
The process of supplication, the ritual sprinkling of nectars, and the cultivation of divine pride.
Themes
Visualization of Sacred Space (2)
Transformation of Language into Form (2)
Ritual Empowerment (Abhiṣeka) (4)
Divine Pride (4)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Rīgyārali-sādhana. In the language of Tibet: Rigyārali'i sgrub thabs (The Sādhana of Rīgyārali). Homage to the glorious Heruka Vajra.
First, for a time, the mantra practitioner should sit on a comfortable seat in some pleasant location. Visualizing the Tathāgatas and others residing in the direction of space through the light rays of the syllable HŪṂ situated upon a sun maṇḍala at one's own heart, and having made perfect offerings, one should perform the confession of misdeeds and so forth. Having meditated on the four immeasurables, one should meditate on emptiness.
From YAṂ arises a wind maṇḍala marked by a vajra-banner; from RAṂ arises a fire maṇḍala marked by a vajra; from VAṂ arises a water maṇḍala marked by a vajra; and from LAṂ arises an earth maṇḍala marked by a vajra. Above that is the source of phenomena (dharmodaya), which is the complete transformation of the syllable REPHA. In its center is a multicolored lotus, upon which is a sun maṇḍala. Upon that, from the syllable HŪṂ, one should meditate on a vajra, a vajra fence, and a vajra canopy, which are the nature of the ground. In the center of the pericarp of the multicolored vajra born from the syllable HŪṂ...
At the summit of Mount Meru, upon the anthers of a variegated lotus arisen from a crossed vajra, there is a maṇḍala formed from the complete transformation of the sixteen vowels doubled. Upon a sun maṇḍala formed from the complete transformation of the consonants beginning with ka, one should visualize the syllable ri-gi and the syllable hūṃ, from which arise a hook and a vajra; these completely transform into the ri-gi āralī.
He is black, with three eyes and six arms. With two hands, he embraces the goddess ri-gi with a noose and a hook. His two right hands hold a wheel and a hand-drum (ḍamaru); his two left hands hold a skull-cup and the head of Brahmā. With two hands, he embraces the consort of insight (prajñā). With his left leg extended, he tramples Bhairava. He is entwined like a tree-climbing vine by the feet of ri-gi. He is adorned with the five mudrās and the like, and is smeared with the dust of ashes.
Siṃ is green Siṃhī; kāṃ is yellow Kāminī; aṃ is red Ema Devī; śaṃ is black Hiṃsī. These are on the blue Mind Wheel. In its four corners are four skull-cups, the purification of the charnel grounds.
Ghāṃ is green Caṇḍī; tāṃ is yellow Tīkṣṇī; māṃ is red Mahāmāyā; uṃ is black Uḍḍīyānī. These are on the red Speech Wheel. In its four corners are four skull-cups, the purification of the near-charnel grounds.
Je is green Jambukī; hrīṃ is yellow Mahāmahiṣī; rāṃ is red Hayakarṇī; gāṃ is black Gajadantinī. These are on the Body Wheel, to be arranged in the directions starting from the east in clockwise order.
All of these are naked women with hair flowing upward, each with one face and two hands; the right hand holds a curved knife and the left hand holds a skull-cup, performing a dance. At one's own heart, from a hūṃ syllable and a vajra resting upon a moon, the wisdom-being (jñānasattva) is generated. At his heart, a hūṃ syllable resting upon a moon emits light rays in the form of hooks. With the hook mudrā, one recites: jñānacakram dṛḍho me bhava, susthoṣyo me bhava, supoṣyo me bhava, sarvasiddhiṃ me prayaccha, ehyehi bhagavati ṛgī svāhā, jaḥ. Having summoned [the deities] with this, one causes them to enter with the syllable hrīḥ, binds them with the syllable haṃ, and pleases them with the syllable gaṃ. Having pleased them, one should perform the consecration at the crown, throat, heart, navel, and secret place with oṃ āḥ hūṃ svāhā. One should place [the syllables] upon the limbs with the lasso mudrā at the crown, both armpits, navel, mouth, eyes, soles of the feet, and secret place, using ha hā hi hī hu hū he hai. As for the hook mudrā: the little fingers are interlaced in the shape of hooks, the two middle fingers and thumbs are aligned, and the thumbs are pressed together. As for the lasso mudrā: the threatening forefinger is pressed by the thumb. From the heart of the wisdom-being, light rays in the form of hooks from the hūṃ syllables at the four places perfectly invoke all the tathāgatas. One recites: oṃ sarvatathāgatāḍākinī anugata mahyaṃ.
One should make the supplication with the words: abhiṣekaṃ dadantu. One should sprinkle with the five vases of the five nectars, which are the essence of the five buddhas; by this, the deities are empowered. One should cultivate the divine pride with: oṃ sarvatathāgatāḍākinī abhiṣekavajrasvabhāvātmako ’haṃ. One should recite the essence mantra: oṃ āralli ccyoḥ ccyoḥ ccyoḥ ccyoḥ ha ha ha sa sa sa udātta. The two near-essence mantras to be recited are: ha ha ha hūṃ hūṃ hūṃ svāhā. The root mantra is: oṃ āralliri gi poṃ poṃ poṃ bhyoḥ svāhā. oṃ khaṅgati jasantvānām akāro mukhaṃ sarvadharmāṇām ādyanutpannatvāt hūṃ svāhā. This is the mantra for the torma offering. The Sādhana of Rigi Āralli is complete. Translated exactly according to the Sanskrit manuscript by the Śākya monk Rinchen Drub.
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.