Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This commentary provides a technical exegesis of a Vajrasattva sādhana, focusing on the precise visualization and ritual implementation required for the practice. The text functions as a manual for the practitioner, detailing the spatial arrangement of the maṇḍala, the specific identities of accompanying deities such as the six yoginīs and the ten deities of the cardinal directions, and the symbolic meaning of ritual elements. It guides the reader through the process of generating the deity from the clear light, the measurement of the sacred space in divine yojanas, and the transformation of physical and mental aggregates into the form of the deities. By explaining the intersection of insight and method—specifically regarding the visualization of seminal fluid and the role of mantras—the text commits the reader to a rigorous, detailed mental discipline intended to achieve the state of the samādhi-sattva and the realization of the two stages of tantric practice.
Provenance
About this text
A commentary on the sādhana of Vajrasattva, the Vajrasattvasādhananibandha belongs to the classical Tibetan tradition. The work is attributed to the Indian author Līlāvajra. It was translated into Tibetan by dge slong rin chen grub and is preserved in the Tengyur, volume ངི, where it is situated within the collection of the Guhyasamāja and Related Tantras. Spanning ten pages in this edition, the work provides a technical exegesis of ritual practice, focusing on the precise visualization and implementation required for the sādhana. It enacts a detailed manual for the practitioner, detailing the spatial arrangement of the maṇḍala, the identities of accompanying deities such as the six yoginīs and the ten deities of the cardinal directions, and the symbolic meaning of ritual elements. The text guides the reader through generating the deity from the clear light and the transformation of physical and mental aggregates into the form of the deities. A scholar or serious reader consults this work today to understand the intersection of insight and method, specifically regarding the visualization of seminal fluid and the role of mantras, as part of a rigorous mental discipline intended to achieve a specific spiritual state.
Cite thisAnuvāda, “A Commentary on the “Vajrasattva Sādhana”” (Toh 1815), machine draft, 2026.https://naxiai.com/tibetan/works/toh1815
Summary & commentary
Significance
The work is significant for its preservation of the precise iconographic and spatial requirements of Vajrasattva practice within the Indo-Tibetan tradition. For the modern reader, it illustrates the complexity of tantric visualization and the conceptual framework used to transform ordinary perception into a purified divine environment.
Structure
Passages
Section
Description
1-5
Ritual Visualization and Maṇḍala Construction
Initial homage and detailed instructions on the placement of deities, the generation of Vajrasattva from clear light, and the physical dimensions of the maṇḍala.
6-9
Tantric Method and Transformation
Discussion of the union of insight and method, the role of bodhisattva mantras, and the manifestation of the dharmakāya and nirmāṇakāya.
10-12
Deity Arrangement and Final Integration
Instructions on the arrangement of consorts and bodhisattvas, the visualization of the syllable HŪṂ, and the final mental imputation of the deities.
Themes
Maṇḍala Spatiality (2-5)
Transformation of Aggregates (7, 12)
Union of Insight and Method (6)
Syllabic Visualization (9, 11)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Vajrasattvasādhananibandha. In the language of Tibet: Rdo rje sems dpa’i sgrub thabs kyi ’grel pa (The Commentary on the Sādhana of Vajrasattva). Homage to the glorious Vajrasattva!
Having bowed my head with pure and great devotion before the Victorious One, the Son of the Victorious Ones, Nāgārjuna, I, Candrakīrti, shall explain with effort the difficult-to-understand terminology of the commentary composed by [Nāgārjuna] that thoroughly realizes the Sūtras.
Regarding the "Vehicle of the Buddhas": "Conceptualization" refers to being skilled in meditating on the deities of the generation stage, having moved away from the meditation on luminosity. "The six parameters" refers to being devoid of the distinctions of explanation, such as the definitive meaning and the provisional meaning. "As it is" means that because there is no knowledge of the profound meaning, one proceeds by means of the well-known literal meaning of the words.
"From the moon" means generation by way of the moon and the vajra. "Existence" refers to the sequence of birth from a womb. "Five aspects" refers to the sequence of the moon, the sun, the seed-syllable, the sign, and the radiation and reabsorption. "In an instant" means the abandonment of the seed-syllable and the sign.
"Thirteen" refers to the four [consorts] such as Locanā and the five [Buddhas] such as Akṣobhya in the central maṇḍala, which makes nine. With the four such as Yamāntaka at the outer gates, there are thirteen. "Nineteen" refers to the sequence of the master Śīlamañju and others. "Twenty-five" refers to the nine as before in the central maṇḍala.
Externally, there are the six yoginīs, such as Rūpavajrā and the rest; and outside of that, in the cardinal and intermediate directions, are the ten, such as Yamāntaka and the rest. Regarding the phrase "having realized the two stages," it means having individually realized the meaning of the two stages by way of hearing. Regarding "of the mantra," it refers to the certainty of the form of Vajrasattva arising from the mantra that is produced without interruption from the entry into the clear light of the maṇḍala of superior resolve and the maṇḍala of the body. Regarding "the teaching of the intention," it refers to the vivid appearance of the seed syllables, such as Oṃ, which are thoroughly imputed upon the body of Vajrasattva. Regarding "the formal arrangement," it refers to the certainty of the underlying intention to establish that one should meditate on this immediately thereafter without interruption. Regarding "the teaching of reality," it refers to entering the clear light according to the specific occasion. Regarding "all sentient beings," the meaning is: first, having made perfect offerings to the Blessed One according to the oral instructions, and having performed the confession of misdeeds and so forth in his presence, one should meditate on compassion for all sentient beings who are possessed of suffering. Regarding "great wilderness," the region of a great wilderness is a supreme location. Regarding "fruit," it refers to a portion of a mountain that is distinguished and delightful by its fruits, flowers, water, and so forth. "Devoid of people" is intended here as being completely secluded. "All" refers to all mundane and supramundane accomplishments.
The summary of those is that which is correctly gathered and accumulated, which is the body of Vajrasattva. "White" is the remainder, meaning that he then abides in the center of a ten-spoked wheel. "Space" means he is generated from the instantaneous clear light. The "buddha maṇḍala abiding in the center of that" is Vajrasattva. The "great mass of clouds of light rays" is the aggregate of universal illumination. "Light like the blazing of a buddha" means adorned with five light rays like a rainbow. "The first" refers to Akṣobhya, the lamp of primordial wisdom; because he is indivisible, he is the vajra, and the meditative absorption focused upon him is one-pointed mind, which he has manifested. "All tathāgatas" refers to the Great Vajradhara, who is the nature of the body, speech, and mind of all tathāgatas. The "vidyā-puruṣa" is the nature of the two truths. "Akṣobhya" means in the form of the body of Akṣobhya. "All" refers to the Great Vajradhara. "Long HŪṂ" means one should visualize ten HŪṂ syllables, which are the transformation of the bodhicitta fallen into the lotus of the consort. "From the ten directions" means they abide upon the ten spokes situated in the ten directions. Regarding "wrathful," "hatred" is Akṣobhya; "born from his state" means born from that seed-syllable HŪṂ.
Regarding "killing," this refers to the essential nature of the act of killing, which is performed by way of meditating upon those [deities]. Regarding "vajra," the "Vajra Nectar" is Amṛtakuṇḍalī; the "Vajra Kīla" is the form of the ten kīlas. "At the peaks of the ten directions" means in the ten directions. "Should be emanated" means blazing with rays of light. Then, "of the desire" means abiding in the four directions. Regarding "meditative concentration," the question "by which meditative concentration?" refers to piercing the malevolent ones with the kīlas. "Yidam" refers to practicing during the four sessions. "Where" means in whatever place is agreeable to the mind, there one should practice in equipoise. "By this meditative concentration" means by meditating on the ritual of protection. Regarding "Buddha," for one who habituates themselves to the deity yoga of Vajrasattva and so forth, they are blessed by their own deity and become one. "Non-existent" is clarified in the sequence of the Piṇḍīkṛta-krama. "Space-vajra" means space. "Abiding in its center" means abiding within it. "Born from all vajras" means the complete transformation of all maṇḍalas, such as the wind-vajra and so forth. "The syllable Bhrūṃ" means the seed-syllable Bhrūṃ, which is the foundation for the palatial mansion upon the earth-element. "Vajra" means radiating and perfecting the assembly of Tathāgatas in the ten directions. "The extent of a hundred yojanas" means...
Each side is twenty-five yojanas in measure. However, since it is established that this is to be measured in the yojanas of the gods and so forth, it is simply a yojana. Its width is twenty yojanas from the Brahmā-line to the respective boundaries of the gates; thus, the width becomes eight units internally. "Square" means it possesses four corners. "Exceedingly beautiful" means it transcends the [beauty of] gods and humans. "The four actual jewels" means it is produced in four colors. "Like a stūpa" means it is an object of worship, a stūpa. "Luminous" means like crystal. "Naturally stainless" means it is free from all faults without exception. As for that which is luminous, it is crystal; in the multi-storied palace of that very essence, the deities of the maṇḍala appear even to those dwelling outside. "Various forms" means it is produced in colors such as sapphire and so forth. "Buddhas" means it is pervaded by the deities of the maṇḍala who have been emanated. "Radiating light" means a maṇḍala agitated by the blazing light rays of the wrathful deities in the ten directions. "Maṇḍala" means it is endowed with moon and sun seats. "All" refers to the multi-storied palace that is the abode of all the Tathāgatas. "Elements" refers to the knowledge goddesses; following them are the [goddesses] such as Rūpavajrā, whose nature consists of the objects such as form. "Cast" refers to those made from wood and so forth.
Regarding the phrase "the seminal fluid dripping from the samaya": the essence of the melted [fluid] produced from the union of insight and method should be visualized instantaneously within the maṇḍala as the very deities of the maṇḍala, abiding exactly as they are.
Regarding the phrase "one who desires the fruit should drink by means of the ritual": by means of the ritual beginning with "the aggregate of form is the mirror-like [wisdom]," one who seeks the fruit of buddhahood itself should internalize [the deities] just as they abide within one's own aggregates.
Regarding the phrase "if the assembly of Tathāgatas is slain": one's own aggregates, which are fully accomplished as the forms of all the Tathāgatas and so forth, should be gradually dissolved into emptiness.
Regarding the phrase "the ultimate": from the complete transformation of the syllable HŪṂ comes a sun maṇḍala; from the syllable OṂ comes a moon maṇḍala; and from the syllable ĀḤ comes a lotus.
Regarding the phrase "wisdom": by entering into meditative equipoise upon mind-only, [the visualization] becomes stable and is internalized within the minds of all living beings.
Regarding the phrase "the three": this refers to the three syllables, which are the primary culmination of all mantras.
Regarding the phrase "the great": this refers to the meditation on the body of Vajrasattva.
Regarding the phrase "the end": this refers to that from which existence proceeds without interruption toward enlightenment; because it is the very culmination of that, it is called "the end."
In that regard, those who abide there are the lords of the ten grounds.
By means of meditating on the stages arising from the mantras of a bodhisattva or an ordinary being who possesses the ten qualities worthy of offering, one attains the great placement; this is the reason for that final existence. Regarding the term "aggregates," it refers to the complete transformation of the body, which is the nature of primordial wisdom, and the subsequent assumption of a body composed of the elements. Regarding the phrase "one should cause to enter," following that, one should place the forms of the goddesses, such as Rūpavajrā and the others, who abide in the body as the nature of the four syllables: JAḤ HŪṂ BAṂ HOḤ. "Great" refers to the Great Vajradhara. "The essence of all" means possessing the culmination of the visualization and examination of the seed syllables of the Tathāgatas and so forth. "By all" means by those individuals who are like jewels, equal to the Tathāgatas. "Buddha" means that which is held as the essence of the bodies of all the Tathāgatas. "Glorious" means together with Locanā and the others. "The three vajras" refers to Vajradhara, through the meditation on their indivisibility. "May you grant your blessing to my body, making it a place of consecration," refers to those who possess the Vajra Body, thereby attaining the state of a Vajra Body. Having thus supplicated the Principal, the supplication to his retinue, beginning with the word "ten," is easy to understand. "Whichever body" means whichever body it may be. "The five aggregates" refers to one's own. One should contemplate that their nature will become the [divine] body.
Dharma is Amitābha, because the path of speech is the very nature of speech. "Glorious" means being endowed with Pāṇḍaravāsinī. "The three vajras" and so forth are as before. Because he possesses the manner of great passion, there are the two assemblies of Amitābha and Pāṇḍaravāsinī. "Whoever alone" means that the definitive term "whoever" expresses the excellence of the specific distinctions of sounds. "Equal to the Holder of Dharma" means equal to Amitābha. "Mind" refers to whoever holds the mind that is the nature of the vajra. "Glorious" means being endowed with Māmakī. "The three vajras" and so forth are as before. "All" refers to sentient beings. "Good" is Akṣobhya because of his very virtue; his secret is the great secret, which he makes into the body. By saying "he teaches," it refers to the lord of those bodhisattvas who possess his own family. "The wise one" means being endowed with Māmakī. "Similar to Vajradhara" means equal to Akṣobhya. "Then" refers to the samādhi that focuses on that Vajradhara generated from those respective syllables of the three samayas. "Self" means being empowered on the crown by Akṣobhya. "Wisdom" refers to the wisdom-being (jñānasattva). "Hūṃ" is black. The "buddha-maṇḍala" is the body of Vajrasattva. "Abiding in the center of that" means abiding in his heart. "Vajra" refers to the wisdom-being.
HŪṂ is explained as the samādhi-sattva. "All" refers to first manifesting the dharmakāya in Ghanavyūha, and then descending to abide in Tuṣita as the nirmāṇakāya, acting in accordance with the inclinations of beings by teaching the Dharma. "Tuṣita" refers to descending from there to demonstrate all activities, such as taking birth and attaining enlightenment upon the earth. "Passion" (rāga) refers to this very state, which is the nature of insight and method, and is endowed with the emanation of the form of Vajrasattva. "Great passion" (mahārāga) refers to the actualization of that samādhi, which is the manner of being thoroughly attached to sense objects in order to ripen and liberate sentient beings who possess great passion. "First" refers to the self-perfection as the nature of the three sattvas. "Abiding" refers to engaging in the conduct to be practiced. Regarding the alternative explanation of the absence of conduct and the object of conduct: "Then," from the emanation of a single mantra, "for the sake of sentient beings" means that by emanating the maṇḍala circle from the essence or mantra of bodhicitta, one performs the welfare of sentient beings and should enter the abode as it is. "One should bless the objects" refers to the blessing; the three are the natures of passion and so forth. Their "state" refers to objects such as the attractive, and it is also by being supreme regarding those various objects.
The four [consorts], such as Rūpavajrā and the others, should be arranged in meditative union with the four [bodhisattvas], such as Kṣitigarbha and the others. Furthermore, the four bodhisattvas should be inserted into their respective locations. The space between the breasts is the heart, where the syllable HŪṂ is placed. The end of the topknot is the head, where the syllable OṂ is placed. The middle is the throat, where the syllable ĀḤ is placed. The "feet" refers to the two feet, where the syllable HĀ is placed. "Navel, waist, and secret place" refers to the syllable SVĀ in the region of the upper thighs. As for "the Victors," the other [deities], such as the bodhisattvas associated with the five families, should also be arranged in their respective locations. Regarding "PHAṬ," one should meditate on the syllable PHAṬ at the openings of the vajra and the lotus. "Samādhi" refers to the uninterrupted empowerment through the samādhi of the entry of the wisdom-being (jñānasattva). "Offering" means having performed the offerings with Rūpavajrā and the others. "All" means that, through the sequence to be explained—such as the samādhi of Akṣobhya and so forth—one keeps in mind the purpose of purifying the hatred of sentient beings and so forth. "External" refers to verbal recitation and vajra recitation. "Previous" means that for the sake of the yoga of non-equipoise, one should examine the external maṇḍala according to how it abides within oneself by means of the previous sequence. "Space" means one should meditate on the array of deities whose nature is to enter into the center of the three worlds.
Following that, one should visualize the syllable HŪṂ abiding in the center, and then visualize all that is stable and moving as the reflection of the form of Vajrasattva. "Externally" refers to the external fire through the offering of oblations such as clarified butter. "Internally" refers to satisfying the deities with food and so forth. This is established in relation to the pacifying and other rites. "The three syllables" refers to the vajra recitation. "The garland mantra" refers to the extensive mantras of the wrathful deities and others as taught in the tantras. "With mantra" refers to the bestowing of consecrated medicine. "Vajra" refers to abiding in the completion stage and manifesting the illusory body that dwells in the authentic union.
Having composed this commentary for the sake of mindfulness,
Whatever merit has been perfectly accumulated,
By that, may all beings swiftly
Strive for perfect enlightenment.
The commentary on the Vajrasattva Sādhana is complete. It was composed by the venerable Līlavajra. It was translated by the monk Rinchen Drub, having consulted the Sanskrit manuscript of Vibhūticandra, on the twenty-fourth day of the month of Kārttika in the year of the Hero. The scribe was the monk Rinchen Gyaltsen.
This is the first certainty of mantra; from the two, the arrangement is shown. The establishment is also threefold; the fourth is the teaching of reality—this is the sequence of the sādhana.
The meaning of this is as follows: first, having extracted the mantra words from the sādhana, the mental imputation is ascertained. Then, the aggregates and so forth are arranged in the form of Vairocana and the other [deities]. The arrangement of the deities, in which each one’s own characteristic is thoroughly known and definitively realized, is the "deity wheel"—this is the formal presentation. Having unified [the mind] through the subtle yoga and entered [the state], one remains there and then arises; from the definitive mantra, the arrangement occurs. The definitive mantras are: vajradhṛk hūṃ, oṃ sumbha, and so forth. This also follows the earlier Sanskrit manuscript. By this, may the great ocean of the suffering of saṃsāra be swiftly dried up!
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.