Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This work is a detailed commentary on a concise sādhana attributed to Nāgārjuna, designed to guide the practitioner through the accomplishment of the Vajradhara maṇḍala. The text integrates diverse elements of Vajrayāna practice, moving from the cosmological origins of the five buddhafields and the hagiography of the Buddha's ascent to Tuṣita toward technical instructions on visualization and ritual. It employs a dialectical approach to establish the nature of language and external entities before transitioning into the specifics of yoga, including breath control, the manipulation of the subtle body's channels (nāḍī-cakra), and the visualization of the thirty-two deities. The reader is committed to a rigorous path of transformation that combines conceptual analysis, the recitation of mantras, and the reception of empowerments. By bridging the gap between the 'conditioned' practice of charnel ground meditation and the 'definitive' realization of clear light, the text seeks to lead the practitioner toward the non-dual realization of luminosity and the wisdom of discernment.
Provenance
About this text
A commentary titled the Jewel Garland, or Piṇḍīkṛtasādhanopāyikāvṛtti ratnāvalīnāma, serves as an exposition on a concise sādhana within the classical Tibetan tradition. Attributed to the Indian author Ratnākaraśānti, the work was translated into Tibetan by Karmavajra. It is preserved in the Tengyur, volume ཅི, where it spans 188 pages and is situated within the canonical collection of the Guhyasamāja and Related Tantras. The work enacts a ritual and cosmological framework, beginning with an invocation to Vajrasattva and the Great Vajradhara. It describes the five buddhafields composed of seven precious substances and the meditative absorption of the five tathāgatas, while recounting the hagiography of a Bodhisattva who attained buddhahood, subdued Māra, and ascended to Tuṣita to teach a twenty-five thousand verse glossary. A scholar or serious reader consults this text today to examine the integration of Vajrayāna practice, specifically the transition from cosmological origins and the ascent to Tuṣita toward technical instructions on visualization and ritual. It provides insight into the path of transformation through conceptual analysis, the manipulation of the subtle body's channels, and the visualization of the thirty-two deities.
Cite thisAnuvāda, “A Running Commentary on [Nāgārjuna’s] “Concise Sādhana” called “The Precious Garland”” (Toh 1826), machine draft, 2026.https://naxiai.com/tibetan/works/toh1826
Summary & commentary
Significance
The work is significant for its synthesis of philosophical inquiry into the nature of consciousness and the highly technical ritual requirements of the Vajradhara tradition. It provides a roadmap for the transition from ordinary perception to the realization of the deity's maṇḍala, illustrating the interdependence of ritual precision and meditative insight.
Structure
Passages
Section
Description
1-5
Introduction and Cosmology
Homages, the origin of the five buddhafields, and the definition of the concise sādhana.
6-9
Meditation and Ritual Foundations
Instructions on meditating on emptiness, the transformation of syllables into deities, and thread-cross recitation.
10-12
Epistemological Analysis
A philosophical investigation into the nature of words, external objects, and the cause-and-effect relationship of conceptual thought.
22-104
Yoga and Visualization
Discussion of non-conceptuality, the six-limbed yoga, the nature of mantras, and the visualization of the thirty-two deities.
125-208
Practical Application and Rituals
Instructions for charnel ground meditation, the purification of elements, the visualization of specific deities like Padmāntakṛt, and the sevenfold unsurpassed offerings.
228-244
Empowerment and Subtle Body
Procedures for secret empowerment, the use of mudrās, the mapping of the thirty-two channels, and the offering of fees to the guru.
Themes
The Maṇḍala of Vajradhara (2, 5, 22, 84, 241)
Non-duality and Luminosity (42, 63, 104)
Language and Conceptualization (10, 11, 12)
Subtle Body and Yoga (42, 125, 241)
Ritual Empowerment and Guru Devotion (228, 239, 242, 243)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Running Commentary on [Nāgārjuna’s] “Concise Sādhana” called “The Precious Garland”·
In the language of India: Piṇḍakṛtasādhanopikā-vṛtti-ratnāvalī-nāma. In the language of Tibet: Mdor bsdus pa’i sgrub thabs kyi ’grel pa rin chen phreng ba zhes bya ba (The Jewel Garland: A Commentary on the Concise Sādhana). Homage to the glorious Vajrasattva!
Bowing to the Great Vajradhara, the single body of all Buddhas, I shall explain this concise commentary with clear meaning. Just as the oral instructions of the glorious Nāgārjuna reside in his heart, I shall unfold them accordingly, like a reflection in a mirror. I shall perfectly clarify the Noble Cycle, which is otherwise extremely difficult to realize. When the sun illuminates the directions, there is no more wandering on mistaken paths.
Here, the Blessed One Vajrasattva, the essence of whose body is for the benefit of wandering beings, emanated as the youth Sarvārthasiddha. On the banks of the Nairañjanā River, at the foot of the Bodhi tree, he entered the meditative absorption called "The Immovable," which condenses the sixteen emptinesses. Thinking, "I have attained perfectly complete enlightenment," he remained as immovable as a rock. At that time, above the peak of existence, the maṇḍala wheel appeared in successive tiers, extending five thousand yojanas in height and depth, including the realms of Abhirati, Akaniṣṭha, Ratnasaṃbhava, and Sukhāvatī.
The five tathāgatas, beginning with the Mind-Vajradhara known as Puṣpita, blessed five buddhafields composed of the seven precious substances, causing them to tremble. The five Buddhas, arising from their meditative absorption (samādhi), also came to know the meditative absorption through which the youth Sarvārthasiddha was being blessed, by virtue of their knowledge of the minds of others. At that time, with a single intention, they approached the place where the youth Sarvārthasiddha was staying. Having arrived, they pervaded the expanse of the sky like a sesame pod and proclaimed: "O Bodhisattva Sarvārthasiddha, this meditative concentration is not the cause for attaining the ultimate state; therefore, abandon it!"
Upon hearing the words of the tathāgatas, he arose from his meditative absorption and, with his divine eye, beheld the expanse of space completely filled with the bodies of infinite tathāgatas. Placing both knees upon the ground and performing four prostrations, he made this request: "Blessed One, what is the nature of authentic meditative absorption?"
As soon as he heard his words, the Blessed One Akṣobhya and the others emanated from their hearts the four goddesses, Locanā and the rest, who are the nature of the wisdom seals (jñānamudrā). First, they conferred empowerment through a wheel of light rays, then conferred the four empowerments beginning with the master empowerment. They then bestowed the oral instructions in the sequence of the four yogas and the like, established him in perfect awakening, and then vanished.
The Bodhisattva, having attained the eleventh ground, became a buddha at the time of midnight. At the time of dawn, he subdued Māra and ascended to the abode of Tuṣita above. Having arrived there, he emanated a celestial palace composed of the seven types of precious gems. From his heart, he projected the five Tathāgatas, and through their supplication, he taught the twenty-five thousand verse Glorious Guhyasamāja Tantra.
Then, in order to benefit sentient beings who possessed the five degenerations—the degeneration of lifespan, the degeneration of views, the degeneration of afflictions, the degeneration of sentient beings, and the degeneration of the eon—and whose insight and diligence were inferior, they made a further request: "Blessed One, please grant a condensed tantra, for the sentient beings of the present are unable to grasp such vast meaning." In response, the Blessed One Vajradhara, endowed with great compassion, taught a condensed tantra of eighteen chapters and approximately eighteen hundred verses. Vajrapāṇi was the compiler, and he introduced it into the human realm through a succession of masters. From that point on, the physical volumes and so forth appeared.
For a period of two million years during the Kṛtayuga (Perfect Age), it existed solely as oral instructions. During the Tretāyuga (Threefold Age), the root tantra appeared, and during the Dvāparayuga (Twofold Age), its branches which establish its meaning appeared.
During the Age of Fortunate Fortune (kṛtayuga), there will also appear explanatory tantras of that [root tantra], as well as commentaries and the like composed by individuals who have not realized it. The Age of Three (tretāyuga) lasts for fifteen hundred thousand years, the Age of Two (dvāparayuga) lasts for ten hundred thousand years, and the Age of Fortunate Fortune lasts for five hundred thousand years.
In that regard, the noble Nāgārjuna, who dwells on Śrīparvata, condensed this Sādhana titled The Concise [Sādhana] from the Glorious Guhyasamāja Tantra in order to benefit future sentient beings. First, for the sake of engaging the listener, these five—the introductory statement and so forth—must be explained. If they were not stated, the listener would not engage, and it would follow that this treatise is purposeless. These five consist of the expressive [word], the expressed [meaning], the connection, the purpose, and the ultimate purpose.
Why is this? As it is said:
"Because one engages in conventional terminology,
And for the sake of the actual practice for others,
Without expression, this world
Would be like the blind and the mute."
In this context, the expressive [word] is the Sādhana titled The Concise. If one asks, "Is that meaningful or meaningless?" it is replied: It is meaningful. Its meaning is as follows: the Concise is the presentation of the generation stage of the practice—which cannot be comprehended by the intellect of the immature—condensed from the eighteen chapters of the Glorious Guhyasamāja, the King of Tantras.
This is the sādhana (means of accomplishment), which states: "This very method is for the purpose of accomplishing the maṇḍala of the Blessed One Vajradhara." Because it is both concise and a sādhana, it is the "concise sādhana," which is a term of function. The subject matter is the definition of the meaning, known as the "generation stage." Its divisions are three: the initial application, the supreme king of the maṇḍala, and the supreme king of activities. The thirty-eight subdivisions of these are taught elsewhere and are not shown here.
From the seventeenth chapter, the summary is composed. Regarding that, from the twelfth chapter: "In a location of a great wilderness, adorned with flowers, fruits, and so forth, on a secluded mountain, one perfectly accomplishes all siddhis in a concise manner." By this sūtra, the visualization of the special place is shown. From the third chapter: "One should meditate on the maṇḍala of the Buddhas abiding in the center of the expanse of space." By this sūtra and others, one meditates on the form of the vajra of bodhicitta. From the fifteenth chapter: "Equal in light to Vairocana..." By this sūtra and others, one meditates on oneself as white in color. From the thirteenth and fourteenth chapters, the mantra "Oṃ sumbhani sumbha..." and so forth, as well as "born of meditative concentration" and so forth, also show the expulsion of obstructors.
"Because there is no entity, there is no meditation; that which is to be meditated upon is not meditation. Therefore, because of the non-existence of entities..."
"Meditation is without an object of focus." This statement from the second chapter teaches the meditation on emptiness. Then, from the three chapters—the eleventh, the eighth, and the twelfth—it is taught, through such passages as: "Abiding in the center of the vajra space, one should visualize the maṇḍala from which all vajras arise," the meditation on the ground of wisdom. Through such passages as "Having meditated on the site with the syllable BHRŪṂ," the thirteenth chapter teaches the meditation on the celestial palace. Through such passages as "Possessing the maṇḍala of clarity and so forth, the abode of all Tathāgatas," the first chapter teaches the vajra meditation on the moon and sun maṇḍalas situated upon a multicolored lotus. Then, through such passages as "In that maṇḍala of superior devotion, the essence of that clarity itself is pervaded everywhere by various forms," the first chapter teaches the meditation. Through such passages as "From the samaya, each is emanated," the seventh chapter teaches the meditation on the ultimate maṇḍala. Through such passages as "Abiding in the center of the expanse of space," the eighth chapter teaches that one should contemplate the ultimate maṇḍala, the nature of the ocean of wisdom. "The syllable OṂ is the Vajra Body..." [and so forth].
By the sūtra passage beginning with "Thus it is said," and so forth, from the twelfth chapter, the distinctions of the seats, such as the moon, which are the complete transformation of the three syllables, are shown. By the sūtra passage beginning with "The three syllables," and so forth, from the thirteenth chapter, the placement of the three syllables and so forth are shown. By the sūtra passage from the third chapter, the suchness of the dharmadhātu is shown. By the sūtra passage beginning with "The syllable OṂ," and so forth, from the thirteenth chapter, it is shown that after the placement of the three syllables as a preliminary, one should assume the vajra pride and the completion of the body; this is the yoga. By the sūtra passage beginning with "Meditate on the moon at the heart," and so forth, from the twelfth chapter, the meditation on the jñānasattva and the samādhisattva is shown; this is the subsequent yoga. By the sūtra passage beginning with "Thlīṃ," and so forth, from the eleventh chapter, the blessing of the sense bases is shown. By the sūtra passage beginning with "From the breasts up to the crown of the head," and so forth, from the eighth chapter, the blessing of the aggregates is shown. By the vajra sūtra passage beginning with "Earth is explained as Buddhalocanā," and so forth, from the seventeenth chapter, the blessing of the elements is shown. By the meditation on the wheel of wrathful deities from the thirteenth chapter, the placement on the limbs and digits is shown; this is the supreme yoga. "Abiding in the center of the vajra maṇḍala," and so forth.
Regarding the phrase "and so forth," one should meditate on Akṣobhya and the others, which arise from the complete transformation of the syllable HŪṂ and so forth, as taught in the eleventh chapter. One should then offer supplications using the verses beginning with "The glorious one who holds the Buddha-body," as taught in the twelfth chapter. Having cultivated the divine pride using the verses of the three families taught in the seventh chapter, and having performed the consecration using the mantras taught in the sixth chapter, the consecration of the body and so forth is shown; this is the Great Yoga.
The formation of the mudrā is taught in the eighth chapter. The visualization of the distinctions of the families is taught in the fifteenth chapter. The vajra-mudrā taught in the seventh chapter shows the meditative union of the vajra and the lotus. The vajra-mudrā taught in the first chapter shows the entry of all the Tathāgatas. The mudrā taught in that same chapter shows the emanation of the samaya-maṇḍala. The extraction mantras taught from the first chapter show the emanation of the external [deities]. The same [mantras] taught from the first chapter, along with the mudrā taught in the eleventh chapter, show the conferral of empowerment. The vajra-mudrā taught in the fifteenth chapter shows the sealing. This is the Supreme King of Maṇḍalas.
The subtle yoga of the vajra-mudrā taught from the sixth chapter is shown. The distinctions of that [vajra-mudrā] taught in the third chapter are shown.
The ritual of the thread-cross recitation (mdos bzlas pa) taught in the thirteenth or seventh chapter is presented. The melting of the thread-cross into light, its re-emergence, the exhortation by the goddesses, and the praise by the tathāgatas taught in the seventeenth chapter are presented. The ritual for satisfying the thread-cross taught in the seventeenth, twelfth, and fifteenth chapters is presented. The withdrawal of the maṇḍala wheel of the thread-cross taught in the seventeenth chapter is presented. The inner fire offering (homa), offerings, and torma taught in the twelfth chapter are presented. The dismissal and the ritual for sleep taught by the sūtras in the seventeenth and fifteenth chapters are presented; this is the "Supreme King of Activities." Thus, the various subjects to be expressed will be explained in detail below. The relationship (sambandha) is the definition of the connection between the expression and the expressed, consisting of word and meaning. Here it is asked: How is it appropriate to explain the relationship between word and meaning? Because there is no following or reversing [of the Sugatas], there is no relationship between word and meaning. In that regard, there are two types of relationship: the definition of identity (tādātmya) and the definition of origination (tadutpatti), such as impermanence and being produced, or fire and smoke. Neither of these two exists in the case of word and meaning.
Because words do not arise from external objects in order to express the intention of a person. Even if an external object exists, the word does not arise, because the person lacks the desire [to speak]. Furthermore, we observe words arising even when no external object exists, because the person’s desire is active, just as when one utters the word "ocean" and so forth. Thus, there is no positive concomitance (anvaya) or negative concomitance (vyatireka). The relationship of cause and effect is preceded by positive and negative concomitance; for example, the sequence of arising is that smoke arises because fire exists, and smoke does not arise because fire is absent. The sequence of cognition is likewise that one knows fire by seeing smoke, and one knows the absence of smoke by the absence of fire. Therefore, there is no relationship of "arising from that" (tadutpatti) between the word and the object. Nor is there a relationship characterized by identity (tādātmya), because they are perceived as distinct. A relationship characterized by identity is primarily one of non-difference, as in the case of a "tree" and a "śiṃśapā" tree. The convention of the relationship between the probandum (sādhya) and the probans (sādhana) is constructed by the mind through the exclusion of others (anyāpoha), because all things possess multiple exclusions. As it is said: "Because all things, by their very nature, abide in their own respective essences, they depend upon exclusions from similar and other things." Such a characteristic is not observed in the case of words and objects, because the word resides in the mouth, and...
Entities exist externally, and they are distinct. If one were to accept that they are not distinct from one another, it would follow that when a vase is filled, [the fire within it] would also be filled, and by saying the word "fire," the mouth [of the vase] would be burned; thus, through reasoning, its identity as such does not exist. Therefore, a relationship between the expressed and the expresser is not tenable for sound and its object. It is true that there is no relationship of specifically characterized phenomena (svalakṣaṇa), because they do not perform the function of an object. Their non-existence [in that sense] is because all entities are momentary. When a momentary entity perishes, the sound arises; at that time, since the specifically characterized phenomenon is absent, there is also no convention established. Thus, to what convention could the sound apply? As it says in the Pramāṇavārttika:
"Words are applied to objects by convention;
That is explained for the sake of communication.
At that time, the specifically characterized phenomenon is absent;
Therefore, there is no convention for it."
If it is argued that the function of the specifically characterized phenomenon is the function of the conceptual consciousness, that too is untenable, because there is no clear appearance. The clear appearance itself is the function of the object. As it says in the Nyāyabindu: "That object which appears differently to the cognition depending on whether it is proximate or not is the specifically characterized phenomenon; anything other than that is the generally characterized phenomenon (sāmānyalakṣaṇa)." Therefore, there is a relationship of the generally characterized phenomenon, for the object that appears individually to the conceptual consciousness is explained as the generally characterized phenomenon.
Therefore, the term "vase" arises from the aspect of a vase appearing to conceptual thought; thus, there is a relationship of cause and effect. Furthermore, from the word "vase" spoken by a speaker, an aspect of a vase arises in the consciousness of the listener; thus, even through this reverse process, there is a relationship of cause and effect. This is because it is explained that words arise from conceptual thought, and conceptual thoughts arise from words. In this way, having refuted a relationship of actual entities, the relationship of conceptualizing the aspect of the word and the object is demonstrated. Since almost all conventional expressions involving words and objects are of this nature, this is sufficient as a general conclusion. As it is said: "Because the relationship is shown, listeners will engage; therefore, the relationship of all treatises is explained first."
The purpose must certainly be stated: "Without the purpose being shown, even the inferior will not engage." The purpose of this statement is the attainment of the supramundane divine body, characterized by the abandonment of the ordinary body through hearing and so forth; this is the perfection of one's own welfare. Its purpose, in turn, is the characteristic of acting for the benefit of beings through the modes of teaching and so forth; this is the perfection of the welfare of others. As it is said: "From whose mouth the very state of the Tathāgata emerged, which makes the nature of all beings without exception manifest."
Others say that the definition of unerring realization is the purpose, and that the attainment of the body of the yidam deity through the internalization of that [realization] is the purpose of that [definition]. That is incorrect, because the five points—such as the statement that the primary activity of Bodhisattvas is the welfare of others—have been taught. Alternatively, the three entities of this treatise are the primary [topics]: the activity, the result of the activity, and the result of the result of the activity. Regarding these, some say that what is summarized from the seventeenth chapter is the activity; the realization of proceeding with ease is the result of the activity; and the attainment of the state of glorious Vajradhara through that realization is the result of the result of the activity.
In that regard, one should first pay homage in order to pacify obstacles, because it is the conduct of the holy ones that the engagement [in a work] is preceded by paying homage to the desired deity. In that context, there are three types of obstacles: those of the body, such as fever and so forth; those of speech, such as harsh words and so forth; and those of the mind, such as attachment and so forth. Alternatively, obstacles are of the nature of the material, the non-material, and both. The material are cold, heat, and so forth. The non-material are royal disputes and so forth. Both are those emanated by both. As it is said:
"Excessive rain and drought,
Mice, locusts, and parrots,
And kings who dispute with one another—
These six are explained as the harms."
Thus it is said. All those obstructing spirits (vighna) will be thoroughly pacified by prostrating to the Blessed One. The reasoning here is that by performing prostrations and offering great praise to the Great Being, merit is acquired and non-merit is averted; consequently, the outer and inner obstacles arising from non-virtue will be pacified. Thus, through the ease of this, the treatise is brought to completion. This is an instance of observing a contradiction, or rather, observing the result of a contradiction: by prostrating, the obstacles are pacified. For example, it is like saying, "There is no sensation of cold here because there is fire," or "There is no sensation of frost here because there is smoke," and so forth.
"Free from the conduct of the three realms, equal to space, the nature of all things; pure, peaceful, and secluded, the object of the yogi who is the nature of supreme bliss; difficult to realize, difficult to examine, of supreme benefit to self and others, pervasive and free from conceptual elaboration; I prostrate to the single, non-conceptual mode of the Victors' peerless, equal, and peaceful body."
Regarding this statement: the "Victors" are the bodies of the Buddhas. As for prostrating to the three bodies, how is that done? "Conduct of the three realms" refers to the obscurations of the afflictions and the obscurations to knowledge. To be "free" from these is to be liberated from them. Likewise, "equal to space" means abiding in a manner similar to space. If one asks whether this is a partiality like the space inside a vase, it is not; for it is said, "the nature of all things." This refers to sentient beings and—
It is the nature of the reality of the vessel-like world. This demonstrates the homage to the nature of the dharmakāya. Because the Buddha has completely purified the field, it is pure. Because its nature is luminosity, it is peaceful. Because it arises from the dharmakāya, it is utterly secluded. Because it is filled with the nectar of the Dharma, it is the nature of supreme bliss. Because it is the sphere of activity for bodhisattvas who have attained the levels, it is the object of the yogi. This demonstrates the homage to the nature of the saṃbhogakāya. Because it is free from the phenomena of mind and mental factors, it is difficult to realize and difficult to examine, for it is the essence of body and speech. By teaching [the stages of] birth and so forth, it is of great benefit to oneself. By teaching the performance of the welfare of sentient beings, it is of great benefit to others. Because it goes everywhere, it is pervasive, like a fire blazing in a wilderness. Because it has become the dharmakāya, it is free from conceptual elaboration. This demonstrates the homage to the nature of the nirmāṇakāya. To summarize the explanation: "Peaceful" is the dharmakāya. "Peerless" is that very same [dharmakāya]. "Equal to that" is the saṃbhogakāya. "Because it is free from mind, it is the single mode of non-realization" is the nirmāṇakāya. Thus, the literal meaning is: "I prostrate to the three bodies of the Victors." "Liberating from the conduct of the three realms" is the expulsion of obstacles. "Becoming equal to space" is the nature of emptiness.
The essence of all things is the nature of the wisdom-ground of the five Tathāgatas. Purity is the nature of the celestial mansion composed of the seven precious gems. Because it is the nature of the maṇḍala of superior resolve, it is peaceful. Because it is the nature of the ultimate maṇḍala, it is utterly secluded. Because it is the nature of the various seats, it is the nature of supreme bliss. Because it is the nature of the wisdom of the dharmadhātu, the yogi himself is the object. Because it is the identity of the three syllables, it is difficult to realize. Because it is the transformation of that, it is the form of the vajra and thus difficult to examine. Because it is the nature of emanation, it is of great benefit to oneself and others. Because it is the nature of the pride of that, it is pervasive. Because all Tathāgatas are gathered into one, it is without conceptual elaboration. The body of the Victor is the accomplishment of the body of glorious Vajradhara; this is yoga. Because it is the identity of the wisdom-being (jñānasattva) and the concentration-being (samādhisattva), it is peaceful; this is subsequent yoga. "Peerless" refers to the Tathāgatas and Bodhisattvas; because they are blessed by them, it is the equality of the peerless, which is supreme yoga. Because the body, speech, and mind are blessed, it is called the "single mode of non-conceptuality," which is great yoga. Thus, because it is the identity of the initial application, it is the general meaning. "Liberated from the conduct of the three realms" means that the three winds have been gathered and become one.
That which has become equal to space abides at the root of the desired parasol; it abides in the central channel. "The essence of all things" refers to the nature of both the active and the inactive. This is because it is said: "Visualize a mustard seed at the tip of the nose; from that mustard seed, the moving and the non-moving [arise]." Because it is white like a kunda flower, it is pure. Because it is the essence of non-conceptuality, it is peaceful. Because it is the size of a mustard seed, it is utterly secluded. Because it arises from the meditative union of method and insight, it is the nature of supreme bliss. Because it is self-cognizing, the yogi himself is the object. Because it is free from coarse and subtle conceptualization, it is difficult to realize and difficult to examine. Because it performs the welfare of beings through emanation and reabsorption, it is of great benefit to oneself and others. Because it is the cause that generates beings, it is pervasive. Because the aggregates, faculties, and winds are gathered therein, it is without elaboration. For that very reason, because the Victors who are renowned as the aggregates are gathered therein, it is the body of the Victors, the nature of the Dharma, Enjoyment, and Emanation bodies. Regarding the explanation of that very [state]: "Peace" abides at the secret tip of the nose. "Incomparable equality" abides within the lotus of the heart. "The single mode of non-conceptuality" abides at the tip of the nose in the conventional sense. "Homage" is the experience; it is the hidden [meaning]. Because it is free from the three appearances, it is liberated from the conduct of the three realms. Because it is the nature of clear light, it has become equal to space.
Because it is the essence of the stable and the moving, it is the essence of all things. Because it is free from the nature of [ordinary] insight, it is pure. Because it is free from the nature of [ordinary] method, it is peace. Because it is free from the nature of ignorance, it is utterly secluded. Because it is attained through the method of the mudrā, it is the nature of supreme bliss. Because it is to be taken up by the yogi of the completion stage, the yogi himself is the object. Because it is unknown to the yogis of the perfections, it is difficult to realize. Because it is difficult to realize for the yogis of the generation stage, it is difficult to examine. Because it is the cause for benefiting oneself and others, it is the supreme benefit for self and others. Because it is the nature of the wisdom of the dharmadhātu, it is pervasive. Because it is free from the three clarities, such as appearance and so forth, it is without conceptual elaboration. Because it is the essence of all the Tathāgatas, it is the body of the Victors. Because it is the appearance of the moon, it is peace. Because it is the appearance like the sun, it is the peerless equal. Because it is free from the appearance of the twilight and those [others], it is called "the single mode of non-conceptuality," which is the hidden [meaning]. Because it arises from meditation free from the near-attainment of appearance and so forth, it is liberated from the conduct of the three realms. Because it arises from the clear light, it has become equal to space. Because it is similar to the twelve examples of illusion, it is the essence of all things. Because it is the self-consecration as the dharmakāya, it is pure. Because it is the self-consecration as the saṃbhogakāya, it is peace.
Because one is blessed as the nirmāṇakāya, it is "utterly secluded" (rnam dben). Because it is self-aware, it is "the nature of supreme bliss" (bde ba mchog rang bzhin). Because the power of wisdom itself is attained on the tenth ground, the yogi himself is the object. Because the conceptualizations residing in the continuums of self and others are destroyed, it is "difficult to realize" and "difficult to examine." Even though it is like an illusion, because it acts for the benefit of self and others, it is "the supreme benefit for self and others." Because it is like the moon in water, it is "pervasive." Because it arises from luminosity, it is "without conceptual elaboration" (spros pa med pa). For that very reason, because it assumes the bodies of the five Tathāgatas through the divisions of devotion, it is "the body of the Victors" (rgyal ba rnams kyi sku). Because it is the essence of the samayasattva, it is "peaceful" (zhi ba). Because it is the essence of the jñānasattva, it is "unequaled and equal." Because it is the essence of the samādhisattva, it is "non-conceptual and of a single mode," which is the "hidden" (sbas pa). Because it is free from attachment, free from detachment, and free from intermediate attachment, it is "liberated from the conduct of the three realms." Because space is the pacification of all conceptual elaborations, it is "become equal to space." Because it is the nature of the three realms, it is "the essence of all things." Because it abandons attachment, it is "pure." Because there is no absence of attachment, it is "peaceful." Because it is free from attachment, it is "utterly secluded." Because it is coemergent, it is "the nature of supreme bliss." Because it is realized through the valid cognition of yogic direct perception, the yogi himself is the object. Because it lacks signs such as a mirage, it is "difficult to realize." Because it is realized through subtle vision, it is "difficult to examine." Arising from that, because the welfare of self and others is accomplished, it is "the supreme benefit for self and others."
Because the conventional bodhicitta pervades the entire expanse of space, it is all-pervasive. Because the ultimate bodhicitta is free from conceptual construction, it is without elaboration. For that very reason, the body of the Victors is the dharmakāya of the Buddhas. "Peace" is realized through the meditative absorption of "grasping as a whole." "Incomparable equality" is attained through the meditative absorption of "subsequent dissolution." Because it is the fruit of all, it is the single mode of non-conceptuality. "Homage" means to have made it one's own self; it is the ultimate. "Liberated from the conduct of the three realms" means being free from the eight worldly concerns. "Become equal to space" means having attained the twelfth ground. Because its nature is the vajra-like meditative absorption, it is the essence of all things. Because it abandons conventional conceptualization, it is pure. Because it is free from ultimate conceptualization, it is peaceful. Because the two truths are non-dual, it is utterly secluded. Because it rains down the nectar of the Dharma, it is the nature of supreme bliss. Because it is realized by yogis of uncontaminated wisdom, the yogi himself is the object. Because it is the object of supramundane wisdom, it is difficult to realize. Because it is the aspect of the wisdom attained subsequent to that, it is difficult to examine. Because it benefits the mental continuums of all sentient beings, it is the supreme benefit for self and others. Because it is free from the two extremes, it is all-pervasive. For that very reason, it is without elaboration.
The term "the bodies of the Victors" refers to the essence of all buddhas. Because it is free from conceptualization regarding the sphere of nirvāṇa with remainder and without remainder, it is "peaceful." Because it abandons [distinctions] such as having aspects or being aspectless, it is "unequaled and equal." Because it is the nature of the fruition, it is "the single mode of non-conceptuality." The term "homage" means to enter into that very essence; this is the ultimate meaning. These are the four modes of explanation.
Alternatively, "liberated from the conduct of the three realms" is the nature of Vajradhara. "Equal to space" is the nature of Ratnasambhava. "The essence of all things" is the nature of Amitābha. "Pure" is the nature of Vairocana. "Peaceful" is the nature of Amoghasiddhi. "Distinct" is the nature of Locanā. "The nature of supreme bliss" is the essence of Māmakī. "The yogi himself as the object" is the identity of Pāṇḍaravāsinī. "Difficult to realize" is the identity of Tārā. "Difficult to examine" is the identity of Yamāntaka. "Great benefit for self and others" is the identity of Prajñāntaka. "Pervasive" is the identity of Padmāntaka. "Free from conceptual elaboration" is the identity of Vighnāntaka. "Peaceful" is the nature of the eight bodhisattvas, such as Maitreya. "Unequaled and equal" is the nature of the five offering goddesses, such as Rūpavajrā.
The single mode of non-conceptuality is the nature of the ten wrathful kings. Similarly, the homage to the maṇḍala wheel of the thirty-two Vajradharas, the bodies of the Victors, is the meaning of the word "bowing," which is the literal sense. Being liberated from the conduct of the three realms is the nature of internal emptiness. Being equal to space is the nature of external emptiness. The essence of all things is the nature of external and internal emptiness. Purity is the nature of the emptiness of emptiness. Peace is the nature of the great emptiness. Total isolation is the nature of the ultimate emptiness. The nature of supreme bliss is the nature of the emptiness of the conditioned. The yogic object itself is the nature of the emptiness of the unconditioned. The difficulty of realization is the nature of the emptiness of that which transcends extremes. The difficulty of examination is the nature of the emptiness of non-discarding. The supreme benefit for self and others is the nature of the emptiness of that which is without beginning or end. Pervasiveness is the nature of the emptiness of nature. The absence of conceptual elaboration is the nature of the emptiness of all phenomena. Peace is the nature of the emptiness of specific characteristics. Peerless equality is the nature of the emptiness of non-apprehension. The single mode of non-conceptuality is the nature of the emptiness of non-entities.
Thus, the bodies of the Victors, whose nature is the sixteen emptinesses, are Vajrasattva; this is not to be taken literally. Liberation from the conduct of the three realms is the nature of the lesser appearance. Becoming equal to space is the nature of the middling appearance. The essence of all things is the nature of the superior appearance. Purity is the nature of the most superior of the superior appearances. Peace is the nature of the lesser increase of appearance. Total isolation is the nature of the middling increase of appearance. The nature of supreme bliss is the nature of the superior increase of appearance. The yogi’s own object is the nature of the most superior of the superior increases of appearance. Difficult to realize is the nature of the lesser near-attainment of appearance. Difficult to examine is the nature of the middling near-attainment of appearance. Great benefit for self and others is the nature of the superior near-attainment of appearance. Pervasiveness is the nature of the most superior of the superior near-attainments of appearance. Freedom from conceptual elaboration is the nature of the lesser clear light. Peace is the nature of the middling clear light. Incomparable equality is the nature of the superior clear light. The single mode of non-conceptuality is the nature of the most superior of the superior clear lights. Their distinctions are like the appearance of the moon during the day, the appearance of the half-moon, the appearance of the moon with clouds, and the appearance of the moon without clouds—these are the wisdoms of appearance. Likewise, they are like the appearance of the rising sun and the appearance of the setting sun.
The appearance of the sun with clouds and the appearance of the sun without clouds are the wisdom of increasing appearance. The juncture of dusk, the juncture of dawn, the juncture with clouds, and the juncture without clouds are the wisdom of near-attainment. The sky of the waning moon, the sky of the waxing moon, the sky with clouds, and the sky without clouds are the wisdom of clear light; this is the explanation according to the intended meaning.
Liberation from the conduct of the three realms is the freedom from the movement of the life-sustaining wind. Becoming equal to space is the freedom from the movement of the downward-clearing wind. The essence of all things is the freedom from the movement of the fire-accompanying wind. Purity is the freedom from the movement of the upward-moving wind. Peace is the withdrawal of the pervasive wind. Total isolation is the freedom from movement. The nature of supreme bliss is the freedom from thorough movement. The yogi’s own object is the freedom from perfect movement. Difficult to realize is the freedom from intense movement. Difficult to examine is the freedom from certain movement. Great benefit for self and others is the withdrawal of the bodily winds. Pervasiveness is the withdrawal of the vocal winds. Freedom from conceptual elaboration is the withdrawal of the mental winds. In that regard, the bodily wind has the characteristics of going, moving, and shaking. The vocal wind has the characteristics of conceptualization and analysis.
It is through reasoning that one should understand: "Words are spoken after having been examined and analyzed." The winds of the mind are of the nature of attachment, aversion, and delusion. "Peace" is the absence of engagement. "Incomparable equality" is the absence of abiding. "Non-conceptual single mode" is the absence of arising. The intent is: "I prostrate to Vajradhara, the nature of the neuter recitation who gathers all the Tathāgatas, the body of such Victors."
"Free from the conduct of the three realms" is being free from the conceptualization that "there is no Tathāgata beyond death." "Equal to space" is being free from the conceptualization that "there is a Tathāgata beyond death." "The essence of all things" is being free from the conceptualization that "there both is and is not a Tathāgata beyond death." "Pure" is being free from the conceptualization that "there neither is nor is not a Tathāgata beyond death."
"Peace" is being free from the conceptualization that "the world is finite." "Distinct" is being free from the conceptualization that "the world is not finite." "The nature of supreme bliss" is being free from the conceptualization that "the world is neither finite nor infinite." "The yogi himself is the object" is being free from the conceptualization that "the world is neither finite nor infinite."
"Difficult to realize" means being free from the conceptualization that the world is permanent. "Difficult to examine" means being free from the conceptualization that the world is impermanent. "Supremely benefiting self and others" means being free from the conceptualization that the world is neither permanent nor impermanent. "Pervasive" means being free from the conceptualization that the world is neither permanent nor impermanent. For that very reason, it is without conceptual proliferation (niṣprapañca). Because it is the nature of emptiness (śūnyatā), it is peace (śānta). Because it is signless (animitta), it is the peerless equality. Because it is wishless (apraṇihita), it is the single mode of non-conceptuality.
The phrase "Homage to Vajradhara, the body of the Victors" is the interpretable meaning (neyārtha). "Liberated from the conduct of the three realms" is the nature of the recitation of Great Vajradhara. "Become equal to space" is the nature of the mental recitation. "The essence of all things" is the nature of the verbal recitation. "Pure" is the nature of the body recitation. "Peaceful" is the nature of the Jewel recitation. "Utterly secluded" is the nature of the Amoghasiddhi recitation. "The nature of Supreme Bliss" is the nature of the Hatred recitation. "The yogi himself as the object" is the nature of the Desire recitation. "Difficult to realize" is the nature of the Delusion recitation. "Difficult to examine" is the nature of the Wrathful recitation. "Supremely benefiting self and others" is the nature of the Neutral recitation. Its specific distinction is "pervasive," because it is the essence of clear light (prabhāsvara).
That which is without conceptual elaboration is beyond the elaborations of speech. Because it is free from engagement and so forth, it is peace, the peerless equality, and the single mode of non-conceptuality; this is the definitive meaning. Thus, the words of homage that demonstrate these fourteen points reveal the meaning of the tantra in its entirety. Now, the previously mentioned expression and so forth shall be explained:
"In order to realize the summarized meaning of the glorious Guhyasamāja tantra, I shall explain the Piṇḍīkṛta (Summary), which generates benefit for all sentient beings."
Regarding this, the Piṇḍīkṛta—the means of accomplishment—shall be explained and analyzed by me. Now, if this means of accomplishment summarizes the meaning of the glorious Guhyasamāja tantra, is it summarized by way of the text or by way of the meaning? If it were summarized by way of the text, then the meaning would not be summarized in its entirety. If it were summarized by way of the meaning, then what would be the purpose of the treatise? It is said: it is summarized by way of both the text and the meaning.
If one asks, "How can a concise text summarize an extensive meaning?" it is said: because the meaning of the words is profound, the extensive meaning is also summarized. For example, just as the reflection of an elephant appears in the mirror of a finger-ring, one should understand that many meanings are summarized even in a few words, as in the verse beginning, "Whatever phenomena arise from a cause..."
Bṛhaspati said, "I have no faith." Pañcāla said, "Women are gentle." Candra said, "The food is delicious." Kapila said, "Be compassionate toward living beings."
By this sūtra, just as the four hundred thousand [verses] were compiled—namely, the treatises on kings, the treatises on desire, the treatises on medicine, and the treatises on dharma—so too have they been compiled here. If one asks, "Is this then an independent explanation?" it is not so. Regarding the phrase "of the glorious Guhyasamāja Tantra": it is "glorious" because its nature is method and insight, or because it is the primary collection of the accumulations of merit and primordial wisdom. "Guhyasamāja" (Assembly) is the literal meaning, as it is the perfect union of the five buddhas. It is the general meaning, as it is the assembly of the three syllables. It is also the general meaning, as it is the meditation on emptiness. It is the hidden meaning, as it is the meditative equipoise of method and insight. It is also the hidden meaning, as it is the gathering of the three syllables. It is also the hidden meaning, as it is the assembly of the [stages of] "near-attainment of appearance" and so forth. It is the ultimate meaning, as it is the holding of bodhicitta. It is also the ultimate meaning, as it is the assembly of the two truths. The tantra consisting of eighteen chapters is the literal meaning. "Sa" is the life-sustaining wind. "Ma" is the downward-clearing wind. "Ja" is the fire-accompanying wind. This is the non-literal meaning. The assembly of the three syllables is the intentional explanation. The assembly of all the tathāgatas entering through the Brahmā-aperture at the time of the irreversible empowerment is the non-intentional explanation.
The meditation on the maṇḍala of Vajradhara and so forth is the "assembly" in the provisional sense. The gathering together of the conceptualizations of the body and so forth is the "assembly" in the definitive sense. Alternatively, the assembly of the body maṇḍala is as follows: the aggregate of form is Vairocana; the aggregate of feeling is Ratnasambhava; the aggregate of perception is Amitābha; the aggregate of formations is Amoghasiddhi; and the aggregate of consciousness is Akṣobhya. The earth element is Buddhalocanā; the water element is Māmakī; the fire element is Pāṇḍaravāsinī; and the wind element is Samayatārā. The eye faculty is Kṣitigarbha; the ear faculty is Vajrapāṇi; the nose faculty is Ākāśagarbha; the tongue faculty is Lokeśvara; the body faculty is Sarvanīvaraṇaviṣkambhin; and the mind faculty is Mañjuśrī. All the joints are Samantabhadra. All the channels and the seventy-two thousand channels are Maitreya. Form is Rūpavajrā; sound is Śabdavajrā; smell is Gandhavajrā; taste is Rasavajrā; and touch is Sparśavajrā. At the base of the right upper arm is Yamāntaka; at the left upper arm is Aparājita; in the lotus of the mouth is Hayagrīva; at the secret place is Amṛtakuṇḍalī; at the right forearm is Acala; and at the left forearm is Takkirāja.
On the right knee is Vajrapāṇi; on the left knee is Mahābala. At the aperture of Brahmā is Uṣṇīṣacakravartin; at the maṇḍala of the feet is Sumbharāja. This is the maṇḍala of the body, the nature of all the Tathāgatas, which is the assembly; this is the literal meaning.
Alternatively, the assembly of the maṇḍala of speech is as follows: A and Ā are Akṣobhya and Māmakī; I and Ī are Vairocana and Locanā; U and Ū are Ratnasambhava and Pāṇḍaravāsinī; Ṛ and Ṝ are Amitābha and Māmakī; Ḷ and Ḹ are Amoghasiddhi and Tārā; E is Yamāntaka; Ai is Prajñāntaka; O is Padmāntaka; and Au is Vighnāntaka. Ka, Kha, Ga, Gha, and Ṅa are Akṣobhya, Locanā, and so forth. Ca, Cha, Ja, Jha, and Ña are the maṇḍala of Vairocana. Ṭa, Ṭha, Ḍa, Ḍha, and Ṇa are the maṇḍala of Ratnasambhava. Ta, Tha, Da, Dha, and Na are the maṇḍala of Amitābha. Pa, Pha, Ba, Bha, and Ma are the maṇḍala of Amoghasiddhi. Ya, Ra, La, Va, Śa, Ṣa, Sa, Ha, Aṃ, and Āḥ are the maṇḍala of the ten wrathful deities. Alternatively, the vowels (āli) are the nature of the goddesses and the consonants (kāli) are the nature of the method; this is the assembly of the maṇḍala of speech, which is the general meaning.
Alternatively, the assembly of the maṇḍala of mind is as follows: hatred is Akṣobhya; delusion is Vairocana; attachment is Amitābha.
Pride is Ratnasambhava. Envy is Amoghasiddhi. The view of a self is Locanā. Delusion regarding a self is Māmakī. Pride regarding a self is Pāṇḍaravāsinī. Attachment to a self is Tārā. Anger is Kṣitigarbha. Resentment is Maitreya. Malice is Vajrapāṇi. Concealment is the essence of Māmakī. Arrogance is Mañjuśrī. Harmfulness is Lokeśvara. Deceit is Sarvanīvaraṇaviṣkambhin. Guile is Samantabhadra. Lack of shame is Yamāntaka. Lack of dread is Prajñāntaka. Envy is Padmāntaka. Avarice is Vighnāntaka. Distraction is Acala. Regret is Ṭakkirāja. Laxity is Nīladaṇḍa. Excitement is Mahābala. Conceptualization is Ucchuṣma. Discernment is Uṣṇīṣacakravartin. This is the maṇḍala of the mind, which is the definitive meaning.
The glorious Guhyasamāja similar to that is a "tantra" because it is the essence of the continuum. It is of three types: the causal continuum, the resultant continuum, and the method continuum. Among these, the causal continuum is the meditation on the two stages. The resultant continuum is characterized by the attainment of the state of Vajradhara. The method continuum is characterized by the generation of the bodhicitta and so forth. For that very reason, Vajradhara is also of three types: the causal Vajradhara, and...
There are the resultant Vajradhara and the method Vajradhara. In that regard, the causal Vajradhara is the Great Vajradhara, the sixth [Buddha]. The resultant Vajradhara is the Mind Vajradhara, who arises from the heart by emanating Akṣobhya and subsequently entering into union with him. The method Vajradhara is the nature of the maṇḍala of the Universal Monarch. This is the definitive establishment of the tantra. Then, because it is both "glorious" (śrīmat) and "assembled" (samāja), it is the "Glorious Assembly" (Śrīsamāja). Because it is both the "Glorious Assembly" and a "tantra," it is the "Glorious Assembly Tantra"; these are two terms with a common locus. The summarized meaning associated with that is the nature of the subject matter, which consists of the six parameters such as the intentional explanation and so forth, characterized by the ornaments of word and meaning. Since that itself is what is to be expressed, it is the "meaning" (artha). Since it is for the sake of realizing that, it is for the sake of comprehending that very reality. Regarding the phrase "producing benefit for all sentient beings," "all sentient beings" refers to the five types of individuals: the sandalwood, the utpala, the white lotus, the lotus, and the jewel. Among them, the sandalwood-like is like an insentient object. The utpala-like has dull faculties. The white lotus-like has middling faculties. The lotus-like has superior faculties. The jewel-like has the most superior of superior faculties. If one asks, "In this context, which of these should be understood as the ones for whom the generation stage is explained for the first four, and the completion stage is explained for the fifth?" it is said:
Here, for the time being, this treatise, having dispelled the state of being like a block of sandalwood, leads one into the correct view. Having dispelled the inferior state of the utpala [type of practitioner], it generates the intermediate state. Through the realization of the bliss of the white lotus, it reverses delusion and brings about the state of sharp faculties. In the lotus of sharp faculties, it generates the insight that is the nature of meditation; and for the jewel-like [practitioner], it merely brings about joy and recollection in the realization of one's own suchness (tathatā). Thus, the five types of individuals are indicated by the term "all sentient beings." The meaning is that when benefit is produced for them, one acts to assist them according to the sequence previously explained. If one asks what that is: the "Abridged" (piṇḍīkṛta) refers to the "Summary" (saṃkṣipta), which is the means of accomplishment (sādhana). My explanation is a specific presentation and is not a fabrication. It follows the speech of the Teacher, which is the nature of scripture and realization. For it is said: "The Teacher's sublime Dharma is twofold: the nature of scripture and realization." By that, the five factors such as the expression and so forth are shown. Among them, "Abridged" is the expression (abhidhāna). "Summary of Meaning" is the subject to be expressed (abhidheya). The relationship between the subject and the expression is understood by implication even without being explicitly stated: "The words of worldly convention / Depend on two [factors], like long and short." "Producing benefit for all sentient beings" is the purpose of the intention, which is the perfection of the welfare of others. The "purpose" is the understanding of the meaning by implication.
The meaning is: how can a person who has not attained the perfection of their own welfare be able to act for the welfare of others? Some say that the purpose is explained by the phrase "in order to realize the summarized meaning." In that context, "summarized meaning" refers to the fact that through the insight whose nature is meditation on the clear realizations, one will attain the body of Vajradhara. Having thus taught the five [factors] beginning with the expression, in order to demonstrate the benefits of the tantra—showing that this very source from which the sadhana was condensed is the cause for liberation from the afflictions and the cause for attaining liberation—it is explained:
"The faults of beginningless habitual tendencies,
Which delude the three worlds,
The wise, having taught that,
Should purify them through the Yoga Tantra."
Regarding this statement: that which has no beginning is "beginningless." This demonstrates that all things arise from dependent origination and are not emanated by Ishvara or others, because when Ishvara and the like are analyzed, they are found to be non-existent. In that regard, is that which is called "Ishvara" permanent or impermanent? If he is permanent, how can he produce things? If a producer were to perform the activity of producing things either sequentially or simultaneously, he would be deprived of his permanence. Therefore, he is not a creator at all.
"If he is a creator, his permanence is lost;
If he is permanent, he is not a creator.
These two are mutually contradictory;
How could they be logical in a single entity?"
Here, the formal argument is as follows: Whatever performs a functional activity is impermanent, like a vase. The argument based on the reason of essential nature is: "The world is created by Īśvara through successive and simultaneous means." Furthermore, no Īśvara is observed other than the five appropriated aggregates. Therefore, how can that which is unobserved be established by the power of [scripture]? It is illogical for that which lacks a substratum (dharmin) to be permanent or an agent, because the substratum does not exist. As it is said in the Bodhicittavivaraṇa:
"The so-called 'self' is a non-entity;
How can it be called an 'agent'?
If a substratum existed, then its properties
Would be understood by the world."
Here, the formal argument is: Whatever is a substratum is connected with the property of impermanence, just as a vase is connected with its being produced and its impermanence. Since an Īśvara who is distinct from the five aggregates and so forth is not perceived, his permanence and agency also do not exist; this is the argument based on the non-perception of the essential nature.
The Naiyāyikas and Vaiśeṣikas also postulate a self (ātman) as a separate entity. Regarding that, they assert four conceptualizations: the self is in the aggregates, the aggregates are in the self, the aggregates are the self, or the self and the aggregates are inseparable, like fire and fuel. However, it is illogical for the view of the transitory collection to have twenty aspects through the divisions of the aggregate of form and so forth, because this is not established by reasoning.
If the first position is held, then since the aggregates are impermanent, it would follow that the self is also impermanent. The middle and second positions are also untenable, because a relationship of support and supported is illogical between the permanent and the impermanent. If it is argued that a relationship of support and supported is not established—just as a crow is not cut when a tree is cut, and a tree is not destroyed when a crow dies—that is not comparable, because the crow and the tree are both impermanent. The impermanence of external entities is established by the valid cognition explained previously. Furthermore, the analogy of fire and fuel is also untenable, because when the fuel is destroyed, the fire arises; thus, they are distinct and the analogy does not hold. Likewise, it would follow that the self arises when the aggregates are destroyed, and the self is destroyed when the aggregates arise. The peaceful Brahmā and the manifold Brahmā postulated by the Mīmāṃsakas are untenable, because being created, it would follow that they are impermanent. The explanation of the Puruṣa (Spirit) as the permanent self, consisting of the twenty-five principles of reality as postulated by the Sāṃkhyas, is also untenable; for if all reality arises from Nature (Prakṛti) itself, there would be no purpose for the Puruṣa. If it is argued that the purpose is the realization of that [Nature], that is incorrect; if its activity is apprehended by the intellect, how can it be a Puruṣa that performs the activity of another? If it is argued that its being the observer is its primacy, that is also untenable.
If one asserts that the act of seeing is the function of the eye and so forth, then by that same logic, it would follow that [the self] is impermanent. If it is [merely] equanimity, then it is logical that the person does not exist, and its existence is not tenable. Even for those who propound that the elements are mind, it would follow that they are of the nature of matter, and thus going, coming, and so forth would be impossible. As for the Cārvākas, who claim that inference is not a valid cognition, the very means by which they refute [inference] is itself an inference; thus, they contradict their own words. Even the shameless Digambaras say, "Curd is a camel, and a camel is curd." If all things were thus subject to total transformation, how could the person be an unchanging phenomenon? It is improper to speak of other such things as being illogical.
Having thus refuted the self and so forth, one establishes that all things arise dependently. For that very reason, the faults arising from beginningless habitual tendencies (vāsanā) are attachment and so forth, which turbid the mental continuum. If one then says that beginningless habitual tendencies themselves are the self and so forth, that is incorrect. This is because what is called "habitual tendency" is a delusion regarding things that arise dependently, which the foolish impute to exist even though they do not. In the ultimate sense, that very thing is empty. For that reason, while things are empty, phenomena arise as empty, and cause and effect are of a false nature. Based on that, whatever arises—
"That very thing is not its own arising. How could that which is by nature unarisen be produced?" Thus it is said. Likewise: "From phenomena that are empty, the emptiness of phenomena arises." Because of such statements, one applies conventional designations such as "the next world" to entities that have become thus in an empty nature. As it is said: "Like a recitation, a lamp, a mirror, an echo, a crystal, or a seed, the wise should understand the formation of the individual aggregates without any transmigration." Because of such statements, the faults of beginningless habitual tendencies in entities that have become thus—namely, the ninety-eight afflictions such as attachment and so forth, which consist of the one hundred and sixty natural states day and night—are the causes for wandering in the wheel of existence within the six realms of all the elements of sentient beings. When these are analyzed, they lack intrinsic nature through the distinctions of the external and so forth. In that regard, the afflictions do not abide in the object, because the object is insentient. They do not abide in the sense faculties, because the faculties are not mental factors. They do not abide in the mind, because there is no relationship of support and supported. If there are no causes and conditions, from what could an effect arise? Thus, the beings of the three realms are deluded and obscured by the faults arising from beginningless habitual tendencies. If one asks by what means these are to be abandoned, it is said: "The wise, having observed that..."
Regarding the phrase "thus," it means that by means of the specific reasoning explained in that way, one should correctly examine those faults and, having analyzed them without error through the insight that is the nature of hearing and so forth, one should purify them by means of the Yoga Tantra. The phrase "should be purified by the Yoga Tantra" means that they should be purified by the Mahāyoga Tantra and not by the vehicles of the Śrāvakas and so forth. This is the intended meaning.
Why is this? Because the Śrāvakas, by merely meditating on the unattractive, meditate on the suchness of a mere skeleton of bones; however, that is not authentic. Even if the latent tendencies are removed, they fall back into the ocean of saṃsāra, just like a worm. Just as a worm remains motionless in the winter but moves in the spring, likewise the Śrāvaka enters the meditative absorption of cessation, yet because afflictions arise again, they become part of saṃsāra. Thus, their suchness and the cause for attaining it are not authentic.
As for the Yogācāras, they are of two types based on the distinction between those with aspects and those without aspects. They assert that mere cognition is the dharmakāya, but their wisdom is not authentic. Why? Because if external objects do not exist—since they are devoid of being one or many—how could the cognition that apprehends them be logical? If it has aspects, how can there be no object? If it is without aspects, then emptiness is logical, but not mere cognition. As long as there is the appearance of distinct objects, it is of the nature of conceptualization and thus belongs to the side of saṃsāra.
The complete pacification of all conceptual proliferation is nirvāṇa. As it is said: "Peace is the absence of other conditions; it is not proliferated by proliferations. It is without distinct objects and is non-conceptual; that is the authentic characteristic." Therefore, according to the Yogācāra position, liberation is impure. Furthermore, because the Madhyamikas assert that all things are empty due to being devoid of unity and plurality, the dharmadhātu is undifferentiated; yet, because they do not abandon the ordinary body, they will not attain enlightenment for a long time, as they lack skill in means. In that regard, those who wish to complete the perfection of generosity by giving clothing and so forth to a single sentient being do not possess the perfection of generosity, because they do not embrace the entire realm of sentient beings. Consequently, the claim that enlightenment is attained in three incalculable eons is not a swift method for the purification of afflictions; thus, the Mahāyāna is not a swift method. The yogins of the Action Tantras and so forth should also be understood to be like the yogins of the Perfection Vehicle, as they involve much conceptual proliferation. Therefore, the Yoga Tantra itself is the method for purifying those very faults.
In this regard, by meditating that the afflictions such as attachment are the nature of the Tathāgatas, such as the Blessed One Akṣobhya, they are completely transformed; having attained that wisdom, one will attain the state of Vajradhara in this very life. Likewise, hatred is reversed by the samādhi of great hatred, attachment by the samādhi of great attachment, and delusion by the samādhi of great delusion. Thus, the afflictions, which are contradictory phenomena, are to be purified—just as water that has entered the ear is drawn out by more water, or as a burned limb is treated by applying fire. The Mahāyoga Tantras possess such diverse methods. In that context, attachment and the like are abandoned through the union of the vajra and the lotus, and hatred is abandoned through the samādhi of the wrathful deities, because one thoroughly understands their nature. For those who do not understand the nature, there is no purpose in abandoning them. If one asks, "In that case, how is the Yoga Tantra the Mahāyoga Tantra?" it is because the former term is not explicitly manifest, just as one speaks of "being angry" when one is already angry. What is the meaning of "yoga"? The inseparability of emptiness and compassion is yoga; this is the literal meaning. The union of method and wisdom is yoga; this is the general meaning. The union of the vajra and the lotus is yoga; this is the hidden meaning.
The realization of non-duality with luminosity is yoga; it is the ultimate. "Withdrawal, meditative concentration, breath control, retention, recollection, and samādhi are explained as the six-limbed yoga," this is the non-intentional [explanation]. "The arising of the four maṇḍalas is yoga; it is explained with intention." "The tantra of seventeen chapters is yoga; it is the literal [meaning]." "The cessation of mental conceptualization is yoga; it is the definitive meaning." This is because it is said: "The union of method and insight is explained as yoga."
Thus, having established that the Yoga Tantra is the method for purifying all afflictions, I shall now explain, following that, how to abandon all afflictions of the body:
"Having completely abandoned the five desires,
Without being tormented by austerities,
Following the Yoga Tantra,
One should achieve enlightenment through bliss."
Regarding this statement, "following the Yoga Tantra" means relying upon the Mahāyoga Tantra. "Through bliss" means by way of the qualities of desire and enjoyments. "Enlightenment" is the state of Vajradhara; "to achieve" means to bring it to perfection. Why? Because one should not abandon and be separated from the five qualities of desire, such as form and so forth, and one should not torment the body with austerities, such as ascetic vows and the qualities of purification, which are causes of physical exhaustion.
This is because it is said: "A mind endowed with bliss becomes concentrated." With a concentrated mind, one comes to know reality as it truly is. If one asks, "Since the five sensory qualities are causes for the distraction of the mind, how can one attain enlightenment through them?" it is replied: For Bodhisattvas who possess skillful means, the afflictions become beneficial. For example, if a musk-elephant eats the ketaka flower, it is transformed into the essence of musk; however, if an ordinary elephant eats it, it is completely transformed into filth. Likewise, the Ratnakūṭa Sūtra states: "Kāśyapa, just as manure benefits a field of sugarcane or rice, so too do the afflictions benefit a Bodhisattva Mahāsattva." Similarly, if a person who does not know the true nature of poison eats poison, they will die; but if one who knows the true nature of poison eats it, it becomes nectar itself. As it is said in the Vairocanābhisambodhi Tantra: "Lust, hatred, and delusion are the three great poisons in the world. By completely overcoming the poison itself, the poison is rendered poisonless." And from the Amoghasiddhi Tantra: "That which binds the ignorant, by that the wise are liberated. Thus, for one who meditates on enlightenment, everything is reversed." Thus it is taught.
Here, the pith instruction is as follows: for the time being, a beginner yogi who abides in the conduct with elaboration should place food and so forth in the lower story of a three-storied temple, place musical instruments and so forth in the middle story, and sit upon various seats in the upper story. There, one should gradually arrange within the maṇḍala four samaya-mudrās—girls of twelve, sixteen, or twenty years of age, beautiful in form and well-adorned. Then, through the sequence of the initial application and so forth, one should manifest the complete form of the deity. Having satisfied them with food, drink, and the tasting of nectar, one should experience bliss through the "net of fire" and so forth, and through the sequence of bliss and so on, manifest the clear light. Therefore, this very tantra states: "One should achieve enlightenment through bliss, not by tormenting the body."
Now, in order to explain the empowerment of the yogis, it is said: "Therefore, this is the abiding in the vow; whatever ascetic conduct is always indivisible, one should also undertake the accomplishment of the vajra body, speech, and mind." The meaning of this is as follows: "Therefore" refers to the cause, which is the method of bliss explained previously. Here, according to the Glorious Guhyasamāja Tantra, the ascetic conduct is that of the yogi who abides in whatever vows have been maintained.
"Always" means at all three times, being indivisible and irreversible. Thus, the "Vajra of the Body, Speech, and Mind of the Blessed One" is the practice of the Great Vajradhara; the "commencement" is the undertaking of the means for its actualization. The meaning is as follows: first, for the sake of accomplishing the conduct of the six perfections such as generosity, one should generate the mind of enlightenment through the power of great compassion and engage in giving and so forth. Possessing devotion to the Great Vehicle of Mantra, which is profound and vast in nature, one should go before a Vajra Master. Having preceded this with taking refuge in the Three Jewels and so forth, and having offered a maṇḍala, made offerings, and presented many supplications, the pleased Master should first draw the maṇḍala of the glorious Guhyasamāja. Then, preceded by the bestowing of the Master, Secret, Insight, and Fourth Empowerments, as well as the commitments of consumption and protection and the vows, one should possess the Vajra Vow, the Conduct Vow, and the Knowledge Vow. Being unassailable by opponents, one should understand the fourfold unerring explanation of the glorious Guhyasamāja Tantra and so forth through the stages from the mouth of the Guru. Having contemplated through the stages of the four types of knowledge, one should go before the Master for the benefit of oneself and others, make offerings with the five types of offerings, and join the palms.
"Blessed One, sublime master, for the sake of liberating all sentient beings of saṃsāra from suffering, you have generated compassion. I, desiring to accomplish the state of the Blessed Vajradhara, therefore pray to you: 'Please grant me your permission to subsequently meditate in solitude.' Having thus made the request, the master should ascertain that the disciple is indeed fortunate and then say to them: 'Son of noble family, for the benefit of yourself and others, dwell in solitude and, through the insight that is the nature of meditation, accomplish the maṇḍala of Vajradhara exactly as you have heard it.' Having been thus permitted, the disciple should touch the master’s feet and say: 'By your command, quickly accomplish the maṇḍala of Vajradhara for me.' Then, having gone to a secluded place, one should apply oneself to meditation in order to accomplish the Vajra Body, Speech, and Mind. This is the meaning of the words. Thus, through such permission, one becomes a suitable vessel for the accomplishment of enlightenment, but not otherwise. Here, the term 'vow' (saṃvara) is used as an illustration; one should also explain abiding by the 'samaya.' Regarding that, after the empowerment of knowledge (vidyā), the samayas of the five families are: taking refuge in the Three Jewels; upholding the vajra, the bell, and the master; the four kinds of generosity; upholding the three aspects of the sublime Dharma; and the ritual of making offerings to the best of one's ability. The vows are fivefold:"
One must abandon the ten non-virtues, not desire the Lesser Vehicle, abandon alcohol, abandon turning one’s back on the welfare of sentient beings, and not step over the signs of deities and so forth. Regarding the empowerment of non-retrogression, there are fourteen samayas: disparaging the master; transgressing the word of the Sugata; disparaging vajra siblings; abandoning great love; abandoning bodhicitta; disparaging the three vehicles; teaching the secret Dharma to those who are unworthy; disparaging one’s own aggregates; doubting the lack of intrinsic nature of phenomena; showing love to the malicious; being free from attachment [in the wrong context]; establishing phenomena in the two extremes; disparaging the mind of faith; not relying on the samayas of the full extent [of reality]; and disparaging women, who are the nature of the perfection of wisdom. To abandon these fourteen root downfalls is the samaya.
To avoid the ten faults: associating with those of an unpleasant disposition; failing to apply the samayas; quarreling in the maṇḍala of the assembly; disparaging the mind of faith; staying among the Śrāvakas for seven days; the pride of a yogi; teaching perverted Dharma to sentient beings who possess faith; teaching Dharma to those who are not yet certain [of the path]; revealing secrets to those who are not prepared; and teaching the profound Dharma to those who are not suitable vessels. To refrain from these ten misdeeds is the vow.
Regarding the secret empowerment, there are three samayas: the suchness of the vajra, the suchness of the bell, and...
This is the suchness of the mudrā. There are three vows: tasting the lamp, tasting the hook, and kissing the bhaga. Regarding the empowerment of insight, there are five samayas: taking life, taking what is not given, sexual misconduct, lying, and slander. There are five vows: the vow of delusion, the vow of hatred, the vow of attachment, the vow of pride, and the vow of envy. The meaning is that one should abide in these.
Likewise, "indestructible" (mi phyed pa) refers to being unmoved by the Śrāvakas and so forth; this is the interpretable meaning. Not abandoning the bodhicitta is "indestructible"; this is the definitive meaning. Being indestructible in the ascetic conduct of practice is the literal meaning. Relying on ku, go, da, and ha is "indestructible"; this is the non-literal meaning. Abiding in the form of desire is the intentional explanation. Delighting in non-dual wisdom is not [merely] intentional. Relying on the samayas and vows is the literal meaning. Diligence in meditating on the maṇḍala circle is the general meaning. Skill in meditative absorption is the hidden meaning. Delighting in the desire [of the consort] through the distinctions of union with the padminī, the śaṅkhinī, and the utpalinī is the ultimate meaning. Possessing the vajra-vow, the conduct-vow, and the knowledge-vow is "vow"; this is the interpretable meaning. Realizing the clear light is "vow"; this is the definitive meaning.
"Those with matted hair, the naked, the shaven-headed, those with topknots, and those free from worldly bustle—by means of these various signs, they desire manifest enlightenment." Thus it is said.
The Vajra Body is Vairocana. The Vajra Speech is Amitābha. The Vajra Mind is Akṣobhya; this is the literal meaning. The Vajra Body is the syllable OṂ. The Vajra Speech is the syllable ĀḤ. The Vajra Mind is the syllable HŪṂ; this is the general meaning. The Vajra Body is the tortoise channel. The Vajra Speech is the moon channel. The Vajra Mind is the channel of the parasol of desire; this is the hidden meaning. The Vajra Body is passion. The Vajra Speech is freedom from passion. The Vajra Mind is intermediate passion; this is the ultimate meaning. The Vajra Body is blood. The Vajra Speech is semen. The Vajra Mind is fragrant water; this is the intentional explanation. The Vajra Body is appearance. The Vajra Speech is increase of appearance. The Vajra Mind is near-attainment of appearance; this is the non-intentional explanation. The Vajra Body is a maṇḍala of twenty cubits. The Vajra Speech is a maṇḍala of sixteen cubits. The Vajra Mind is a maṇḍala of two cubits; this is the literal meaning. The Vajra Body is Brahmā. The Vajra Speech is Maheśvara. The Vajra Mind is Viṣṇu; this is the non-literal meaning. The Vajra Body is pacification. The Vajra Speech is magnetizing. The Vajra Mind is wrathful activity; this is the interpretable meaning.
The Vajra Body is the maṇḍala of the body, the Vajra Speech is the maṇḍala of speech, and the Vajra Mind is the maṇḍala of mind; this is the definitive meaning. To meditate according to the pith instructions is the meaning of the term "accomplishment." Now, preceded by great compassion manifested as wrathful activity, the reliance upon special locations will be explained:
"In a region of a great wilderness, adorned with flowers, fruits, and the like, in secluded mountain retreats, all siddhis are accomplished through their gathering."
Regarding this statement: first, one should generate the mind of great compassion, and subsequently rely upon a location. The region of a great wilderness is a special location because it is captivating with ponds and other such features.
Adorned with flowers, fruits, and so forth, is the particularity of the mountain. "Secluded" refers to other secluded places as well. The gathering of all mundane and supramundane accomplishments is that in which they are gathered; that is the gathering of all accomplishments, which is buddhahood itself. "Accomplishment" refers to that which is to be accomplished; this is the interpretable meaning.
Through the application of realizing space,
The aggregates are held to be the great wilderness.
Through the application of the abode of no-abode,
The region of the earth is the great abode.
Enjoyment like a wish-fulfilling tree,
Possessing the flowers of various accomplishments,
With the fruits of emanation beautifying all,
Is the mountain of perfect enlightenment.
In the solitude of the lack of intrinsic nature,
The Buddha is beautiful; thus should he be accomplished.
This is the definitive meaning. The "great hermitage" is the mudrā of the source of phenomena (dharmodayā); its "location" is the parasol of desire. The "fruit" is the moon-like channel of the mother, from which the bodhicitta flows. The "flower" is the self-arisen flower of the tortoise-like channel, from which [the fluid] flows. By the word "and so forth," one should understand the channels of Devadattā and Vasudhārā, which are endowed with excrement and urine. It is in the bhaga adorned by these that [the practice occurs]. The "mountain" is the channel of the female organ, measuring approximately four finger-widths. Because it abandons passion and the like, it is "secluded." In that regard, the "gathering of all accomplishments" is the practice of the mere bindu; this is the intentional explanation (sandhyābhāṣā).
The "great hermitage" is the secret maṇḍala. That itself is the "location" because it is secret. Being "adorned with flowers, fruit, and so forth" refers to the navel maṇḍala. The "mountain" is the heart maṇḍala. The "secluded" is the throat maṇḍala. In this context, it is the practice, not the intentional explanation.
The "great hermitage" is the space of the parasol of desire. The "location" is the space of Devadattā. Being "adorned with flowers, fruit, and so forth" is the space of the moon-like [channel]. The "mountain" is the space of the tortoise-like [channel]. The "secluded" is the space of Vasudhārā; this is the non-literal meaning (neyārtha). As it is said:
"In the center of the bhaga is the space,
Adorned by the five spaces.
The navel is endowed with a pericarp,
Beautifully adorned with eight petals.
The nectar in the form of semen
Resides there and flows perpetually."
Thus it is explained.
The "great hermitage" is the vowels. Being "adorned with flowers, fruits, and so forth" refers to the consonants. That which is indicated by these is the "solitary mountain," which is the body. To practice therein is the literal meaning.
The "great hermitage" is the padmā (lotus-like woman). The "location" is the śaṅkhinī (conch-like woman). Being "adorned with flowers, fruits, and so forth" is the utpalā (blue-lotus-like woman). The "solitary mountain" is the bhaga (vagina). Among these, the padmā is the medium lotus; the śaṅkhinī is the left lotus; the utpalā is the subtle lotus; and the va is the expanded lotus. To practice the gathering of all accomplishments within these is the hidden meaning.
The "great hermitage" is the action seal (karmamudrā). The "location" is the commitment seal (samayamudrā). Being "adorned with flowers, fruits, and so forth" is the wisdom seal (jñānamudrā). The "solitary mountain" is the great seal (mahāmudrā). To practice within these is the literal meaning.
The "great hermitage" is the syllable HŪṂ at the heart. Being "adorned with flowers, fruits, and so forth" is the syllable ĀḤ at the throat. The "solitary mountain" is the syllable OṂ at the crown. To practice within these is the general meaning.
The "great hermitage" is the dharmakāya. Being "adorned with flowers, fruits, and so forth" is the jñānakāya. The "solitary mountain" is the vajrakāya, which is inseparable from that. To practice within these is the ultimate meaning.
The summarized meaning is as follows: first, in a location secluded from people, one should smear a square maṇḍala with the five nectars.
There, sitting on a soft seat such as a woolen rug or the like, one should manifest the three realms oppressed by manifold sufferings. Then, one should meditate on the four immeasurables, which are the antidotes to malice, harmfulness, dissatisfaction, and sensual desire, and which take infinite sentient beings as their object: loving-kindness in the aspect of wishing all sentient beings to be endowed with happiness; compassion in the aspect of wishing all sentient beings to be free from all suffering; sympathetic joy in the aspect of rejoicing in the merit of both noble beings and ordinary beings, or in the aspect of thinking, "I shall establish all sentient beings in enlightenment"; and equanimity in the aspect of thinking, "All sentient beings are for the time being not [ready] vessels; I shall discipline them when the time for ripening arrives." As it is said: "By meditating on loving-kindness, compassion, sympathetic joy, and equanimity toward the objects of happiness, suffering, merit, and non-merit, the mind becomes clear."
Now, the meditation for the purpose of protecting the site will be explained:
"Having sat upon a soft seat,
Properly assuming the sattva-paryaṅka posture,
Abiding in the samādhi of Dveṣavajra,
One should contemplate the protection of the site."
Regarding this statement: following the protection of the yoga, the practitioner should simultaneously meditate on the Blessed One, the Great Vajradhara, who has one face, two hands, and holds a vajra and bell; who is white and peaceful, and who abides in the sattva-paryaṅka posture.
Then, intending to expel the obstructing spirits, one should emanate from the heart a slightly wrathful deity with a color like sapphire, inseparable from Dveṣavajra, and meditate on oneself as that very Blessed One. This is because the maṇḍala of the wrathful deities arises from Dveṣavajra; it is appropriate to meditate on that, but not on Akṣobhya. There are two divisions of Cittavajra: Dveṣavajra and Akṣobhya. Among them, Dveṣavajra has bared fangs and is dark blue in color. Akṣobhya is graceful and peaceful, with the color of sapphire. Regarding the protection of the site, the provisional meaning is that one should contemplate the characteristic of thoroughly pacifying the obstructing spirits of the ten directions. The "soft seat" is the anthers of the lotus of insight, the stalk of the parasol of desire. Sitting upon that is to take delight in its mere touch. The "heroic posture" is the meditative union of the vajra and lotus; by being well-settled in that, one comes to abide in bliss. Dveṣavajra is the luminosity characterized by the destruction of all afflictions, and that itself is the samādhi for the sake of generating one-pointedness of mind. Abiding there is the entry, and the protection of the site is the definitive meaning: one should contemplate the cessation of the ten winds, such as the life-sustaining wind, from the locations of the ten gates. Now, in order to demonstrate that very point, it is explained: "Emitting blazing rays of light, terrifying, abiding upon the sun, arisen from HŪṂ, abiding in the posture with the left leg extended."
Regarding the statement, "The ten wrathful deities are to be emanated," one focuses on the previously explained samādhi of Dveṣavajra. From the heart, one emanates Sparśavajrā, who is identical to oneself. Within her bhaga, from the total transformation of the syllable HŪṂ, there appears a crossed vajra. Upon this, from the total transformation of the syllable RAṂ, a sun maṇḍala arises. In the center of this, from the seed-syllable of the samādhisattva residing on the heart lotus, a wheel of light rays is emanated from all the pores of the skin. These take the form of hooks, which summon the kings of the wrathful deities dwelling in the world systems of the ten directions. They enter through the path of speech and are emanated in the form of bodhicitta through the path of the central channel. One meditates on ten syllables HŪṂ arising from the total transformation of the drops (bindu). From the total transformation of these, one visualizes ten bared fangs of vajras, blazing with light and marked by HŪṂ. Preceded by the process of emanation and reabsorption, from the total transformation, one generates the ten wrathful deities, such as Yamāntaka and the others, possessing the shapes, colors, and hand-symbols as previously described. Prior to generating those, one visualizes the king Sumbharāja, who arises from HŪṂ, with three faces and six arms, blue in color, residing upon a sun maṇḍala. Then, from all the doors of the goddess’s pores, the eleven wrathful deities are emanated. One should visualize them residing upon sun maṇḍalas in the ten directions and in front of oneself. Among them, Yamāntaka is blue, and [the others are] blue and white...
He has a red face and holds a staff, a wheel, a vajra, a lotus, and a noose with a threatening gesture, together with a bell. He stands with his right leg extended, treading upon Yama atop a buffalo.
Pramardaka (Destroyer of Wisdom) is white, with white, blue, and red faces. He holds a club, a sword, a vajra, a jewel, and a noose with a threatening gesture, together with a bell. He stands with his left leg extended, treading upon Viṣṇu.
Padmāntaka (Destroyer of the Lotus) is red, with red, blue, and white faces. He holds a lotus, a sword, a vajra, a jewel, and a noose with a threatening gesture, together with a bell. He stands with feet together, treading upon Maheśvara.
Vighnāntaka (Destroyer of Obstacles) is green, with green, blue, and red faces. He holds a vajra, a sword, a lotus, a jewel, and a noose with a threatening gesture, together with a bell. He stands with uneven feet, treading upon Gaṇeśa.
Acala, Takkirāja, Nīladaṇḍa, Mahābala, Sumbharāja, and Uṣṇīṣacakravartin have three faces and six arms. They are black in color and stand upon the sun with their left legs extended. One should meditate on them holding a hook, a trident, a club, a sword, a wheel, and a vajra in their primary hands, while the remaining hands hold the same implements as Yamāntaka and the others. These wrathful deities are also dwarfish, with protruding bellies and robust bodies.
One should visualize [the deity] with bared fangs, roaring "ha ha," with blazing hair bristling upward, and three eyes of the nature of the sun, moon, and fire. His eyebrows, beard, and hair are tawny, and his topknot is bound by the nāga Takṣaka. He wears earrings of Padma and Mahāpadma, a brahmin’s thread made of the son of Vasuki, and anklets made of Śaṅkhapāla and Kulika. Ananta serves as his tiger-skin lower garment, and he is adorned with bracelets made of Huluhula. With his "ha ha" laughter, he shatters the mountains, and his teeth grip his lips.
For that very reason, it is said: "Arising from HŪṂ." This means arising from ten syllables HŪṂ. "With the left leg extended" is an illustration; it means standing in the posture previously explained. "Radiating blazing light, causing terror" means he emanates infinite wrathful kings. "Ten" means that the eleventh, the king Sumbharāja, should also be emanated. To explain how he is to be commanded, it is said:
"At the peaks of the maṇḍalas of the ten directions,
One should visualize them in successive order.
In order to utterly destroy all obstructors,
Command Sumbharāja and strike with the kīla."
Regarding this statement: those ten wrathful deities are at the peaks of the maṇḍalas of the ten directions; that is, at the limits of the ten directions of oneself. "In successive order" means in the proper sequence, starting from the east and so forth. "One should visualize" means one should arrange and clearly behold them.
Within that, the eleventh, Ucchuṣma, is the one who takes the form of an obedient servant. Regarding the command issued: having bestowed the command, the ritual of piercing with a kīla is to be performed in order to destroy all obstructors, namely the world-protectors such as Indra and the rest; this is the interpretable meaning.
In the clear light there are ten moments: the five signs such as the mirage and so forth, and the five moments that follow them. Because these arrest the obstructors of the ten winds, they are "kīlas." Bringing the clear light to the fore is Ucchuṣma; this is the definitive meaning.
The mantra for piercing the kīla shall be explained: oṃ sumbha ni sumbha hūṃ hūṃ phaṭ | gṛhṇa gṛhṇa hūṃ hūṃ phaṭ | gṛhṇāpaya gṛhṇāpaya hūṃ hūṃ phaṭ | ānaya ho bhagavān vidyārāja vajra hūṃ hūṃ phaṭ. Regarding this statement: then, in order to summon the lords of obstructors, Vajradveṣa issues this command to Ucchuṣma by means of the gesture of the threatening forefinger and thumb to urge him toward the ten directions.
Oṃ is Vajradhara. Sumbha is the summoning. Ni sumbha is the suppression of obstructors. Hūṃ is the essence of Akṣobhya. The second hūṃ is the urging of the essence. Phaṭ is for killing. Gṛhṇa gṛhṇa is "bind, bind those who have gone [away]." Gṛhṇāpaya gṛhṇāpaya is "bind, bind them with their retinues." Having bound them, ānaya ho means "lead them to my presence." Bhagavān vajra is the summoning through faith. The remainder is as before.
One should visualize that mantra as the King Sumbharāja, with palms joined, listening. If one asks, "Having gone, what does he do?" it is said:
"With this form of a wrathful deity,
Having summoned the lords of obstructors,
The wise one, through the application,
Should strike them with the ritual stake according to the rite."
Regarding this statement: "with the form of a wrathful deity" means with the form of the King Sumbharāja and the forms of the ten wrathful deities. "Lords of obstructors" refers to Śakra and the others. "Summoned" means having suppressed them. "The wise one" refers to the yogi whose nature is endowed with mindfulness. "Through the application" means through the meditative absorption of the application of striking with the stake. "According to the rite" means that they should be struck with the stake through the meditative concentration taught in the fifteenth chapter.
The meaning of this is as follows: Having received the command of Dveṣavajra, the King Sumbharāja emanates Vajrasattvas in the ten directions. One should visualize that he summons the world-protectors, such as Śakra and the rest, and places them in the ten directions of Dveṣavajra.
In that regard, in the eastern direction is Śakra, white, with one face and two arms, holding a vajra and an utpala flower, seated upon an elephant, together with Śacī. In the southern direction is Yama, blue in color, with one face and two arms, holding a staff and a human head, seated upon a buffalo, together with Kālī. In the western direction is Varuṇa, white, with one face and two arms, holding a nāga-noose with both hands, riding a makara.
Together with Śobhanā. In the north is the red Vaiśravaṇa, with one face and two arms, holding a lion banner and a mongoose-treasure; he dwells upon a lion throne and is accompanied by Candraprabhā. In the southeast is the red Agni, with one face and two arms, holding a guṇḍī and a rosary; he rides a parrot and is accompanied by Svāhā. In the southwest is the black Nirṛti, with one face and two arms, holding a sword and a shield; he dwells upon a preta and is accompanied by Vikaṭā. In the northwest is the green Vāyu, with one face and two arms, holding a banner; he dwells upon a deer and is accompanied by Vāyu. In the northeast is the white Īśāna, with one face and two arms, holding a mātuluṅga and a trident; he rides a bull and is accompanied by Umā. Above are Brahmā, Sūrya, and Candra, each with one face and two arms, yellow, red, and white respectively; they hold a guṇḍī, a rosary, a lotus, and a kumuda flower; they dwell upon a swan, a horse, and a kumuda flower, and are accompanied by Yaśasvatī, Prabhāvatī, and Virajā. Below is the black Vemacitra, with one face and two arms, holding a sword and a threatening gesture; he rides an elephant. Also present is the earth goddess Pṛthivī, whose upper body emerges [from the ground], yellow in color, with two hands holding a golden vase. All of these should be visualized together with their wives, retinues, and various attendants.
Then, by the command of Dveṣavajra, the King Sumbharāja should take up the ten wrathful deities, who are like single-pointed vajras below and have the form of wrathful deities above. One should visualize them striking and hammering the crowns of Śakra and the others with hammers that are the nature of Hayagrīva. At the time of striking with the kīlas, one should visualize the ten wrathful deities as being like the Blessed One Amṛtakuṇḍalī, like blue utpala flowers, because Amṛtakuṇḍalī is the performer of all activities. Then, one should visualize those kings of wrathful deities causing those obstructors to reach as far as the seventh underworld. One should meditate that the hosts of blazing wrathful deities arising from that surround them as far as the iron mountains, burning their retinues—the yakṣas, rākṣasas, bhūtas, piśācas, pretas, unmādakas, kumbhāṇḍas, and so forth—until they are reduced to ashes. These are then carried away and made invisible by the wind of the breath of the syllable HŪṂ issuing from the mouths of the wrathful deities. Thus, the complete pacification of the obstructors and their retinues is taught.
To explain that very point, it is said:
"The great king Vajrāmṛta,
The color of the petals of a blue utpala,
Possessing light with dense, blazing garlands—
One should meditate on the vajra kīla."
Regarding this: at the time of striking with the kīlas, the practitioner should meditate on Vajrāmṛta as Amṛtakuṇḍalī. He is the "great king" because he is the chief among all wrathful deities and arises from the family of all activities. "The color of the petals of a blue utpala" means green.
"Endowed with light, dense with blazing garlands" refers to the emanation of the blazing wrathful deities. One should visualize the vajra-kīla as having the nature of the ten wrathful kings. If one meditates on them as being similar to Amṛtakuṇḍalī in color, one might ask what their shape is like. It is said:
"From the region of the navel to the lower part,
One should visualize it like a [vajra] tip;
The upper part has the shape of a wrathful deity,
Meditate on it as having three faces and six arms."
Regarding this statement: those ten wrathful deities, from the top down to the navel, are like those with three faces and six arms. From the navel downward, one should visualize them as being like a single-pointed vajra. This is the interpretable meaning: that by means of this, the obstructors are struck with the kīla and subdued.
The three channels—Kāmachattrā, Kūrmī, and Candrī—abide in two parts from the navel upward, thus appearing as six arms. At the time of meditative union, they become of one taste and thus become like a single-pointed vajra; at that time, the obstructors such as the "appearances" are struck with the kīla. This is the definitive meaning.
To explain that very point of emanation, it is said:
"By properly reciting its secret mantra,
And looking down, the hosts of obstructors
Are firmly struck with the vajra-kīla;
The bodies of the obstructors become immovable."
Regarding this statement: with the form of Vajrāmṛtakuṇḍalī, the King Sumbharāja strikes with the kīla from the head down to the soles of the feet, and one should visualize it reaching as far as the seven underworlds.
In order to consecrate that, this mantra should be recited; this is the interpretable meaning. When the collection of conceptual thoughts has been pacified, one should mentally contemplate the mantra that is the nature of clear light; this is the definitive meaning. That very mantra shall now be explained:
Oṃ gha gha ghātaya ghātaya sarvadustān hūṃ phaṭ phaṭ | kīlaya kīlaya sarvapāpān phaṭ phaṭ hūṃ hūṃ vajrakīlaya vajradhara ājñāpayati | sarvavighnān kāyavākcittaṃ kīlaya hūṃ hūṃ phaṭ phaṭ.
Regarding what has been stated: the yogin, whose nature is the Vajra of Hatred, should issue the command by reciting this mantra. Oṃ has already been explained. Gha gha and so forth means "slay!" Sarvadustān refers to Indra and the others. Hūṃ and so forth are as before. Kīlaya means "strike with the kīla at the crown." Sarvapāpān refers to Viṣṇu and the others. Vajrakīlaya is an invocation of the ten wrathful deities. Vajradhara ājñāpayati means "I, the Vajra of Hatred, command." Sarvavighnān refers to those previously mentioned. Kāyavākcittaṃ refers to the body and so forth. Vajrakīlaya means "pierce!" The three hūṃs are for the purpose of striking the body and so forth with the kīla. The remainder is as before. By those two lines of the mantra, the obstructors are struck with the kīla, and by the [other] one, they are beaten; this is the interpretable meaning. The removal of all conceptual thoughts is the striking with the kīla, and...
Regarding the reliance upon luminosity, it is to be struck; this is the definitive meaning. If one asks how it is to be struck, it is said:
"One should visualize the King Sumbharāja holding a vajra hammer in his hand. One should definitely meditate on the blazing vajra fire together with the mantra."
Regarding this statement: one should meditate on the King Sumbharāja, who has arisen from the complete transformation of the vajra hook, holding a vajra hammer in his hand. Furthermore, the pith instruction is that he is of the nature of Hayagrīva. One should also imagine that vajra hammer emitting vajra fire. With that vajra hammer, one should imagine striking them and causing them to descend into the seven underworlds; they are to be burned by the masses of flames arising from the bodies of the wrathful deities and reduced to ashes by the wind of the breath—this is the interpretable meaning.
The King Sumbharāja is the central channel; the definitive meaning is to meditate on the emission of the fire of luminosity in the shape of that very vajra hammer. To explain that:
"One should visualize that the wicked, being burned, flee in all directions."
Regarding this: "in all directions" means that when the lords are struck with the ritual daggers (kīla), one should observe that the retinues also become terrified and flee, and they are to be burned according to the previous sequence—this is the interpretable meaning. When the three appearances have been abandoned, one should meditate on the one hundred and sixty natures that constitute their retinue as becoming enraged and then vanishing—this is the definitive meaning.
The summary is to be explained: "Having struck with daggers in the ten directions..."
"Consecrate the zenith and nadir perfectly" means that, according to the sequence previously explained, the ritual daggers (kīla) are driven into the ten directions. If one asks, "Since the eight directions are well known, why are they explained as ten?" it is said: "Consecrate the zenith and nadir perfectly." This means that by driving the daggers into the ten directions together with the zenith and nadir, there is no fault. The explanation of that very point is that "perfect consecration" means "one should drive the ritual daggers."
Then, from the seed syllable of the wisdom-being (jñānasattva), a wheel of light rays is emanated. With those in the form of hooks, the eleven wrathful deities are summoned and drawn into one's own heart; they should be visualized as abiding solely as method and insight. If, even after doing so, obstacles are not pacified because one is a beginner, then what should be done? It is said:
"In the ultimate sense, the three realms
Should be meditated upon as being without entity."
The "three realms" are the desire, form, and formless realms. Because they are devoid of being one or many, they are empty. Because they lack causes such as Īśvara and so forth, they are signless. Because they are free from conceptualization, they are wishless. For that very reason, they are without entity; one should meditate on them as the nature of universal emptiness, which cannot be described as having any such essence. As it is said:
"Form is explained as being like foam;
Feeling is similar to a bubble;
Perception is like a mirage;
Formations are like a plantain tree;
Consciousness is like an illusion."
Thus it is said: "In that way, the aggregates are taught." Likewise:
"Being devoid of intrinsic nature is emptiness;
Being devoid of causes, it is likewise signless;
Being without conceptualization, all things without exception
Are definitively liberated from aspiration."
So it is said. Likewise:
"Not from themselves, not from another,
Not from both, and not without a cause—
Of any entities whatsoever,
Arising is never found anywhere."
So it is said. Furthermore, from another source: "These entities lack intrinsic nature because they are devoid of being one or many, like a reflection."
Here, the pith instruction is as follows: through the meditative union of method and wisdom, the Father and Mother melt, and one should contemplate oneself as having the nature of emptiness. To explain that very point in detail:
"Because there are no entities, there is no meditation;
That which is to be meditated upon is not meditation.
Therefore, because of both entity and non-entity,
Meditation is non-referential."
Regarding this statement: if all entities, both stable and moving, do not exist, then meditation does not exist, because there is nothing to be meditated upon. "That which is to be meditated upon is not meditation" means that whatever meditation exists is also not meditation, because it exists even in the absence of meditation. Therefore, that which possesses both entity and non-entity is not an entity. Consequently, the object of meditation, the meditator, and the act of meditation are non-referential; this is the literal meaning.
To eliminate all phenomena through such divisions as "above" and so forth, and to meditate on conditioned and unconditioned phenomena as being empty, is non-existent; this is because it is a view that clings to emptiness. Regarding the statement, "In order to eliminate signs, one does not meditate on what is to be meditated upon," any meditation that clings to the aspects of cause and effect is also illogical, because cause and effect are non-dual. In order to eliminate aspiration, the text says "therefore, entities" and so forth; thus, whatever result of aspiration regarding external aspects exists is not real, because aspiration and the like lack an objective referent. Therefore, the meditation on the aspects of external entities, being non-referential, does not exist, because it is the nature of the mind. This is the general meaning. As for "non-entities," since the aggregates and so forth do not exist, that which becomes the meditation—the mere mind—is also non-existent, because it is impure and eternally non-existent. In order to eliminate conventional truth, the text says, "What is to be meditated upon is not meditation"; any meditation on the deity’s body, which is the nature of conventional truth, is illogical, because it is to be purified by luminosity. Therefore, an entity that is merely conventional truth is not a true entity, because the two truths are inseparable. Consequently, meditation is the non-referential meditation on the aspects of the two truths.
That which is called "difficult to perceive" is the hidden. Non-existence is the absence of meditation on the ultimate truth, because it is pure from the beginning. Whatever meditation is of the nature of the conventional truth is not to be meditated upon, because it is not the truth. Therefore, the entity that is the nature of the two truths is not to be meditated upon, because liberation comes through the mere vision of the non-duality of the two truths. Thus, the ultimate conclusion is that this clinging to a meditator, meditation, and an object of meditation is not perceived through the realization of the stage of union.
Non-existence means that if the sixty-two views do not exist, there is no meditation characterized by clinging to them, because their nature is not perceived. The meditation of the Śrāvakas, who hold that the five aggregates, the twelve sense bases, and the eighteen elements exist, is not true meditation, because those things do not exist, being devoid of being one or many. Therefore, in this manner, the entity characterized by the five aggregates and so forth is non-existent; it does not exist substantially. Consequently, meditation is the reversal of that, and thus the objects such as the unattractive are non-perceptual; this is the literal meaning. Non-existence means that because all phenomena do not exist, there is no meditation characterized by clinging to phenomena; this is emptiness. That which is to be meditated upon is the meditation of the imputed, and it is not true meditation; this is the great emptiness.
Therefore, that which is the characteristic of the dependent nature (paratantra) is not a functional entity (bhāva), for it is not a substantial thing; this is the "Great Emptiness" (mahāśūnyatā). That meditation is non-referential is the "Universal Emptiness" (sarvaśūnyatā), meaning that the meditation of the thoroughly established nature (pariniṣpanna) is not a conceptual construction; it is not to be taken literally. The absence of an entity is "attainment." Non-meditation is "non-attainment." That which is to be meditated upon is "bliss." Non-meditation is "suffering." Thus, an entity is "renowned," while the absence of an entity is "unrenowned." Meditation is "praise," while non-referentiality is "reproach"; this is an explanation given with intentional meaning (saṃdhyābhāṣita).
The absence of an entity is the non-meditation that occurs after abandoning the action seal (karmamudrā); its conceptual elaboration is "meditation," because it would otherwise result in the generation stage (utpattikrama). That which is to be meditated upon is not non-meditation; the meditation of the commitment seal (samayamudrā) is not supramundane, because it depends on the application of mantras and so forth. Therefore, even the meditation of the wisdom seal (jñānamudrā) is not a functional entity, because it is the ultimate and not a conceptual construction. Consequently, meditation is the non-referential meditation of the great seal (mahāmudrā); the intention is that one does not referentially perceive the conceptualizations of the three seals. If the view of the transitory collection (satkāyadṛṣṭi) is absent as an entity, there is no meditation on the view of grasping at extremes. That which is to be meditated upon is the non-referentiality of the conceptualization of wrong views, because they are false.
Therefore, that entity which is the grasping at views as supreme is non-existent because it is not a real entity. Consequently, the meditation on the characteristics of the view of grasping at ethics and ascetic observances as supreme is without an objective referent; it is of provisional meaning. Since a non-entity is the absence of mere cognition, there is no meditation; there is no meditation on the path that would achieve it. If that which is to be meditated upon is not meditation, then even the meditation on emptiness is illogical, because it depends on the eighteen [elements] and because it is a position of nihilism. Therefore, an entity that is a non-entity is not the ultimate nature of the meditation on the generation stage, because it is a conceptual construction. Thus, the meditation on the completion stage is without an objective referent, because it is free from conceptual proliferation and because it is established by its very nature; this is the definitive meaning. To summarize that very point, it is said: "By this verse, one meditates on the emptiness of all things, both moving and non-moving." This refers to what was explained previously. By this verse, one should contemplate the three realms—the stable and the moving, the nature of which is both moving and non-moving—as emptiness. The sequence for this is: emanate a wheel of light rays from one's heart, and with that, summon the two worlds of the environment and its inhabitants, dissolve them into that [light], and through the union of method and wisdom, meditate on oneself as emptiness. Therefore, for the mind of clear light, whatever obstacles might arise have no basis and no opportunity.
This is the supreme method for thoroughly pacifying obstacles. If one asks, "Does it remain as a mere drop?" the answer is no; for the drop dissolves into sound, sound into mere sound, and mere sound into the clear light. Thus, it does not follow that this is a mere representation of consciousness, because the author of the treatise is a Mādhyamika. This is the third branch.
Now, in order to dispel misconceptions regarding the view to be explained and to act for the benefit of beings, the generation stage shall be explained. First, regarding the meditation on the ground of wisdom:
"By this application of the ritual,
The ground of wisdom is consecrated."
Thus it is said. Here, one should first meditate on the supporting maṇḍala, and subsequently on the supported maṇḍala. As for what the supporting maṇḍala is: "That is the ground of wisdom," because the maṇḍalas of space, wind, fire, water, and earth—which are the essence of the five Tathāgatas—are the nature of the wisdom of the expanse of phenomena (dharmadhātu) and so forth. Since the vessel of the world is the basis and the nature of Mount Meru, one should meditate on the ground of wisdom as its purity.
To demonstrate that very point:
"Abiding in the center of the space element,
From the seed-syllable Yaṃ and two Hūṃs,
Perfectly endowed with two vajras,
One should meditate on the wind maṇḍala."
Thus it is said.
First, upon the mudrā of the source of phenomena (dharmodaya) arising from HŪṂ, one should meditate on a blue syllable YAṂ marked by two HŪṂs, which completely transforms into a wind maṇḍala marked by two vajras. Then, it is said:
"From the two HŪṂs, the seed syllable RAṂ arises,
Perfectly marked by two vajras;
Upon that, one should clearly visualize
The maṇḍala of fire itself."
Thus, upon the wind maṇḍala, one should meditate on a red syllable RAṂ marked by two HŪṂs, which completely transforms into a fire maṇḍala marked by two vajras. Then, it is said:
"From the two HŪṂs, the seed syllable VAṂ arises,
Perfectly endowed with two vajras;
Upon that, one should clearly visualize
The maṇḍala of water itself."
Thus, upon the fire maṇḍala, one should meditate on a white syllable VAṂ from which a water maṇḍala arises, marked by two vajras. Then, it is said:
"From the two HŪṂs, the seed syllable LAṂ arises,
Perfectly endowed with two vajras;
Upon that, one should correctly visualize
The maṇḍala of earth itself."
Thus, upon the water maṇḍala, one should meditate on a yellow syllable LAṂ marked by two HŪṂs, from which the earth maṇḍala arises. Then, it is said:
"Completely gather the four maṇḍalas
Into the vajra ground maṇḍala."
Thus, having set aside the mudrā of the source of phenomena, one should visualize the remaining four—the wind maṇḍala and so forth—merging into one, thereby becoming the ground of primordial wisdom (jñāna).
Here, the oral instruction is as follows: First, from the nature of universal emptiness, the clear light, one should simultaneously meditate on the syllable HŪṂ in the center of a cloudless sky, like a fragment of cloud. Through its complete transformation, one should visualize the source of phenomena (dharmodaya), white in color, hollow within, and of the nature of the space element, which is the nature of the three realms. Above that, one should visualize a white moon maṇḍala arising from the first vowel, pervading and abiding upon that very [source]. In its center, one places a blue HŪṂ. From that, one visualizes white and red garlands of vowels and consonants, which are the nature of insight and method. Having set aside the HŪṂ, the vowels and consonants completely transform into the maṇḍala wheel of thirty-three deities, consisting of thirty-two goddesses and the method [deity], with three faces and six arms, peaceful, and experiencing the bliss of meditative union; one should visualize this as the nature of the three beings (trikāya). Then, by the sound arising from great passion, the hosts of Tathāgatas abiding in the space element are summoned; they enter through the path of speech and immediately melt, becoming of one taste upon the moon maṇḍala. The moon maṇḍala together with the HŪṂ also dissolves into the source of phenomena. The source of phenomena is blue in the center, white on the left, and red on the right; this is the meaning of the "space element." Above that, one places the blue syllable YAṂ, marked by two HŪṂs.
From the complete transformation of that, one should visualize an infinite blue wind maṇḍala, shaped like a bow and marked with banners, possessing two vajras, starting from the bottom. Upon that, one should place the seed syllable khaṃ of the Blessed One Amoghasiddhi; from its complete transformation, one visualizes a sword together with the syllable khaṃ. By its light rays, one summons and causes to enter the maṇḍala of Amoghasiddhi residing in the Buddha-field of Kusumita. From its complete transformation, one should view Amoghasiddhi—green, with three faces and six arms, in union with Tārā, and the nature of the three sattvas. Preceded by the entry of all the Tathāgatas through the sound of joy, one meditates on him as inseparable from the wind maṇḍala.
Then, from the complete transformation of the wind maṇḍala itself, from the syllable raṃ accompanied by two hūṃs, one meditates on a red triangular fire maṇḍala born from that, marked by a garland of blazing flames. Upon that, one visualizes a red eight-petaled lotus marked by the syllable āḥ from its complete transformation. By its light rays, one summons and causes to enter Amitābha from the Buddha-field of Sukhāvatī. From its complete transformation, one visualizes Amitābha—red, with three faces and six arms, in union with Pāṇḍaravāsinī. Preceded by the entry of all the Tathāgatas through the sound of joy, one again meditates on the fire maṇḍala.
Then, the fire maṇḍala itself, marked by two HŪṂs, transforms into a white YAṂ. From that, visualize a white, circular water maṇḍala marked by two vajras, resembling an ocean of milk with surging waves. In its center, visualize a five-pronged vajra arising from a blue HŪṂ. With its light rays, summon and cause Akṣobhya, who resides in the Buddha-field of Abhirati, to enter it. Meditate on the resulting blue Akṣobhya with three faces and six arms, together with Māmakī. With the sound of joy, request all the Tathāgatas to enter, and again visualize the water maṇḍala.
Then, the water maṇḍala itself, marked by two HŪṂs, transforms into a yellow LAṂ. From that, visualize a square maṇḍala of the Great Powerful One (Mahendra). Upon it, visualize an eight-spoked wheel arising from a white OṂ, marked by that very [syllable]. With its light rays, summon and cause Vairocana together with Locanā from Akaniṣṭha to enter it. Meditate on the resulting white Vairocana with three faces and six arms in union with Locanā. With the sound of joy, request all the Tathāgatas to enter, and again visualize the maṇḍala of the Great Powerful One.
Upon that, from TRĀṂ, visualize a six-pronged jewel with light rays. Summon and cause Ratnasambhava, who resides in the [Buddha-field of] Ratnasaṃbhava, together with Māmakī, to enter it. Meditate on the resulting Ratnasambhava in union.
One should request the entry of the Tathāgata and meditate on the maṇḍala of the Great Powerful One (Mahendra) as vast as space; this is the interpretable meaning. The aperture of Brahmā is the mudrā of the sacrificial offering. At the navel is the maṇḍala of wind, at the throat the maṇḍala of fire, at the heart the maṇḍala of water, and at the secret place the maṇḍala of the Great Powerful One. This is because it is explained that the light rays arising from the right side are the maṇḍala of fire itself; this is the definitive meaning. To explain that very point: "The four maṇḍalas are perfectly gathered upon the vajra ground maṇḍala, with the maṇḍala of the Great Powerful One above; it is the nature of the four elements." This is the interpretable meaning. The vajra ground maṇḍala is that which gathers the four maṇḍalas of the throat and so forth; the vajra ground maṇḍala is the clear light, which is the definitive meaning.
Now, in order to teach the meditation on the wisdom being (jñānasattva): "There, one should meditate on a celestial palace arising from BHRŪṂ, adorned with four corners, four doors, and four archways, perfectly endowed with four lines, and beautified by eight pillars. Adorned with lattices, half-lattices, vajras, jewels, and crescent moons, all the corners and the junctions of the doors and door-frames are embellished with vajras and jewels. One should strike the lines of the outer maṇḍala; there are vases, great vajra pillars, and rows of capitals where birds reside, beautified with banners and bells."
"Adorned with yak-tail whisks and so forth," it is said. The meditation on the celestial mansion is to be explained by means of these four verses. Regarding that: upon the vajra maṇḍala, one should arrange the three yellow-colored syllables. From these, one should visualize Mount Meru, the king of mountains, beautiful with its eight peaks, composed of the four kinds of precious gems, adorned by the six classes of gods such as the Great Kings, and endowed with great groves of forests such as Nanda. Above that, upon the hub of a crossed vajra (viśvavajra) arising from the sound of clouds, and upon the anthers of a crossed lotus arising from the syllable vaṃ, one should arrange the syllable bhrūṃ within the dome of a stūpa composed of the seven precious gems. Through the process of emanation and reabsorption, from the complete transformation of that, one should visualize an eight-spoked wheel. In its center, from that very seed syllable, a garland of light rays summons and causes the family of Vairocana to enter. From the complete transformation of that, one should visualize the white Kāyavajra, with a white face on all sides, together with his eyes, the nature of the three sattvas, holding a wheel and a bell. From the wheel of light rays arising from the seed syllable at his heart, the Buddhas who have been summoned melt and are seen to become a single drop (bindu). Through the heat of that drop, the stūpa, the crossed lotus, and the crossed vajra—
The meaning of the words is as follows: one should visualize the celestial palace, which arises from the merging of Mount Meru and the maṇḍala of the Great Powerful One, resting upon a crossed vajra (viśvavajra) produced from the syllables HŪṂ and HA. Furthermore, what is it like? Within its four corners, it is pervaded by a perimeter wall extending to the edge, possessing four finger-widths, because it is the purity of the wisdom of equality (samatājñāna). It has four gates, with a door on each side, because it is the purity of the four doors of liberation (vimokṣamukha) and the four applications of mindfulness (smṛtyupasthāna). The four archways (toraṇa) are specific shapes above the gates; they are beautiful and adorned because they are the purity of the four meditative concentrations (dhyāna). Likewise, it is endowed with four lines, which arise from the two Brahmā-lines or the four directional lines, because they are the purity of the four immeasurables (brahmavihāra). The eight pillars are situated in the eastern and other directions of the central grid; they are beautiful because they are adorned with various jewels and marked by vajras, mirrors, and so forth, because they are the purity of the liberations of meditative concentration. Likewise, it is decorated with lattices (jāla) which include the central [elements], half-lattices (ardhajāla) which do not, half-moons, and vajra-jewels; it is thus adorned because it is the purity of the seven factors of enlightenment (bodhyaṅga). Likewise, all the junctions of the four corners are the junctions of the four directions, and similarly, the door-surrounds (dvāra-koṣṭha) are the outer parts.
The "corners" are the inner sections. In these, the "vajra-jewels" hang slightly; they are marked with jewels and adorned with vajras, radiating light, because they are the nature of the five wisdoms. Likewise, there are eight golden vases, each situated on two sides of every door: at the eastern gate are Jayanta and Mangala; at the south, Prātihārya and Siddhi; at the west, Jaya and Śānti; and at the north, Siddha and Nirmāṇa. This is because they are the essence of the eight siddhis, such as pacification and so forth. There are eight pillars, two for each door, and they are adorned as previously described. The "great vajras" are eleven vajras, because they are the purification of the stages (bhūmis).
Regarding the phrase "birds dwell in the garland of the bre": at the top of the archway (toraṇa), two peacocks dwell in the east, two swans in the south, two ruddy sheldrakes in the west, and two śaṅkhaśaṅkhu birds in the north, because they are the purification of attachment. Likewise, "banners with bells" refers to banners with bells; these are the silk streamers fixed to the tops of the victory banners (dhvaja), together with the nets of banners and tinkling bells. Similarly, "fly-whisks and so forth" refers to fly-whisks, flower garlands, and the like. Being adorned with these is the "adornment," which is the purification of the nine branches of the excellent speech; this is the interpretable meaning. In that context, Mount Meru is the body, and the eight doors are the eight peaks. The crossed vajra (viśvavajra) and the crossed lotus (viśvapadma) are the two organs.
It is distinguished by the division of female and male. The celestial palace is the body itself. The four corners are the front, the back, the right, and the left sides. The four gates are the mouth, the secret [organ], the navel, and the Brahmā-gate. The four archways are the two eyes and the two ears. The four lines are Kūrmiṇī, Candrī, Devadattā, and Dhanarājñī. The eight pillars are the two upper arms, the two forearms, the two thighs, and the two shanks. The lattice is the coarse channels. The half-lattice is the seventy-two thousand subtle channels. Through the gathering of the aspect of insight, the aspect of method is bodhicitta, which is the half-moon. The vajra is the secret vajra. The jewel is its tip. The corner sections are the left gate, and the junctions of the door-surrounds are the gates of the right nostrils. Within these, the vajra is consciousness. The jewel is the substance that flows from it, and it is endowed with that. The vase is the belly. The pillar is the spine. The great vajra is the six elements. The birds are the ten winds, because they move. The bell is the tongue, because it produces sound. The banner is the central channel. The fly-whisk is the mass of hair. By the word "and so forth," the flower garland is the intestines. The deer are the eight collections of consciousness; this is the definitive meaning.
"One who possesses the mudrā of self,
Like one with three faces and six arms,
Equal in radiance to sapphire,
Should be meditated upon in the center of the maṇḍala.
The glorious Vairocana and Ratna..."
Amitābha and Karmarāja, with three faces and six arms, should be visualized in the directions of the east and so forth. The goddesses, such as Moharati and the rest, with three faces and six arms, should be arranged in their proper order, beginning from the southeast. Likewise, the outer intermediate directions of the four corners are occupied by Rūpavajrā and the others. Sparśavajrā herself, together with Vajrasattva, should be placed. Maitreya and Kṣitigarbha are to be placed on the eastern ledge. Vajrapāṇi and Ākāśagarbha, the practitioners, should be placed in the south. Lokeśvara and Mañjughoṣa are to be placed in the west. Sarvanīvaraṇaviṣkambhin and Samantabhadra are in the north. Yamāntaka is at the eastern gate; Aparājita is in the south; Hayagrīva is in the west; and Amṛtakuṇḍalī is in the north. Acala, Takkirāja, Nīladaṇḍa, and Mahābala are to be arranged in order, beginning from the southeast intermediate direction. The great wrathful king Sumbharāja should be visualized below that. Likewise, Uṣṇīṣacakravartin should be meditated upon above. Having thus intensely visualized the deities of the maṇḍala according to the ritual procedure, it is said: "In the center of the celestial palace, from the syllable paṃ, a multicolored lotus arises; from its center, light rays emanate, projecting thirty multicolored lotuses. At the center of each of these, one should visualize a sun and moon seat arising from the first vowel."
In that regard, there are two moons in the center and the eastern direction, and three suns in the southern, western, and northern directions. In the place of Māmakī is a sun maṇḍala, and in the places of Locanā and the others are three moons. For Vajrapāṇi there is a sun maṇḍala, and for the remaining bodhisattvas there are moon seats. For the offering goddesses there are moon seats, and for the ten wrathful deities there are sun seats. Having thus meditated on the distinctions of the seats, one should then visualize oneself in the center of a moon as Akṣobhya, with three faces and six arms, blue in color, appearing instantaneously in union with Sparśavajrā of similar appearance, holding a vajra, wheel, lotus, jewel, sword, and bell, and endowed with the three sattvas. Likewise, in the four directions such as the east, one should meditate on the four [Buddhas] beginning with Vairocana, with their respective colors, faces, and hand-symbols. In the fire corner and so forth, one should meditate on the four goddesses beginning with Vairocanī, with three faces and six arms, and so on. The four offering goddesses should also be meditated upon with shapes and colors similar to Locanā and the others. On the ledges in the east and so forth, the bodhisattvas Maitreya and Kṣitigarbha are white; Vajrapāṇi and Ākāśagarbha are blue; Lokeśvara and Mañjuśrī are red; and Sarvanīvaraṇaviṣkambhin and Samantabhadra are green—these are the colors corresponding to their families. Alternatively, Kṣitigarbha is white and Maitreya is red.
Vajrapāṇi is blue; Ākāśagarbha is yellow; Lokeśvara is red; Mañjuśrī is white; Sarvanīvaraṇaviṣkambhin is green; and Samantabhadra is red. Yamāntaka is black; Prajñāntaka is white; Padmāntaka is red; and Vighnāntaka is green. The six [deities] beginning with Acala are black. Their three faces and so forth are as previously described. Among them, the Tathāgatas and the goddesses abide in the vajra posture. The bodhisattvas and the offering goddesses are in the sattva posture. Yamāntaka is in the right-leg-extended posture; Prajñāntaka is in the left-leg-extended posture; Hayagrīva is in the even-footed posture; Amṛtakuṇḍalī is in the uneven-footed posture; and the six wrathful deities beginning with Acala abide in the left-leg-extended posture. Akṣobhya possesses the wrathful, peaceful, and amorous expressions. Vairocana and the others possess the peaceful expression. The consorts of the families possess the peaceful and amorous expressions. The offering goddesses possess the amorous expression, and the bodhisattvas possess the peaceful expression. The wrathful deities possess the wrathful, heroic, and terrifying expressions. The Tathāgatas, goddesses, and bodhisattvas are reciting their own essence mantras through vajra recitation, while the wrathful deities are reciting the wrathful recitation of the syllable HŪṂ. All the members of the maṇḍala gaze directly toward the central principal deity.
Uṣṇīṣacakravartin faces upward, and Sumbharāja faces downward. One should contemplate these as the subtle maṇḍala wheels of the thirty-two deities, meditated upon through yoga, each residing upon a variegated lotus, moon, and sun disk at the heart of the wisdom being (jñānasattva), upon their respective symbols, each marked by its own seed-syllable bindu. In brief, it is said that the Tathāgatas become one thousand and twenty-four; this is the interpretable meaning.
The "parasol of desire" is Akṣobhya; because he is the nature of the appearances of the divisions of above, middle, and below, such as light and so forth, he has three faces. The five signs, such as the mirage, and the clear light are his six arms. The tortoise and so forth are Vairocana and the others. The channels of the four maṇḍalas are Locanā and the others. The channels of the eyes, ears, nose, tongue, body, mind, all the joints of the limbs, and all the tendons are the bodhisattvas. The channel of the left eye is Rūpavajrā; the channel of the left ear is Śabdavajrā; the channel of the left nose is Gandhavajrā; the channel of the tongue is Rasavajrā; and the central channel of the vajra is Sparśavajrā. The channels of the two upper arms, the two forearms, the mouth, the secret place, the two knees, the Brahma-aperture, and the soles of the feet are the ten wrathful deities (krodha). Through the divisions of above and so forth, there are the three faces and so on.
It is as before; this is the definitive meaning. In order to abandon conceptual elaboration, the meditation on the ultimate maṇḍala shall be explained: "Furthermore, by means of the union of the joined, one should cause them to enter one's own body." Regarding this statement: having blessed the maṇḍala of superior resolve through the sequence previously explained, "Furthermore, by means of the union of the joined" means that by the merging of the body maṇḍala and the external maṇḍala into one, those—the deities of the maṇḍala—should be caused to enter one's own body; this is the interpretable meaning.
Regarding "Furthermore, by means of the union of the joined": "union" (kha-sbyor) is fourfold: the union of the two mouths, the union of the two sense organs, the union of the two channels, and the union of the two bodhicittas. Their "union" is their becoming one; thus, those [deities] should be caused to enter the central channel of one's own body among the thirty-two channels, thereby becoming invisible; this is the definitive meaning.
The external maṇḍala, the body maṇḍala, the speech maṇḍala, and the mind maṇḍala constitute the "union." Their "union" is their becoming one. These are the four maṇḍalas; they should be caused to enter one's own body; this is the literal meaning.
By means of the union of the bodhicitta, which is the inseparability of emptiness and compassion, one's own body should be caused to enter the Great Vajradhara, whose nature is the dharmakāya and saṃbhogakāya; this is the general meaning.
The union of the union, which is appearance, enters into the increase of appearance. The increase of appearance enters into the near-attainment of appearance. The near-attainment of appearance is the clear light, which is the hidden [meaning]. OṂ enters into ĀḤ. ĀḤ enters into HŪṂ. HŪṂ enters into A. A enters into the wheel of the dharmadhātu. The wheel of the dharmadhātu is in the space of the navel, which is the hidden [meaning]. Freedom from passion enters into passion. Passion enters into intermediate passion. Intermediate passion is the clear light, which is the ultimate. The union of the union of the conventional and the ultimate is the samādhi of non-duality; these are all the tathāgatas. One should cause them to enter into one’s own body, and to be made non-conceptual is the ultimate. That very point shall be explained:
"The perfect buddhas in the wheels of the body,
Visualized correctly according to the sequence,
By means of the ultimate vajra,
One should cause them to enter into suchness.
When the assembly of tathāgatas has been gathered,
The most supreme siddhi will be accomplished."
Thus it is said. Regarding the maṇḍala of the body of one who is of a nature of superior devotion, those thirty-two perfect buddhas explained previously are to be visualized correctly according to the sequence—that is, in an unerring order. Having meditated upon them, the samādhi of the union of the union is the ultimate vajra; by means of its nature of selflessness, one should cause them to enter into the clear light.
To explain that very point: the "assembly of Tathāgatas" refers to the assembly of Buddhas and Bodhisattvas. "Slaying" means that when they are made to disappear, at that time the supreme siddhi—the state of Vajradhara—is attained; this is the intentional explanation. In order to establish that very point as authoritative, it shall be explained: "The meaning of this is clearly distinguished in the Vajramālā," it is said. The meaning of this is the meaning of the ultimate maṇḍala. Regarding the Vajramālā, it is stated in the Mahāyoga Tantra: "It is clearly distinguished; it is made perfectly clear." Thus, it is shown to be authoritative by means of scripture.
To explain that very point:
"The aggregate of form is the Mirror-like [Wisdom],
The earth element, the eye faculty,
And form itself are the fifth family,
Perfectly endowed with the wrathful one and Maitreya."
Regarding this statement: the aggregate of form is the inclusion of Vairocana, and that itself is the Mirror-like Wisdom. The earth element is Locanā. The eye faculty is Kṣitigarbha. Form is Rūpavajrā. The two wrathful ones are Yamāntaka and Acala, who reside on the right arm and the right knee. Maitreya resides in all the sinews. This teaches the inclusion of the deities of the maṇḍala residing in the eastern direction and the southeastern corner.
Likewise:
"The aggregate of feeling is the [Wisdom of] Equality,
The water element, the ear faculty,
And sound itself are the fifth family,
Perfectly endowed with the two wrathful ones."
Regarding this statement: the aggregate of feeling is Ratnasambhava, and...
That itself is the wisdom of equality. In the water element is Māmakī. In the ear faculty are Vajrapāṇi and Ākāśagarbha. In sound is Śabdavajrā. The two wrathful deities are Yamāntaka and Takkirāja; they are placed on the left upper arm and the left knee. This teaches the gathering of the deities of the maṇḍala of the southern direction and the southwest.
It is said: "Discernment is the wisdom of individual investigation; the fire element, the nose faculty, and smell are the fifth family, perfectly endowed with two wrathful deities." Regarding discernment, there is Amitābha, and that itself is the wisdom of individual investigation. In the fire element is Pāṇḍaravāsinī. In the nose faculty is Lokeśvara. In the mind is Mañjuśrī. In smell is Gandhavajrā. The two wrathful deities are Padmāntaka and Nīladaṇḍa; they are placed on the mouth and the right forearm. This teaches the gathering of the deities of the western direction and the northwest.
It is said: "Formations are the accomplishment of purposeful activity; the wind element, the tongue faculty, and taste are the fifth family, perfectly endowed with two wrathful deities." Regarding formations, there is Amoghasiddhi, and that itself is the wisdom of accomplishing purposeful activity. In the wind element is Tārā. In the tongue faculty is Sparśavajra. In all the joints is Samantabhadra. In taste is Rasavajrā. The two wrathful deities are Vighnāntaka and Mahābala; they are placed on the secret place and the left forearm. This teaches the gathering of the deities of the northern direction and...
The gathering of the deities of the maṇḍala in the northeast direction is taught:
"Endowed with the wrathful deities of the zenith and nadir,
They are the very manifestation of the nature itself.
They enter into the aggregate of consciousness,
And consciousness itself is the clear light."
Thus it is said. "Above" refers to the aperture of Brahmā. The "wrathful deity" is the gathering of Uṣṇīṣacakravartin. "Below" refers to the soles of the feet, where the wrathful deity, the King Sumbharāja, enters. The "manifestation of the nature" refers to the one hundred and sixty natural [emotions] within the aggregate of consciousness. The aggregate of consciousness is Akṣobhya and Māmakī; they enter into the clear light.
Here, this is what is explained: by the light rays emanated from the forehead, Vairocana is summoned and absorbed into that very place. By the light rays of the flesh and bones, Locanā is summoned. By the light rays of the right eye, Kṣitigarbha. By the light rays of the left eye, Rūpavajrā. By the light rays of all the tendons, Maitreya. By the light rays of the right arm, Yamāntaka. By the light rays of the left arm, Acala. This is the result concordant with the cause of attaining the mirror-like wisdom. By the light rays of the navel, Ratnasambhava. By the light rays of the semen, urine, and so forth, Māmakī. By the light rays of the right ear, Vajrapāṇi and Ākāśagarbha. By the light rays of the left ear, Śabdavajrā. By the light rays of the right shoulder, Prajñāntaka.
By the light rays of the left forearm, there is King of Desire (Takkirāja). This is the concordant result of attaining the wisdom of equality (samatājñāna). By the light rays of the throat channel, there is Amitābha; by the light rays of the sensation of warmth, there is Pāṇḍaravāsinī. By the light rays of the heart lotus, there is Mañjuvajra. By the light rays of the nose, there is Lokeśvara. By the light rays of the body’s fragrance, there is Gandhavajrā. By the light rays of the mouth, there is Padmāntaka. By the light rays of the right knee, there is Nīladaṇḍa. This is the concordant result of attaining the wisdom of discernment (pratyavekṣaṇājñāna). By the light rays of the secret place, there is Amoghasiddhi. By the light rays of the movement and so forth, there is Tārā. By the light rays of the vajra tip, there is Śambara. By the light rays of the tongue, there is Rasavajrā. By the light rays of all the joints, there is Samantabhadra. By the light rays of the secret place, there is Amṛtakuṇḍalī. By the light rays of the right knee, there is Mahābala. By the light rays of the Brahma-aperture (brahmarandhra), there is Uṣṇīṣacakravartin. By the light rays from beneath the feet, one should engage Vighnāntaka. This is the concordant result of attaining the wisdom of all-accomplishing action (kṛtyānuṣṭhānajñāna).
Therefore, through the sequence of entering into union with Sparśavajrā, the bodhicitta drips from the Brahma-aperture, the bodhicitta reaches all the joints of the limbs, and when the bodhicitta descends into the center of the vajra, the insight (prajñā) and—
Having abandoned the nature of method and ignorance, the three consciousnesses subside. Prior to the clear light, the five signs are not seen due to the purification of earth, water, fire, wind, and space. One experiences the clear light of the all-empty; the father and mother melt and become a drop (bindu), and that drop also dissolves through sound and mere resonance. Since there is no supreme grasping at the distinction between self and other, it is uniquely stainless. One should manifest the wisdom that is infinite and equal to space. By this, the manifestation of the wisdom of the expanse of phenomena (dharmadhātu) is the result concordant with the cause, and the aggregate of consciousness also comes to abide. This is the ultimate maṇḍala. In order to stabilize that very state:
"The motivation, together with nirvāṇa,
And the dharmakāya are also explained.
For the purpose of teaching,
This secret mantra shall be uttered."
Thus it is said. That very state is nirvāṇa, the characteristic of the expanse of non-abiding nirvāṇa. That itself is the motivation, the fourth suchness (tattva). The suchness of the Buddhas, the Blessed Ones, is explained as the dharmakāya, because it is the aspect of non-conceptual wisdom.
One might wonder: "When a bodhisattva attains buddhahood after three incalculable eons, what is the distinction in the Mantra Vehicle?" To explain the power of mantra in the Mantra Vehicle, and for the purpose of teaching that suchness in order to make it immovable, this mantra explained below shall be uttered.
The phrase "with the inner recitation and the vajra words" is the remainder of the sentence. One should recite the mantra: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. In this regard, oṃ is Vairocana; śūnyatā is Ratnasambhava; jñāna is Amitābha; vajra is Akṣobhya; svabhāvātmaka is Amoghasiddhi; and ’haṃ is the sixth, the Great Vajradhara. Through this, one should cultivate the pride of the six Tathāgatas, because Vajradhara is the essence of them all.
Alternatively, oṃ śūnyatā is the door of liberation of emptiness; jñānavajra is the door of liberation of signlessness; and svabhāvātmaka is the door of liberation of wishlessness. One should cultivate the pride of ’haṃ as having that very nature.
The summary will now be explained:
"This is the ultimate maṇḍala,
Without appearance and without characteristics.
Called the ultimate truth,
The abode of all Tathāgatas."
This was previously explained. The ultimate maṇḍala is that which gathers the five aggregates, the faculties, the objects, and the elements. From the Six Limits (Ṣaṭkoṭi), beginning from the fifty, the aggregates and so forth are to be "drunk" (internalized). The meaning of this is as follows: form is of two types: the twelve aspects of color and the eight aspects of shape. Through the divisions of the faculties, feeling is eighteenfold. Perception is one. Virtuous, non-virtuous, and...
There are three types of indeterminate formations. Consciousness is eightfold, categorized by the ālayavijñāna and so forth. The meaning is that these fifty [factors] are to be gathered by drinking [them] through meditation on the ultimate. Because it is the essence, it is the maṇḍala. Because it is free from intrinsic nature and appearance, it is without appearance. There are four characteristics: birth, abiding, aging, and impermanence. Because it is free from these, it is without characteristics, for it is unconditioned. That itself is the ultimate truth, because it subsumes the conventional. For that very reason, it is the abode of all tathāgatas; it is the place of birth, because by the previously explained sequence everything is gathered into that very [reality], and by the sequence to be explained below, everything emerges from that very [reality].
Now, in order to abandon the side of nihilism, the arising from the ultimate truth is to be shown:
"Having thoroughly entered into the clear light,
The arising is also to be shown."
Thus it is said. The yogi who has entered the wisdom of the dharmadhātu—the clear light—by the previously explained sequence, their arising from that is to be explained as the assumption of the deity’s body by the sequence to be explained below. This is for the sake of the fruition of previous aspirations, for abandoning the view of nihilism, and for acting for the benefit of sentient beings.
That very point is explained:
"By the application of the mantra body,
For the sake of focusing on the form of the deity."
Thus it is said. The body born from the complete transformation of the mantra is the "mantra body."
This is the definition of Vajradhara and so forth. Its application is to manifest through the insight that is the nature of meditation. The form of the deity therein is the maṇḍala of the thirty-two deities. Focusing upon that is the meditation preceded by emanation; therefore, it is for that purpose. By this, the three samādhis are shown. Among them, the application of the mantra-body is the initial application. Because of focusing on the form of the deity, the supreme king of the maṇḍala and the supreme king of activities are shown. That is explained as follows:
"Abiding in the center of the space element,
One should meditate on a sun maṇḍala.
Upon that, the mantrin should also
Clearly imagine a moon maṇḍala.
There, too, one should meditate on an eight-petaled
Lotus of red color."
Thus it is said. By this, the distinctions of the seats are explained. First, one should place a blue syllable HŪṂ upon a variegated lotus. With its light rays, one summons and absorbs the Akṣobhya family from space. From its total transformation, one meditates on a twelve-part sun maṇḍala, blazing like the fire at the end of an eon, which is the nature of the minor marks. Then, upon that sun maṇḍala, one places a white syllable OṂ. With its light rays, one summons and absorbs the Vairocana family from space. From its total transformation, one should imagine a moon maṇḍala, which is the essence of the thirty-two marks of a great being and has the nature of sixteen parts.
Then, upon a moon maṇḍala, one should place the red syllable A. By its light rays, the family of Amitābha is summoned from space and absorbed; through its complete transformation, one should visualize an eight-petaled red lotus—this is the provisional meaning.
The sun maṇḍala is the nature of Akṣobhya; the moon maṇḍala is the nature of Vairocana; and the lotus is the nature of Amitābha. The sun is the nature of the wisdom of the expanse of phenomena (dharmadhātu-jñāna); the moon is the nature of the mirror-like wisdom (ādarśa-jñāna); and the lotus is the nature of the wisdom of individual discernment (pratyavekṣaṇā-jñāna).
The sun is for wrathful activities; the moon is for pacifying activities; and the lotus is for magnetizing activities. The sun is the nature of the mind; the moon is the nature of the body; and the lotus is the nature of speech. The sun is the blood constituent; the moon is the semen constituent; and the lotus is the support for both.
The central channel is the sun; the left channel is the moon; and the right channel is the lotus. The desire realm is the sun; the form realm is the moon; and the formless realm is the lotus. The saṃbhogakāya is the sun; the nirmāṇakāya is the moon; and the dharmakāya is the lotus.
Appearance is the moon; increase of appearance is the sun; and near-attainment of appearance is the lotus. Freedom from attachment is the moon; attachment is the sun; and intermediate attachment is the lotus. Ethical discipline is the moon; meditative concentration is the sun; and insight is the lotus.
Emptiness is the sun; compassion is the moon; and the union of both is the lotus.
The gentle is the moon, the sharp is the sun, and both are the lotus. The imputed is the sun, the dependent is the moon, and the thoroughly established is the lotus. The feminine gender is the moon, the masculine gender is the sun, and the neuter gender is the lotus. Night is the moon, day is the sun, and the twilight is the lotus. Oṃ is the moon, Āḥ is the sun, and the absence of both is the lotus. Insight is the moon, method is the sun, and the nature of both is the lotus. Hūṃ is the sun, Oṃ is the moon, and Āḥ is the lotus. Emptiness is the moon, great emptiness is the sun, and the great emptiness is the lotus. The pervader is the moon, the pervaded is the sun, and both are the lotus. Emptiness is the moon, signlessness is the sun, and wishlessness is the lotus. Brahmā is the moon, Maheśvara is the sun, and Viṣṇu is the lotus. The past is the moon, the present is the sun, and the future is the lotus. Hatred is the moon, attachment is the sun, and delusion is the lotus. The water element is the moon, the fire element is the sun, and the earth element is the lotus. The aggregate of form is the moon, the aggregate of consciousness is the sun, and the aggregate of perception is the lotus. Above the earth is the moon, upon the earth is the sun, and below the earth is the lotus. The commitment being is the moon, the wisdom being is the sun, and the meditative absorption being is the lotus. Focusing on sentient beings is the moon, focusing on phenomena is the sun, and non-focusing is the lotus. Spring is the moon, the summer heat is the sun, and...
Autumn is the lotus. The time of bliss is the moon; the time of suffering is the sun; and the inconceivable time is the lotus. That which possesses parts is the moon; that which is partless is the sun; and that which is free from both is the lotus. Thus, the divisions of the Blessed One’s seat are shown through the classification of the hundred families; this is the definitive meaning.
The meditation on the dharmadhātu shall now be explained:
"Upon the lotus, one should also visualize the great mantra, the three syllables."
Regarding this statement, the oral instruction is as follows: then, in the center of an eight-petaled red lotus, one arranges the three syllables—white, red, and black. From their complete transformation, one should visualize the moon maṇḍala itself, which is the nature of the mind of individual discernment. This is because it is the nature of the ultimate bodhicitta.
Next, the explanation of how the conventional truth is established as the ultimate truth is given:
"The mantra, the lotus, and the sun enter into the moon maṇḍala."
Regarding this statement, the mantra is the moon maṇḍala produced from the complete transformation of OṂ. Likewise, one should visualize that the three—the lotus and the sun maṇḍalas—also enter into the moon maṇḍala, which is born from the complete transformation of the three syllables. This demonstrates the actualization of the suchness of the dharmadhātu, characterized by the union of body, speech, and mind as one; it is not intended as a mere summary.
To explain the specific details of that very method of summary:
"The complete moon maṇḍala is conceptualized as bodhicitta."
Regarding what was stated: the moon maṇḍala, which arises from the complete transformation of the three seats and is fully perfected through the complete accumulation of merit and wisdom, is the bodhicitta because it is the nature of the two truths. It is the conceptual designation of the ultimate bodhicitta, and it should be recollected. As it is said:
"Free from the two extremes,
Dispelling the darkness of conceptualization,
Pure of all the stains of affliction—
The mind is the moon, like the moon."
Furthermore, the Tattvasaṃgraha states: "The Blessed One perceives the mind as being like a moon maṇḍala."
To demonstrate its all-pervasiveness, it says:
"One should contemplate all that is moving and non-moving
As being that very reality."
This means that one should contemplate the nature of all that is moving and non-moving as abiding within that very moon maṇḍala, because the wisdom of the dharmadhātu pervades everything; this is the interpretable meaning. The non-moving elements such as earth and the moving elements such as excrement and urine are pervaded by the moon of bodhicitta, because it pervades all elements; this is the definitive meaning.
To stabilize that very reality, the mantra is taught:
"For the purpose of stabilization,
This secret mantra should be recited."
This means that if the dharmadhātu has not been directly realized because one is a beginner, then at that time, one should recite the mantra explained below in order to demonstrate that very reality.
The phrase "by means of vajra words" is an additional term, and it is to be taken literally. As for the recitation of the mantra: oṃ dharmadhātu-svabhāva-ātmako ’haṃ. Oṃ is the Great Vajradhara. That very [oṃ] is the dharmadhātu, which is the clear light. Its svabhāva is non-conceptuality itself. Ātmako ’haṃ is the identity of that; this is not an intentional [hidden] meaning.
For the sake of generating the body, it is said: "Then the yogi should also visualize the three syllables in the center of the moon." This means that then, from the body, speech, and mind—which have become one in the nature of the dharmadhātu—the three syllables, which are the nature of Vairocana and the others, are to be visualized as white in color in the center of the moon; this is the "placement" and is to be taken literally.
Then it is said: "Then, arising from the three syllables, like a jasmine flower or a white moon, having visualized the Primordial Protector..." Regarding this: then, having emanated a mass of light rays from the three syllables, one should summon Vairocana and the others together with their retinues by means of those rays, cause them to enter into that very [place], and visualize a red five-pronged vajra. Its purification is as follows: the five upper prongs are Akṣobhya and the others, and the five lower prongs are Sparśavajrā and the others. Below the upper prongs is an eight-petaled lotus, which are Maitreya and the others. Below the lower prongs is an eight-petaled lotus, which are the goddesses of form, sound, smell, and taste, as well as the goddesses of Maitrī, Karuṇā, Muditā, and Upekṣā.
The makara mouths at the top and bottom are the eight [deities] beginning with Yamāntaka. The tips of the central [channels] at the top and bottom are Uṣṇīṣa and Sumbharāja. The handle is Vajradhātvīśvarī, and the one in union is Vajradhara. Thus, having visualized the vajra as the nature of all the Tathāgatas, one should cultivate the divine pride, saying: vajrātmako ’ham. Having placed the syllable HŪṂ at its tip, one should perform the benefit of beings through the sequence of emanation and reabsorption, enter the buddha-fields, and precede all the Tathāgatas. One should then visualize the Great Blessed One Vajradhara, arisen from the vajra, with three faces and six arms, peaceful and white in color, seated in the vajra posture, possessing white, red, and blue faces, and appearing as the wisdom of clear light. From his own body, a wheel of light rays issues forth, filling the center of the expanse of space with hosts of Tathāgatas, goddesses, and wrathful deities. This is the general meaning. This is the yoga of the ten limbs.
The summary will now be explained. Regarding the statement, "Having thus focused on the yoga," the first is the meditative absorption of yoga, up to the generation of the sixth family of the Tathāgatas. The subsequent yoga will now be explained. Regarding the statement, "One should begin the subsequent yoga," it is called "subsequent yoga" because it arises after the yoga; this is the literal meaning. To explain that very point: "Akṣobhya is the one who has entered subsequently."
"One should meditate on Vajrasattva, with three faces and six arms, blazing and radiant with the light of sapphire." Thus it is said. From the heart of the Blessed One Vajradhara, the central deity, light rays are emanated; from their total transformation, one meditates on the Blessed One Akṣobhya. From his subsequent entry [into the visualization], Vajrasattva arises in the form of the Mind-Vajra, resembling a sapphire jewel. Since he belongs to the family of hatred, he is a blazing wrathful deity. One should contemplate him as having three faces, purified by the three doors of liberation, and six arms, purified by the six perfections.
Then, at his heart, from the syllable paṃ, a multicolored lotus arises. At its center, upon a moon disc arising from the first vowel, one should visualize the Mind-Vajradhara, who is similar to the previous one, arising from a five-pronged vajra produced from the syllable hūṃ. At his heart as well, in the same manner, upon a multicolored lotus and moon disc, one should visualize a vajra arising from the syllable hūṃ, and the syllable hūṃ itself. The meditation on the Wisdom Being (jñānasattva) and the Samādhi Being (samādhisattva) is the "subsequent yoga," which is the second meditative stabilization.
To show his hand implements, it is said:
"In the right hands, one should visualize a vajra, a wheel, and a lotus. In the left hands, one should visualize a bell, a jewel, and a sword."
Regarding that, the vajra is the hand implement of Akṣobhya, the nature of the five wisdoms. The wheel is the hand implement of Vairocana, the nature of turning the wheel of Dharma.
The lotus is the hand symbol of Amitābha; it is the nature of insight, unstained by the mud of attachment and the like. The bell is the complete purity of existence, the very essence of insight. The wish-fulfilling jewel is the hand symbol of Ratnasambhava; it is the wisdom that fulfills all intentions. The sword is the hand symbol of Amoghasiddhi; it is the insight that cuts through the afflictions. Thus, one should meditate on the Blessed One, who holds the symbols of the six families, seated in the center of a lotus and sun disk; this is the subsequent yoga.
The meditation of the supreme yoga shall now be explained:
"Then, by knowing the distinctions of the aggregates and so forth, one should correctly arrange Vairocana and the others, up to Sumbharāja, by placing the seed syllables."
Regarding this: "Then" means after the subsequent yoga. "Aggregates and so forth" refers to the aggregates, sense bases, elements, and the major and minor limbs. "Arranging" means placing the seed syllables, which is what should be understood. "Vairocana and the others" refers to the Tathāgatas, goddesses, Bodhisattvas, and wrathful deities, up to Sumbharāja, who are to be meditated upon. These are explained as Vairocana and the others, ending with Sumbharāja. "Placing the seed syllables" means by placing the seed syllables such as OṂ and so forth. "Correctly" means by recollecting their intrinsic nature. Alternatively:
"Whatever the color and form of each, one should contemplate them in that very sequence."
It shall be explained in detail: "The seed syllable of this Vairocana is the white-colored letter Oṃ. By its very nature as the aggregate of form, the knower of mantra should place it upon the crown." Thus it is said. First, one places a white Oṃ upon a lotus and moon at the crown of the head. Through its light rays, the family of Vairocana is summoned from space and absorbed into that very place. From the complete transformation of that, there arises Vairocana, with three faces and six arms, peaceful and white in color. He is the nature of the aggregate of form, holding the hand-symbols to be explained below, possessing the identity of the three sattvas, and together with the thirty-two deities within the bindu of the Oṃ of the samādhi-sattva, he pervades the ten directions with the light rays of infinite buddhas. If one meditates in this way, the mirror-like wisdom (ādarśa-jñāna) will arise.
The blessing of perception (saṃjñā) shall now be explained: "Aḥ is the Protector Amitābha, the nature of the aggregate of perception. By visualizing it as red at the mouth, one will attain the very mastery of speech." Thus it is said. Then, in the center of the throat, one places a red eight-petaled lotus and a sun disk, upon which is placed a red Aḥ. Through its light rays, the family of Amitābha is summoned from space and absorbed. From the complete transformation of that, there arises Amitābha, with three faces and six arms, red and peaceful. He is the nature of the aggregate of perception, holding the hand-symbols to be explained below, and possessing the identity of the three sattvas.
If one meditates on the drop of the samādhisattva together with the thirty-two deities, pervading the ten directions with the light rays of infinite buddhas, at that time one will attain the wisdom of discernment, attainment, and mastery over speech. Now, the blessing of the aggregate of consciousness itself will be explained:
"The syllable HŪṂ of Akṣobhya,
The color of fine lapis lazuli,
The very essence of the aggregate of consciousness,
The mantrin should place it at the heart."
Thus it is said. Above the heart, upon a lotus and sun maṇḍala, from the syllable HŪṂ arises Akṣobhya, blue in color, with three faces and six arms, the essence of the aggregate of consciousness, holding the hand implements to be described below. Together with the thirty-two deities within the drop of the samādhisattva, and having meditated on them pervading the ten directions with the light rays of infinite buddhas, at that time the wisdom of the dharmadhātu will arise.
Regarding the explanation of the blessing of feeling:
"The syllable SVĀ of the Lord Ratna,
The very essence of the aggregate of feeling,
The cause for the purification of feeling,
Yellow in color, should be placed at the navel."
Thus it is said. Then, at the navel, upon a lotus and sun, one places the yellow syllable SVĀ. From that arises the peaceful yellow Ratnasambhava, with three faces and six arms, the essence of the aggregate of feeling, holding the hand implements to be described below. He is the nature of the three sattvas, together with the thirty-two deities within the drop of the samādhisattva.
If one meditates on the infinite light rays of the Buddha pervading the ten directions, at that time the wisdom of equality arises. Now, the purification of the aggregate of formations will be explained:
"On the two feet, the syllable HĀ,
The very nature of the aggregate of formations,
That very Lord of Karma,
The mantrin should place as green in color."
Thus it is said. Then, having placed two green HĀ syllables upon the two feet, from their complete transformation arises Amoghasiddhi, with three faces and six arms, peaceful and green, the nature of the aggregate of formations, holding the hand-symbols to be explained below. He is the identity of the three sattvas, and together with the thirty-two deities within the drop of the samādhi-sattva, if one meditates on them pervading the ten directions by emitting the light rays of infinite Buddhas, at that time the wisdom of accomplishing purposeful activity arises. This is the blessing of the aggregates.
To explain the blessing of the elements:
"The mantrin should place Moharati and the rest
Upon the earth and so forth,
Solid, moist, warm, and
Moving, according to their sequence."
Thus it is said. In this body, the solid nature of the flesh, bones, and so forth is earth. From the mantra moharati, the white Buddha Locanā arises, with three faces and six arms, in union with Vairocana. Through the power of great bliss, she melts and completely transforms back into the flesh, bones, and so forth. One should then place the mantra moharati there; at that time, the earth element becomes purified.
Then, having placed Māmakī upon the substances of melted water, blood, and so forth—which have arisen from the mantra dveṣarati—they melt together with Akṣobhya. When they have completely transformed back into the nature of blood and so forth, and the mantra dveṣarati is again applied, at that time the water element becomes purified.
Then, preceded by the application of the mantra rāgarati to the fire element, which is of the nature of the life-faculty and the proximate sensation of heat, one meditates on Pāṇḍaravāsinī, red in color, with three faces and six arms. She melts together with Amitābha and transforms back into the fire element. When the mantra rāgarati is applied to that very element, at that time the fire element becomes purified.
Then, preceded by the application of the mantra vajrarati to the wind element that moves within the hollow interior of the channels, one meditates on Tārā, green in color, with three faces and six arms, together with Amoghasiddhi. Through their entering into union, they melt and transform back into the wind element. When the mantra vajrarati is applied to that very element, at that time the wind element becomes purified.
The blessing of the sense bases (āyatana) shall now be explained:
Having placed ṭhrīṃ in the eyes, meditate on Kṣitigarbha.
Place oṃ in the two ears and meditate on Vajrapāṇi.
Having placed oṃ in the nose, meditate thoroughly on Ākāśagarbha.
Having placed oṃ in the tongue, one should visualize Lokeśvara.
Having placed oṃ and hūṃ in the mind, ...
"Visualize Mañjughoṣa; by visualizing the syllable Oṃ throughout the entire body, one should remember the removal of obscurations. Having placed the syllable Maṃ upon the sinews, one should thoroughly examine it as Maitreya. Having placed Saṃ upon all the joints, one should contemplate Samantabhadra." Thus it is said. With these four verses, the placement [of deities] upon the six sense bases, the channel wheels, and all the joints is explained.
Regarding that, first, one should meditate on the eye faculty as emptiness. In the place of emptiness, one places the white syllable ṬṬhīṃ. From its complete transformation, one visualizes Kṣitigarbha—three-faced, six-armed, peaceful, and white—holding the hand implements that will be described, possessing the nature of the three sattvas, and together with the thirty-two deities of the wisdom-being seed-syllable drop, emitting the light rays of infinite Buddhas that pervade the ten directions. At that time, the ordinary eye faculty is transformed and becomes the divine eye.
Similarly, having meditated on the ear faculty as emptiness, one places the blue syllable Oṃ in the place of emptiness. From its complete transformation, one visualizes Vajrapāṇi—three-faced, six-armed, peaceful, and blue—holding the hand implements that will be described below, possessing the nature of the three sattvas, and together with the thirty-two deities of the wisdom-being seed-syllable drop, emitting the light rays of infinite Buddhas that pervade the ten directions. At that time, the ordinary ear faculty is transformed and the divine ear is attained.
Following that, one meditates on the nose faculty as emptiness.
At the location of emptiness, visualize a yellow syllable OṂ. From that, visualize Ākāśagarbha, with three faces and six arms, peaceful and yellow, holding the hand implements to be described below. He is the nature of the three sattvas, and from the bindu of the seed syllable of the wisdom-being, emanate the light rays of infinite buddhas, pervading the ten directions. If one meditates in this way, the ordinary nose faculty is transformed and the divine nose is attained.
Likewise, meditate on the tongue faculty as emptiness. At the location of emptiness, from a red syllable OṂ, visualize Lokeśvara, with three faces and six arms, peaceful and red, holding the very hand implements to be described below. He is the nature of the three sattvas, and from the bindu of the seed syllable of the wisdom-being, together with the thirty-two deities, emanate the light rays of infinite buddhas, pervading the ten directions. If one contemplates in this way, the ordinary tongue faculty is transformed and the divine tongue is attained.
Then, at the heart—the location of the mind—from the complete transformation of a HŪṂ together with an OṂ, visualize Mañjughoṣa, white in color, with three faces and six arms, holding the hand implements to be described below. He is the nature of the three sattvas, and from the bindu of the seed syllable of the wisdom-being, together with the thirty-two deities, emanate the light rays of infinite buddhas, pervading the ten directions. If one contemplates in this way, the ordinary mind is transformed, and one attains the knowledge of others' minds, as well as the knowledge of the past, future, and present.
Following that, the entire body is transformed from the syllable OṂ at the tip of the secret vajra into the peaceful green Sarvanīvaraṇaviṣkambhin with three faces and six arms, holding the hand implements to be described below. If one visualizes the thirty-two deities, together with the seed-syllable drop of the wisdom-being (jñānasattva) who is the nature of the three beings, pervading the ten directions by emitting the light rays of infinite Buddhas, at that time the ordinary body is reversed and the deity’s body is attained.
Then, in all the channels and sinews, from the syllable MAIṂ, one visualizes the peaceful red Maitreya with three faces and six arms, holding the hand implements to be described below. If one visualizes the thirty-two deities, together with the seed-syllable drop of the wisdom-being who is the nature of the three beings, pervading the ten directions by emitting the light rays of infinite Buddhas, at that time the hollow interior of the channels is reversed and the indivisible body is attained.
Then, in the joints of all the limbs, from a red SAṂ, one visualizes the peaceful red Samantabhadra with three faces and six arms, holding the hand implements to be described below. If one visualizes the thirty-two deities, together with the seed-syllable drop of the wisdom-being who is the nature of the three beings, pervading the ten directions by emitting the light rays of infinite Buddhas, at that time the vajra body is attained.
Once those eight bodhisattvas have been fully transformed, one should again place the seed-syllables previously explained in the eyes and so forth. Some say that they are indeed immutable. Now, the placement upon the limbs and minor parts will be explained.
On the right hand, Yamāntaka; on the left, Aparājita; on the mouth, Hayagrīva should be visualized; on the vajra, Amṛtakuṇḍalī. On the right upper arm, Acala; on the left, Takkirāja. On the right knee, one should visualize Nīladaṇḍa, blazing intensely; on the left knee, Mahābala. On the crown of the head, Uṣṇīṣacakravartin; on the feet, one should place the visualization of Sumbharāja.
Regarding this statement: one should place ten blue syllables HŪṂ on the right and left upper arms, the mouth, the secret place, the two forearms, the two knees, the Brahma-aperture, and the soles of the feet. Alternatively, from the complete transformation of YAMĀNTAKṚT, PRAJÑĀNTAKṚT, PADMĀNTAKṚT, VIGHNĀNTAKṚT, and HĀ SVĀ ĀḤ OṂ BHRŪṂ HŪṂ, there arise the ten wrathful deities—Yamāntaka and the rest—as will be explained below, holding their respective hand-symbols and colors, with three faces and six arms. These are the nature of the three sattvas, together with the thirty-two deities within the bindu of the seed-syllable of the wisdom-being (jñānasattva). If one visualizes them pervading the ten directions by emitting rays of light from infinite Buddhas, at that time, the accomplishments of blazing, appearing, displaying lightning, clarity, raining, invisibility, transforming forms, circling the four continents in a single instant, and moving through the sky and the underworld will be attained.
The summary will now be explained:
"Then, having performed the placement, the mantra practitioner,
According to the ritual, [should visualize] the aggregates and so forth."
"Once the maṇḍala of the body is complete, one should correctly contemplate the great yoga," it is said. Regarding this: "having arranged" means having laid out the wheel of the thirty-two deities through the stages of the atiyoga. "The aggregates and so forth" refers to the aggregates, elements, sense bases, and the primary and secondary limbs. "According to the ritual" means by the sequence previously explained. By that, the maṇḍala of the body becomes fully complete. Once the maṇḍala of the body is fully complete, "great yoga" is the meditative absorption (samādhi) whose nature is the blessing of the body and so forth. "Correctly contemplate" means one should meditate.
To explain that very point:
"A perfectly complete moon maṇḍala,
One should contemplate it abiding in the center of the crown.
There, the white syllable OṂ
Radiates five-colored light rays."
Regarding this: first, in the center of the crown, within the brain, one should meditate on a perfectly complete moon maṇḍala arising from the first vowel, which is like the full moon of the fifteenth day. Above that, the white syllable OṂ, the seed-syllable of Vairocana, radiates five-colored light rays. One should meditate on it as the essence of the thirty-two deities. From that, one should emanate a wheel of light rays and meditate that in the sky, from the total transformation of that, there is a host of infinite eyes surrounded by the eyes of Locanā.
Having gone to the realm of Akaniṣṭha, one should make offerings with the five offerings and through meditative union to the manifestation of wisdom appearing from that [source]. Inserting the noose of the forearm into the throat, one draws [the deity] downward; one should then imagine that her retinue is also summoned by a multitude of emanated eyes. In front of the eastern gate, one should request [the deity] to be seated upon a multicolored lotus born from paṃ and a moon maṇḍala born from a. Having emanated offering goddesses from the heart and made offerings, one should supplicate with the two verses beginning, "Glorious holder of the Buddha’s body..." and so forth. Then, entering the drop of oṃ like a wave, one should cultivate the divine pride with the verse beginning, "Whatever is the body of all Buddhas..." and recite the mantra that stabilizes it; this is the blessing of the body. The benefit is that by becoming thus, one will attain an identity adorned with the thirty-two marks of a great being and the eighty minor marks.
To explain that very point:
"Then, having emanated the goddess,
Through the union with the Lord,
One should imagine many eyes
Completely filling the entire sky."
Regarding this statement: "the goddess" refers to the principal goddess, Locanā. "Through the union with the Lord" means she remains embracing the central principal deity. "Many eyes" refers to the many Locanās emanated by her, which are the nature of the retinue. "Completely filling the entire sky" means they pervade the entire expanse of space, holding offerings in their hands.
Then:
"One should imagine the Vajra Body
Residing, filling the sky."
Regarding what was stated: "Then, having reached the realm of Akaniṣṭha, one should offer to the Vajra Body, Vairocana, with the great meditative union; one should visualize that those who abide filling the sky have emerged from the Buddha-fields and remain pervading the sky of the very place where the practice was performed."
Regarding the instruction: "In the center, meditate on the Lord; he abides in front of oneself," it means that one should summon him into the space of the intermediate sky and request him to be seated upon a lotus and moon disc in front of oneself—that is, in front of the eastern gate.
To explain the offering and the subsequent supplication, it is said: "Then the mantra practitioner, having recited these two verses, should offer the supplication." This means that the practitioner, with a disposition that does not forget the meditation, should recite the two verses explained below to supplicate the Blessed One Vairocana, who is adorned with the thirty-two marks of a Great Being and whose body is embellished with the eighty minor marks.
That very point is explained:
"Holding the glorious Buddha-body,
Through meditating on the three indivisible vajras,
Please grant your blessings to me today
And act through the vajra body!"
This means that the "Buddha-body" is the vajra body; because he holds that, he is "holding the Buddha-body." "Glorious" refers to the [Buddha] Eye, and he is endowed with that. The "three vajras" are the vajra body and so forth; meditating on them as "indivisible" means they are of an inseparable nature.
"Blessed One, Vajra Body, please grant your perfect blessing upon the place where you are to bless me," is the supplication offered. It is also explained to the retinue: "O Buddhas residing in the ten directions, through meditating on the three indivisible vajras, please bless me this very day and act through the Vajra Body." This is easy to understand. Regarding the explanation of the supplication and request: "Having visualized Vairocana together with Locanā, and having inserted that, one is blessed and filled with the five aggregates." Thus it is said. At the conclusion of the offering, one should also visualize Vairocana together with Locanā, who is seated and blessed by the light rays of Oṃ, and then cultivate the divine pride. "Whatever is the body of all Buddhas, filled with the five aggregates, through the essence of the Buddha's body, may I also become just like that." Regarding this statement: "all Buddhas" refers to the bodies of the Vairocana family, which are the Vajra Body. If one asks what that is like: "filled with the five aggregates" means being filled with the nature of the five primordial wisdoms and, as their concordant cause, the five supramundane aggregates of ethical discipline and so forth. Likewise, "may I also become just like that" means "may I be accomplished as such." "Through the essence of the Buddha's body" means by way of the form of the body of the Vairocana family. The explanation of the mantra is: Oṃ sarvatathāgatakāyavajrasvabhāvātmako ’haṃ.
Oṃ is Vairocana. Sarvatathāgatakāyavajra is the nature of the indivisible body. Its svabhāva is the state of being adorned with the [major and minor] marks and so forth, and the state of fearlessness. Ātmako ’haṃ is the firm conviction: "I am of that very nature."
The blessing of speech shall now be explained:
"Visualize the syllable Āḥ, possessing a red color,
Abiding in the center of the tongue.
The one called Pāṇḍaravāsinī, having been emanated into space,
Fills the realms of space."
Thus it is said. First, in the center of the throat, from the syllable Paṃ, an eight-petaled lotus arises. In its center, from a red syllable Āḥ, light rays are emanated. From the total transformation of that, one meditates on Pāṇḍaravāsinī surrounded by infinite Pāṇḍaravāsini goddesses. They travel as far as Sukhāvatī and make offerings to the Wisdom Amitābha with the five types of offerings, and embrace him. Through the offering of union, they also make offerings. One should imagine that they are summoned to the throat by the noose of the forearm, and that their numerous retinues are also summoned by a host of emanated Pāṇḍaravāsini goddesses. One requests them to be seated upon a lotus and moon arising from Paṃ in front of the eastern gate. From one's own heart, one emanates offering goddesses as before and makes offerings. One then supplicates with the two verses beginning: "Glorious path of the Dharma speech..." and so forth. Like a wave of light rays, they enter the path of speech into the bindu of the Āḥ. "Whoever is the Vajradharma..."
With the words "Thus it is said," and so forth, one should generate pride and recite the mantra that stabilizes it; this is the blessing of speech. If it is accomplished in that way, the voice will become the basis for the throat and the maṇḍala of the face, for the tongue that rolls like a right-spiraling conch, for the composition of various treatises, and for the text, meaning, etymologies, and individual appearances; such are the benefits.
To explain that very point:
"The Vajra of Speech, by the mantra practitioner,
Abides in the center of space.
Then the practitioner, by reciting
Two verses, should make the supplication."
Regarding this statement: at the conclusion of the goddess offerings, the Vajra of Speech is Amitābha. One should visualize Amitābha together with his retinue being summoned and abiding in the center of space as before, upon a lotus and moon. One should then make the supplication with the two verses explained below.
"The glorious path of the Dharma speech,
Through meditating on the three inseparable vajras,
Please grant your blessing so that today I may abide
In the state of the Vajra of Speech."
Regarding this statement: because it is the nature of the nine branches of the excellent speech, "Dharma" refers to Amitābha. He is the "path of speech" because he is the Lord of Speech. Likewise, because he is inseparable from the Vajra Body and so forth, it is "meditating on the three inseparable vajras." The request "Please grant your blessing so that I may abide in the state of the Vajra of Speech" is the supplication for the blessing of speech by means of the three vajras. This should be explained to the retinue.
"Buddhas residing in the ten directions, through meditating on the three indivisible vajras, please grant your blessing today so that I may abide in the state of the vajra speech." This is easy to understand. To stabilize the entry: "Together with Pāṇḍaravāsinī, perfectly united with one's own principal deity, visualize them entering the tongue and begin the blessing of speech." Thus it is said. At the conclusion of the offerings, through the light rays of the syllable ĀḤ, the assembly of Pāṇḍaravāsinīs together with one's own principal deity enter through the path of speech like a wave, and one should cultivate the divine pride. "Whatever is the speech of Vajradharma, with its perfect definitive terminology, may my speech also be like that, and may I become like the Holder of Dharma." Regarding this: Vajradharma is Amitābha. How he is perfect is through the scriptures, the ultimate words, and the perfect knowledge of individual appearances; one should cultivate the pride, "May I also become like that." The mantra is explained: "OṂ SARVA-TATHĀGATA-VĀK-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ." OṂ is the Great Vajradhara. That very [OṂ] is SARVA-TATHĀGATA-VĀK-VAJRA, which is Amitābha; because he is indivisible, he is VAJRA. His SVABHĀVA is the possession of the sixty branches of speech and so forth. His ĀTMAKO ’HAṂ is to be stabilized. The blessing of the mind is to be explained: "The mantrin should visualize a blazing reflection of a moon at the heart; there, one should place a HŪṂ, blue like a flax flower, possessing five-colored light rays." Thus it is said.
First, at the outset, one should meditate on a multicolored lotus arising from the syllable paṃ at the heart. In its center is a moon maṇḍala arising from the first vowel (a). In the middle of that is the syllable hūṃ, resembling the luster of a dark-blue gem, emitting infinite rays of light. One should meditate on this together with the thirty-two deities. From that, rays of light are emitted, and through their complete transformation, one meditates on Māmakī surrounded by an infinite host of Māmakīs. Having invited the wisdom Akṣobhya from the Abhirati realm, one should worship him with the five types of offerings and the offering of meditative union. One should imagine that he is drawn in by the noose of the forearm at the throat, and that his retinue is also drawn in by the emanated hosts of Māmakīs. Requesting him to be seated upon a lotus and moon arising from paṃ in front of the eastern gate, one should emanate offering goddesses from one’s own heart as before and present offerings. One should then make supplication with the two verses beginning, “Glorious Holder of the Vajra Mind,” and so forth. Like a wave of light rays, he enters through the path of the two breasts into the hūṃ-drop. One should then cultivate the divine pride with the verse beginning, “Whatever is the mind of Samantabhadra,” and recite the mantra that stabilizes it. This is the blessing of the mind. The benefit is that when this occurs, the mind becomes like a clear moon maṇḍala, free from the obscurations of afflictions and the knowable, and becomes a mind that knows the entities abiding in the three times: past, future, and present. That is the stabilization.
Then, it is said: "The goddess Māmakī, together with her assembly, should also be emanated." Regarding this, "then" refers to [the emanation] from the syllable HŪṂ. Māmakī is the very essence of the central principal deity. "Together with her assembly" means that Māmakī, along with her infinite retinue, should be emanated; this is the meaning of "emanating light rays." Then, having gone to that state of manifest joy, in order to summon Akṣobhya as before and to offer a supplication to him as he abides upon a lotus and moon at the eastern gate, it is said:
"Likewise, meditate on the Vajra Mind; to him, offer a supplication as before."
Regarding this, one should visualize the Vajra Mind, Akṣobhya, in that same manner. One should look upon him as being surrounded by [the other deities] as before, and the "supplication" is the act of making a request. "As before" means just as the supplication was offered to the Vajra Body and Vajra Speech. That very point is explained:
"O glorious holder of the Vajra Mind,
Through meditating on the three indivisible vajras,
Please act as the Vajra Mind to grant me
The state of being blessed this very day."
Regarding this, the "mind" whose nature is the five wisdoms is the "vajra" because it is indivisible. The "holder" of that is the Vajra Mind Holder, Akṣobhya. "Glorious" refers to Māmakī; because he is endowed with her, he is "glorious." The "three vajras" are the vajras of the Body and so forth. By meditating on me as being indivisible from them, the supplication is made: "Please act as the state of blessing me with your nature, which is inseparable." This should also be explained for the retinue.
"Buddhas residing in the ten directions, through the meditation on the three indivisible vajras, please grant your blessing today so that I may be established in the state of the vajra mind." This is easy to understand. Having made this supplication, the entry [of the deities] is explained:
"Having brought the entire assembly of Māmakī, who is perfectly endowed with the vajra mind, into the heart, one should begin the blessing of the mind." Thus it is said. As before, preceded by an offering of the wheel of light rays, one should cultivate the divine pride of Māmakī together with her assembly as being present.
"The mind of Samantabhadra, which is the secret lord endowed with wisdom—may I also become just like that; may I become like the Vajra Holder." Thus it is said. "Kun" (all) refers to that from which the characteristics of high status and definite goodness arise in the beginning, middle, and end; that is Samantabhadra, the Blessed One Akṣobhya, and not the bodhisattvas, as they are not required here. His mind is the nature of the five primordial wisdoms. What is it like? It is the "secret lord." There are three secrets: the vajras of body, speech, and mind. The "lord" of these is the master, the Vajra Mind. Likewise, "wisdom" is Māmakī; he who possesses her is "endowed with wisdom." Just as that one endowed with wisdom possesses such a mind, one should cultivate the divine pride: "May I also become like Vajradhara, equal to the previously explained Akṣobhya."
The mantra shall now be explained: oṃ sarvatathāgatacittavajrasvabhāvātmako ’ham. Here, oṃ is Vajradhara. Sarvatathāgatacittavajra is Akṣobhya. Svabhāva indicates: "I am of that very nature." This should be taught as an explanation of non-duality. As it is said:
"Thus, having individually blessed [the body and so forth] through the divisions of the three families, the wise one should also make everything into the self by means of this secret mantra."
Regarding this, "having individually blessed" refers to blessing the body and so forth individually according to the sequence previously explained. "Through the divisions of the three families" means blessing the body and so forth by way of the three families. "Once again" means blessing everything into the self, such that the body and so forth are non-dual. "By means of this mantra" refers to what will be explained below. "The wise one" refers to one who is skilled in the meditation of yoga.
The mantra shall now be explained: oṃ sarvatathāgatakāyavākcittavajrasvabhāvātmako ’ham. Oṃ has already been explained. Sarvatathāgatakāya and so forth refers to the vajra body, speech, and mind, which are of the nature of the five wisdoms; these are the "vajra," meaning indivisible. Their svabhāva is adorned with the characteristics and so forth previously explained; "I am the identity of that"—thus one should cultivate the divine pride (ahaṃkāra).
In order to summarize all three beings previously explained, it is said:
"Having thus blessed the self, [one should visualize] that which abides in the center of a moon maṇḍala."
"Endowed with the six signs, one should visualize the samayasattva," it is said. First, the samayasattva, which is perfected by the first branch of the preliminary yoga, should be meditated upon as possessing the six signs previously explained, such as the vajra and so forth, and as residing upon a moon maṇḍala; this teaches the nirmāṇakāya.
"In the center of the heart, one should clearly visualize the subtle jñānasattva. The syllable HŪṂ, known as the samādhisattva, should be placed there," it is said. In the heart of the previously explained samayasattva, upon a moon disc resting on a lotus born from PAṂ, one should meditate on a jñānasattva similar to that [samayasattva], arising from the complete transformation of a vajra born from HŪṂ. In the heart of that [jñānasattva], upon a lotus and moon disc, one should place the HŪṂ-bindu at the tip of the vajra, together with the thirty-two deities; this teaches the saṃbhogakāya and dharmakāya.
Here, the sequence of numbers is as follows: in the stage of yoga, there is one Vajradhara. In the stage of anuyoga, there are three types through the distinction between the jñānasattva and the samādhisattva. In the stage of atiyoga, by arranging the thirty-two deities, there are thirty-five. Through the samādhi of mahāyoga, there are thirty-eight deities. In the stage of the supreme maṇḍalarāja explained below, there is the entry of the jñānacakra and the two deities of the sealing, making forty deities in total.
Each of these also becomes twelve hundred and eighty through the division into forty deities. Furthermore, each becomes two thousand five hundred and sixty through the division into method and insight. This should be understood as the numerical sequence for the single central principal deity. For the deities of the maṇḍala, that same calculation results in seventy-four thousand eight hundred; this is the maṇḍala of Akṣobhya. If one considers Vairocana and the others, calculating the thirty-two maṇḍalas according to the previously explained reckoning, they become two million two hundred and twenty-eight thousand two hundred and forty.
The summary of the calculation shall now be explained:
"Having thus generated the great yoga, which is the nature of the three sattvas," it is said. "Thus" refers to the sequence previously explained; having generated the great yoga, which is the nature of the three sattvas, one should then explain the meditation on the Supreme Victor of the Maṇḍala. It is said:
"By means of this application of the ritual, one should begin the accomplishment of the mudrā."
The "application of the ritual" explained below refers to the accomplishment of the mudrā through the stages of meditation. One should apply oneself to the characteristic of thoroughly knowing its divisions.
First, the divisions of the mudrā shall be shown:
"A girl of perfect and beautiful form,
A great-souled one of the Śvapāka caste,
A girl with the color of a blue utpala flower—
Having found such a sublime one with wide eyes," it is said.
A "girl" refers to one who has reached twelve years of age. "Wide-eyed" means having eyes like those of a startled deer; alternatively, "wide-eyed" refers to one who possesses a secret lotus, meaning she is a "Lotus-like" woman (padmā), and not a "Conch-like" (śaṅkhinī) or "Deer-like" (hariṇī) woman—this is the intended meaning. Likewise, "form" refers to the characteristics of the major and minor limbs of youth. "Excellent" means having reached twelve years of age. "Endowed with these" means being adorned, but not adorned with artificial external ornaments. Similarly, "the color of a blue utpala lotus" is consistent with the color of the Akṣobhya family. "A woman of the butchers" refers to the daughter of a butcher. "A great soul" refers to one prophesied by the Blessed One, or alternatively, by the yogi. "If she is found" means she is authorized by the Blessed One or seen in a dream. Furthermore, if one asks what she is like: "Composed and well-trained, / Having great devotion for the practitioner," it is said. "Well-trained" means having reached the perfection of the samaya and vows. Likewise, "having great devotion for the practitioner"—the yogi who takes up that very reality—means being possessed of passion or endowed with faith. This is the classification of the mudrā of the Akṣobhya family. The daughters of washermen and dancers are the mudrās of the Body and Speech families; they are not mentioned here because those who have reached twenty or sixteen years of age are not required in this context. This is the classification of the mudrās.
The conditioned [practice] shall be explained: "One should visualize Oṃ at the crown of the head," and so forth. The oral instruction for this is as follows: first, the practitioner of the Perfection [vehicle] should go to a charnel ground and meditate for the duration of three months during the samādhi of the preliminary application. Then, having received the permission of the Blessed One from the sky, the practitioner named so-and-so should take a mudrā from such-and-such a region. Having entered into union with her through the stages of meditative absorption, if one meditates on the supreme maṇḍala of the victorious [deity], one will become endowed with the power to accomplish the welfare of oneself and others. Having heard this, one should characterize her by her lineage, age, physical characteristics, the visualization of her as the yidam, her color, and so forth. Then, having emanated Sparśavajrā from one's own heart, one should arrange a lotus and moon maṇḍala within her source of phenomena (dharmodaya). One should also place the samaya-mudrā to her left. From the seed syllable of the samādhi-sattva, light rays of the nature of fire are emitted from the right nostril. One should visualize that beneath her feet, upon a wind maṇḍala arisen from Yaṃ, is a blazing fire maṇḍala arisen from Raṃ; that these light rays incinerate her body, and that the wind carries away the ashes. One should also view her consciousness as clear, like the tip of a lamp flame. Then, blue light rays in the form of hooks are emanated from the left nostril, which bind, summon, and draw her [consciousness] in.
One should meditate on the form of melting into the central channel. In the center of the source of phenomena (dharmodaya) of Sparśavajrā as previously explained, the syllable khaṃ completely transforms, from which Sparśavajrā is emanated. Having established her as the nature of the three beings, one should visualize the entire mandala of deities arranged as the nature of the three beings, with Locanā and the others in union, arising from the complete transformation of oṃ and the other syllables at the head, throat, heart, navel, and the two feet.
"On the two breasts, the tips, and the two lips,
And within the hollow of the bhaga,
The goddesses of the respective families
Should definitely be placed with the mantras they have produced."
From the complete transformation of that, one should meditate on the placement of the mantras produced from the complete transformation of the breasts and so forth, as the four goddesses of the families—Locanā and the others—embracing their respective lords, the nature of the three beings, and melted by the fire of great passion.
"In the eyes, ears, nose, and the root of the tongue,
At the heart, the channels, and the joints,
The goddesses such as Rūpavajrā
Should be placed embraced by Kṣitigarbha and the others."
In that regard, from the complete transformation of jaḥ at the two eyes, Rūpavajrā is placed, embraced by Kṣitigarbha. From the complete transformation of hūṃ at the two ears, Śabdavajrā is placed, together with Vajrapāṇi. From the complete transformation of baṃ at the two nostrils, Gandhavajrā is placed, together with Ākāśagarbha. From the complete transformation of hoḥ at the tongue, Rasavajrā is placed, together with Lokeśvara.
At the tip of the bhaga, from the complete transformation of the syllable Khaṃ, is Sparśavajrā together with Sarvanīvaraṇaviṣkambhin. At the heart, from the complete transformation of the syllable Raṃ, is the goddess Karuṇā together with Mañjuśrī. In the sinews, from the complete transformation of the syllable Māṃ, is Maitreya together with [Locanā]. In the joints, from the complete transformation of the syllable Gaṃ, one should arrange Dharmadhātuvajrā together with Samantabhadra. From the complete transformation of those, one should again visualize the eyes and so forth as the signs of those seed-syllables.
Likewise, on the right and left upper arms, the base of the left [arm], the mouth, the secret place, and similarly on the right and left shanks, the right and left knees, the crown of the head, and the soles of the feet, one should meditate on the wheel of deities as before: Vajravetālī, Bhṛkuṭī, Aparājitā, Ekajaṭā, Viśvavajrī, Viśvaratnī, Viśvapadmā, Viśvakarmā, Ākāśavajrī, and Dharaṇīdhara. These are the consorts of the ten wrathful kings, arisen from the ten syllables Hūṃ, embraced by their respective lords, such as Yamāntaka and the others.
Thus, having generated the body of the mudrā within the lotus, one should draw her out through the path of the two organs. By becoming one with the body of Sparśavajrā, like butter being poured into butter, one should meditate on the mudrā. Regarding that very point, it is said:
"Oṃ should be placed on the crown;
Āḥ should be placed on the path of speech;
Hūṃ should be visualized at the heart;
Svā at the navel, and Hā on the two feet."
One should meditate on the Tathāgatas together with their mudrās, arising from the complete transformation of those seed-syllables in the head and so forth; this is the blessing of the aggregates. Next, the elements are to be blessed: "The goddess Locanā, Māmakī, and likewise Pāṇḍaravāsinī, and Tārā as well—the mantrin should place them upon the earth and so forth." Regarding this statement, one should then meditate on the four Mothers of the Families, such as the breasts and so forth, arising from the complete transformation of the mantras of the four goddesses, Moharatī and the others, who have been emanated. Furthermore, from that complete transformation, they are like the breasts and so forth, marked by those respective seed-syllables.
The blessing of the sense bases is explained: "One should visualize the goddesses Vajrarūpā and the rest in those very [places], and meditate on them in union with Kṣitigarbha and the others." Thus it is said. In the six sense bases, such as the eyes, and in the tendons and joints, from the complete transformation of the syllables Jaḥ and so forth, one should meditate on Vajrarūpā and the others, embraced by Kṣitigarbha and the others, melting through the power of great bliss, and then [re-]meditate on the eyes and so forth as being marked by those seed-syllables.
The placement upon the limbs and digits is explained: "On the right hand is Vajravetālī; on the left is Aparājitā. In her mouth is Bhṛkuṭī; in the secret place is Ekajaṭī. Furthermore, on the right upper arm is the Mother of the Tathāgatas, Vajrā; on the left is the mudrā of Viśvavajra. On the right knee is Viśvapadma, the Tathāgata."
"On the left is the Variegated Action; at the crown is Ākāśavajrā; on the two feet, the Earth-holding Goddess should be placed." This means that from the complete transformation of the ten syllables HŪṂ, one should place Vajravetālī and the others—who are embraced by Yamāntaka and the rest, have three faces and six arms, and possess colors, hand-symbols, and postures identical to their respective lords—upon the right shoulder and so forth.
One might ask: "At the time of blessing the method, should one meditate on the Tathāgatas alone? How then should one meditate on the goddesses during the blessing of the mudrā, including the process of entering into union?" It is said in response: Since the mudrās are primarily characterized by the aesthetic flavor of passion, the mandala of deities who bless them should also be meditated upon in that same way. Since the methods are primarily characterized by the flavor of peace, there is no fault in the methods being included within the goddesses along with the entry into union.
Having prepared the mudrā, the blessing of the vajra and lotus will be explained: "In that way, the yogi having prepared [the mudrā], should correctly engage the vajra and lotus." This means that in the sequence previously explained, the yogi prepares the goddesses as the mudrā, and subsequently begins the union of the vajra and lotus. If the method and insight were not prepared, it would follow that they are impure, like ordinary beings; therefore, their preparation must be undertaken. The sequence for this is as follows: first, one should meditate on one's own secret place as empty.
Then, one should visualize a five-pronged vajra arising from a blue syllable HŪṂ, its tip marked with the syllable OṂ and emitting five-colored rays of light. One should also meditate on the lotus of the mudrā as emptiness. That very lotus arises from the complete transformation of the syllable A; at the tip of its central channel, one should place a yellow PHAṬ that acts as a seal. One should then contemplate these as the nature of method and insight and begin the practice of passion; this is the interpretable meaning.
The five channels are the secret vajra by nature, and the mudrā of the source of phenomena (dharmodayā) is completely surrounded by eight channels; this is the definitive meaning. Then, one should meditate on the ritual of passion. To explain that:
"With the mantra HŪṂ, one should visualize the vajra
As having five prongs. At that time, in the center of its tip,
One should clearly meditate on the syllable OṂ.
Likewise, one should visualize an eight-petaled lotus
Arisen from the syllable A.
Contemplate it as pervaded by five-colored rays,
And thereafter begin the accomplishment."
Regarding this statement, it means arising from a blue HŪṂ. Because it is the nature of the five primordial wisdoms, it has five prongs. "In the center of the channel" means at the tip of the central channel. OṂ is the seed syllable of Vairocana; because it is the nature of the earth element, it is solid and heavy. The eight petals are the nature of the eight classes [of letters] and the nature of the eight channels. AḤ is the seed syllable of the Lord of Speech; because it is the nature of passion. "Endowed with five-colored rays" is the remainder of the phrase, applying to both.
Following that, "accomplishment" refers to the commencement of meditative union. Regarding the explanation of the assembly of passion: as for the recitation of oṃ sarvatathāgatānurāgaṇavajrasvabhāvātmako ’ham, first, the vajra and lotus are prepared. From the secret vajra of wisdom, five-colored light rays are emitted. Emerging from the samaya-vajra, they enter the lotus of the wisdom-goddess from the lotus of the samaya-goddess. One should visualize them emerging from the vocal path of the wisdom and samaya goddesses, entering the vocal path of the samaya and wisdom beings, and returning once more to one’s own secret place.
Then, from the lotus-light rays at the navel of the wisdom-goddess and the lotus-light rays at the navel of the samaya-goddess, they emerge from the vajra of the method samaya-being and enter the interior of the secret vajra of wisdom. Again, emerging from the mouths of the wisdom and samaya [beings], one should visualize them entering one’s own secret place through the vocal path of the two goddesses.
In that regard, when light rays reach the secret place of the mudrā within the vajra of the samaya-being: at the secret place, it is the wisdom of appearance (āloka); at the navel, it is the wisdom of increase (ālokābhāsa); at the heart, it is the wisdom of near-attainment (ālokopalabdhi); and at the throat, it is the clear light (prabhāsvara). In the method [being], at the throat, it is the wisdom of appearance; at the heart, it is the wisdom of increase; at the navel, it is the wisdom of near-attainment; and at the secret place, it is the clear light. Furthermore, at the time of emanating the goddesses, it is the wisdom of appearance at the secret place of the method.
At the navel is the wisdom of the increase of appearance. At the heart is the wisdom of the attainment of appearance. At the throat is the clear light; this is the definitive meaning. Through this ritual of passion, one should meditate on the two bodies as mutually manifest and of the nature of joy. Having attained one-pointedness of mind, one should recite the mantra: OṂ is the Great Vajradhara. That very [OṂ] is sarvatathāgatānurāgaṇa, meaning delighting in great bliss; because that is indivisible, it is vajra. Its svabhāva is the realization of the clear light; one should cultivate the divine pride, thinking, "I am that very essence." This teaches the stages of approach and near-attainment. As it is said: "Because the union of the object to be accomplished and the means of accomplishment is explained as 'approach,' and the union of the vajra and lotus is explained as 'near-attainment.'"
Next, the branch of accomplishment will be explained: "Maintaining well the divine pride of the Vajra Holder, one should be stirred by the song of HŪṂ. When one's own bodhicitta emerges, one should then recite the secret mantra PHAṬ." Regarding this: first, one should stimulate the lotus with the mudrās of the eyes and so forth, moistening the channels. The sign of the touch of warmth indicates that the bodhicitta has emerged. Having tasted it slightly with the tongue-vajra, the vajra becomes erect, and the lotus and vajra are joined. Once movement begins, one should visualize the sound arising from the two openings and the two organs as being of the nature of HŪṂ.
Maintaining the divine pride of Vajradhara, through the sound of great bliss, the sound of union, and the light rays of the seed syllable of the samādhisattva, all the tathāgatas enter from the expanse of space. The bodhicitta is caused to melt within the central channel, and as it descends from the Brahma-aperture, at the time it pervades all the limbs, there is the increase of appearance (āloka-vṛddhi). At the center of the vajra, there is the near-attainment of appearance (ālokopalabdhi), and at the tip of the vajra, one experiences the clear light. Then, by the nature of the sound phaṭ, the drop of bodhicitta should be deposited within the lotus in the form of a bindu.
The ritual of offering shall now be explained:
"Having emitted [it], the mantrin should once again
Offer with bodhicitta to the Buddhas
Residing in the ten directions,
And then recite this secret mantra."
Thus it is said. "Having emitted" refers to the end of the radiation of bodhicitta. By that, one should offer to the Buddhas—the tathāgatas—residing in the ten directions. At the conclusion of the offering, one recites the mantra that appears below.
The oral instruction is as follows: within the lotus, the bodhicitta is completely transformed. From the mantras such as vajradhṛk and so forth, one meditates on the five tathāgatas, each with three faces and six arms, embracing their respective consorts. They melt through the bliss of touch and emerge as offering goddesses, together with the substances of outer and inner offerings. One should visualize these goddesses emerging from the pores of the skin and, abiding in the expanse of space, make outer, inner, and secret offerings to the tathāgatas.
At the conclusion of the offerings, recite the mantra and cause those Tathāgatas and goddesses to enter one’s own mouth via rays of light. Oṃ sarvatathāgatapūjāvajrasvabhāvātmako ’ham. In this [mantra], Oṃ is the Great Vajradhara. He is the nature of all the Tathāgatas (sarvatathāgata). Pūjā therein refers to the offerings, consisting of the three types previously explained and the unsurpassed [offering]. Because that is indivisible, it is vajra. Its svabhāva is the generation of great bliss; [one should cultivate the divine pride] thinking, "I am the identity of that."
Now, the ritual of emanation will be explained:
"From the letter sa of one’s own mantra,
I, blessed by the three vajras,
Having generated [myself] in the center of the lotus,
Once again become Dveṣavajra."
Thus it is said. Then, with the divine pride of Vajradhara, the Tathāgatas previously gathered are emanated in the form of bindus into the lotuses and moons of the goddesses. From the complete transformation of those, from the natural mantras such as Vajradhṛk and so forth, emanate Akṣobhya and the others, who possess the nature of the three sattvas. Arrange the thirty-two deities within the bindus of the seed-syllables of the wisdom beings (jñānasattva). Then, through the sequence of yoga, subsequent yoga, supreme yoga, and great yoga, complete [the visualization] and confer the empowerment of Vajrāmṛta upon their crowns. Seal them with the samaya beings as the lords of empowerment upon their crowns.
Having emerged externally, they depart preceded by the purification of the realms of sentient beings who engage in conduct such as hatred and the entry into the buddha-fields. They then enter the central principal deity and should be seated in the eastern direction and so forth. To explain that: "One's own mantra syllable" refers to the emanation mantra to be explained below. "Emerging from that" means emerging from the signs. "Blessed by the three vajras" means having the nature of the three sattvas. "In the center of the lotus" means within the source of phenomena (dharmodaya) of Sparśavajrā. "Hatred Vajra" is the transformation into Vajradhara of the Mind. To explain that:
"Visualize Akṣobhya, the Vajra-holder,
Arisen from the mantra VAJRA-DHṚK,
The Protector who wears a topknot of matted hair,
Crowned with Akṣobhya."
Regarding this statement: from the complete transformation of the bindu arises the mantra called VAJRA-DHṚK, and it is marked by the blazing vajra that arises from that. Then, preceded by emanation, withdrawal, abiding, stabilization, and passion, one should visualize the nature of the thirty-two deities of the three sattvas, blessed and having the form of Akṣobhya, which is the nature of the wisdom of the expanse of phenomena (dharmadhātu-jñāna). "Wearing a topknot of matted hair" refers to the attire of a Sage. "Crowned with Akṣobhya" is the sign of the Speech family. To explain the color and so forth:
"Appearing with a color like fine blue vitriol."
"Visualize him with six arms, with faces blue-black, red, and white, and fully adorned with all ornaments." Thus it is said. "Fine blue" refers to the blue of a king's lapis lazuli; it is a blue like that, for the sake of the purity of loving-kindness and wrathful activity. The central face is black, the nature of the Vajra Mind. The left face is red, the nature of the Vajra Speech. The right face is white, the nature of the Vajra Body. "All ornaments" means adorned with nets, bracelets, anklets, earrings, armlets, and so forth, for the sake of attaining the branches of enlightenment. This is the definitive meaning of the purity of the six perfections. Regarding the channels: the central channel is black because it carries water; the right is white because the bodhicitta flows upward through it; and the left is red because the blood flows upward through it. The oral instruction is that beneath those two channels, the rakta and śukra flow.
The hand implements are to be explained:
"In the right hands, one should visualize the vajra, wheel, and lotus; in the left, the bell, jewel, and sword." Thus it is said. The vajra is the hand implement of Akṣobhya. The wheel is the hand implement of Vairocana. The lotus is the hand implement of Amitābha. The bell is the hand implement of Mahāvajradhara. The jewel is the hand implement of Ratnasambhava.
The sword is the hand symbol of Amoghasiddhi; this is the interpretable meaning. The three channels, distinguished by upper and lower, are the forms of the vajra and so forth; this is the definitive meaning. The same applies to the subsequent [sections].
The external emanation shall now be explained:
"Having extracted the essence,
And gazed toward the ten directions,
He turns the wheel of Dharma
And performs all the deeds of a Buddha.
Having thoroughly purified all sentient beings without exception,
He establishes them in the state of Vajradveṣa.
Returning, he comes to sit
Before the presence of the Vajra Protector."
Regarding this statement, two verses explain the external emanation, the performance of the welfare of sentient beings, and the return of the Tathāgatas. "By the essence" means from the lotus of the goddess. "Gazing toward the ten directions" is for the purpose of liberating those who are not yet liberated. "Deeds of a Buddha" refers to purifying sentient beings who engage in the conduct of hatred. "Turning the wheel of Dharma" means turning the wheel of teaching the Dharma of the Great Vehicle of Mantra. "Purified" means having turned them away from hatred. "Vajradveṣa" belongs to Akṣobhya. "Abode" refers to the Buddha-field of Abhirati; "establishing them" means placing them there. "Vajra Protector" is before the Great Vajradhara; one should visualize him residing in the eastern square as previously explained.
It should be explained that the central principal deity and Akṣobhya are inseparable:
"The mantrin, having meditated on himself
As having entered into the heart..."
Regarding the statement, "Having completely transformed the previous form, he dwells in the abode of Dveṣavajra," this teaches the meditation on the resultant Vajradhara. Since he possesses the power to perform the activities of the maṇḍala wheel, Akṣobhya and [the practitioner] become one like milk and water. Having completely reversed the previous form and abandoned the form of Vajradhara, one should visualize oneself dwelling in the abode of Dveṣavajra.
To explain its specific qualities:
Blazing with the light of an indranīla gem,
Dwelling in the center of a sun maṇḍala,
The hero is embraced by his own mudrā,
Completely adorned with all ornaments.
Regarding this: "Indranīla" refers to a jewel produced from the ocean. Its color is like that [gem] because it accords with wrathful activities. "Dwelling in the center of a sun maṇḍala" is because of the nature of skillful means and its sharpness. "Embraced by his own mudrā" refers to Sparśavajrā, as explained previously. "Completely adorned with all ornaments" is because he is the antidote to the universal monarch.
Furthermore, what is he like? It is said:
Fierce, peaceful, and of great passion,
Beautiful with three faces,
Abiding in the samādhi of Dveṣavajra,
He should emanate the entire maṇḍala.
Regarding this: the first face is fierce because it subdues those who are difficult to tame. The right face is peaceful because Vairocana is the lord and he performs peaceful activities.
Great passion is the left [side]; because Amitābha is the lord, it is for the sake of exercising power. The yogin abiding in such a samādhi of Hatred-Vajra should emanate all maṇḍalas—the entire maṇḍala consisting of thirty deities—emanating them within the lotus. That very emanation shall be explained:
"From the mantra Jina-jik, the principal Vairocana is produced. He is crowned with Akṣobhya, appearing like the rays of the autumn moon, adorned with a crown and a topknot. His faces are white, black, and red; he has six arms and a peaceful demeanor. Visualize a wheel, a jewel, and a lotus in his right hands, and a bell, a jewel, and a sword in his left."
Regarding this statement: as before, from the complete transformation of the bindu in the center of the goddess’s lotus, Vairocana arises from the mantra Jina-jik, having the nature of the three sattvas. The "principal" is the lord of his own family. "Emanation" means he is to be brought forth. "Autumn moon rays" refers to the light; being like that is to perform pacification. The "topknot of matted hair" is as before. Furthermore, the first face is white because it is peaceful. The right and left faces are black and red, respectively, because they are Mind-Vajra and Speech-Vajra, for the sake of wrathful rites and exercising power. The six arms have already been explained. "Peaceful demeanor" is for the sake of subduing all diseases. In the first right hand is a white eight-spoked wheel.
It is for the sake of turning the wheel of Dharma and for the sake of destroying the stains of obscuration. In the second right hand is a blue vajra, because it is the nature of manifest enlightenment. In the third right hand is a white lotus, because it is concordant with pacification. In the root left hand is a bell, which demonstrates the absence of intrinsic nature. In the two [upper] left hands is a jewel, which fulfills all intentions. In the third left hand is a sword, which cuts the noose of the afflictions, because it is the nature of Amoghasiddhi.
The external emanation shall now be explained:
"Emerging from the heart,
Having thoroughly purified the sentient beings
Who abide in the conduct of delusion,
And having returned, he dwells
Upon the moon in the eastern direction."
Thus it is said. "From the heart" means from the lotus of the goddess. "Abiding in the conduct of delusion" refers to those of the delusion family. "Sentient beings" refers to those of the three realms. "Purifying" means emitting emanations and making the teacher and so forth stainless. "Having returned" means from his own buddha-field. "Eastern direction" refers to the eastern square. "Moon" means one should visualize him dwelling upon a variegated lotus, a moon, and a wheel.
The emanation of Ratnasambhava shall now be explained:
"From the mantra Ratnadhr̥k,
The wise should bring forth the Jewel Crest.
Peaceful, wearing a topknot and crown,
With Akṣobhya as his head ornament,
With yellow, black, and white faces,
One should meditate on the six-armed one.
The wish-fulfilling jewel and the vajra..."
"Meditate on the wheel to its right; the bell, the yellow lotus, and the sword should be meditated upon to its left." Regarding this statement, as before, from the complete transformation of the bindu in the center of the goddess’s lotus, one should emanate the emergence of the Ratnatog (Jewel Crest) from the six-cornered jewel produced by the mantra Ratnadhr̥k. Wearing a topknot of matted hair is as before. "Peaceful" is for the sake of increasing the wealth of sentient beings who are destitute. Through the four types of generosity—of love, of the Dharma, of fearlessness, and of material things—fear is pacified. Akṣobhya is the Great Vajradhara; he is the one who acts as the crown ornament, thus adorning [the deity]. "Wise" is by way of a nature that does not forget. Furthermore, the first face is yellow, for the sake of performing the activity of enrichment. The right and left faces are black and white, representing the nature of the Mind and the Body, for the sake of performing the activities of wrath and peace. The meaning of the six arms has already been explained. This is the [deity] of Ratnaśrī. "Jewel" is the complete fulfillment of all intentions. The "yellow lotus" is that which performs the activity of enrichment. The remaining points are as before. The emanation to the exterior and so forth shall be explained.
"Likewise, having emerged from the heart, those who abide in the state of pride, having been thoroughly purified, shall abide in the center of the jewel within the goddess’s [lotus]." Thus it is said. "From the heart" means from the lotus. "Those who abide in the state of pride" refers to sentient beings possessed of pride, who are purified through the teachings and so forth.
One should visualize him arriving and abiding in the southern square, seated upon a lotus, a sun disk, and a six-sided jewel. The emanation of Amitābha is now explained:
"From the mantra ĀROLIK, the infinite Vajra-holder is produced; peaceful, with the color of a ruby, his head is adorned by Akṣobhya."
Thus it is said. As before, from the complete transformation of the bindu in the center of the goddess’s lotus, Amitābha—the nature of the three sattvas—is to be emanated from an eight-petaled lotus produced from the mantra ĀROLIK. "Ruby" refers to a gem; its color is similar to that, because he performs the activity of magnetizing. "Peaceful" means that the flavor of the erotic is predominant. "Akṣobhya" is as explained previously.
Furthermore:
"The Protector, wearing a topknot of matted hair, with faces red, black, and white, perfectly endowed with the expression of the erotic—meditate on him as having six arms."
Regarding this: the meaning of the "topknot of matted hair" has already been explained. He is the "Protector" because he is the lord of the Lotus family. The root face is red because he performs the activity of magnetizing. The right and left faces are black and white, respectively; their purification has been explained previously. He is "endowed with the expression of the erotic" because his nature is one of passion. The meaning of the "six arms" has already been explained.
The hand implements are now explained:
"With the left hands, he holds a bell and the stem of a lotus; the lotus, positioned at the heart, is held by the right hand."
Regarding this:
The bell is the nature of the perfection of insight, held in the left hand. From one side of it emerges an eight-petaled lotus, which is the "lake-born" (utpala). One should meditate on the heart center being opened by the right hand, starting from the center of the thumb, middle finger, and index finger, and extending to the petals.
"Just as this red lotus,
Unstained by the defects of its location,
Is filled with the qualities of its substance,
So too are the three realms pure."
This is the mudrā of opening the lotus, which demonstrates the nature of phenomena and is of interpretable meaning. The definitive meaning is that the five-pronged secret vajra, which is the nature of method on the right side, opens the lotus of the source of phenomena (dharmodaya) of insight situated on the left.
The remaining hand symbols shall now be explained:
"In the two right hands are the vajra and wheel;
In the two left hands are the jewel and sword."
The meaning of these hand symbols has already been explained.
The external emanation shall now be explained:
"Having purified those with desire as before,
He sits upon the lotus at the back."
"As before" means having arisen from the lotus. "Those with desire" refers to ordinary beings with desire. "Purified" means through the teachings and so forth. "At the back" means having emerged from the buddha-field; one should visualize him sitting upon a lotus, sun, and lotus in the western direction.
The emanation of Amoghasiddhi shall now be explained:
"From the mantra Prajñādhṛk,
The practitioner [visualizes] Amoghasiddhi, the Vajra-holder."
"Visualize the Protector, green in color, adorned with a topknot and a crown," it is said. As before, from the complete transformation of the drop of bodhicitta within the lotus of the goddess, the Protector—the nature of the three sattvas and the lord of the action family—should be visualized as arising from the sword produced by the mantra prajñādhṛk. The topknot and crown are as described previously. Furthermore:
"Green, black, and white faces; six arms, radiating rays of light."
Regarding this, the first face is red because it performs the activity of summoning. The right and left faces are black and white, respectively, because they perform the wrathful and peaceful activities of the mind and body families. The six arms are as before. "Radiating rays of light" means being pervaded by the five-colored rays, because he is the performer of all activities.
The hand implements are explained:
"In the right hands, meditate on the sword, the crossed vajra, and the wheel; in the left hands, the bell, the green lotus, and the jewel."
Regarding this, the sword is the insight that cuts through the afflictions. The crossed vajra represents the twenty aspects of manifest enlightenment. The green lotus is because he is the performer of all activities. The bell and so forth are as before.
The activities are explained:
"Having completely purified sentient beings who possess wrong speech, he returns and dwells upon the crossed vajra in the northern direction."
Regarding this, as before, one should visualize that sentient beings who have emerged from the source of phenomena (dharmodaya) and possess erroneous speech are purified through the teachings and so forth; they enter the buddha-field, and having returned, they are seated in the northern direction upon a lotus, sun, and crossed vajra.
The summary shall now be explained:
"Hatred, delusion, and likewise attachment,
The wish-fulfilling jewel, and the samaya—
These are the five families themselves,
Which thoroughly accomplish desire and liberation."
In this regard, the purification of hatred is Akṣobhya; the purification of delusion is Vairocana; the purification of attachment is Amitābha; the wish-fulfilling jewel is Ratnasambhava; and because those who have impaired their samaya restore it once again, the samaya-holder is Amoghasiddhi. These five families are the purification of the afflictions. "Desire and liberation" refers to accomplishing liberation through the means of bliss, which brings about the attainment of the sphere of non-abiding nirvāṇa. Alternatively, "desire and liberation" refers to desire and liberation themselves, namely, enjoyment and freedom. Their accomplishment is the exertion.
This is merely an illustration; [the families are also] the nature of the wisdoms of the dharmadhātu, mirror-like, equality, discernment, and all-accomplishing activity; the purification of the universal ground (ālaya), the afflicted mind, the engaging [consciousness], and the consciousnesses of form and so forth; the purification of the aggregates of form, feeling, perception, formations, and consciousness; and peace.
One should understand the nature of the purification of enrichment, magnetizing, wrathful activity, and summoning; the nature of ethical discipline, meditative concentration, insight, liberation, and the primordial wisdom of seeing liberation; and the nature of the purification of earth, water, fire, wind, and space; form, sound, smell, taste, and tangible objects; the eye, ear, nose, tongue, body, and mind; objects, the self, conceptualization, and the engaging consciousnesses.
The emanation of the goddesses shall now be explained:
"From the mantra moharati, the goddess Locanā is to be emanated. White and possessing a peaceful expression, she is marked on the crown by Vairocana."
Thus it is said. As before, from the complete transformation of the bindu of bodhicitta in the center of the goddess’s lotus, the goddess Locanā—arising from the eight-spoked wheel produced by the mantra moharati—is to be emanated as the embodiment of the three sattvas. If one asks what she is like: "White" means she performs pacifying activities. "Possessing a peaceful expression" is for that very reason. "Marked by Vairocana" refers to the crown of her own lord, for the sake of recollecting the family.
Furthermore:
"One should visualize her with white, black, and red faces, and six arms. In her right hands, visualize a wheel, a vajra, and likewise a white utpala lotus. In her left hands, one should visualize a bell, a jewel, and a sword." Thus it is said.
The white utpala is for the sake of pacifying. The meaning of the white face and so forth, as well as the wheel and so forth, has already been explained. Now, the external emanation shall be explained:
"Emerging from the heart,
Having gazed upon the ten directions,
The world tormented by demons and disease
Is pacified through great compassion;
Returning, she dwells
In the eastern sector of the moon disk."
Regarding this statement: "from the heart" means from the center of the lotus. "Gazing upon the ten directions" is for the purpose of pacifying the diseases of those afflicted by illness. "Demons" refers to those caused by the re-ba-ti spirits and so forth. "Disease" refers to fevers and the like. The "world tormented" by these is any worldly being who is oppressed; by emanating rays of nectar-light, she pacifies them. Having thoroughly pacified them, she establishes them in her own buddha-field. One should then visualize her returning and dwelling in the southeastern sector upon a variegated lotus, a moon disk, and a wheel.
The emanation of Māmakī shall now be explained:
"Arising from the mantra dveṣarati,
The goddess Māmakī is produced,
Blue like the petal of a blue utpala,
With a fine face, exceedingly lovely."
Regarding this statement: as before, from the transformation of the bindu in the center of the goddess's lotus, Māmakī is emanated from the five-pronged vajra arising from the dveṣarati mantra. If one asks what she is like: "blue like the petal of a blue utpala" refers to her blue color. Likewise, "fine face" means a beautiful countenance.
For that very reason, the "pleasing one" is the emanation of the mind of the Blessed One Akṣobhya or Ratnasambhava, because Māmakī belongs to the second family. Furthermore, if one asks what she is like:
"Black, white, and red,
With Akṣobhya as her crown ornament.
A vajra, a wheel, and likewise
A blue-red utpala in her right hands;
A bell, a jewel, and a sword
She holds in her left hands."
Regarding this statement, the meaning of the black face and so forth has already been explained. "With Akṣobhya as her crown ornament" means she is of his own nature. When she belongs to the Ratnasambhava family, then Ratnasambhava should be her crown. The meaning of the vajra and so forth has already been explained. When blue and red are mixed, they appear as yellow and black; thus, the signs of both families are explained.
The external emanation is now explained:
"Those tormented by the fear of great obstructors,
She protects them with great compassion.
Having gone forth and then returned,
She comes to reside in the southwest."
Thus it is said. "Great obstructors" refers to rākṣasas and the like. "Tormented by the fear" of them refers to the harm caused by bad dreams and so forth; she protects them from those. Having expelled the rākṣasas and the like, she returns from her own buddha-field and should be visualized residing in the southwest—the direction of Nairṛti—upon a variegated lotus, a sun disk, and a vajra.
The emanation of Pāṇḍaravāsinī is now explained:
"Arising from the mantra of Rāgarati, Pāṇḍaravāsinī is to be emanated; her faces are red, black, and white, and she possesses the luster of a ruby." Thus it is said. As before, from a drop in the center of the goddess’s lotus, Rāgarati is completely transformed, and from a red lotus, Pāṇḍaravāsinī—resembling the color of a ruby—is to be projected. The meaning of the red and other facial colors has already been explained. Furthermore:
"Visualize her with Amitābha and a mass of matted locks, possessing six arms; with the left hand holding a bell, she grasps the stem of an utpala. She holds the red utpala located at her heart with her right hand." Thus it is said. "A mass of matted locks" refers to a collection of locks. That which possesses a mass of matted locks together with Amitābha is "with Amitābha and a mass of matted locks," meaning she has the crown of her own lord. The meaning of the six arms has already been explained. One should visualize that the left hand, together with a bell, holds the lotus stem to one side, while the right hand opens the red-colored [flower] at the heart. Her purity is like that of Amitābha.
The remaining hand symbols are to be explained:
"In the two right hands, a vajra and a wheel; in the left hands, a jewel and a sword. Having emerged, she pacifies those afflicted by demons, and returning, she dwells in the center of the lotus in the northwest direction." Thus it is said. The meaning of the vajra and so forth has already been explained.
Regarding those afflicted by demons: having pacified those afflicted by the demon of poverty, one performs the rite of enrichment (puṣṭi). Alternatively, it refers to pacifying those afflicted by demons that have not been brought under control; having brought them under control, one should visualize [the deity] emerging from the Buddha-field and residing upon a variegated lotus, a moon, and a lake-born [lotus] in the northwest direction.
The emanation of Tārā shall now be explained:
"Arising from the mantra of Vajrarati,
The charming Tārā is to be emanated,
With faces green, black, and white,
Equal in color to the blade of dūrvā grass."
Thus it is said. As before, from the complete transformation of the drop in the center of the goddess’s lotus, one should emanate the pale-green goddess Tārā, born from an utpala flower arising from the mantra of Vajrarati, like the blade of dūrvā grass. The meaning of the green color and so forth has already been explained.
Furthermore:
"With Amoghasiddhi as her crown,
One should meditate on her as having six arms.
In her right hands, a variegated vajra, a wheel,
And a white utpala;
In her left hands, a bell, a jewel, and a sword—
The practitioner of vows should visualize her thus."
Thus it is said. "Amoghasiddhi" refers to her own lord. The meaning of the six arms and so forth has already been explained.
The activity shall now be explained:
"Having brought all sentient beings under her power,
Having emerged from the seat of the variegated vajra,
And having returned once more,
She comes to reside in the northeast direction."
Thus it is said. "All sentient beings" refers to those afflicted by the eight great fears, namely: lions, elephants, fire, snakes, robbers, imprisonment, the ocean, and...
This is the fear of flesh-eaters. Some say that there are ten great fears, including the fear of leprosy and the fear of poverty. Having brought those under control, they are dispelled. Having emerged, they arise from a lotus. Having arrived, they come from the buddha-fields. In the northeast, at the boundary of Ishana, one should visualize them seated upon a variegated lotus, a moon, and a crossed vajra.
The purification of those four consorts shall now be explained. Among them, the nature of the earth element, the door of liberation of emptiness, great compassion, and the perfection of skillful means is Moharati (Goddess of Delusion). She is the consort who is the self-manifestation of Vairocana. She is similar to that [consort] and is applied to the perfection of skillful means and great compassion. By protecting sentient beings who are devoid of these from all suffering without exception, she demonstrates that all phenomena are emptiness. She takes up the burden of the welfare of all sentient beings, summons the faults of equality into herself, engages in the welfare of sentient beings, and is definitively applied to the perfection of skillful means through three aspects: swiftly attaining enlightenment for oneself, establishing sentient beings on the Far-Gone (Dūramgamā) bhūmi, and performing pacification at the fire boundary.
Dveṣarati (Goddess of Hatred) is the goddess Māmakī, who is the purification of great loving-kindness, the door of liberation of signlessness, the water element, and the perfection of aspiration. She is the consort who is the self-manifestation of Akṣobhya. She is similar to that [consort] and possesses great loving-kindness.
For the sake of all sentient beings who lack aspiration prayers, he definitively establishes them in benefit and happiness, and generates all phenomena as being without signs. Through the three aspects known as the cause for the accumulation of the equality of mind regarding the activities for the welfare of all sentient beings—such as the pacification of their existence—the cause for the welfare of sentient beings, and the complete purification of the Buddha-fields—he definitively applies them to the perfection of aspiration, establishes them on the Immovable Ground, and subdues those difficult to tame in the direction of the Nairṛti (Southwest).
The one called Rāgānandā is Great Joy, the liberation of wishlessness, the fire element, and the purity of the perfection of power; she is Pāṇḍaravāsinī. She is the consort who is the self-appearance of Amitābha. She perfectly joins those sentient beings who lack Great Joy and the perfection of power with the joy of the Buddha-dharma. Because all phenomena are non-existent apart from self-awareness, she clarifies the wishlessness of all phenomena. Through activities such as dispelling trembling and ripening, she is like fire. Likewise, by reversing karma, destroying the afflictions, and vanquishing Māras and adversaries, she definitively applies them to the perfection of power through the three aspects of power, establishes them on the Good Intelligence Ground, and expands [the teachings] in the direction of the Vāyu (Northwest).
The one called Vajrānandā is Great Equanimity and the liberation of natural luminosity.
The wind element and the purity of the perfection of wisdom are Tārā. Through the activities of great equanimity and the perfection of wisdom, she applies the nature of the mind—which is like the wind—to those sentient beings who lack the perfection of wisdom and equanimity regarding gain and loss, pleasure and pain, fame and insignificance, and praise and blame. Because the afflictions are adventitious, she clarifies the natural luminosity of all phenomena. By realizing non-conceptuality and the equality of conceptualization, and by not remaining hidden in the means for the benefit of sentient beings, she is definitively applied to the perfection of wisdom in its three aspects. She is established on the stage of the Cloud of Dharma (Dharmameghā) and exercises mastery in the direction of the powerful one; this is the interpretable meaning.
Appearance, the appearance of the moon, the feminine gender, the dependent nature, the following vowel, gentleness, and freedom from passion—these are the nature of emptiness as the natural antidote, and they are Locanā. Increasing appearance, the appearance of the sun, the masculine gender, the imputed nature, the visarga, the intermediate, and passion—these are the nature of the great emptiness as the natural antidote, and they are the goddess Māmakī. Near-attainment of appearance, the appearance of the juncture, the neuter gender, the bindu, the absence of the visarga, the perfected, and—
The nature of the great emptiness, which is the natural antidote to ignorance and the rest, is Pāṇḍaravāsinī. Free from appearance and the rest, without the moon, the sun, or the light of the intermediate directions; without the signs of male, female, or neuter; without the following vowels, the visarga, or their absence; free from the three natures; and free from the soft, the medium, and the intense [qualities of sound]; free from passion, passionlessness, and intermediate passion; and the nature of the emptiness of all—the antidotes to emptiness, the very emptiness, and the great emptiness—is Tārā; this is the definitive meaning.
The emanation of the offering goddesses shall now be explained: "The yogi, in the second stage, should emanate Vajrarūpā and the rest." Regarding this, in the second stage, on one of the four large squares outside the four large squares, one should draw a vajra fence in the four directions starting from the southeast (fire) corner, each occupying one small square; the remaining [deities], Vajrarūpā and the rest, are then to be placed. This is explained as follows:
"To be placed in the direction of fire,
Is Vajrarūpā, the charming one,
With three faces and six arms, white in color,
Her crown is the glorious Vairocana.
With two hands she holds a mirror,
The remaining [hands] are like the Joy of Delusion."
As before, from the transformation of the drop in the lotus of the goddess, from the syllable ja arises a mirror, from which Vajrarūpā is born. She is the nature of the three sattvas, charming and captivating the mind with the light of a crystal gem, and she wears a crown of Vairocana.
With his two primary hands, he clearly manifests the forms of the Tathāgatas and goddesses residing within the maṇḍala of a crystal jewel mirror. From his remaining hands, he emanates hand-symbols identical to those of the Lord Locanā. Through this, the realm of sentient beings who are attached to form is purified; one should visualize her seated upon a lotus and moon maṇḍala in the southeast.
The emanation of Śabdavajrā is now explained:
"The goddess to be placed in the southwest is Śabdavajrā, with six arms, three faces, and a yellow body; her crown is Ratnasambhava. With two hands she holds a lute; the remaining [hands] are like those of Māmakī."
Regarding this statement: as before, from the transformation of a drop (bindu) in the center of the goddess’s lotus, there arises from the syllable HŪṂ Śabdavajrā, whose nature is the three sattvas and who wears a crown of Ratnasambhava. With her primary hands, she plays a lute, the sound of which satisfies the ears of the internal Tathāgatas and generates one-pointedness through the bliss of their minds. From her remaining hands, she emanates hand-symbols identical to those of Māmakī. Having purified the realm of sentient beings who are attached to sound, she returns and is visualized seated upon a variegated lotus and moon in the southwest.
The emanation of Gandhavajrā is now explained:
"The goddess to be placed in the northwest is Gandhavajrā, with six arms, three faces, and a red body; she wears the topknot of Amitābha."
"Holding a conch with two hands, the rest is similar to Pāṇḍaravāsinī." Regarding this statement: as before, from the transformation of a drop in the center of the goddess’s lotus, there arises from the syllable Baṃ a conch bowl. From this is born Gandhavajrā, whose nature is the body of the three sattvas, resembling a ruby, and wearing a crown of Vāgīśvara. With her two primary hands, she holds a conch bowl similar in shape to the eighth lunar day, filled with a mixture of camphor, saffron, sandalwood, and musk. She holds the remaining implements similar to those of Pāṇḍaravāsinī. One should visualize her purifying the realm of sentient beings who are attached to odors, and then seated upon a multicolored lotus and a moon maṇḍala in the northwest direction.
The emanation of Rasavajrā is now explained:
"The goddess to be placed in the northeast is Vajrarasā, with six arms. She has three faces and is green in color; on her crown sits Damaru. In two hands she holds a vessel of flavors; the rest is like Tārā."
Regarding this statement: as before, from the transformation of a drop in the goddess’s lotus, there arises from the syllable Hoḥ a vessel of flavors made of the seven precious gems. From this is born Rasavajrā, whose nature is the three sattvas, resembling a blue utpala flower and a garuḍa gem, and wearing a crown of Amoghasiddhi. With her primary hands, she offers a precious vessel filled with the six flavors, thereby satisfying the Tathāgatas.
From the remaining hands, emanate those holding hand-symbols identical to Tārā. Having purified the realm of sentient beings who are attached to sensory objects, they return and are visualized as residing upon a variegated lotus and a moon in the northeast.
The location of Sparśavajrā (Touch Vajrā) shall now be explained:
"Embracing Vajrasattva well,
Residing in the center of the wheel,
One should visualize Sparśavajrā,
With faces and so forth like the Lord."
Regarding this: at the time of the gathering of mudrās during the supreme sovereign of the maṇḍala, the samaya-mudrā and the non-dual wisdom-mudrā are Sparśavajrā. She is Vajrasattva; "embracing Akṣobhya well" means embracing him firmly and abiding in the center of the wheel. For that very reason, it is said: "With faces and so forth like the Lord," which means her faces and so on are similar to his. Therefore, the ritual of her emanation is not explained here.
Next is the purity of the perfection of generosity, the antidote to avarice, which is Rūpavajrā. Avarice is primarily of three types: regarding phenomena, food, and affection. By applying oneself to the perfection of generosity through these three, one is established on the level of Perfect Joy (Pramuditā-bhūmi). She resides in the outer southeast, the direction of fire, revealing the mirror-like wisdom of the dharmadhātu.
The purity of the perfection of ethical discipline, the antidote to immoral conduct, is Śabdavajrā. Those with immoral conduct are [purified] through the ethical discipline of vows and...
The ethical discipline of acting for the benefit of sentient beings and the ethical discipline of gathering virtuous dharmas—by being firmly applied to these three types of ethical discipline, one is established on the Stainless Ground (vimalā-bhūmi). One dwells in the outer southwest corner, delighting in the sound of the Dharma, which is the characteristic of the dharmadhātu.
Likewise, the perfection of patience, the antidote to anger, is Gandhavajrā. By being firmly applied to the three types of patience—characterized by the inability to endure harm from others, the experience of suffering, and the focus on the Dharma—one is established on the Luminous Ground (prabhākari-bhūmi). One dwells in the outer northwest corner, delighting sentient beings with the fragrance of the discriminating wisdom (pratyavekṣaṇā-jñāna).
Likewise, the pure perfection of diligence, the antidote to laziness, is Rasavajrā. By being firmly applied to the three types of perfection—armor-like diligence, the diligence of application, and the diligence of completion—one is established on the Radiant Ground (arciṣmatī-bhūmi). One dwells in the outer northeast corner, satisfying sentient beings with the food of the nectar of Dharma.
Likewise, the pure perfection of meditative concentration, the antidote to distraction, is Sparśavajrā. It overcomes the defects characterized by distraction and consists of the states of abiding and application.
They are firmly applied to the perfection of meditative concentration through the three aspects and are established on the stage of "Difficult to Overcome" (Sudurjaya), where they are satisfied by the bliss of the touch of clear light. Embracing the central principal deity, they abide in the center of the wheel. Akṣobhya is the nature of the perfection of insight, which serves as the antidote to corrupted insight. He firmly applies those who are devoid of the perfection of insight to the perfection of insight through hearing, reflection, and meditation, and by manifesting the wisdom of the expanse of phenomena (dharmadhātu-jñāna), he establishes them on the stage of "Manifest" (Abhimukhī) and abides in the center. The mantras extracted from these are JAḤ HŪṂ BAṂ HOḤ KHAṂ, which is the interpretable meaning. Because the channel of the secret maṇḍala has the form of a mirror, it is Rūpavajrā. The channel of the heart maṇḍala is like a lute, and is Śabdavajrā. The channel of the throat maṇḍala is like a conch, and is Gandhavajrā. The channel of the navel maṇḍala is like a vessel for flavors, and is Rasavajrā. The channel of the "parasol of desire" is Sparśavajrā; that itself is Akṣobhya, which is the definitive meaning.
The emanation of the bodhisattvas shall now be explained. On the eastern ledge of the three tiers, the practitioner of ascetic discipline should emanate the two: Maitreya and Kṣitigarbha, who arise from the seed-syllables MAIṂ and THLĪṂ. Thus it is said. From the complete transformation of the two drops, they are born from the seed-syllables MAIṂ and THLĪṂ, appearing with branches of the nāgakesara flower and—
From the complete transformation of the wheel, one should visualize the red and white, or alternatively, the white [deities] who are the nature of the three sattvas, with three faces and six arms. Having emanated Maitreya and Kṣitigarbha, they purify the sense base of the eyes and all the channels and sinews; then, returning, they should be visualized as abiding upon variegated lotuses and moons on the two sides of the eastern ledge of the third tier.
Then, it is said:
"From the seed-syllable Oṃ, Vajrapāṇi and Ākāśagarbha
Should be emanated in sequence upon the southern ledge."
Following that, as before, from the Oṃ arising from the complete transformation of the drop in the goddess’s lotus, [deities] born from vajras and jewels—blue and yellow, or alternatively, the yellow [deities] who are the nature of the three sattvas, with three faces and six arms—Vajrapāṇi and Ākāśagarbha are emanated. Having purified the attachment to the ears and nose, they return and should be visualized as abiding upon variegated lotuses, suns, and moons on the two sides of the southern ledge.
Then:
"From Oṃ and Hūṃ, Lokeśvara and Mañjughoṣa
These should be emanated in the west."
Following that, as before, from the complete transformation of the drop in the goddess’s lotus, [deities] born from Oṃ and Hūṃ—red and white, or alternatively, the red [deities] who are the nature of the three sattvas, with three faces and six arms—Lokeśvara and Mañjughoṣa are emanated.
Having purified sentient beings who are attached to the faculties of the tongue and the mind, one should visualize them returning and seated upon variegated lotuses and moons on both sides of the western ledge. Then, regarding the emergence in the northern direction: "From the seed syllables Oṃ and Saṃ, Sarvanīvaraṇaviṣkambhin and Samantabhadra arise." As before, from the complete transformation of the bindu within the lotus of the goddess, there arise from Oṃ and Saṃ the green and red [deities], or alternatively, the green ones, who are the nature of the three sattvas, with three faces and six arms. From the vajra and sword arise Sarvanīvaraṇaviṣkambhin and Samantabhadra. Having purified the attachment to all the joints of the body and limbs, one should visualize them returning and seated upon variegated lotuses and moons on both sides of the northern ledge. To show that these are similar to the lords, it is said: "Their crowns are their own protectors; their body colors and so forth are also the same. Their hands and implements likewise correspond to their respective lords." These are the eight bodhisattvas. "Their crowns are their own protectors" means they are crowned by the lords of their respective families. In that regard, Vairocana is the crown of Maitreya and Kṣitigarbha; Akṣobhya is the crown of Vajrapāṇi; Ratnasambhava is the crown of Ākāśagarbha; Amitābha is the crown of Lokeśvara and Mañjughoṣa; and Amoghasiddhi is to be meditated upon as the crown of Sarvanīvaraṇaviṣkambhin and Samantabhadra.
Regarding "color and so forth," this refers to color, facial expression, and demeanor. "Similar to those" means resembling their respective lords. "Hands" refers to the six hands, and "hand implements" refers to the wheel and so forth; one should understand that they are similar to their respective lords, such as Vairocana and the others. This is the general presentation of the analogy. Now, the specific distinctions will be explained:
"Maitreya alone holds
A nāga-tree flower in his right."
Regarding this: "Maitreya alone" means that with his primary right hand, he holds the flower of the nāga-tree, which is a branch of the nāgakesara (nāga-tree). This is of provisional meaning, as it refers to his attaining buddhahood in the future in the presence of that [tree]. "The branch of all the veins is the nāga-flower" is the definitive meaning.
Their activities will now be explained:
"These purify the sense bases
And bestow the divine eye and so forth.
Having purified the sense bases of sentient beings,
They return and sit upon their seats."
Thus it is said. One should visualize that those bodhisattvas purify the ordinary eyes and so forth of sentient beings and generate the divine eye and so forth; then, having come from their respective buddhafields, they sit upon the seats previously described.
By purifying the eye faculty, which is the nature of withdrawal through the complete purity of attractive, unattractive, and both types of forms, Kṣitigarbha bestows the five eyes. Likewise, by purifying the ear faculty, which is the nature of meditative concentration through the complete purity of the three types of sounds, [Avalokiteśvara purifies the ear].
The exertion of the divine ear is Vajrapāṇi. Likewise, through the purification of the three types of odors, the exertion of the divine nose, which purifies the nose—the nature of vital breath and exertion—is Ākāśagarbha. Likewise, through the purification of the three types of tastes, the exertion of the divine tongue, which purifies the tongue—the nature of apprehension—is Lokeśvara. Likewise, through the purification of the three types of tactile objects, the exertion of the divine body, which purifies the body—the nature of recollection—is Sarvanīvaraṇaviṣkambhin. Likewise, through the purification of the three types of phenomena, the purity of the mind—the nature of meditative concentration characterized by the thorough knowledge of the past, future, and present—is Mañjuśrī. Likewise, that which purifies the roots of attachment, aversion, and delusion, the nature of the meditative concentration of "lump-grasping," is Maitreya. Likewise, that which purifies all the joints of the nature of the six elements, the nature of the meditative concentration of "sequential destruction," is Samantabhadra; this is the interpretable meaning. Through the purification of the cavities of the channels of the eyes, ears, nose, tongue, body, mind, all the tendons, and all the joints, there are Kṣitigarbha and the others; this is the definitive meaning.
The emanation of the wrathful deities shall now be explained:
"Arising from the mantra Yamāntakṛt,
The mantrin should emanate Yamāntaka,
With faces black, white, and red,
Completely enveloped by masses of blazing fire."
Thus it is said.
As before, from the complete transformation of the drop within the goddess’s lotus, one should emanate Yamāntakṛt, born from the mantra, arising from a club. He is blue, white, and red in color, with three faces and six arms, the nature of the three sattvas. Yamāntakṛt, a wrathful deity, should be visualized as pervading the ten directions with a blazing garland of fire.
The hand implements are to be explained:
He holds a mallet, a wheel, and a vajra in his right hands;
At his heart, a threatening gesture with a lasso,
A bell and a battle-axe in his left.
Regarding this, "the lasso with the threatening gesture" refers to the lasso together with the threatening gesture, for the purpose of summoning obstructors. The meaning of the wheel and so forth is as before.
The activity is to be explained:
Together with the hosts of Indra and the rest,
He terrifies even the most terrible obstructors;
Trampling upon a lotus and a sun,
He comes to reside in the eastern direction.
Regarding this, the obstructors such as Indra are those who exercise power over the eastern direction. "Together with the hosts" means together with their retinues. "Terrifying" means turning them back from evil paths. One should visualize him residing upon a sun maṇḍala atop a buffalo and Yama, upon a variegated lotus at the eastern gate.
The emanation of Prajñāntakṛt is to be explained:
Born from the Prajñāntakṛt mantra,
With Ratnasambhava as his crown,
Body white and adorned with jewels,
Born from the Aparājita mantra.
As before, from the complete transformation of the drop within the goddess’s lotus, one should emanate the white Prajñāntakṛt, who is also known as Aparājita, arising from the mantra. He is crowned with Ratnasambhava. Because he is subsumed within the family of delusion, the white Prajñāntakṛt is also said to belong to the Ratnasambhava family. His faces, shapes, and so forth are to be explained:
"With a large belly and three eyes,
Faces white, black, and red,
Baring fangs and with a distorted expression,
Completely enveloped by masses of blazing fire."
The meaning is clear. His hand implements are to be explained:
"He holds a vajra, a staff, and a sword
In his right hands;
At his heart, a threatening gesture and a noose,
A bell and a battle-axe in his left."
The meaning is clear; the staff is in the primary right hand, and the remaining implements are as before. His activity is to be explained:
"Standing with the left leg extended,
He terrifies the fierce obstructors.
Trampling upon a lotus and a sun,
He dwells in the southern direction."
The meaning is clear; "obstructors" refers to the pretas and others who are emanations of Viṣṇu. "Terrifying" means that one should visualize him emerging with a threatening gesture and dwelling at the southern gate upon a variegated lotus, Viṣṇu, and a sun disk. The emanation of Padmāntakṛt is to be explained:
"Arising from the Padmāntakṛt mantra,
The practitioner should emanate Hayagrīva.
With three eyes and the color of a ruby,
His faces are red, black, and white.
With three faces and a large belly..."
"Adorned with the crown of Amitābha, the Hero stands with the left leg extended, agitated by a mass of blazing flames." Regarding this statement: as before, from the complete transformation of the bindu within the lotus of the goddess, Padmāntakṛt arises from the mantra. He is red in color, born from a red lotus, resembling the luster of a ruby, and possesses three eyes, because he is the nature of the three samādhis. He has three faces and six arms, is the identity of the three sattvas, and the upper face should be visualized as holding the form of a horse and wearing the crown of Amitābha. The three faces have the tips of the upper teeth grasping the lips, in order to subdue obstructors. "Standing with the left leg extended" here symbolizes the posture of the feet being level. "The Hero" refers to him dwelling while treading upon Mahādeva. "Agitated by a mass of blazing flames" means that the blazing fire of the wrathful deity radiates forth.
The hand implements are to be explained:
"In the right hands he holds a lotus, a sword, and a pestle;
In the left hands he holds a bell with its handle, a battle-axe, and a noose."
Thus it is said; in the root hand he holds a red lotus, and in the remaining hands he holds the sword and so forth, which is easy to understand.
The activity is to be explained:
"Abiding upon a lotus and sun,
Having gazed toward the ten directions,
Having terrified the nāgas,
He comes to dwell in the western direction."
Thus it is said. In this context, "obstructors" are the nāgas, asuras, and so forth, who emerge from the subterranean realm. Having terrified them, he dwells in the western direction.
One should visualize [the deity] seated upon a variegated lotus and a sun-disc throne at the western gate. The emanation of Vighnāntakṛt shall now be explained:
"Born from the mantra Vighnāntakṛt,
Adorned with a crown of drum-sounds,
Green like the petal of a blue utpala,
One should bring forth Amṛtakuṇḍalī.
His faces are blue, red, and white,
With mouths wide open and contorted.
Large-bellied and with three eyes,
He is fully adorned with blazing light."
Regarding this: as before, from the complete transformation of the bindu within the lotus of the goddess, one should visualize Amṛtakuṇḍalī, born from the fierce vajra produced by the mantra Vighnāntakṛt. He is green in color, wears a crown of Amoghasiddhi, has three faces and six arms, is the nature of the three sattvas, and possesses three eyes.
"Blazing light" refers to the wrathful radiance of green and red; "fully adorned" means he is decorated with these, demonstrating a mind consistent with a wrathful deity in order to expel obstructors. "With mouths wide open and contorted" means his faces are opened wide, emitting fierce laughter of "ha ha."
His hand implements shall now be explained:
"In the right hands: a crossed vajra, a wheel,
And pestles; holding a threatening gesture and a noose,
And in the left hands: a bell and a battle-axe."
Thus it is said: he holds a crossed vajra in his primary hand, and the remaining [implements] are as before.
His activity shall now be explained:
"Having terrified the obstructors,
Standing with the left leg extended,
He tramples upon a lotus and a sun."
"Abide in the northern direction." Regarding this: the obstructors are the retinues of Maheśvara, such as Nandikeśvara, Mahākāla, Bhṛṅgirīti, Kumāra-Kārttikeya, and so forth. To expel them, one should perform the threatening mudrā and, having gone forth, cause them to abide in the northern direction upon a variegated lotus, a vighna, and the sun.
The emanation of Acala shall now be explained:
"From one's own secret mantra,
Acala should also be emanated.
Three-eyed, with the color of sapphire,
His crown is the glorious Vairocana."
Thus it is said. As before, from the complete transformation of the drop within the lotus of the goddess, from the syllable OṂ, a sword is produced; from that, the wrathful Acala—sapphire-colored, with three faces, six arms, and three eyes, possessing the nature of the three sattvas, and crowned by Vairocana—should be emanated.
Furthermore:
"With fangs bared in a gaping mouth,
His faces are black, red, and white,
With a terrifying sound of 'Ha Ha' laughter,
Large-bellied and of great power."
Regarding this, he is so called because he possesses a face with four bared fangs. The remainder is as before.
His hand implements shall now be explained:
"A sword, a vajra, and a wheel
He holds in his right hands.
A threatening mudrā, a battle-axe,
And a noose he holds in his left hands."
Thus it is said. There, he holds a sword in his primary hand, and the remainder is as before.
His activities shall now be explained:
"Having destroyed the harm of epidemics and the like..."
"Abiding with the left leg extended, / Residing upon a lotus and sun, / He shall dwell in the southeast," it is said. "Epidemics" and so forth refer to the obstructors emanated by the Fire God; the command to destroy those arising from wind, bile, phlegm, and their combination—lasting for one, two, three, or four days and so on—is the instruction. One should visualize that he has arrived and is seated upon a variegated lotus and sun in the southeast.
The emanation of Rāgarāja is now explained:
"From one's own secret mantra, / The practitioner of ascetic discipline should emanate Rāgarāja. / Fierce, the color of sapphire, / Crowned with Ratnasambhava," it is said. As before, from the transformation of the drop in the goddess's lotus, one should emanate Rāgarāja, blue in color and crowned with Ratnasambhava, arising from a hook.
If one asks what he is like:
"His faces are black, white, and red; / Three-eyed, with terrifying fangs. / With two hands, he binds / The mudrās of Vajra-Hūṃkāra," it is said. The meaning of "black" and so forth has already been explained. The mudrā of Vajra-Hūṃkāra is formed by crossing the two vajra-fists, interlacing the index fingers like a chain, and placing the two thumbs against the base joints of the middle fingers, while the remaining fingers are extended.
The remaining hand implements are now explained:
"In the right hands, a vajra and a sword; / In the left, a noose and a hook. / He terrifies the obstructors of the southwest, / Abiding with the left leg extended upon a sun."
Regarding this: the meaning of the vajra and so forth has already been explained. One should visualize [the deity] standing in the pratyālīḍha posture upon a variegated lotus and a sun disk, subduing obstructors such as rākṣasas. Now, the emanation of Nīladaṇḍa shall be explained:
"From the syllable of his own mantra, the practitioner of the vow generates Nīladaṇḍa. He has three eyes, is like a dark cloud, and is crowned with Amitābha. His faces are blue, red, and white, with a terrifying 'ha ha' laughter."
As before, from the transformation of the bindu in the goddess’s lotus, [the deity] arises from the syllable A. Born from a staff, he has three faces, six arms, and three eyes. He is cloud-colored, has a terrifying form, is crowned with Amitābha, and is the wrathful king Nīladaṇḍa who should be emanated. His hand implements shall be explained:
"In his right hands, he holds a staff, a sword, and a wheel. At his heart, he makes the threatening gesture (tarjanī), and in his left hands, he holds a sword and a battle-axe."
Regarding this: with his primary hand he holds a blue staff, and the sword and so forth are as before. His activity shall be explained:
"Having dispelled the fear of epidemics, the fierce one stands in the pratyālīḍha posture. Abiding upon a lotus and sun disk, he dwells in the northwest direction."
Thus it is said. "Epidemics" refers to afflictions such as smallpox, measles, and coughing fits. The "fear" of these is the fear of death. Having dispelled the fear of sentient beings, he arrives and is visualized dwelling upon a variegated lotus and a sun disk in the northwest direction.
The emanation of Mahābala shall be explained: "From the syllables of his own mantra, the practitioner should emanate Mahābala, who is crowned with the sound of a drum, and who resembles the color of a blue utpala lotus." Regarding this, as before, from the transformation of the bindu within the lotus of the goddess, a sword arises from the syllable Ha; from its transformation, one should emanate Mahābala, who is blue in color, has three faces and six arms, three eyes, and is the nature of the three sattvas. If one asks what he is like: "He is crowned with the drum-sound, the supreme horse, the crown of Amoghasiddhi." Furthermore, if one asks what he is like: "His faces are black, red, and white; he has three eyes and possesses a terrifying sound; his limbs are all adorned with snakes; he has a large belly and acts with awe-inspiring power." Thus it is said. The colors of the faces, such as black and so forth, are as before. "Possessing a terrifying sound" means he acts like the thunder of clouds at the end of an eon. "All limbs adorned with snakes" means his body is adorned by nāga kings such as Takṣaka and others, because he is wrathful. The rest is easy to understand. The hand implements shall be explained: "He holds a staff, a sword, and a wheel in his right hands; at his heart he makes the threatening gesture, and in his left hands he holds a sword, a lasso, and a battle-axe." Regarding this, he holds a sword in his primary hand, and the rest is as before. The activity shall be explained: "He stands with his left leg extended, subduing the ḍākinīs and others."
"Abiding upon a lotus and sun, she dwells in the northeast," it is said. One should visualize that she emerges from within the lotus, dispelling the fears created by Viṣṇu, Rudra, Brahmā, Śakra, and the emanations of Brahmāṇī, Vārāhī, Kaumārī, Indrāṇī, Varuṇī, Vāyavī, Cāmuṇḍā, and so forth, and then arrives to sit upon a multicolored lotus and a sun disk.
The emanation of Uṣṇīṣacakravartin shall now be explained:
"From the syllables of her own mantra, Uṣṇīṣacakravartin is emanated. She is dark blue like the sky and terrifying. Her crown is adorned with Akṣobhya. Her faces are blue, white, and red; the principal face has three eyes and a protruding belly."
Regarding this, as before, from the transformation of the bindu within the lotus of the goddess, one should emanate Uṣṇīṣacakravartin, who arises from a wheel born from the syllable BHRŪṂ. He has three faces and six arms, is the color of the sky, and wears a crown of the Lord of Sages (Munīndra).
His hand implements shall be explained:
"With his two right and left hands, he holds the uṣṇīṣa upon his crown. In his right hands are a vajra and a lotus; in his left, he holds a threatening gesture and a sword."
Regarding this, with his two primary hands, he holds the uṣṇīṣa upon his crown, which is the essence of all jewels and the nature of gathering the accumulations of merit and wisdom. This is because it is the purity of Vairocana and Ratnasambhava. The remainder is easy to understand.
His activities shall be explained:
"He utterly destroys all harm..."
"Standing with the left leg extended, he dwells upon a lotus and sun, abiding in the Brahma-abode," it is said. Regarding this: all harm to sentient beings arises from the actions of gods, gandharvas, and vidyādharas. Having purified these, one should visualize him arriving and abiding in the Brahma-abode, which is either in the expanse of the sky or slightly behind Padmāntaka, upon a variegated lotus and sun.
The emanation of Ucchuṣma is explained:
"From the syllables of his own mantra, the practitioner should emanate Ucchuṣma. He has three eyes and the color of the excellent sky; his faces are black, white, and red. With a large belly and a terrifying face, his crown is adorned with Akṣobhya."
Regarding this: as before, from the transformation of the bindu in the goddess’s lotus, he is born from a blazing vajra arising from the sound of a thundercloud. One should emanate the blue King Ucchuṣma, who wears a crown of Akṣobhya, has three faces, six arms, and three eyes.
His hand implements are explained:
"He holds a vajra, a wheel, and a jewel in his right hands; at his heart he makes the threatening gesture and holds a noose; in his left hands he carries a lotus and a sword."
Regarding the primary hands, he holds a blazing vajra; the rest are easy to understand.
His activities are explained:
"Having conquered all moving and stationary poisons, such as kālakūṭa and the like, and having subdued all the lords of obstructors, and having pacified everything and fulfilled all commands without exception, he stands with the left leg extended."
"Abiding upon a lotus and sun, he likewise dwells beneath the earth," it is said. Having emerged from the lotus, he has conquered and cleared away the life-force of all sentient beings, such as the stationary and moving entities like the kalakuṭa [poisonous snakes], as well as the poison of the fangs, the poison of the gaze, the poison of touch, and the poison of recollection. Likewise, the obstructors are the nāga kings such as Takṣaka; having conquered them and generated pacification, the Blessed One, the Lord of the Maṇḍala, completes his command in order to summon all obstructors. One should visualize him dwelling upon a variegated lotus and sun disk beneath the earth, or slightly behind Yamāntaka. These six wrathful kings should be meditated upon as black in color and with the left leg extended, because they belong to the family of hatred. If one asks, "If that is so, how is it appropriate for them to have the crown ornaments of Vairocana and the others?" it is said: "Because they are in accordance with their support." It is stated that these wrathful deities are the purified forms of the six collections of consciousness, such as the eye-consciousness and so forth. Thus, because the support is purified, they have the crown ornaments of Vairocana and the others; because the supported phenomena are purified, they are black in color and have the left leg extended—there is no fault here. Their purification is as follows: Yamāntaka is the nature of faith, which is the antidote to lack of faith, the māra of the aggregates, the view of a transitory collection, and the cognitive obscurations.
This is because they obstruct the Yama of conceptualization. The wisdom that is the nature of diligence is the Slayer of the Extremes (Prajñāntaka), as it is the antidote to laziness, the demon of the afflictions, the view of grasping at extremes, and the obscuration of the afflictions, and because it obstructs inferior intellects. The mindfulness that is the nature of Padmāntaka is the antidote to forgetfulness, the demon of the Lord of Death, wrong views, and the obscuration of birth, because, like a lotus, it is unstained and cuts through the previously mentioned afflictions. The meditative concentration that is the nature of Vighnāntaka is the antidote to distraction, the demon of the Son of the Gods, the view of holding views as supreme, and the obscuration of karma, because it destroys the previously mentioned conceptualizations. The faculty of wisdom that is the nature of Acala is the antidote to the conceptualization of eye-consciousness. The power of faith that is the nature of Takkirāja is the antidote to ear-consciousness. The power of diligence that is the nature of Niladanda is the antidote to nose-consciousness. The power of mindfulness that is the nature of Mahābala is the antidote to tongue-consciousness. The power of meditative concentration that is the nature of Uṣṇīṣacakravartin is the antidote to body-consciousness. The power of wisdom that is the nature of Sumbharāja is the antidote to mental consciousness; this is the interpretable meaning. The definitive meaning is that the ten wrathful deities are the cessation of the ten winds, such as the life-sustaining wind and so forth.
Then, emanate a wheel of light rays from one's own heart. With these, make offerings to the tathāgatas, summon them, and make supplications. Receive the empowerment of non-retrogression, and then, like waves, enter through the Brahma-aperture into their respective samādhi-sattvas. From the crown of the head, a mass of light rays emerges simultaneously, and with these, the wisdom-sattvas should seal the tathāgatas who are the nature of the samaya-sattvas. These two branches should be understood from the Sādhana of Vajra-Hūṃkāra.
Regarding the seals: "The body is the mahāmudrā, the action seal is threefold; the mind is the dharma-seal, and supreme insight is the supreme samaya." As it is said, one should meditate on the sealing with the four seals. In that regard, the mind is of three types: fierce, peaceful, and luminous. Speech is also of three types: wrathful, vajra, and joyful. The body is also of three types: dharma, sambhogakāya, and nirmāṇakāya. Supreme insight is the seal of these three types. Alternatively, it refers to the four [activities] such as summoning, or the four [goddesses] such as Locanā.
At the eastern gate of that celestial mansion is the Lord of Gods holding a parasol. In the south is Viṣṇu holding a fly-whisk. In the west is Maheśvara holding a banner. At the northern gate is Brahmā holding a staff; these constitute the outer retinue.
Outside of that is a lapis lazuli stem emerging from a precious pond, upon the center of a golden lotus sits the Perfectly Complete Buddha, absorbed in meditative concentration. Outside of that are Buddhas in peaceful postures, their heads covered by dharma robes. Outside of that are noble Śrāvakas in the attire of those free from passion. Outside of that are countless sixteen-year-old Bodhisattvas adorned with all the ornaments. Outside of that are the seven precious jewels:
Among them, the precious wheel has a core of veśarāga (lapis lazuli), spokes of lapis lazuli, and a rim of the nature of padmarāga (ruby), resting upon a lotus seat. The precious elephant is white, with six tusks, adorned with various ornaments, and trumpeting with its trunk raised like a pillar, its two knees planted upon the ground. The precious horse is the color of a peacock, with a saddle and precious bridle whose radiance is like a rainbow. The precious queen is green in color, twelve years of age, her upper body bent by the weight of full breasts, adorned with all ornaments, and offering a precious garland. The precious householder is yellow in color, seated upon a multicolored seat, offering a vessel filled with jewels. The precious general is black, wearing armor and a helmet, and holding a sword and a spear.
One should visualize a precious wish-fulfilling jewel, yellow and six-sided, emitting clouds of precious gems through various rays of light. Outside of that, gods, nāgas, yakṣas, gandharvas, asuras, garuḍas, kinnaras, and mahoragas are joined with palms together; some hold various kinds of offerings, some hold various kinds of precious gems, and some fill the ten directions by playing various musical instruments. Some dance for the sake of offering out of the power of joy, and the daughters of the gods and nāgas also bow their heads and present divine food of six tastes in precious vessels. On both sides of the eastern gate, one should meditate on two lions; in the south, two elephants; in the west, two peacocks; and in the north, two garuḍas. Regarding the banners of the celestial mansion:
They pervade as far as the peak of existence.
One should also meditate on the four gates
That encompass the four continents and the entire world.
This is the Supreme Victor of the Maṇḍala, the second meditative absorption.
Now, the twelfth branch, the Supreme Victor of Activity, will be taught:
"Having generated the maṇḍala of all the deities,
Which are the nature of the thirty-two,
And having come to abide in the center of the wheel,
Then one should begin the subtle yoga."
Regarding this statement: having generated and emanated the maṇḍala of the thirty-two deities through the previously explained sequence, one abides in the center of the wheel. Then, one should begin the subtle yoga.
In order to benefit sentient beings and to stabilize the mind, one abides in the center of the wheel, taking the form of a universal monarch (cakravartin). One should then undertake the specific meditative absorption (samādhi) of the subtle yoga, which will be explained below. This is not the intended meaning (neyārtha). To clarify that very point, it is said:
"Visualize a mustard seed at the tip of the nose.
Within the mustard seed, both moving and non-moving,
By means of the supreme secret,
Meditate on the abode of supreme wisdom."
Regarding this statement: "at the tip of the nose" refers to the central channel within the source of phenomena (dharmodaya) of Sparśavajrā. "Mustard seed" refers to the subtle drop (bindu) of bodhicitta. "Within that mustard seed, both moving and non-moving" means one should meditate on the mandala of deities consisting of the thirty-two deities together with the celestial palace.
If one asks what that is like: "the abode of supreme wisdom" is the basis of the five wisdoms, which is their very nature. In that regard, its clarity itself is the mirror-like wisdom (ādarśa-jñāna); the fact that all elements are of one taste is the wisdom of equality (samatā-jñāna); the experience of its great bliss is the discerning wisdom (pratyavekṣaṇā-jñāna); its emanation and reabsorption is the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna); and its luminous aspect is the wisdom of the expanse of phenomena (dharmadhātu-jñāna). It is the supreme joy of the mind, the concordant cause of bliss. It is the attainment of the non-duality of secret method and insight (prajñā).
Examination by wisdom means that yogis examine by means of the wisdom of self-awareness. Furthermore, if one asks what it is like:
"A jewel of five colors,
The size of a mustard seed,
At the tip of the nose, with diligence,
The yogi should always meditate through the method."
Thus it is said. Because it is the essence of the five families, it is "of five colors." Because it is the cause for the benefit of oneself and others, and the cause for protecting migratory beings, it is a "jewel." "The size of a mustard seed" means a measure of one-hundred-thousandth part of the tip of a hair. "At the tip of the nose" refers to what was explained previously. "With diligence" means by binding the body, speech, and mind. "The yogi through the method" means by being intent on one-pointedness. "Always" means until the signs are attained; this is not a hidden meaning.
The emanation will now be explained:
"Once the jewel has become stable, emanate;
As long as it is not stable, do not emanate.
Emanate the supreme clouds,
Equal to the blazing light of the Buddhas."
Thus it is said. Because external objects are not perceived, not experiencing them but being one-pointed toward that is "stability." When that occurs, then the "jewel"—the bindu—should be emanated. As long as it is not stable, one should not emanate the object of meditation, because it is not stable. "Supreme" refers to the syllables such as HŪṂ. "Clouds" refers to the assembly of Buddhas, Bodhisattvas, goddesses, and wrathful deities. "Blazing Buddhas" refers to the mass of five-colored light rays.
"Equal light" refers to the hand symbols, such as the vajra and so forth, which are to be emanated; this explains the perfection of the welfare of others. Here, the pith instruction is as follows: first, upon a lotus and moon arising from one's own appearance, through the application of meditative union, one summons and causes the assembly of buddhas dwelling throughout the entire expanse of space to enter. These dissolve into the central channel, and the melted bodhicitta is emanated. One should then visualize the thirty-two deities, who are the nature of the three sattvas, as a drop the size of a hair-tip, resembling a star at dawn. Through the power of great passion, one's own body, speech, and mind also enter into that very state. With the mind made unwavering in the center of the drop of the wisdom-being's seed-syllable, one should manifest the specific and general characteristics of all phenomena. One should then abide without subtle or coarse conceptualization and without being obscured by external objects. In that state, even if one sees desirable forms clothed in various garments, the eye-consciousness does not arise; even by the sounds of lutes and the like, the ear-consciousness does not arise; by the scents of saffron and so forth, the nose-consciousness is not produced; one does not taste various flavorful foods, and even by sorrow, the tongue-consciousness does not arise; and by the fullness, firmness, and youth of a desirable woman, such as one in fine kācalindi or silk garments—
Even by the touch of breasts as high as golden vases, the cognition of tactile sensation does not arise, and the cognition of body-consciousness does not occur. Likewise, one does not feel suffering from being struck by whips or hands and the like, nor does one feel pleasure from being anointed with sandalwood and the like. One will not be harmed by hunger, thirst, cold, heat, the injuries of sentient beings, or by wind, heat, rain, and so forth. Likewise, one sees the Blessed One Vajrasattva and experiences his prophecy: "Arise, O practitioner named so-and-so! Perform the consecration, the drawing of the maṇḍala, the explanation, the gathering of disciples, and so forth. For there is no other practitioner besides you who is single-pointed." Having heard such a prophecy as if in a dream, one arises.
The yoga of the bindu will then be taught: first, fill the sky with light rays of five colors and then withdraw them. Then, emanate the syllables such as HŪṂ, the hand symbols such as the vajra, and the deities of the maṇḍala; having performed the benefit of beings, withdraw them and arise. This is the subtle yoga of the Great Vajradhara.
Likewise, in the center of the bindu of bodhicitta, the size of a mustard seed, at the navel of Māmakī’s lotus, one should visualize a five-pronged vajra as the handle of a subtle vessel, and within it, the maṇḍala of the Mind Vajra. As before, preceded by the observation of the signs, one should [visualize] the seed syllables and...
The subtle yoga of Akṣobhya consists of radiating light, signs, and the great seal (mahāmudrā), performing the benefit of beings, and then withdrawing them. Likewise, in the center of the subtle drop at the hub of the lotus of Locanā, one meditates on the maṇḍala of the Permanent One (Śāśvata) at the center of a twelve-spoked wheel the size of a chickpea. As before, preceded by the vision of the signs, one radiates light, syllables, signs, and the great seal to perform the benefit of beings; this is the subtle yoga of Vairocana.
Similarly, within the source of phenomena (dharmodaya) of Māmakī, in the center of a subtle drop the size of a white mustard seed, one visualizes the maṇḍala of Ratnasambhava in the center of a six-cornered jewel the size of a subtle atom. As before, preceded by the vision of the signs, one radiates light, syllables, hand symbols (cihna), and the great seal to perform the benefit of beings; this is the subtle yoga of Ratnasambhava.
Then, within the source of phenomena of Pāṇḍaravāsinī, in the center of a subtle drop the size of a chickpea, one visualizes the maṇḍala of Vāgīśvara at the center of an eight-petaled lotus with a filament, also the size of a chickpea. As before, preceded by the vision of the signs, one radiates light, syllables, signs, and the great seal to perform the benefit of beings; this is the subtle yoga of Amitābha.
Likewise, within the source of phenomena (dharmodaya) of Samayatārā, in the center of a subtle drop the size of a minute particle, one should visualize the maṇḍala of Amoghasiddhi at the hub of a blue sword. As before, preceded by the vision of the signs, one should emanate light, syllables, signs, and the great seal (mahāmudrā) to act for the benefit of beings. This is the subtle yoga of Amoghasiddhi. This is one branch.
The ritual of recitation shall now be explained:
"One should not recite while eating alms; one should not be attached to what is not requested.
Enjoying all desires, one should recite the mantra without impairing its branches."
Regarding this statement, "eating alms" means one should not recite with the habitual disposition of a beggar, nor should one be negligent. "Eating alms" is used as an illustration; therefore, one should not recite with a base livelihood such as seeking through anger and so forth. "One should not be attached to what is not requested" means one should not be attached to food obtained by begging. One should recite with knowledge of the ritual for as long as the body is sustained. "Recitation" refers to both internal and external recitation.
If one asks what is to be recited, "mantra" refers to the mantras of the deities of the maṇḍala and the thirty-two principal deities. If one asks how to recite, "without impairing the branches" means that the mental recitation is performed with vajra words, while the external recitation is performed with the recitation of the wrathful deities. If it is thus, one will become a practitioner who "enjoys all desires."
Because he is desired by all, he is the "All-Desired," which is Vajradhara. His "enjoyment" refers to the specific miraculous displays such as mastery over the objects of desire; to "perform" these is to "actualize" them, which is what is meant by the term. The summarized meaning is as follows: at the heart of the wisdom-being (jñānasattva), in the center of a multicolored lotus and a moon disc, one should arrange the mantra of the Blessed One Akṣobhya, such as oṃ vajradhṛk, standing upright, pure like crystal, with the hollow interior of the mantra syllables containing the life-force and effort winds, which are red in color and like a thread. One should imagine that from the mouth of the wisdom-being, it is projected into the mouth of the commitment-being (samayasattva); from the mouth of the commitment-goddess, it enters the mouth of the wisdom-goddess; then through the central channel, it emerges from the lotus of the wisdom-goddess and the path of the lotus of the commitment-goddess, and through the path of the secret vajra of the commitment-being and the secret vajra of the wisdom-being, it returns to the moon mandala at the heart. For the accomplishment of pacifying and enriching activities, the projection is upward and the collection is downward. For the activities of magnetizing, summoning, and wrathful rites, the sequence is projection downward and collection upward. In the same way, one should understand the recitation for the thirty deities of the mandala, such as Vairocana and the others. One should meditate on the mantra garland circling completely like a string of pearls for as long as one does not become weary. Then, one should perform the verbal recitation with the right hand and...
On the left [hand], in the center, one should meditate on the first vowel and the syllable re completely transformed into the maṇḍalas of the moon and sun, marked by those [syllables]. On the fingers of the left hand, one should arrange Locanā and the others, arising from the complete transformation of their respective seed-syllables. Likewise, on the fingers of the right hand, one should arrange Vairocana and the others, arising from the complete transformation of their own dharma-syllables. Having performed the five-fold lotus-gesture, one should take a crystal rosary containing beads of the nature of an arhat, recite the hundred-syllable mantra, and perform the recitation of the thirty-two maṇḍalas at a pace that is neither too fast nor too slow, in a peaceful essence, audible to one's own ears.
Its essence is as follows:
Oṃ vajradhṛk āḥ hūṃ svāhā
Oṃ jinajik āḥ hūṃ svāhā
Oṃ ārolik āḥ hūṃ svāhā
Oṃ ratnadhṛk āḥ hūṃ svāhā
Oṃ prajñādhṛk āḥ hūṃ svāhā
These are for the Tathāgatas.
Oṃ moharati āḥ hūṃ svāhā
Oṃ dveṣarati āḥ hūṃ svāhā
Oṃ rāgarati āḥ hūṃ svāhā
Oṃ vajrarati āḥ hūṃ svāhā
These are for the goddesses of the families.
Oṃ jāḥ rūpavajre āḥ hūṃ svāhā
Oṃ hūṃ śabdavajre āḥ hūṃ svāhā
Oṃ vaṃ gandhavajre āḥ hūṃ svāhā
Oṃ hoḥ rasavajre āḥ hūṃ svāhā
Oṃ khaṃ sparśavajre āḥ hūṃ svāhā
These are for the offering goddesses.
Oṃ thliṃ kṣitigarbha āḥ hūṃ svāhā
Oṃ maṃ maitriya vajra āḥ hūṃ svāhā
OṂ ĀḤ YAṂ HŪṂ | OṂ ĀḤ PRA HŪṂ | OṂ ĀḤ BAṂ HŪṂ | OṂ ĀḤ BIṂ HŪṂ | OṂ ĀḤ OṂ HŪṂ | OṂ ĀḤ SVĀ HŪṂ | OṂ ĀḤ HĀ HŪṂ | OṂ ĀḤ BHRŪṂ HŪṂ | OṂ ĀḤ HŪṂ HŪṂ | These are the near-essence mantras of the wrathful deities. By reciting these essences and near-essences one hundred thousand times, the various activities such as pacification and so forth will be accomplished. As it is said: "Success is achieved by reciting one hundred thousand times."
Regarding the distinctions of the rosary, they correspond to the distinctions of the activities: "The wise, for the sake of achieving the results of pacifying activities, should take crystal, conch, pearl, and likewise white minerals. For enriching activities, the Victorious One taught gold, silver, and copper. For magnetizing, one should know saffron, musk, and the four equal parts in sequence. For summoning, use rudrākṣa; for hatred and so forth, the bone of an elephant. For the sake of reciting the root mantra, one should use pearl, precious gems, or crystal. For the sake of thoroughly accomplishing all activities, the bodhicitta-seed (vaidūrya) is desired."
Furthermore, from another source: "With horse bone, one performs killing; with crow bone, summoning; with brahmin bone, paralyzing; and with dog bone, driving away." Likewise: "The Victorious One taught that by joining the thumb and forefinger, pacifying is achieved. By joining the thumb and middle finger, enriching activities will be accomplished. By joining the thumb and ring finger, magnetizing activities are accomplished. By joining the thumb and little finger, the wise should recite for the purpose of summoning."
"The two thumbs of the right and left hands shall accomplish the activity of slaying. The rosary should be properly held with the right hand alone; because it is in accordance with the method, the lord of yogis should perform the recitation." Thus it is said.
Once the ritual of recitation is complete, it should be concealed within a casket. As it is said: "If an ordinary person, through negligence, should see a painted image, or a scripture, or a rosary, a vajra, and so forth, they will go to hell. If a yogi is lazy, their samaya and vows will degenerate. They will be killed by fevers, poisons, elemental spirits, and the like, and will fall into the hells of the Lower Desire and the Howling."
In order to summarize the meaning previously explained: "Having uttered [the mantra], the vajra is emanated; once complete, the withdrawal is performed everywhere. This is explained as the ultimate recitation of all the Buddhas." Regarding this: "Uttering" means emerging from the two faces. "Emanating" means entering the two faces of the goddess. "Completing" means at the end of the emanation. "Performing the withdrawal everywhere" means withdrawing from the two lotuses by means of the two secret vajras. That belongs to all the Buddhas, all the Tathāgatas. "Ultimate" refers to the internal recitation of the nature of self, which is not the intentional [symbolic] meaning. That is the second branch.
Having performed the activities, the ritual of melting into light is explained: "The subtle yoga and the recitation should also be performed in two ways, as desired."
Regarding the statement, "Furthermore, the mantrin himself should enter into suchness," one should first perform the previously explained subtle yoga and recitation. Subsequently, the mantrin himself, together with the consort, should enter into suchness—the sphere of nirvāṇa characterized by clear light—and dissolve into it. The pith instruction here is as follows: having accomplished one's own welfare through the samādhi of the initial union, and having perfected the welfare of others through the samādhi of the supreme maṇḍala, one stabilizes the mind through the subtle yoga. By focusing on these two samādhis and performing recitation, the mantra is purified. Then, realizing, "Now I have completed what was to be done," and thinking, "The maṇḍala deities, who are the concordant causes of myself, will act for the benefit of sentient beings," one desires to attain nirvāṇa like a man who rejoices at having sons and grandsons. By entering into union with Sparśavajrā, both the father and mother melt into drops. Through the divisions of sound, mere sound, and the subtle constituent, one enters into the nature of the all-empty, which is like a cloudless sky; this is the third branch.
The exhortation by the goddesses shall now be explained. Regarding the statement: "Then, the goddesses residing in the maṇḍala, not seeing the Lord, exhort the Great Bliss with four verses."
Then, the goddesses Locanā and the others, whose nature is the four immeasurable abodes, perceive the Lord, the Great Vajradhara, in the form of Akṣobhya, who has entered the sphere of nirvāṇa. Seeing this, they look toward the empty central square and exhort the Blessed One, who has entered the samādhi of clear light, with the four verses explained below; this is what causes him to arise. The phrase "with gentle words and melodious tones" is the remainder of the description. The intended meaning is this: through the force of the latencies of previous aspirations, the goddesses themselves appear to the Blessed One and exhort him. Why do the goddesses exhort him? It is said: in this desire realm, one generally observes that those who have entered [meditative states] are exhorted by the words of women, not by the words of men. Since the nature of the desire realm is such, and because method and insight are inseparable, there is no fault. These four verses themselves will be explained in sequence:
"O Lord, you who dwell in the realm of sentient beings, you are the Vajra Mind.
For the sake of great purpose and delightful joy, I pray that you protect me.
O Protector, if you wish for me to remain alive this day,
O Great Father of sentient beings, supreme kinsman, please be pleased with me."
Regarding this statement, this is the verse of Locanā. She exhorts him while looking at him as if he were standing before her. "Vajra Mind" refers to having attained mastery over the mind.
He is the Lord of the Abode in order to attain the sovereignty over the dharmas of the three realms. This is because the realm of sentient beings is the master of the nature of all elements. "Joy" is play; therein, "delightful" means that which generates joy, thus it is "delightful joy." "Great purpose" is supreme joy; because it is desired, it is "desiring the great purpose." Such delightful joy desiring the great purpose is achieved through embracing and so forth. "Please protect me" means "please engage in play." Because he is the cause of all sentient beings, the "Great Father" acts for the benefit and happiness of all sentient beings. "I wish to live" means desiring to live. "Protector" means the principal one. "Please be pleased with me" means "please engage in play."
The exhortation of Māmakī shall now be explained:
"O Vajra Body, you are the wheel of command that benefits all sentient beings. For the sake of the Buddhas, you behold the supreme accomplishment of awakening as the ultimate benefit. O Protector, if you wish for me to live today, please be pleased with me through the passion of the passion-samaya."
Regarding this statement: because it is an indestructible body, it is the "Vajra Body." "The wheel of command that benefits all sentient beings" means benefiting all sentient beings, because it causes the wheel of command to revolve. "For the sake of the Buddhas, you behold the supreme accomplishment of awakening as the ultimate benefit": the "Buddhas" are the five aggregates. "Purpose" is the conventional truth. "Awakening" is the ultimate truth.
The supreme accomplishment of these is the body of great bliss (mahāsukhakāya). "Beholding with supreme benefit" means making it manifest through the intention to act for the welfare of sentient beings. "Passion" (rāga) is by way of purifying passion. "Attachment to the samaya" means "please take delight in me" through the nature of purifying passion; that is, "please sport." The phrase "if" and so forth is as explained previously.
The exhortation to Pāṇḍaravāsinī is now explained:
"You are the Vajra Speech, beneficial to all and compassionate;
You are ever diligent in accomplishing the needs of the world.
O Protector, if you wish for me to remain alive today,
Please take delight in me, the stainless conduct of Samantabhadra."
Regarding this: "You are the Vajra Speech" is because you have attained mastery over speech. "All" refers to the realms of sentient beings. "Beneficial and compassionate" means having the nature of great compassion (mahākaruṇā). For that very reason, in order to act for the sake of the world through the four immeasurables (brahmavihāra), "ever diligent" means being perfectly devoted at all times. "Please take delight in me" means "please rely upon me." "By the conduct of bliss" refers to the realm of sentient beings. "Good" (bhadra) means performing virtue; thus, it is "Samantabhadra." The rest has already been explained.
The exhortation to Tārā is now explained:
"You are the Vajra Mind, the great benefit of the supreme samaya;
You behold the equality of the supreme speech of the perfectly complete Buddha.
O Protector, if you wish for me to remain alive today..."
"Be pleased with me, the treasury of many precious qualities." This is an invocation by way of Amoghasiddhi, who is the Vajra Mind. Through the perfect union of the vajra and the lotus, the deities of the maṇḍala are emanated; he is the Vajra Mind because he purifies the realms of sentient beings who engage in hatred and the like. Because he is the lord of the Karma family, he is the supreme samaya. Because he grants liberation to sentient beings who engage in desire through the method of the complete purity of desire, he is of great benefit. Because he is the chief of the Śākya clan, he is the supreme of the perfectly complete Buddhas. Alternatively, because he acts for the benefit of all wandering beings without exception through the wisdom that accomplishes purposeful activity, he is the supreme of the perfectly complete Buddhas. Because he is free from the conceptualization of the distinction between self and other, yet possesses compassion for all sentient beings, he is the one who perceives equality. "Be pleased with me, the treasury of many precious qualities" means: "Please rely upon me." He praises himself, saying that he generates passion, the absence of passion, intermediate passion, and luminosity. "O Protector, if you wish for me to remain alive this day," means: "Please grant me life and vitality, like that of Vajrasattva, through the methods of passion, hatred, and delusion"—this is the fourth branch.
Thus, having been exhorted by the goddesses whose nature is the four immeasurables, one arises from the yoga of emptiness through the force of the continuity of aspiration. Once again, endowed with the moods of the fierce, the peaceful, and the great passion, one should meditate on oneself as abiding in the center of the maṇḍala of Vajrasattva, who possesses the nature of the three sattvas. This is the fifth branch.
To explain that very point:
"Having thus exhorted the Protector by reciting his authentic qualities,
He praises the Tathāgatas in the essence of Akṣobhya and the others."
Regarding this statement, the fifth branch is shown here by the half-verse. "Reciting authentic qualities" means exhorting by praising the collection of perfectly established qualities. The "Protector" is the nature of the Great Vajradhara, Akṣobhya. The "Tathāgatas" are the four, such as Vairocana and the rest. "Praising" means one should meditate on performing praise through a stream of words that are the nature of the Tathāgatas, such as Akṣobhya and the others.
That itself shall be explained in detail:
"Akṣobhya Vajra, great wisdom,
The Vajra Expanse, the great space.
Supreme of the three vajras, the three maṇḍalas,
Homage to the Secret Vajra."
Thus it is said. "Unshakable" means not being moved by the entire collection of afflictions. "Vajra" refers to that which possesses the vajra mind. Because it is the nature of the four emptinesses, it is "great wisdom."
"Vajra" refers to Akṣobhya and the others. Because he holds these, he is the "Vajra Expanse" (Vajradhātu). Because he is thoroughly skilled in the distinction between the two truths, he is the "Great Space." Because he is the nature of the ultimate maṇḍala, the body maṇḍala, and the emanated maṇḍala, he is the "Three Maṇḍalas." Because he is the principal among the Vajra Body and the others, he is the "Supreme Three Vajras." "Please teach us the suchness of the samaya of the secret vajra"—this is the praise by way of Akṣobhya.
"Vairocana, the Great Joy,
Vajra Peace, the Great Bliss,
Naturally the Supreme Luminosity—
To the Teacher, the Vajra, I prostrate."
Thus it is said. Because he makes things manifest with the fire of luminosity, he is "Vairocana." For that very reason, he is the "Great Purity." Because he is the sixth [family] whose nature is the purity of those [others], he is "Peaceful." Because he is the essence of supreme joy, he is the "Great Bliss." Because he is naturally luminous, he is "Naturally Pure." "Supreme" refers to the Dharma; "Teacher" means "please make it clear." "Vajra" is a vocative. This is the praise by way of Vairocana.
"Jewel King, most profound,
Vajra Sky, stainless,
Unstained by nature’s purity—
To the Vajra Body, I prostrate."
Thus it is said. "Jewel" refers to the Jewel family. Because he makes them manifest, he is the "Jewel King." Because his nature is equanimity, he is "Most Profound." For that very reason, he is the "Stainless Vajra Sky." This is the praise by way of Ratnasambhava. (The remainder of the passage follows the same structure for Amitābha and Amoghasiddhi.)
Because it is pure from the beginning, it is naturally pure. Because it is not obscured by any phenomena, it is unstained. This is the praise of the Vajra Body by way of Ratnasambhava:
"Vajra, the great immortal king,
Non-conceptual, space-vajra holder,
Having attained the perfection of passion,
Homage to the Vajra Speech!"
Thus it is said. "Vajra Immortal" refers to the Lotus family. Because he is the lord of those [families], he is the "great king." Because his nature is discerning awareness, he is "non-conceptual." Therefore, he is the "space-vajra holder." "Passion" is the characteristic of attachment to cyclic existence; its "perfection" is the limit. "Having attained" that is the insight that has reached it. "Having attained the perfection of passion" means having obtained that. This is the praise by way of Amitābha.
"Amoghasiddhi Vajra, perfect Buddha,
Fulfiller of all intentions,
Arisen from the nature of purity,
Homage to Vajrasattva!"
Thus it is said. Because he bestows the wisdom endowed with purpose, he is "Amoghasiddhi Vajra." Because he is the perfect Buddha of the Amoghasiddhi family, he is the "perfect Buddha." Because he fulfills the intentions of practitioners and others through their activities, he is the "fulfiller of all intentions." "Arisen from the nature of purity" refers to the luminosity of the pure nature; because he arises from that, he is "arisen from the nature of purity." "Homage to you, Vajrasattva, who is like that" is the praise by way of Amoghasiddhi; this is the non-intentional [literal] meaning.
This is the sixth branch. Regarding the explanation of the dissolution of the maṇḍala circle, it is said:
"Then, having praised the Buddha and become attached to the wheel,
Having explained the meaning of the supreme secret as it is,
The wheel is absorbed into the wheel of one's own body;
The Protector, the sole Great Bliss, remains."
The particle "then" (tatas) is used for the purpose of indicating another ritual procedure. "Praising the Buddha" refers to having offered praise by way of the five Tathāgatas. "Becoming attached to the wheel" refers to the maṇḍala. This is the meditative absorption (samādhi) called "the glory of the enjoyment of all desires," which is satisfied through embracing, kissing, caressing, and the use of teeth and nails, as well as the union of method and insight.
"According to the meaning as it is" means unerring. "The supreme secret" is suchness (tathatā); having explained it means having taught it. To show the nature of all phenomena by way of etymological definitions is as follows: beginning with "A is the gateway to all phenomena because it is unarisen from the start," and continuing up to "Kṣa is the gateway to all phenomena because all faults are exhausted." Having thus taught the supreme secret, he then thought, "What is the use of this elaboration?" and [dissolved the deities].
"The wheel of one's own body" refers to the characteristics of the previously explained Atiyoga. "The wheel" refers to the circle of deities of the external maṇḍala. Through the gateway of light rays, they enter; they are summoned by the hooks of light rays arising from the three syllables and enter into that very [body].
OṂ and ĀḤ also dissolve into HŪṂ. One should visualize the Protector Mahāsukha alone in union with Sparśavajrā. Within the center of the syllable HŪṂ, one should summon and cause the three realms and one’s own self to enter, and then abide by focusing on the mere syllable HŪṂ. Regarding that, it is said:
“The yogi who performs the four yogas
Should thoroughly meditate on the world within the essence of HŪṂ.
Arising from that, one should contemplate all beings as Vajrasattva;
Having arisen, one looks at beings and acts accordingly.”
Thus it is stated. “Performing the four yogas” refers to meditating on the first of the four yogas previously explained, the samādhi of the initial application. That is an illustration by way of proximity; it also includes meditating on the supreme maṇḍala and the supreme king of activities. “Yogi” refers to the practitioner. “World” refers to the world of the vessel and the world of sentient beings. One should contemplate the essence of HŪṂ—the syllable HŪṂ abiding—according to the sequence previously explained. Furthermore, in order to complete the remaining branches, “arising from that” means that from the total transformation of that, one contemplates Vajrasattva, who is Akṣobhya together with Sparśavajrā, the nature of the stable and the moving. “Having arisen” means having arisen from that samādhi. “Looking at beings” means possessing the mind that views the stable and moving beings as appearing individually as one with that [deity]. “Acts accordingly” means that, possessing a mind of meditative equipoise, one should focus on the four modes of conduct.
Alternatively, one should realize the selflessness of persons and phenomena; this is the seventh limb. The ritual for satiation shall now be explained:
"When the practitioner, while focusing on meditative absorption,
Should find the body becoming withered,
One should practice this yoga
That satiates body, speech, and mind."
Regarding this statement: "meditative absorption" refers to the three absorptions previously explained, practiced for a long duration and without interruption in order to cultivate the focal object. "When the body is withered" means when the constituent elements have been depleted; at that time, one should diligently contemplate this yoga that satiates the body and so forth, which is the meditative absorption to be practiced as explained below. Otherwise, the reversal of the elements will become an obstacle.
That very point is explained:
"At a distance of one span,
One should visualize a maṇḍala upon the crown.
To cause the five nectars to descend,
One should visualize the syllable OṂ there."
"A span" is a measurement of twelve finger-widths. "At a distance" means having measured that distance. "Upon the crown" means in the space above the head. "Visualizing the maṇḍala" means one should meditate on a moon maṇḍala arising from the sixteen parts. "There" means in the center of that moon maṇḍala. One should place the syllable OṂ, the seed-syllable of Vairocana, blazing with light rays. The "five nectars"—the nectar whose nature is the five primordial wisdoms—should be made to descend through the aperture of Brahmā in the sequence of the "all-pervading conduct."
The benefits shall now be explained:
"By means of this vajra application,
One becomes radiant in an instant."
"One will undoubtedly attain bliss of body, speech, and mind." Regarding this, it refers to the previously explained vajra yoga; "indestructible" is by means of the ritual of satisfaction. "Radiant" is like the light of the rising sun. "In an instant" means it occurs merely by tasting the nectar. For that very reason, the bliss of body, speech, and mind becomes excellent conduct, functional flexibility, mindfulness, and stability; this is the literal meaning. This is the eighth branch.
As for the explanation of the inner fire offering (antarmukha-homa):
"The mantrin who is thus practiced,
Having purified and likewise awakened,
Having purified the heart and the throat,
Should satisfy the Tathāgatas."
Thus it is said. Here, in order to abandon worldly conceptualizations of purity and impurity, and to attain long life, health, and bliss, as well as for the sake of the food of meditative concentration (dhyānāhāra) and to abandon the food of morsels (kavaḍīkārāhāra), one should undertake the inner fire offering with the five nectars (pañcāmṛta). "Thus practiced" means by practicing the previously explained meditative absorption (samādhi). "Purifying and awakening" is an illustration, and one should also perform the "kindling." "The heart and the throat" also implies the hands should be joined; this is a brief presentation of the statement, "One should satisfy the aggregates, the Tathāgatas."
The detailed explanation is as follows:
"Purify with the syllable HŪṂ,
Awaken with the syllable Ā,
Press and kindle with OṂ;
This is the accomplishment of the food."
Thus it is said.
First, from the syllable yaṃ, visualize the wind maṇḍala; from raṃ, the fire maṇḍala; and from baṃ, a lotus vessel. Within it, arrange the seed syllables ma ra bi śu mu, together with the seed syllables go ku da ha na. From the complete transformation of these ten syllables, visualize camphor, musk, the four equal parts, the self-arisen, the supreme root substance, the "moving face," the "son of the heart," the "nostrilled," the "swift," and the vaiśeṣika born from the "son of the sage." These ten are mixed, and one should contemplate the five lamps. Above them, arrange the five seed syllables oṃ āḥ hūṃ svā hā. By their light rays, summon the families of Vairocana and the others residing in space and dissolve them into that very place. Visualize that from this, Vairocana and the others—three-faced and six-armed, the nature of the three sattvas—are arranged throughout the entire maṇḍala without exception. Through the power of entering into union, they melt and become the waves of bodhicitta. Place a blue syllable hūṃ upon that and purify it. Then, awakening it with the seed syllable of the Lord of Speech, visualize that by circling to the right and left, the syllable oṃ is placed and emits five-colored light rays. Through that, meditate on all the Tathāgatas entering and the accomplishment of the nectar. For this reason, this is the accomplishment of food, the accomplishment of the food of the five nectars. Then, in the region of the throat, visualize a red eight-petaled lotus arising from the complete transformation of a red syllable hrīḥ.
At its center, one should visualize a five-pronged vajra arising from the syllable HŪṂ. Upon its central prong, the syllable OṂ is placed. At the heart of the wisdom being (jñānasattva), one visualizes a triangular fire pit arising from the syllable RAṂ, in the center of which are three tongues of red fire emanating like a mass of clouds. According to the ritual, one visualizes the mouth as the fire hearth and the left and right hands as the pouring and offering ladles, and then arranges the syllables. Taking a vessel of nectar, one should cultivate the conviction of natural purity with the mantra: OṂ SVABHĀVA ŚUDDHAḤ SARVA DHARMĀḤ SVABHĀVA ŚUDDHO ’HAṂ. Then, offering thirty-two drops to the deities of the maṇḍala with the ring finger and thumb, one should offer them into the fire at the heart of the wisdom being through the path of the lotus of speech. This is the inner fire offering (antarhoma).
Regarding that, it is said in the Sādhana of Vajra-Hūṃkāra:
"From that time on, it is free of conceptualization.
Just as its color, shape, and characteristics are,
The inconceivable body of ripening is attained;
By having completed the task, that vow is obtained."
To explain that very point:
"First, visualize a lotus at the throat.
From that, arising from the syllable HRĪḤ,
Is an eight-petaled lotus.
Upon its center, visualize the syllable HŪṂ."
Thus it is stated. The "lotus at the throat" refers to the root of the tongue. "Arising from HRĪḤ" means arising from a red-colored HRĪḤ. The eight-petaled lotus is the purity of speech, for it is the sign of the Lord of Speech (Vāgīśvara). "Upon its center" refers to the lotus.
HŪṂ is for the purpose of generating the tongue faculty together with consciousness. If one asks what is to be done next, it is said:
"Visualize the great five-pronged vajra arising from the syllable HŪṂ. Place the purifying syllable OṂ at the tip of the central channel in the throat."
Thus it is stated. "Arisen from the syllable HŪṂ" means it is blue in color and arises from the sound of the clouds. "The great vajra" is the nature of the purified tongue faculty. "Five-pronged" is for the sake of tasting the five nectars. "The tip of the central channel" refers to the tip of the vajra-tongue. The syllable OṂ, which is the nature of entry, should be placed there. "Purifying the throat" is the summary.
The purification of the heart is now explained:
"Having visualized the sound of the clouds at the heart, one should radiate tongues of fire from it."
Thus it is stated. "The sound of the clouds" is the syllable HŪṂ, so called because its color and sound are like those of clouds. "At the heart" means in the center of the triangle at the heart of the wisdom-being (jñānasattva). "Tongues of fire" refers to the three tongues of fire, which are the nature of the Body, Speech, and Mind. "Radiating from it" means one should meditate on radiating them upward.
The ritual of satisfaction is now explained:
"The burning of the food therein is this inner fire offering (antarmahāhoma)."
Thus it is stated. "Therein" refers to the blazing fire of the sound of the clouds from the mouths of the samaya-being and the wisdom-being. "Burning" means offering the ladle and spoon. Therefore, the inner fire offering does not depend on external substances such as sesame seeds and butter.
This shall be explained in detail by way of the ritual of eating and drinking, which is the internal fire offering (antar-homa) itself:
"Wind ignites the fire,
Water brings it to full maturity,
Abiding in the maṇḍala of the Great Lord (Mahendra),
Where the burnt offering (āhuti) truly resides.
Whatever food or drink there may be,
All of that is held by it."
Thus it is said. Here, within this body, there are four maṇḍalas: the earth maṇḍala, which is square and of the nature of holding, is at the secret place; the water maṇḍala, which is circular and of the nature of satisfying, is at the heart; the fire maṇḍala, which is triangular and of the nature of cooking, is at the throat; and the wind maṇḍala, which is bow-shaped and of the nature of fanning, is at the navel.
At the time of eating and drinking, the food, drink, and so forth are transformed into the five nectars (pañcāmṛta) according to the previously established sequence. Having entered the lotus of the mouth, they are held by the earth-element maṇḍala residing in the secret lotus; they are fanned by the wind maṇḍala residing in the navel lotus; they are cooked by the water maṇḍala at the heart, which acts as the cooperative cause; and they are then distributed and satisfied throughout all the channels and sinews in a sequential manner.
That very point is explained:
"The food taken by the lotus of the mouth
Truly enters the lotus of the heart.
Residing in the lotus of the navel,
By the action of the union of the joined [mouths],
It is shown to be finally reduced to ash
Emerging from the secret lotus."
Thus it is said.
In that regard, the lotus of the mouth is of the nature of the fire maṇḍala of the throat; one should consume food and so forth with that, and at that time, one should maintain the divine pride of Amitābha. The lotus of the heart enters the water maṇḍala; at that time, one should maintain the divine pride of Akṣobhya. The lotus of the navel is the wind maṇḍala; while abiding there, at that time, one should maintain the divine pride of Amoghasiddhi.
If one asks, "How is it that food and so forth, which abide in separate locations, are cooked?" it is said: "By the application of the union of the mouth." This means that although wind and fire abide in separate directions, they are as if abiding in the very presence of one another. In the same way, it should be understood for the great earth and water as well. "Union" refers to the purpose of igniting and ripening by means of fire and wind. One should understand that earth and water act as the cooperative conditions for supporting and ripening.
"Secret" refers to that which emerges from the lotus or the path of the anus and is expelled externally. Having performed the function of fire, one should definitively show the excrement and urine to be of the nature of ash, and then discharge them. At that time, one should maintain the divine pride of Vairocana.
To demonstrate the benefits of the inner fire offering, it is said:
"It is not aging, nor is it illness;
It is not death, nor is it poison and the like.
By this, untimely death does not occur;
It destroys all forms of harm."
"Aging" is the state of old age itself: the graying of hair and beard, and the wrinkling of the skin. "Illness" refers to fevers and so forth. "Death" is the cessation of the life-faculty, whereby the vital breaths and so forth no longer circulate.
Poison refers to the faults caused by [substances] such as stable and mobile [poisons]. Untimely death is dying during one's youth. All forms of harm, such as from malevolent spirits and the like, do not exist for that yogi because of tasting the nectar; this is the ninth branch, the benefit. Now, having condensed [the practice] from the Sādhana of Vajra Hūṃkāra, the remaining three branches will be written. Here, since the object of measurement is the primary concern, the author of the text did not teach it. Here is the verse:
Having made offerings to the maṇḍala wheel,
Then one should offer the torma.
Having requested them to depart,
Afterwards, one should sleep as one pleases.
This is the brief explanation: first, having made offerings to the maṇḍala wheel, one should afterwards offer the torma, request them to depart, and then sleep. The detailed explanation is:
Through the divisions of outer and inner,
And the division of the secret,
Likewise, by the division of the unsurpassed,
Offerings are asserted to be of four types.
The meaning of that is clear. Furthermore, it is said:
The outer is the five types of offerings;
The inner is the hook and the lamp;
The secret is the application of the mudrā;
The unsurpassed is asserted to be of seven types.
Regarding that, the outer consists of the five types: flowers, incense, lamps, perfumes, and divine food. The inner consists of the five hooks: go, ku, da, ha, and na. The lamps are five: ma, ra, bi, shu, and mu. The mudrās are three: the action mudrā, the samaya mudrā, and the wisdom mudrā. The characteristic of the secret meditative union is that which arises from the application of those.
The unsurpassed offerings are sevenfold: taking refuge in the Three Jewels, confessing misdeeds, rejoicing in merit, generating the mind of enlightenment, abiding on the path, offering oneself, and the characteristic of dedicating merit. The ritual procedures for these shall be explained in sequence. First, a yogi endowed with the meditative absorption of the King of Subduers (Sumbharāja) should, in a temple, a monastery, a village, a town, or on the shore of the ocean, dig a pit to the depth of the knees, the navel, or the waist in a location that is smooth, moist, and white in color, according to the specific type of accomplishment sought. Having removed ash, bones, thorns, stones, and other impure substances, the pit should be filled with water. Then, having stepped a hundred paces away with the Vajra-Vigor (Vajravega), if the water remains as it was, one should understand that this is a site without a local deity. If the water sinks into the ground, then this is a site possessed by a local deity; in that case, one should offer a torma to it with mantras and mudras. By doing so, the deity will be expelled. The mantra is Oṃ jūṃ svāhā. Striking in the manner of clashing two vajra-fists is the mudra for expelling the field-protector; this is the ritual for digging the earth. Then, the pit should be filled with fragrant substances and water containing the five nectars (pañcāmṛta). It should be firmly compacted with a hammer consecrated by the recitation of Amṛtakuṇḍalī. Inside it, one should place sapphire, emerald, ruby, lapis lazuli, and crystal.
One should place [the treasure] contained within a casket, provided with flowers, musk, and so forth; this is the ritual for inserting the treasure. Then, having sprinkled the entire surface of the maṇḍala ground with twelve cubits [in total], or twelve cubits on each side, with fragrant water containing the five nectars recited over by Sumbharāja or Amṛtakuṇḍalī, one should scatter flowers. In the central portion, one should meditate on the Earth Goddess (Pṛthivīdevī), whose upper body is visible while the lower half is hidden, who is yellow in color, with one face and two hands, adorned with all ornaments, and holding in her two hands a golden vase filled with jewels. With palms joined, one should make this supplication to her:
"O Goddess, you are the witness to the ritual conduct and the stages of the practice of all the Buddhas, the Protectors, and to the levels and the perfections (pāramitās). You are the mother of all sentient beings; you are the foundation of the three realms. You are the manifest goddess; I pray, be pleased with me. I, the mantrin named [so-and-so], having made you my witness everywhere, shall draw the maṇḍala of the supreme Mind Vajra tomorrow morning."
Having requested thus, one should worship with the five types of offerings and, with the sound of incense and the bell, request her to depart with the words: "You have accomplished all the welfare of sentient beings," and so forth. One should then visualize her dissolving into that very spot. This is the ritual for seizing the ground. Then, in the center of that, one should meditate on the mudrā of the source of phenomena (dharmodaya) arising from the syllable HŪṂ.
Upon that, from the complete transformation of the seed-syllables Ya, Ra, La, and Va, one should meditate on the maṇḍalas of wind and so forth in the sequence previously explained. Above that, from Hrīḥ, arises a red eight-petalled lotus; in its center, from Suṃ, arises a stūpa, and within its vase, from Bhrūṃ, arises Vairocana with faces in all directions. From the complete transformation of that, one should meditate on the celestial palace as before. In its center, having arranged a variegated lotus and a sun seat, one should visualize the maṇḍala of Akṣobhya arising instantaneously from within it. Having made offerings with the five types of offerings and requested them to depart, one should make a drop of jīva and perform the offerings and placement. This is the ritual for accomplishing the ground of wisdom.
Then, from Ha, a variegated vajra arises, which completely transforms into a vajra ground, a vajra canopy above, vajra fences in all directions, a lattice, a lattice of arrows, and a circle of fire—these being the nature of the six families, which are to be bound. This is the ritual for the protection wheel.
On the second day, sitting on a seat of kuśa grass, one should perform a fire offering with a fourth part of the materials to expel obstructors by seeing signs of auspicious or inauspicious omens. One should sprinkle the ground with water consecrated by the recitation of the sarvakarma mantra; this is the ritual for pacifying obstructors.
On the third day, through the yoga of Vajra Hūṃkāra, one should summon the world-protectors of the ten directions, such as Śakra and the others, by means of Sumbharāja.
Having placed them in their respective positions, the yogin—standing beneath whose feet is the syllable HŪṂ from which arises a vajra-hook, and who holds a vajra and bell—recites the wrathful mantra with wrathful speech. Moving through the directions and intermediate points of the maṇḍala, he performs various foot gestures such as the right-leg-extended, the left-leg-extended, the even-footed, and the uneven-footed; various hand mudrās such as the palms-joined, the lotus-bind, the vajra-fist, the supreme-gift, the meditative concentration, the fearlessness, and the earth-pressing; and various gaze mudrās such as looking upward, looking downward, looking to the left, looking to the right, looking slowly, looking inward, and the non-referential gaze. Singing songs with the distinctions of the six melodies—the ṣaḍja, ṛṣabha, gāndhāra, madhyama, ṣaḍja [sic], and pañcama—and so forth, he circumambulates the entire site of the maṇḍala. Then, facing the east, he makes offerings to the Tathāgatas in the space of the sky and covers the maṇḍala with white cloth smeared with saffron and other substances; this is the ritual for blessing the site of the maṇḍala. On the fourth day, he should take as much of the five-colored powders as possible, made from precious gems, grains, or clay. He should perform the sprinkling purification with the mantras of the five Buddhas, and by means of the masses of light rays arising from them, he summons the Tathāgatas and causes them to enter into those very powders. He then places them to the south of the eastern gate of the maṇḍala.
The five-colored threads spun by the girl are twisted together with the three mantras beginning with anyonyānugataḥ sarvadharmāḥ. Light rays arising from the threads summon the Tathāgatas from the expanse of space and cause them to enter. Once the vajra lines are complete, they are blessed within the joined palms with the mantra āḥ khaṃ vīra hūṃ. Visualizing oneself as Akṣobhya and the mudrā as Māmakī—or, if that is not possible, visualizing the disciple as Amṛtakuṇḍalī or Vajrasattva—the master and disciple should strike the lines in the sky and lay down the two Brahma lines.
Then, beginning from the southeast corner and circling to the right, the lines are laid. Sixteen large sections are marked, dividing the outer and inner maṇḍalas into halves. In the inner half, the four large sections are divided into three parts: the vajra pavilion occupies four small units, and the remaining three large sections produce nine grids of twelve small units each. With one large section, the lines for the grids of the offering goddesses are to be laid. With three small units and one small unit, the abodes of the Bodhisattvas and the vajra fence lines are to be laid. The second direction is also treated in the same way.
In the outer large sections there are eight. There, the four large sections of one direction consist of sixteen small units. Within those, the five-fold molding (pañcarekhā) is one small unit; the sensory offerings (kāmaguṇa) are two; the jewel frieze (ratnapaṭṭikā) is one; the lattices and half-lattices are two; the bell lattices are one; the vajras are one; and the archways (toraṇa) are four.
One [line] for the lotus, two for the wheel, and one for the fence. The vajra-fence and the garland of fire should be drawn with three small units (aṃśuka) for the sake of beauty. If faults such as the breaking of the marking cord occur here, one should perform the obstacle-torma and the pacifying fire offering; otherwise, it is not so. This is the ritual for laying the lines.
Then, the practitioner who has previously performed the preparatory consecration should, with the left hand, begin from the direction of Ishana and spread the colored powders. Having drawn the seats of the variegated lotus, moon, and sun, one should draw the mudra of the black vajra in the center. In the squares of the east and so forth, one should draw the wheel, the jewel, the lotus, and the crossed vajra. In the squares of the southeast and so forth, one should draw the eye, the vajra, the lotus, and the utpala. In the outer southeast, a mirror; in the southwest, a lute; in the northwest, a conch bowl; and in the northeast, a vessel of food.
On the bodhisattva ledges, one should draw, in successive order: the wheel, the branch of the nagakesara flower, the vajra, the jewel, the lotus, the sword, another sword, and the crossed vajra. At the gates and intermediate directions, one should draw the staff, the club, the lotus, the vajra, the hook, the staff, the trident, and the sword. From bottom to top, one should draw the vajra and the wheel. Some say that at the top, one should draw the jewel-ushnisha.
One should draw the maṇḍala clearly, free from the faults of excess or omission; this is the ritual for spreading the colored powders. On the fifth day, one should collect thirty-two vases and the action vase (karmakalaśa). If these are not available, one should collect the vases for the five Tathāgatas and the four goddesses, along with the action vase, for it is said that there should be no fewer than ten. These should be adorned with leaves, bound with silk, have long necks, large bellies, and be free of stains or blackness. They should be marked with their respective symbols or seed-syllables, filled with fragrant water, and contain grains, jewels, medicinal essences, and the five nectars (pañcāmṛta). To the right of the maṇḍala, upon a double vajra (viśvavajra) drawn with chalk, they should be placed according to the order of the maṇḍala and flowers should be scattered.
Within the Victory Vase (vijayakalaśa), one should generate Akṣobhya—arising from Oṃ and Hūṃ, and from the complete transformation of a moon and a vajra—with three faces and six arms, preceded by the entry of the Tathāgatas through the sequence of emanation and reabsorption. In the remaining vases, one should likewise generate the deities of the maṇḍala. As for the action vase, one should visualize Amṛtakuṇḍalī making the threatening gesture (tarjanī) and brandishing a vajra. Then, through the non-duality with one's own consort, one should visualize them melting. After that, each should be consecrated one hundred and eight times with the mantra "Vajradhṛk" and so forth, worshipped with the five types of offerings, and the torma (bali) should be offered.
"One should cover it with red cloth"—this is the ritual for the preliminary consecration of the vases. Following that, one meditates on the maṇḍala circle by visualizing the ground of wisdom and the celestial palace as taught in the Samādhi of the Initial Application. The wisdom beings, together with their retinues, emerge from their respective abodes through the right and left nostrils and are invited to sit upon thirty-fold variegated lotuses, moon, and sun seats. One visualizes that the wisdom circle is summoned and absorbed by light rays from the heart, becoming of one taste. Then, taking the argha and foot-washing vessels placed to the right of the maṇḍala, one offers the argha and foot-washing water with the vajra mudrā and performs the fivefold offerings. After presenting the torma, one requests the wisdom circle to depart with the three syllables accompanied by the hundred-syllable mantra. One visualizes the samaya circle remaining in that very place, covers it with red cloth, and scatters flowers—this is the preliminary consecration of the maṇḍala.
If the patron wishes to perform a consecration, at that time one should consecrate a painted image, a cast image, a volume of the sublime Dharma, a vajra, a bell, a stūpa, or a rosary. Then, having placed the painted or cast image before oneself, one first meditates on emptiness and, through the stages of the Samādhi of the Initial Application, generates the desired deity. Into the heart of that deity, one summons, absorbs, binds, and subjugates a wisdom being identical to it by means of the seed syllable.
Incense should be burned and the bell rung; having brought that to mind, one should make offerings with the five types of offerings. After presenting the torma, one should request the wisdom-being (jñānasattva) to depart by means of the three syllables together with the hundred-syllable mantra, and visualize the commitment-being (samayasattva) remaining in that very place. One should then cover it with a red cloth and scatter flowers. By that same sequence, one should meditate on a volume of the sublime Dharma as having the nature of Vajradharma, and visualize it as having completely transformed into that. One should visualize the vajra as the essence of Vajradhara, the bell as the essence of the Perfection of Wisdom (prajñāpāramitā), the stūpa as the body of the Blessed One Vairocana, and the rosary as the nature of the maṇḍala circle of one’s own chosen deity. The ritual for the consecration (adhivāsana) of painted images and so forth is the same as that for consecrating statues.
Then, having admitted into the maṇḍala one or many disciples who possess faith, are generous, and believe in the next world, one should have them make this supplication:
“O Blessed One, Great Master, I am overwhelmed by the habitual tendencies and afflictions of beginningless saṃsāra. In order to be liberated from these, I supplicate you:
Grant me the Three Refuges: the Buddha, the Dharma, and the Saṅgha.
Grant me the supreme samaya.
Grant me also the vows.
O Protector, please lead me into the city of great liberation.”
Thus, the vajra master, having had the disciple perform four prostrations from their position, takes water from the activity vase. Then, having prepared a maṇḍala, one should offer flowers at the five locations, and likewise understand that incense, lamps, perfumes, and divine food offerings are to be made. Here, the sequence is as follows: in the center, "Homage to the Buddha." In the east, "Homage to the Dharma." In the south, "Homage to the Saṅgha." In the west, "Homage to all the Buddhas, Bodhisattvas, mantras, mudrās, maṇḍala deities, and all the specific classes of gods." In the north, "Homage to the Guru." Again, in the center, one offers flowers with the mantra: oṃ sarvatathāgata puṣpe pūjā megha samudra spharaṇa samaya śriye āḥ hūṃ. Likewise, one should understand that incense and the other offerings are to be made in the same way. Then, with both knees placed on the ground and palms joined, one is made to perform the unsurpassed offering:
"I take refuge in the Three Jewels.
I individually confess all misdeeds.
I rejoice in the virtue of beings.
I mentally embrace the awakening of the Buddhas.
In the Buddha, the Dharma, and the Supreme Assembly,
I take refuge until I reach awakening.
To accomplish the welfare of myself and others,
I shall generate the mind of awakening.
Having generated the supreme mind of awakening,
I invite all sentient beings as my guests.
Practicing the conduct of supreme awakening,
May I achieve Buddhahood for the benefit of the world."
Then, the disciple is to be visualized as Vairocana.
With the mantra oṃ padma sarasvatyā vartaya hrīḥ, one should give the student a twelve-finger-width aśvattha or udumbara twig that has not been eaten by insects. Having had them clean their mouth, they should be made to cast it upon a ground the size of a cow-hide. By looking toward the east and other directions, they are made to listen for the siddhis of pacification and so forth. Having purified the mouth with the all-purpose water consecrated by the recitation of Amṛtakuṇḍalī, and having entered while sitting in the cross-legged posture, one should generate the descent of the vajra and the descent of wisdom through the ritual of descent taught in the fifteenth chapter. Incense should be burned, the sound of the bell should be made manifest, and one should ask about the past and so forth, then request the deities to depart. Having blessed the body, speech, and mind of the vessel, one should tie a protection cord consecrated by the recitation of Amṛtakuṇḍalī upon the upper arm. Having likewise consecrated kuśa grass, one should give one blade as a pillow and one as a seat, and instruct: "Son of noble family, sleep in the manner of a lion and tell me whatever dreams you see." This is the ritual for the preliminary consecration of the disciple.
Then, rising at dawn on the sixth day, one should bathe according to the sequence of the bathing ritual and gather the offering materials such as flowers. Possessing the divine pride of one's own yidam deity, one should begin the bathing. The sequence for that is as follows: whatever flowers, incense, lamps, perfumes, food offerings, robes, ornaments, drinking water, and vases are available, as well as the five grains—barley, wheat, rice, millet, and sesame—and māṣa beans.
The five medicinal grains are parched rice, white mustard, walnuts, bīla fruits, kakkolī, and jātīphala. The five medicinal herbs are hasadeva, kaṇṭakārī, sālaparṇī, vṛhatī, and bhalamudrā. The five precious gems are sapphire, emerald, ruby, lapis lazuli, and crystal. Having gathered all these medicinal substances, fragrant sesame oil, butter, honey, curd, milk, pea flour, wheat flour, the five leaves, silk, and so forth, one should consecrate the vases according to the proper sequence. As for the ritual: to the right of the maṇḍala, as much as possible, one should arrange all the ritual requisites. One should then place ten, five, or one vase that has been previously consecrated, filled with fragrant water free of living organisms and containing a core of grains and so forth. To the left, one should place the argha vessel containing fragrant water, curd, parched rice, kuśa grass, medicinal herbs, white mustard, flowers, and kakkolī. Reciting the mantra of one’s chosen deity twenty-one times, one should then place the vessel for all activities, filled with fragrant water, to the right and recite the mantra of Amṛtakuṇḍalī in the same manner. Then, the vijaya vase should be generated in brief through the stages of meditation on the moon, the vajra, and so forth.
At the center of a lotus generated from paṃ, upon a moon disc generated from a, is a vajra generated from hūṃ. Through the light rays of the hūṃ, the Tathāgatas are summoned and enter, and through their complete transformation, the Blessed One, the Great Vajradhara, appears—white in color, with one face and two hands, holding a vajra and a bell, and adorned with all ornaments. At his heart, he is blessed by the three syllables, accompanied by a moon, a vajra, and a hūṃ. Visualize him with Akṣobhya upon his crown. In the same manner, generate the other vases with Akṣobhya, Ratnasambhava, Amitābha, Amoghasiddhi, Locanā, Māmakī, Pāṇḍaravāsinī, Tārā, and ending with Amṛtakuṇḍalī. These should also be visualized with one face and two hands, holding their respective colors and hand-symbols, possessing a graceful bearing and adorned with all ornaments. They sit in the sattvaparyaṅka posture upon lotuses and sun discs, together with their respective seed-syllables and hand-symbols; however, Amṛtakuṇḍalī stands with his left leg extended upon a sun maṇḍala, making the threatening gesture and brandishing a vajra. Having recited the hundred-syllable mantra of the Venerable One three times, one should make offerings with the three vajra syllables and flowers and so forth, and also offer the bell with the bell mantra. The mantra is: oṃ āḥ hūṃ | oṃ vajraghaṇṭe raṇi praraṇi saṃpraraṇi sarvabuddhakṣetra pracalite prajñāpāramitānādasvabhāve tvaṃ vajradharmahṛdayāni saṃtoṣaṇi hūṃ hūṃ hūṃ phaṭ phaṭ svāhā.
Then, taking the vajra with the right hand and holding the bell with the left, and also holding the incense burner with the right hand, ring the bell and recite the hundred-syllable mantra of the Venerable One once:
OṂ VAJRA DHṚK ĀḤ HŪṂ SVĀHĀ.
OṂ JINA JIK ĀḤ HŪṂ SVĀHĀ.
OṂ RATNA DHṚK ĀḤ HŪṂ SVĀHĀ.
OṂ ĀROLIK ĀḤ HŪṂ SVĀHĀ.
OṂ PRAJÑĀ DHṚK ĀḤ HŪṂ SVĀHĀ.
OṂ RURU SPURU JVALA TIṢṬHA SIDDHI LOCANE SARVA ARTHA SĀDHANI SVĀHĀ.
OṂ ĀḤ ŚAṄKARE ŚĀNTIKARE GHUṬA GHUṬA GHUṬINI GHUṬAYA GHĀṬAYA GHUṬINI SVĀHĀ.
OṂ AKATE VIKATE NIKATE KATAṂKATE KAROṬE VĪRYA SVĀHĀ.
OṂ TĀRE TUTTĀRE TURE SVĀHĀ.
OṂ NAMAH SAMANTA KĀYA VĀKA CITTA VAJRĀṆĀṂ. NAMO VAJRA KRODHĀYA. MAHĀ DAṂṢṬROTKAṬA BHERAVĀYA ASI MUSALA DHARĀYA PARIŚU PĀŚA HASTĀYA. OṂ AMṚTA KUṆḌALI KHA KHA KHĀHI KHĀHI. TIṢṬHA TIṢṬHA. BANDHA BANDHA. HANA HANA. DAHA DAHA. PACA PACA. GARJA GARJA. VISPHOṬAYA VISPHOṬAYA. SARVA VIGHNĀṂ VINĀYAKĀN MAHĀGĀṆAPATI JĪVITA ANTAKARĀYA SVĀHĀ.
Recite these mantras in their proper order, making offerings of argha, flowers, and so forth to the Victory Vase and the others. As before, burn incense, ring the bell, and present lamps, divine food, full vessels, and so on. With the left hand in the graceful gesture, take hold of the bell, and with the right hand holding kuśa grass, place the three-pronged vajra mudrā upon the vase.
Recite the hundred-syllable mantra of the Venerable One together with the respective mantras of the individual vases one hundred and eight times for the Victory Vase (vijayakalaśa). Likewise, recite them twenty-seven times for the other vases. Then, make offerings of flowers and so forth, and visualize that [the deities] melt through the union of method and wisdom; this is the blessing of the vases.
Next, bless the previously described painted image and so forth with the three syllables of the Blessed One, and begin the ritual of bathing. First, as before, burn incense and place two morsels of cooked rice, a fire vessel, and lamps in a container or vase. Taking white mustard seeds from before you with the hand, consecrate them with the mantra of Amṛtakuṇḍalī. With the mantra oṃ sarvapāpaṃ dahana vajrāya svāhā, sprinkle them into the fire and water, then take them with both hands, circle them three times in front of the image and so forth, and finally scatter them outside with the mantra of Amṛtakuṇḍalī.
Then, using the water for sprinkling purification, perform the sprinkling three times over the bathing substances with the mantra of Amṛtakuṇḍalī. Sprinkle the flowers and so forth in the same way. Then, with the sound of a bell and the burning of incense, offer the foot-bath water three times to the reflection in a highly polished mirror using one's own mantra. Wash it with water, then gradually rub the mirror with fragrant sesame oil and flour, wash it again with water, and once more offer argha water and flowers.
Wash [the image] with butter and honey, rub it with flour, and rinse it with water. Then, perform the ritual bathing individually with curd, milk, grains, parched rice, walnuts, and other fruits and flowers, together with argha water. Recite the mantra: oṃ sarvatathāgatakāyaviśodhani svāhā. Having done so, honor the vases with flowers and incense, and then begin the conferral of the empowerments in sequence.
First, for the vase of all activities, use the king of mantras, the mantra of Amṛtakuṇḍalī, and the verse: "Just as the gods performed the ritual bathing of [the Buddha] as soon as he was born, so too do I perform the ritual bathing with the pure water of the gods." Thus, confer the empowerment.
Then, with the eastern vase, use the mantra jinajik and the previously explained verse to offer the ritual bathing. Likewise, confer the empowerment using the respective vases and verses along with the mantras: ratnadhṛk, prajñādhṛk, ārolik, padmadhṛk, ruru sphuru, śaṅkari, akate, tāre, and so forth.
Furthermore, scatter flowers and burn incense over the Victory Vase (vijayakalaśa). Recite the Venerable One’s hundred-syllable mantra and the mantra oṃ vajradhṛk seven times. Then, recite oṃ sarvatathāgatābhiṣekasamayaśriye hūṃ and the king of mantras once more to confer the empowerment.
After that, take a well-perfumed cloth.
Having applied five drops of perfume to a mirror that has been wiped with water, scatter flowers and set it down. Taking a bell and incense, make offerings as before and present the divine food (naivedya) according to one’s means. Then, having offered the torma and prostrated, one should rise; this is the ritual for the ritual bathing.
Next, the consecration (pratisthā) should be performed for the previously consecrated painted images and so forth. The sequence for this is as follows: meditate on the painted image, the physical form, and so on, as emptiness. Then, meditate on the body of the deity arising from the complete transformation of one’s own dharma-syllable. Having placed it before you, arrange the three syllables upon a variegated lotus, sun, and moon at the head, throat, and heart. With their light rays, summon the three families from the sky and dissolve them into that very [image]. Visualize that all the Tathāgatas are bestowing blessings and perceive them as being truly present.
Then, with the light rays from the seed-syllable of the wisdom-being (jñānasattva), summon the wisdom-wheel (jñānacakra), dissolve it into that very [image], bind it, and bring it under control. One should contemplate that they have become of one taste, like milk and water. Visualize the commitment-being (samayasattva) and the wisdom-being as having become one. As before, expel obstructors, provide protection, and stabilize [the image] with the hundred-syllable mantra. With the three syllables, generate passion. Taking the vajra and bell, burn incense and perform the invitation:
"Akṣobhyavajra, wisdom, and so forth,
By meditating on the three indivisible vajras,
For the sake of acting for the benefit of beings,
Please remain here forever.
As long as space, Mount Meru, and the earth..."
"As long as the sun, moon, and stars endure, and as long as the treatises of the Sage remain, so long may you remain here. For the sake of protecting the king, the patrons, myself, and the disciples, together with your retinue, please remain here forever." Having thus made this supplication, summon the deities as before and precede the rite with the five types of offerings. Offer two pieces of cloth smeared with saffron and, with a golden eye-spoon the size of five māṣas, open the eyes with the mantra: oṃ cakṣu cakṣu samanta cakṣu viśodhani svāhā. Then offer a divine food offering (naivedya) of curd, rice, and flowers with the mantra: oṃ vajra amṛte svāhā. Following the proper sequence, offer garlands of flowers along with their shapes, preceded by the offering of water for the face, water for sipping, and water for the feet. Having made offerings of the remaining substances and offered praise, prostrate, circumambulate, and request forbearance for any faults. Then, one should seek the desired aims; this is the ritual of consecration.
Next, the ritual of worship should be commenced. As before, emanate the deities into the site of the maṇḍala and make them non-dual with the wisdom beings (jñānasattva). One should then perform the ritual bathing, the water for the feet, the water for the face, and the four prostrations, followed by the five types of offerings. The sequence for these is as follows: "This flower is the supreme virtue; it is pure and possesses the cause of purity. Since I offer it with faith, please accept it and be pleased with me."
OṂ SARVA-TATHĀGATA-PUṢPE-PŪJĀ-MEGHA-SAMUDRA-SPHARAṆA-SAMAYA-ŚRIYE HŪṂ. OṂ VAJRA-PUṢPE ĀḤ HŪṂ SVĀHĀ. With these respective mantras, one should offer flowers. Likewise, burn incense that is either innate or compounded:
The essence of the forest, pleasing to the senses,
The fragrant and abundant incense of the gods—
I offer this with devotion;
Having accepted it, please be pleased with me.
OṂ SARVA-TATHĀGATA-DHŪPE-PŪJĀ-MEGHA-SAMUDRA-SPHARAṆA-SAMAYA-ŚRIYE HŪṂ. OṂ VAJRA-DHŪPE ĀḤ HŪṂ SVĀHĀ. With this mantra, one should offer it.
Taking up the lamp vessel:
This lamp, which subdues malevolent spirits and brings auspiciousness,
Is virtuous and dispels darkness.
I offer this with faith;
Having accepted it, please be pleased with me.
OṂ SARVA-TATHĀGATA-DĪPE-PŪJĀ-MEGHA-SAMUDRA-SPHARAṆA-SAMAYA-ŚRIYE HŪṂ. OṂ VAJRA-DĪPE ĀḤ HŪṂ SVĀHĀ. With this mantra, one should offer it.
Likewise:
Whether innate, compounded, or transformed,
I offer these with devotion;
Having accepted them, please be pleased with me.
OṂ SARVA-TATHĀGATA-GANDHE-PŪJĀ-MEGHA-SAMUDRA-SPHARAṆA-SAMAYA-ŚRIYE HŪṂ. OṂ VAJRA-GANDHE ĀḤ HŪṂ SVĀHĀ. With this mantra, one should offer it.
Likewise, taking up the vessel of divine food endowed with the six tastes:
This is the essence of nectar,
The purest of all foods.
I offer this with devotion;
Having accepted it, please be pleased with me.
OṂ SARVA-TATHĀGATA-NAIVIDYA-PŪJA-MEGHA-SAMUDRA-SPHARAṆA-SAMAYA-ŚRIYE HŪṂ. OṂ VAJRA-NAIVIDYA ĀḤ HŪṂ SVĀHĀ. With this mantra, one should make the offering. Likewise, the garments, parasols, victory banners, flags, music, and various other offerings should be presented with their respective mantras. This is the sequence of the outer offerings.
Then, in a lotus vessel, the five nectars are purified, awakened, and ignited through the sequence of transformation into nectar. The hooks are likewise generated, and these are offered to the deities of the maṇḍala. The mantra is: OṂ AMṚTE NA PRĪṆAYA ME SVĀHĀ.
Then, having taken a girl of twelve, sixteen, or twenty years of age according to her caste, and having pervaded her with the five families, one precedes this with the union of the vajra and lotus. Through the application of meditative equipoise, [the nectar] enters through the path of all the Tathāgatas, passes through the central channel, and preceded by the experience of the [three] appearances and so forth, it is emitted into the lotus. Taking it with a conch or bowl, it is offered in the center of the maṇḍala. The mantra is: OṂ MAHĀSUKHA VAJRA HO SURATA STVAṂ SURATE HAṂ.
Then, one worships the Blessed One with the unsurpassed offerings, such as taking refuge in the Three Jewels. Rising, one prostrates, circumambulates, requests forbearance, and makes aspiration prayers. One should then abide viewing all phenomena as mere individual appearances. This is the ritual of offering.
Then, the faces of the disciples who have previously undergone the ritual of abiding should be covered and they should be placed at the door, where they are made to offer this supplication:
"O Blessed Master, sublime one, for the sake of protecting me from saṃsāra, I am intensely tormented by the noose of birth, suffering, aging, and death. Therefore, out of fear, I always go to you for refuge. Please take me under your care through the vehicle of the mantra path. Master, please attend to me! You are the Teacher, the Great Joy; I seek the Great Protector and the supreme way of great awakening. Grant me the three refuges: the Buddha, the Dharma, and the Saṅgha. Grant me the supreme samaya and grant me the vows as well. O Protector, I wish to enter the city of great liberation."
After the disciple has supplicated in this way, the Vajra Master should have the disciple, who holds flowers with palms joined, perform four prostrations. Then:
OṂ SARVA TATHĀGATA BUDDHA KOLA MAṆḌALE DIVATĀBHYAḤ KĀYA VĀKA CITTA PRANAME PĀDA BANDHĀNAṂ KAROMI. (In the east.)
OṂ SARVA TATHĀGATA RATNA KOLA DIVATĀBHYAḤ KĀYA VĀKA CITTA PRANAME NA PĀDA BANDHĀNAṂ KAROMI. (In the south.)
OṂ SARVA TATHĀGATA PADMA KOLA DIVATĀBHYAḤ KĀYA VĀKA CITTA PRANAME BANDHĀNAṂ KAROMI. (In the west.)
OṂ SARVA TATHĀGATA KARMA KOLA DIVATĀBHYAḤ KĀYA VĀKA CITTA PRANAME NA PĀDA BANDHĀNAṂ KAROMI. (In the north.)
Then the guru asks, "What kind of dream did you see last night?" and the disciple recounts dreams that are either virtuous or non-virtuous. The guru should then indicate the siddhi that corresponds to that dream. Next, the guru asks, "What appears to your eyes?" If the disciple says, "Blue and so forth appear," then at that time, the siddhi corresponding to that family should be explained.
Then, the water for all activities, over which the Amṛtakuṇḍalī mantra has been recited, is given into the disciple's hand:
"This is your hell-water;
If the samaya is violated, it will burn.
By guarding the samaya, it bestows siddhi.
Drink this water of Vajra Amṛta!"
With the mantra: OṂ VAJRA AMṚTA UDAKA ṬHAḤ ṬHAḤ ṬHAḤ TRAṂ ĀḤ HŪṂ PHAṬ SVĀHĀ, the oath-water is administered.
Then, the disciple is made to cast a flower garland onto the maṇḍala:
"Wherever the flower falls,
That is the family to be shown.
If it falls in the central square,
The siddhi of the mudrā will be attained.
If it falls in the square of the Buddha goddesses,
The supreme siddhi will be attained.
If it falls in the square of the offering goddesses,
Pacification and so forth will occur.
If it falls in the place of the Bodhisattvas or Wrathful Deities,
That very [siddhi] should be shown.
If it falls on a door, it is intermediate;
The siddhi outside of that is inferior.
When the flower falls outside of all,
At that time, have it cast again into the center.
If it does not fall there, there is no siddhi."
Then, taking the flower from the center of the maṇḍala, it should be placed upon the disciple's crown with the mantra of Rūpavajrā.
In that regard, having pleased them by teaching the Dharma characterized by the profound and the vast, one should say, "Behold the maṇḍala of great liberation!" Then, having recited the mantra beginning with "Oṃ cakṣuḥ" and the verse:
"Vajrasattva now strives to open your eyes;
He opens all eyes,
The unsurpassed vajra eye,"
one should remove the face veil. Then, the disciple, their eyes wide with wonder, looks at the maṇḍala and performs four prostrations. Then, as before, having offered a maṇḍala and the five types of offerings, one proceeds to make the supplication:
"O protector who protects the defenseless,
The cause for protecting all beings,
Great Vajradhara, the indivisible one,
Please protect me today!
To purify the mire of the five consciousnesses' delusion,
With the water of the empowerment of knowledge,
Please gladden my mind!"
Having heard this supplication, [the master says]:
"Take refuge in the Buddha, Dharma, and Saṅgha,
The Three Jewels.
Then, for the supreme Buddha family,
The samaya vows are explained:
You, of great intelligence, must hold
The vajra, bell, and mudrā.
That which is bodhicitta is the vajra,
And wisdom is explained as the bell.
The master also must be upheld,
For the guru is equal to all Buddhas.
This is taught to be the samaya vow
For the pure Vajra family.
Three times each day and night,
Always practice the four kinds of generosity."
Material, fearlessness, Dharma, and love—these are the high [vows] for the Jewel Family. You must also uphold the sublime Dharma of the three vehicles: outer, inner, and secret. This is explained as the samaya and vow for the pure Lotus Family. You should uphold that very thing, endowed with all the vows. Perform the activities of offering to the best of your ability; this is the supreme samaya of the Action Family. You must not kill living beings, nor take what is not given. You must not engage in sexual misconduct, nor speak lies. You must also abandon the drinking of alcohol, the root of all faults. Abandon all that is improper to do, but do not turn your back on the welfare of sentient beings. You must not abandon saṃsāra, nor should you be attached to nirvāṇa. Dwell in the presence of the holy ones and show honor to the yogis. The three types of physical actions, the four types of verbal actions, and the three types of mental actions—these should be practiced as much as possible. Do not desire the Lesser Vehicle, but act for the benefit of all sentient beings. You must not show contempt for gods, asuras, or secrets. You must not step over mudrās, mounts, hand-symbols, or any sacred marks. This is called the vow; you, of great intelligence, must guard it. Then, by the words of the guru, the vows should be properly taken: "Just as the Protector has commanded, so shall I practice." Taking refuge in the Three Jewels and so forth, taking up the vajra and so forth, the four gifts, and the Dharma and offerings in three ways.
I shall uphold your speech. From the taking of life and so forth, I shall turn back; furthermore, for the sake of crossing to the far shore of the ocean of saṃsāra, O Protector, I shall perfectly uphold the collection of vows.
Then, the water from the vases of the maṇḍala is gathered into a single lotus vessel. Through the sequence of the four yogas, it is transformed into Akṣobhya. By making offerings and entering into union, it melts; visualizing it in the form of water, the empowerment is conferred upon the crown of the disciple by means of the nature of Vajradhara. The empowerment is: oṃ vajradevatābhiṣiñcāmi. This is the water empowerment.
Then, regarding the crown such as a cast image and so forth, one likewise visualizes Ratnasambhava. Through entering into union, it melts; placing that form of the crown upon his crown, one says: oṃ ratnadhṛk āḥ hūṃ. This is the crown empowerment.
Similarly, one generates the vajra as Amitābha. It melts and is again given into his hand in the form of a vajra. With the verse beginning, "Today you are empowered," and so forth, the empowerment conferred by means of the mantra is the vajra empowerment.
Similarly, one generates the bell as Amoghasiddhi. Placing it in his left hand, it is given with the words beginning, "This is of all the Buddhas." This is the master empowerment.
In accordance with the place where the flower previously fell, one says, "O [Name] Vajra." This is the name empowerment. Because it abandons the ālayavijñāna and so forth, it is the knowledge empowerment.
Then, in order to attain the state of non-retrogression, one engages in the supplication:
"O Protector, please explain the empowerment of the irreversible wheel. Grant me the reality of the deities of the wheel, the activities of the master, the samaya of all the Buddhas, and the vows as well. O Protector, I pray that you lead me into the city of great liberation."
Having heard this, the master says: "O son of noble family, do not disparage the master; do not transgress the commands of the Sugatas; do not harbor malice toward your vajra siblings; do not abandon loving-kindness; do not be devoid of bodhicitta; do not disparage the three vehicles; do not teach the secret Dharma to those who are not vessels; do not disparage the aggregates; do not have doubts regarding the pure Dharma; do not show love to the wicked; do not be free from attachment [to the Dharma]; do not establish the Dharma in the two extremes; do not disparage the minds of those endowed with faith; do not fail to reveal the samayas; and do not disparage women. Likewise, do not fail to rely on a consort; do not fail to apply the samayas; be diligent in the gaṇacakra; teach the secret Dharma; do not teach the Dharma perversely to faithful sentient beings; do not stay among the śrāvakas for seven days; and do not be proud, uncertain, unapplied, or teach the secret Dharma to those who are not vessels."
Having heard this, the disciple says:
"O Great Being, from this day forward, I shall not commit the fourteen root downfalls or the ten gross misdeeds until I attain enlightenment."
Having heard this, the Vajra Master places a rosary in the disciple's hand and says, "You must also meditate upon and recite the mantra of your own yidam, such as Oṃ Vajradhṛk and so forth." This is the mantra empowerment.
Then, having fastened ornaments marked with vajras upon the waist and so forth, and holding a vajra in the hand, he bestows it with the words, "This is the nature of all the Buddhas," and so forth. The explanation of its purity is the vajra-vow empowerment.
Next, the conduct of the three aspects is shown. Wooden masks are placed on the right and left ears, and similar ones on the four arms, and a topknot of matted hair is tied. He is told, "For as long as you live, you must abide by this very conduct." This is the conduct-vow empowerment.
Then, the prophecy is given: "Furthermore, you shall not die; from this very Mahāyāna, you shall not be overwhelmed or harmed. Play without fear of anything!"
Then the Vajra Master, appearing in a form similar to Śākyamuni, stands up, holds the disciple by the hem of his lower robe with the left hand, and with the right hand in the gesture of fearlessness, says: Oṃ sarvatathāgatasvabhāvas tvaṃ sarvavajradhara svabhāvas tvaṃ. This is the empowerment of encouragement.
Then, having recited the mantras of Vairocana and Śabdavajrā, a wheel and a conch are placed in the right and left hands respectively. He is told, "From this day forward, turn the wheel of Dharma and blow the conch of Dharma." This is the wheel and conch empowerment.
Then, taking up a mirror, it should be shown with the words, "All phenomena are like reflections," and so forth; this is the mirror empowerment. Then, having given the bow and arrow, the manner of shooting them in the four directions, above, and below to signify victory over the four māras, and the explanation of the individual discernment of the suchness of the dharmadhātu, is the bow and arrow empowerment. Then, opening the eyes with a golden eye-salve applicator while reciting, "Just as the King of Eye-Physicians removed the cataracts of blurred vision, so too have the Victors removed the cataracts of ignorance from you, my son," is the eye-opening empowerment. Then, having seated [the disciple] upon a lion throne in the bodhisattva posture, the Vajra Master, accompanied by the four close practitioners and the four samaya mudrās, takes the Victory Vase and the eight vases of Vairocana and the others, as well as the vases of Locanā and the others. With a single melody and at one time, they pour the stream of water from the nine vases onto the crown of the disciple's head, reciting the verse: "Just as the Tathāgatas were empowered as soon as they were born, so too do I empower you with the pure water of the gods," and the mantra: oṃ sarvatathāgata-abhiṣekate samaya-śriye hūṃ.
One should offer [the empowerment] with the mantra [beginning with] "Oṃ." Then, having summoned the assembly of Tathāgatas from the sky, they enter through the Brahma-gate and are absorbed into the bindu of the seed-syllable at the heart of the wisdom-being (jñānasattva). Thereafter, the master should make offerings to the disciple: flowers on the crown of the head, perfume at the heart, incense and lamps in front, and the food offering (naivedya) should also be presented in front. One should awaken [the disciple] with incense and the bell. Then, one should praise [the disciple] with the five verses beginning, "Akṣobhyavajra, great wisdom," and so forth. Having placed a garland of flowers on the crown of the head, one should perform the consecration with the mantra "Oṃ supratiṣṭha vajre svāhā." Then, the suchness of the maṇḍala and the suchness of the deity should be explained.
In that regard, the suchness of the maṇḍala is a square because it is the purity of the wisdom of equality. The gates are the applications of mindfulness (smṛtyupasthāna). The archways (toraṇa) are the meditative concentrations (dhyāna). The vajra fence is the turning of the wheel of Dharma of the Mantra Vehicle. The flower light is its radiation. The five colors are the nature of the Tathāgatas. The sensory qualities are the essence of the five objects of desire. The jeweled frieze is the essence of the five wisdoms. The bands of lattices and half-lattices are the nature of the branches of enlightenment (bodhyaṅga). The ground is the essence of the four Tathāgatas. The variegated lotus is the nature of insight (prajñā), and the moon and sun seats are the nature of method and insight. The vajra canopy and...
The symbols such as the vajra are the essence of the tathāgatas. The banner is the purity of the nine branches of the excellent speech, and the lattice of bells is the essence of the sound of the Dharma. The eleven vajras are the eleven grounds. The wheel is the turning of the wheel of Dharma, and the deer is the nature of delusion; these are the suchness of the foundational maṇḍala. The nature of the five wisdoms is Akṣobhya and the others, and the purity of the elements such as earth is Locanā and the others. The purity of the external objects is Rūpavajrā and the others. The purity of the six sense bases, the channels, and the joints is the bodhisattvas. The vanquishing of the four māras is Yamāntaka and the others. The purity of the six collections of consciousness is Acala and the others; these are the suchness of the deities, which is the empowerment of non-retrogression.
Then, in a place free from painted images, arrows, and so forth, the disciple should supplicate the guru in order to receive the secret empowerment, with these four verses beginning:
"O you who are definitively liberated from the three realms,
Equal to space itself,
Untainted by desires,
To you, the non-referential, I prostrate."
Having heard this supplication, the guru should teach the three samayas for the purpose of listening. "The five abandonments and the five knowledges are explained as the 'vajra'"; this is the suchness of the vajra. "Existence is pure by its very essence; by its nature, it is made free from existence. The being whose nature is pure..."
"Existence is accomplished as the supreme"—this is the suchness of the bell. "The mudrā is explained as the samaya, for the sake of stabilizing the mental body. Because all bodies are stabilized by it, the suchness of the mudrā is thus expressed"—this is the suchness of the mudrā.
Next, the three vows are to be explained. Regarding the substances of māṃsa, viḍ, śukra, and mūtra, they are to be consumed through the process of purification and so forth; this is the tasting of the lamp. Gokū, da, ha, and na are to be consumed without fault; this is the tasting of the hook. One should also perform a cumbana upon the lotus of the mudrā; this is to be described as a cumbana upon the bhaga.
When the disciple has heard the words, "I shall do exactly as you have commanded," the Vajra Master should first enter into union with the twelve-year-old mudrā who has been offered by the disciple and who is pervaded by the five families. Through the sound of great bliss, all the Tathāgatas enter from the sky through the path of speech. The bodhicitta melts and is emitted into the center of the lotus via the central channel. Without touching it with the hands, it is taken with a conch-shell cup and placed in the disciple's mouth. The disciple should then partake of it with the realization that it is the assembly of all the Tathāgatas.
Then, the remaining bodhicitta is mixed with vajra-water and should be given to the disciple on the crown of the head. The disciple should also utter the words, "O, great bliss!" As it is said in the Candraguhyatilaka: "Having emitted the blazing jewel of bodhicitta, the bodies of all the Victors without exception are perfectly pure. This water arises from the wisdom of the pure vajra."
"Please confer the empowerment upon the crown of my head with a rain of jewels." This is the ritual for the secret empowerment.
Then, in order for the Vajra Master to bestow either his own consort or another mudrā upon the disciple, he should have the disciple make this supplication:
"Your body is not hollow;
It has no flesh, bone, or blood.
In order to follow the ways of the world,
You display worldly activities.
Your body is neither diseased nor impure;
It has neither hunger nor thirst.
Like a rainbow in the sky,
You have displayed your body."
Having heard this supplication and the like, he should have the disciple listen to the samayas and vows:
"Whoever hates the samaya,
Or whoever reviles the samaya—
In order to protect the Buddha's teaching,
One should strive to slay them.
Through the application of mantra and mudrā,
In order to protect those who are stingy,
When one seizes the wealth of others,
One will not be stained by sin.
There is no bliss equal to passion;
If that is offered to the Victors,
And others disparage it for the sake of sentient beings,
Through steadfastness, one will attain siddhi.
Speaking falsehoods with vajra words,
Through the samādhi of Amoghasiddhi,
When one speaks words that are not true,
One will not be stained by sin.
Entering the mind of the Lord Ratnasambhava’s samādhi,
When one speaks harshly for the sake of benefit,
One will not be stained by sin."
Now, the five samayas shall be recited. Then, in order to abandon passion through passion:
"Meditate on the immeasurable Vajra, for ignorance is to be conquered by ignorance. Relying on the body of Vairocana, meditate on Akṣobhya to pacify hatred by means of hatred. Meditate on the Lord of Jewels to conquer pride by means of pride. Meditate on Hayagrīva to conquer envy by means of envy." Thus, the five vows should be bestowed. The disciple should then say: "Just as the Protector has commanded, so shall I practice." Having heard this, the previously explained mudrā should be given. Then, the mudrā seated upon the throne, wearing garments of the directions with her hair loose, should say this to the disciple:
"Feces and urine are to be consumed; are you able to enjoy women? Rakta, śukra, and flesh, and the pleasing of women, the kissing of the lotus of the bhaga—speak as you please."
The disciple should also say: "O Goddess, how could I not be able to [consume] śukra, rakta, and so forth? I shall rely upon feces and urine, and I shall please women. I shall also kiss the bhaga; I shall do exactly as you have commanded."
Having heard this, the pleased goddess should open her lotus with both hands and show it to the disciple:
"Emaho! This lotus of mine is perfectly endowed with all bliss. Whoever relies upon it through the ritual, I shall remain before them. This is the pure dharmadhātu, which brings total liberation to the realm of sentient beings. In this King of Great Bliss..."
"Abiding perfectly through all things," it is said; thus, the wheels of the channels (nāḍī-cakra) shall be explained. Here, the thirty-two channels in the center of the lotus are to be understood as the nature of the Blessed One Akṣobhya and all the deities of the maṇḍala. Among those, five channels are the primary ones. The central channel is the nature of Akṣobhya, the essence of the wisdom of the dharmadhātu, because the water element flows through it. The channel situated in front is called Devadatta; it is the nature of the Blessed One Vairocana and the identity of the mirror-like wisdom (ādarśa-jñāna), because the excrement flows through it. The channel on the right is Kūrma; it is the nature of Ratnasambhava and the essence of the wisdom of equality (samatā-jñāna), because the blood flows through it. The channel at the back is Dhananjaya; it is the nature of Amoghasiddhi and the identity of the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna), because the flesh flows through it. Likewise, the channel on the left is Candrā; it is the nature of Amitābha and the identity of the discriminating wisdom (pratyavekṣaṇā-jñāna), because the bodhicitta flows through it. From the Vajrāmṛta:
In the center of the bhaga is the sky,
Adorned with the five skies,
Possessing a navel and a pericarp,
Completely adorned with eight petals.
The channel through which nectar flows
Is firmly situated in the center of the bhaga.
The other thirty-two channels
Are the primary ones within it.
Having said this, the disciple is to be introduced to the wisdoms of appearance and so forth by entering into meditative equipoise at the tip of the vajra, which has become serviceable. Then, the bodhicitta emanated into the lotus is to be tasted with the tongue; this is the wisdom-knowledge empowerment.
Then, the disciple experiences great bliss and, with palms joined and filled with flowers, approaches the Vajra Master and says, "Through your kindness, I have attained suchness." The Master should then say: "Son of noble family, the bliss that occurs at the time when the bodhicitta melts is the nature of the moments of appearance, approach, and variety. When it has reached all the limbs, it is the nature of the moments of increase, near-attainment, and ripening. When it has reached the center of the vajra, it is the nature of the moments of attainment, accomplishment, and destruction. When it abides at the tip of the vajra, it is the nature of the moments of clear light, great accomplishment, and freedom from characteristics. Among these, the first three are to be abandoned and the fourth is to be adopted."
Having heard this, the disciple places both knees on the ground and recites:
"Free from all entities,
The aggregates, elements, and sense bases,
Abandoning subject and object,
Through the equality of the selflessness of all phenomena,
One's own mind is seen as unborn,
The essence of emptiness."
One should offer flowers and a fee to the guru, [saying]: "Gold, silver, and precious gems; oxen, horses, and elephants; houses, fields, and mounts; earrings, necklaces, and bracelets; silks, brocades, and garments; beds and cushions; male and female servants, queens, and most enchanting consorts—even if one offers oneself, what else remains beyond that?" Having thus offered oneself to the guru from among all secret things, one should then ransom oneself with a price. This is the wisdom-gnosis empowerment; it is the ritual for conferring the empowerment.
Then, the torma offering should be performed. The sequence for this is as follows: visualize a multicolored lotus with thirty-two petals in the space in front. Contemplate the maṇḍala consisting of thirty-two deities, born simultaneously upon its center and petals. With the divine pride of one's own deity, summon them with incense and the bell. In front, upon a wind and fire maṇḍala, purify the five nectars in a lotus vessel through the gradual stages of accomplishment. Then, with the mantra "Oṃ sarvatathāgata-prīṇāya me svāhā" and the mudrā of meditative union, offer the torma and cast it at the foot of a tree. The request for departure with the words "You..." and so forth is the torma ritual for the maṇḍala circle.
Then, likewise, visualize a yellow ten-spoked wheel in the space in front. In its center, visualize the Blessed One Akṣobhya. From the light rays of his heart, emanate the ten wrathful deities.
One should arrange [the deities] upon their respective spokes and, having established the nature of the three sattvas, cause the wisdom maṇḍala to enter. They should be summoned by means of incense, the sound of a bell, and the recitation of the hundred-syllable mantra. Then, having prepared ten water maṇḍalas in the ten directions and intermediate points of the maṇḍala, one should place ten vessels upon them containing food and other offerings, transform them into nectar, and present them with their respective mantras.
The mantra for Yamāntaka is:
Namaḥ samantabuddhebhyaḥ | namo vajramudgarahastāya caṇḍamaṇḍala oṃ kṣepakārāya hūṃ phaṭ.
The mantra for Prajñāntaka is:
Namaḥ samantabuddhebhyaḥ | mahādaṇḍadhara vidhasura sura mardhana bhūtra tāṃ nirmatha hūṃ phaṭ.
The mantra for Padmāntaka is:
Namaḥ samantabuddhebhyaḥ | hulu hulu mahāpadma amṛte kuru mahāviṣaṇā aḥ.
The mantra for Vighnāntaka is:
Namaḥ samantabuddhebhyaḥ | namo vajrakrodhāya mahādaṃṣṭrotkaṭabhairavāya vajrasandohaṃ darpāya amṛtakuṇḍali hūṃ phaṭ.
The mantra for Nīladaṇḍa is:
Namaḥ samantabuddhebhyaḥ | yamadaṇḍāya nīladaṇḍāya turu turu | muru muru | sarvaduṣṭān māraya māraya hūṃ phaṭ.
The mantra for Mahābala is:
Namaḥ samantabuddhebhyaḥ | namo mahābalāya ucchuṣmakrodharājāya sarvanāgānāṃ hṛdayaṃ tāḍaya hūṃ phaṭ.
The mantra for Acala is:
Namaḥ samantabuddhebhyaḥ | namo 'calakāna ceṭṭa ceṭṭa | moṭṭa moṭṭa | tuṭṭa tuṭṭa | gha gha | ghātaya ghātaya hūṃ phaṭ.
Namaḥ samantabuddhebhyaḥ.
ṬAKKI HŪṂ JAḤ. This is the mantra of King Takkirāja. OṂ SUMBHANI SUMBHA HŪṂ HŪṂ PHAṬ | GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ | GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ | OṂ ĀNAYA HO BHAGAVĀN VAJRA RĀJA HŪṂ HŪṂ PHAṬ. This is the mantra of Sumbharāja. NAMAḤ SAMANTA BUDDHĀNĀṂ | NAMAḤ SAMANTA DHARMĀṆĀṂ | NAMAḤ SAMANTA SAṂGHĀNĀṂ | OṂ SITĀTAPATRE | OṂ VIMALA | OṂ ŚAṂKARA | OṂ PRATYAṄGIRĀ VAJRA UṢṆĪṢA CAKRAVARTI SARVA YANTRA MANTRA MŪLA KARMA BANDHANĀṂ | TĀḌANĀṂ | KĪLĀNĀṂ VĀMA MA KṚTAṂ TAD SARVĀNDU | CHINDHA CHINDHA | BHINDHA BHINDHA | CIRI CIRI | GIRI GIRI | MARA MARA | HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ HŪṂ PHAṬ PHAṬ PHAṬ SVĀHĀ. This is the mantra of Uṣṇīṣacakravartin. Reciting these, one should offer the torma at each of their respective locations. The offering of the torma is the ritual procedure for the torma of the Wrathful Kings.
Next, the sequence for the torma of the Four Great Kings is as follows: First, place four vessels filled with food and other offerings in the four directions of the maṇḍala. In front, visualize the four Great Kings—white, yellow, red, and black—arising from the complete transformation of the first letters of their respective names. They are wrathful, wearing helmets, and holding conch shells and swords. Contemplate them as the nature of the three sattvas, and having summoned and caused the wisdom beings to abide within them, perform the visualization as before and offer the torma with their respective mantras: OṂ DHṚṬARĀṢṬRĀYA GANDHARVA-SENA-DEVATĀYE MAṂ BALIṂ PRATĪCCHA SAMAYA.
MANU SMARA ĀḤ HŪṂ PHAṬ SVĀHĀ. This is for Dhṛtarāṣṭra. OṂ VIRŪḌHĀKĀYA MAHĀKUṂBHAṆḌADEVATAYE MAṂ BALIṂ PRATĪCCHA SAMAYE MANU SMARA ĀḤ HŪṂ PHAṬ SVĀHĀ. This is for Virūḍhaka. OṂ VIRŪPĀKṢĀYA MAHĀNĀGADDEVATAYE MAṂ BALIṂ PRATĪCCHA SAMAYA MANU SMARA ĀḤ HŪṂ PHAṬ SVĀHĀ. This is for Virūpākṣa. OṂ VAISRAVAṆĀYA MAHĀYAKṢADEVATAYE MAṂ BALIṂ PRATĪCCHA SAMAYA MANU SMARA ĀḤ HŪṂ PHAṬ SVĀHĀ. This is for Vaiśravaṇa. Having consecrated [the offerings] with these mantras, the ritual for the torma offering to the Four Great Kings is to cast the tormas in their respective directions.
Then, for the torma offering to all spirits: first, visualize in the sky a great red eight-petaled lotus arising from PAṂ. In its center, within a source of phenomena (dharmodaya), visualize the Great Vajradhara. In the three corners, visualize the three realms; on the eight petals, the eight worldly protectors such as Śakra and so forth; beneath the petals, the eight nāga kings; and on the stalk, in successive order, the asuras, pretas, animals, and hell-beings. Having consecrated their bodies and so forth, fill a precious vessel or a vase with food and the like, transform it into nectar, and by burning incense and the sound of a bell, bring them to mind. Preceded by the offering of water for the mouth and water for the feet, [recite] the mantra beginning with OṂ AKĀRO MUKHAṂ and so forth, together with the mudrā of meditative equipoise.
The offering of the torma by means of the utpala mudrā and so forth is the ritual for the torma of all elemental spirits; this is the tenth branch. Then, on the seventh day, request the deities of the maṇḍala to depart. Having risen in the morning, worship the deities of the maṇḍala with the five types of offerings and, with palms joined, recite:
"You have acted for the benefit of all sentient beings;
Grant the appropriate accomplishments.
Please depart for the realm of the buddhas;
Please return once again.
For an eon or for a hundred eons,
May the earth, water, fire, and wind,
And all the gods, protect your form body.
With hearts that have become exceedingly joyful,
Please return to your own abodes.
Together with your sons, grandsons, and disciples,
Having departed for the realm of the buddhas,
Please protect the master.
I bow to the stainless wisdom of insight,
The peerless and inconceivable."
By reciting this, one should request them to depart with the hundred-syllable mantra ending in the syllable muḥ. Remove the ritual daggers and stakes of the maṇḍala and wash them with milk. Carry the colored powders to a river. Smear the ground of the maṇḍala with cow dung and water, scatter flowers, prostrate, and make aspiration prayers. Then, rising, one should remain as comfortable as possible; this is the ritual for requesting departure, the eleventh branch. Then, when the sun has set, in a secluded place, with the union of method and insight, one should direct the mind with intense devotion.
At one's own heart, from the syllable khaṃ, a crossed vajra arises; place the syllable khaṃ upon its central prong and, focusing the mind upon it, visualize it as being like an optical illusion and then go to sleep. Prior to that, if one snaps the fingers ten times with the thumbs and middle fingers and performs the binding of the directions with the king Sumbharāja, one will see auspicious dreams. If one sees an inauspicious dream, at that time, if one offers a torma to the wrathful deities, one will see auspicious dreams. Furthermore, one should report the auspicious dreams to the guru; if the guru is not present, one should report them before a painted image or a physical statue, but one must not report them to anyone else. This is the twelfth branch.
The dedication of merit shall now be explained:
"By the supreme churning-stick of the glorious Vajramālā,
Having churned the profound ocean of the Guhyasamāja,
Whatever nectar of the sādhana was found,
By that, may the entire world transcend death!"
Thus it is said. The "glorious Vajramālā" is the explanatory tantra (vyākhyā-tantra) in twelve thousand verses. That itself is the "supreme churning-stick"; by that excellent churning wood. "Profound" means deep, primarily consisting of the meaning of the six parameters and so forth. The "ocean of the Guhyasamāja" is the ocean of the Guhyasamāja [tantra]. "Having churned" means having thoroughly stirred and purified it. My sādhana, titled "The Concise," which is the thirty-eighth branch of the sādhana, is like nectar; by whatever was found therein, may the entire world—
"May the realms of sentient beings without exception or remainder transcend death," and "May they attain the state of Vajradhara himself, who has transcended birth, aging, and death"—this is the dedication.
The glorious Nāgārjuna, the sun who attained the first bhūmi,
Emanated the light rays of this sādhana
To cause the lake-born [lotus] of the Guhyasamāja to bloom.
This work, titled "The Concise," which illuminates beings,
I have clarified by relying upon the authentic oral instructions.
It destroys the suffering of the ignorant and the poor,
Emerging from within the ocean of the Guhyasamāja Tantra.
This jewel, well-crafted by the master Blo-bzang,
Shall become an ornament upon the necks of all people.
This commentary on the concise sādhana,
Called "The Jewel Garland," captivates the hearts of the noble,
Strung with the ornaments of the yogic way.
Whatever great merit I have gained,
White as snow, kunda flowers, and the moon,
May beings abandon the wretched prison of saṃsāra
And thereby attain the state of Vajradhara.
The Commentary on the Concise Sādhana, titled "The Jewel Garland," composed by the master Ratnākaraśānti, is hereby complete. It was translated and finalized by the Indian abbot Karmavajra himself.
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.