Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This commentary provides a technical exegesis of a condensed sādhana attributed to Nāgārjuna, specifically focusing on the Guhyasamāja Tantra. The text functions as a manual for the practitioner, guiding them through the complex requirements of visualization, ritual sequence, and the conceptualization of luminosity. It argues that the path to realization requires a precise alignment of internal cognitive states—such as the realization of equality with space—and external ritual actions, including the confession of misdeeds and the invocation of protector deities. The work commits the reader to a rigorous system of deity yoga, where the body is transformed into a mandala through the visualization of seed syllables, colors, and the integration of the five Buddha families. By detailing the specific placement of syllables and the movement of winds, the text aims to bridge the gap between conceptual understanding and the actualized experience of the vajra-nature, ultimately leading the practitioner toward the state of clear light and the purification of sentient beings.
Provenance
About this text
A commentary on the difficult points of the condensed stages, the Piṇḍīkramaṭippaṇī belongs to the classical Tibetan tradition. The work is attributed to the Indian author Līlāvajra. It was translated into Tibetan by Suḥodīta and dge slong lo tsa ba blo ldan shes rab, and is preserved in the Tengyur, volume ཅི, where it comprises 42 pages within the collection of the Guhyasamāja and Related Tantras. The work functions as a technical exegesis of a condensed sādhana attributed to Nāgārjuna, specifically focusing on the Guhyasamāja Tantra. It enacts a system of deity yoga and ritual sequence, guiding the practitioner through the conceptualization of luminosity and the realization of equality with space. By detailing the alignment of internal cognitive states with external ritual actions—including the visualization of seed syllables, colors, and the integration of the five Buddha families—the text aims to bridge the gap between conceptual understanding and actualization. A scholar or serious reader consults this work today to understand the precise requirements of visualization and the movement of winds necessary to transform the body into a mandala.
Cite thisAnuvāda, “A Commentary on the Difficult Points of [Nāgārjuna’s] “Concise Sādhana”” (Toh 1836), machine draft, 2026.https://naxiai.com/tibetan/works/toh1836
Summary & commentary
Significance
The work is significant for its detailed preservation of the ritual technology associated with the Guhyasamāja tradition, illustrating how abstract philosophical concepts like luminosity are operationalized in practice. For the modern reader, it provides a primary example of the intersection between linguistic analysis, somatic visualization, and tantric soteriology in the Indo-Tibetan tradition.
Structure
Passages
Section
Description
1-9
Introduction and Preliminary Rites
Homages, the definition of luminosity, and the initial stages of the sādhana, including the clearing of obstructors via kīla practice.
10-29
Cognitive Foundations and Mandala Visualization
Discussion on the nature of cognition, the visualization of the wind and earth mandalas, and the etymological requirements for practitioners.
30-48
Deity Generation and Integration
Detailed instructions on the visualization of syllables at the tongue and heart, the descent of Akṣobhya, and the configuration of the consort and other deities.
49-58
Invocation, Praise, and Final Yogas
The purpose of generating joy, the invocation of Tārā and other protectors, the performance of the four yogas, and the ritual use of nectar and wisdom-sun.
Themes
Luminosity and Non-existence (2, 10, 52)
Seed Syllables and Color Symbolism (11, 12, 29, 44, 47, 54, 55)
Deity Yoga and Mandala Construction (12, 15, 20, 34, 39, 48)
Ritual Purification and Protection (6, 7, 8, 9, 50)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Commentary on the Difficult Points of [Nāgārjuna’s] “Concise Sādhana”·
In the language of India: Piṇḍīkramapañjikātripada. In the language of Tibet: Bsdus pa’i rim pa’i dka’ ’grel (A Commentary on the Difficult Points of the Condensed Stages). Homage to Vajrasattva!
Having prostrated to the Son of the Conquerors, Nāgārjuna, who, for the sake of benefiting beings, realized the two extremes and taught the system of the Middle Way, I shall clarify the stages of the Piṇḍīkṛta (Condensed) [Tantra].
In this regard, the noble Nāgārjuna, following explanatory tantras such as the Vajramālā, personally realized the meaning of the six parameters of the glorious Guhyasamāja. Desiring to compose the Piṇḍīkrama out of compassion, he spoke the homage to the Blessed One, the nature of the four bodies, beginning with the words "The three realms..." and so forth. The commentary explains: "I prostrate to the Great Bliss, the body of the Victors, which is expressed by the term 'union'."
What is it like? It is "equal to the unequaled," meaning it is utterly extraordinary. Why is that? It is called "the single body of non-conceptual expression." This is a body unstained by the defilement of conceptual thought. Because it is without duality, it is "single." It is the one who possesses a body adorned with the thirty-two major marks and so forth. Precisely because its nature is non-conceptual, it is said to "liberate from the conduct of the three realms." The "three realms" are the very three realms: body, speech, and mind. "Conduct" refers to their activity; it is liberation from that. If it were otherwise, conceptual thought itself would be impaired.
The realization of equality with space is because it is known to be like space. The essence of all things is its own nature. These two aforementioned distinctions demonstrate that this is the nature of luminosity. It is pure because it is the nature of completely pure wisdom; it is peaceful because it is free from the obscurations of the afflictions. Because it is without obscuration, it is secluded in aspect. Its nature is supreme peace because it is the nature of unsurpassed nirvāṇa. It is to be realized by yogis alone because it is the nature of all buddhas. It is difficult to realize because it is not within the direct perception of bodhisattvas and the like. It is difficult to analyze because it cannot be inferred by them. It is of supreme benefit to oneself and others because, from it, the saṃbhogakāya arises, whereby one attains the excellence of one's own bliss, and because noble beings such as Avalokiteśvara perform the welfare of others. By this, the very nature of the saṃbhogakāya is expressed. It is pervasive because it is the nature of the infinite nirmāṇakāyas generated from the complete saṃbhogakāya. By this, the very nature of the nirmāṇakāya is expressed. It is signless because, upon entering luminosity, the signs of habitual tendencies subside, yet one arises through previously made aspirations.
Having prostrated to the Blessed One who has become such as that, the author states the introduction to the sādhana with the words beginning "The Glorious" and so forth. The connection is: "I shall describe the sādhana of the glorious Guhyasamāja Tantra, known as the Piṇḍīkṛta-krama (The Stages of the Condensed)." This is because it is for the benefit of all sentient beings in this life.
One might wonder: "Since there are already many sādhanas, what is the purpose of this one?" To this, it is said: "The meaning of the six parameters is realized." The "six parameters" (ṣaṭkoṭi) are the distinctions of explanation: explanation with indirect intention (neyārtha), explanation without indirect intention (nītārtha), literal explanation, non-literal explanation, and the nature of the definitive meaning (nītārtha) and the provisional meaning (neyārtha). That which possesses these is so described. It is through the realization—that is, the thorough knowledge—of these that I must describe [this work]. Since our explanation of the six parameters serves as the cause for explaining [the tantra], I compose this sādhana for the purpose of entering the tantra. This is to show that other sādhanas are not the means for entering the tantra.
One might then ask: "Is it not the case that those possessing realization do not engage [in practice] if there is no purpose? Therefore, what is the purpose of meditating on the stages of the Piṇḍīkṛta?" Anticipating this doubt, the author speaks two verses dedicated to showing the purpose, beginning with "Conceptualization" (vikalpa) and so forth. "Conceptualization" (vikalpa) refers to ignorance (avidyā), because it conceptualizes and establishes the meaning of non-existence. That itself is the "habitual tendency" (vāsanā), because it is the producer [of cyclic existence].
The faults arising from that are the faults of the habitual tendencies of conceptualization, such as attachment and so forth. Since these cause the three realms to be deluded, one should observe how they arise. "Yoga Tantra" refers to the Saṃpuṭa and so forth. One should understand that the specific characteristics of meditating on the sādhana taught therein are also to be expressed by the term "Yoga Tantra," because they are present as inseparable. It is connected [to the phrase]: "That Yoga Tantra should purify."
"Desires" refers to forms and so forth. Having completely abandoned those, one should not torment oneself with austerities such as changing one's clothes or shoes three times a day. If one does so, one will become miserable; however, enlightenment is to be accomplished through bliss. If one asks by what means, it is by following Yoga Tantra. Here too, the meaning of the term "Yoga Tantra" is as before; it is "following" it, meaning practicing in accordance with it. It is said that by meditating on the form of the deity, all of this is purified and then engaged with; furthermore, faults are to be treated by realizing them as the very nature of the deity.
The purpose of this sequence in the Piṇḍīkṛta-krama is as follows: for that reason, "abiding in the vows" means being unstained by gross downfalls and the like. For that very reason, at all times, one is indivisible from the fault of violating the samaya. "Constantly possessing the ascetic observances" means possessing the ascetic observance of insight (prajñā).
By means of the vajra of body, speech, and mind; the sādhana of Vajrasattva is what is called "meditation," for it is by this that one accomplishes [the goal]. The particle ni is used for emphasis and to indicate a specific sequence, as the intention is to consider the necessity [of the practice]. Having thus taught the preliminary branches of engagement for one who possesses the necessary purpose, the location for practice is stated as "in a great forest and so forth." The regions of a great forest are supreme because they are captivating due to water sources and the like. [One should practice] on mountains adorned with flowers, fruits, and so forth, or in places secluded from people, as well as in other solitary locations. That in which all mundane and supramundane siddhis are perfectly gathered and held is the "gathering of all siddhis," which is buddhahood itself. "Practice" means that which is to be accomplished. If one asks how it is to be accomplished, it is stated: "on a soft seat," and so forth. The meaning of this first half-verse is as follows: in this tantra, a practitioner engaged in meditation should rise from their seat at dawn, perform the washing of the face and other rites, and then, in a pleasing area of ground anointed with fragrant substances and the like, assume the sattvaparyaṅka posture. In the center of a maṇḍala made of cow dung and so forth on the ground in front of them, they should immediately visualize the Blessed One Vajrasattva—possessing the colors, hands, and symbols to be described—seated together with his retinue. Having made offerings to him according to their means,
In his presence, one should perform the confession of misdeeds and so forth, as well as the meditation on great compassion. Following that, it is said: "Abiding in the samādhi of Dveṣavajra, one should visualize the protection of the site." The meaning of this is as follows: through the superior resolve in emptiness, one eliminates ordinary pride. For a moment, one meditates on oneself as Vajrasattva—white in color and so forth—abiding in the center of the protection wheel, together with Prajñā. Through the activity of movement and so forth, the bodhicitta that has fallen into the lotus of Prajñā is generated as the nature of the maṇḍala circle. Then, by reciting the mantra vajra-dhṛk, one visualizes Akṣobhya—black in color, with three faces and six arms, and possessing the characteristics to be described—seated in front of oneself. As he enters into oneself in the manner of water into milk, one should meditate on oneself as the nature of Dveṣavajra, the color of sapphire. Then, from that bodhicitta, one should recite ten long hūṃ syllables and emanate the wrathful deities into the ten directions; this is what the Teacher expresses in the passage beginning with "possessing blazing light." Since they arise from the hūṃ syllable and also abide upon sun disks, this is a compound of specific attributes. The ten directions are the gates of the maṇḍala, such as the east and so forth; they should be emanated in sequence, without deviating from whichever gate corresponds to each.
"In that way" means according to the sequence previously described. "Should be contemplated" means should be meditated upon. By the words "blazing with light, terrifying," and so forth, it is implied that all obstructors are to be cleared away. Now, the piercing with the ritual stake (kīla) is taught by the words "all obstructors" and so forth. The purpose of destroying the obstructors such as Indra and the rest is to diminish their power. One should visualize that the wrathful king Sumbharāja, who resides in the downward direction, places a second emanation of Sumbharāja in his own place and comes before him to receive commands in the manner of a servant. Then, with the mantra oṃ sumbha, one should issue the command for the purpose of piercing with the stake. Then, having received the command, the king Sumbharāja goes to the ten directions, pierces the hearts of the lords of obstructors with iron hooks, binds them by the neck with nooses, leads them back, and delivers them to the ten wrathful deities. To demonstrate this very point, it is said: "By this form of the wrathful one," and so forth. "In that way" means by the manner just mentioned. "By the application" means by reciting the mantra that is about to be explained. "According to the ritual" means by the ritual of piercing with the stake that is about to be explained. To show that very point, it says "Vajrāmṛta" and so forth.
Amṛtakuṇḍalī places a second emanation at the northern gate and visualizes himself as the manifestation of the ten kīlas. Regarding the passage beginning with "from the region of the navel of the one described in the form of the kīla" and "three faces," the face of the principal deity is blue in color, the right is white, and the left is red, each with three eyes. As for the six arms, the right hands hold a crossed vajra, a wheel, and an utpala lotus. The left hands should be understood as holding a heart-center threatening gesture (tarjanī) together with a noose, a bell, and a battle-axe.
Now, the Teacher explains how and by whom the kīla is to be driven, beginning with the words "below" and so forth. King Sumbharāja has black, white, and red faces, each with three eyes, making him most terrifying. He is crowned with Akṣobhya, and each face has three eyes. In his right hands, he holds a vajra hammer, a wheel, and a jewel. In his left hands, he holds a lotus and a khaṭvāṅga, while the heart-center threatening gesture together with a noose is held at the chest. Having driven the vajra-kīla into the crowns of the hosts of obstructors dwelling in the ten directions, one should recite the mantra beginning with "Oṃ gha gha" and strike with the vajra hammer, pinning them with the kīla as far as the soles of their feet; such is the meaning of the verse. The mantra itself is shown by the words beginning with "Oṃ." The nature of King Sumbharāja as previously described is stated by the words beginning with "King Sumbharāja."
Now, to show the activities performed by the wrathful deities, the other activities are taught as follows: "One should also visualize the vajra fire," and so forth. One should visualize that the ten wrathful deities already emanated have caused the obstructors to flee in the ten directions, and that they are being burned by the blazing tongues of fire emanating from the bodies of the wrathful deities themselves. Immediately following that, one should strike with kīlas in the ten directions using the previously mentioned Sumbharāja. Having struck them with kīlas, one should also consecrate the upper and lower regions. The sequence for this is as follows: having visualized outside four enclosures of the nature of iron, water, fire, and wind—black, white, red, and blue respectively—by means of the syllables ṭakki hūṃ ja in their respective order; and having visualized a white bhrūṃ above which is a vajra net like a stūpa resting upon the iron enclosure, with the three syllables serving as armor of extremely fierce color; and having visualized a black hūṃ as the nature of a crossed vajra for the ground portion. Having thus consecrated it, one should enter into the clear light. To show this, it says "the three realms of existence," and so forth. The "three realms of existence" are the three worlds. "Ultimately" means by way of the nature of clear light. This is an illustration; it means that the protection wheel should also be viewed as lacking intrinsic nature, and one should meditate on everything as being of the nature of clear light. This, too, is the protection wheel.
Now, the meaning of what is to be placed in the mind and meditated upon as luminosity is explained. Regarding the teaching: "In non-existence," and so forth. If all things, both stable and moving, were non-existent, there could be no meditation, because there would be nothing to be meditated upon. Furthermore, any meditation on existence is itself non-meditation, because even without meditation, existence [as an object] is absent. Thus, in that manner, any entity possessing both existence and non-existence becomes essence-less. Therefore, meditation is not perceived. This is an illustration; one should understand that the meditator and the object of meditation are also not perceived. To express this very point in verse, it says: "The nature of the stable and moving," and so forth. "The stable and moving" refers to the nature of the environment and its inhabitants, which are non-existent, and so on. With this verse, one meditates on the emptiness of entities. Having meditated on that, one should meditate on the ground of vajra nature; to explain this purpose, it says: "By this yoga of accomplishment," and so forth. This refers to the yoga of accomplishment that will be explained immediately. It is called "accomplishment" because it is that which is to be accomplished—the maṇḍalas of wind and so forth. The "yoga" of these is the meditation on that samādhi, and by means of that. Regarding "the ground of wisdom," the ground of vajra nature produced by the gathering of the four maṇḍalas is the "ground of wisdom."
Meditation is the nature of cognition. Blessing is the generation. That which demonstrates this begins with the words "two HŪṂs" and concludes with "the maṇḍala of the vajra ground arises; having gathered the foundation of the maṇḍala." One should meditate on the wind maṇḍala, which is bow-shaped and blue in color, situated in the center of the space element. This is to be meditated upon in the center of space. Furthermore, that [wind maṇḍala] is born from the seed-syllable YAṂ between two HŪṂs; it is the complete transformation of a blue syllable YAṂ situated between two black HŪṂs on either side. "Possessing two vajras" means it is marked by two black five-pronged vajras generated on the two sides of the two syllables HŪṂ themselves. Above that, one should meditate on the fire maṇḍala, which is triangular and red in color. The phrase "two HŪṂs, a sword," and so forth, is as before; the distinction is that the seed-syllable is red. Above that fire maṇḍala, one should meditate on the water maṇḍala, which is circular and white in color. In that regard, the phrase "from the two HŪṂs and the seed-syllable VAṂ," and so forth, is as before; the distinction is that the seed-syllable is white in color. Above that water maṇḍala, one should meditate on the earth maṇḍala, which is square and yellow in color. The phrase "the two HŪṂs and the seed-syllable LAṂ," and so forth, should be explained as before.
One should understand that the seed syllable is yellow in color. Having visualized all of this, one should meditate on the maṇḍala of the vajra-nature earth alone, formed by the condensation of the four maṇḍalas. To show that one should meditate on a multi-storied palace within that meditation, the text begins with the words "Therein..." and concludes with "...adorned with yak-tail whisks and so forth."
Within that portion of the vajra-nature earth, one should visualize a white, triangular source of phenomena (dharmodaya) arisen from the complete transformation of the syllable A. In the center of its opening, from the multicolored seed syllable Baṃ, a multicolored lotus arises. At its hub, from the complete transformation of a multicolored syllable Hūṃ, one should visualize the hub of a multicolored vajra, which is the nature of Vairocana, marked by a white syllable Bhrūṃ. From the complete transformation of that, one should meditate on the multi-storied palace; this is the intended meaning.
Having thus visualized such a supreme palace, which transcends those of gods and humans, upon the maṇḍala of the earth, and having established the seats of the moon, sun, and so forth upon the multicolored lotus according to their respective positions, one should meditate on the generation of the three vajras preceded by the complete foundation. Thus, it is taught that one should abandon the ordinary pride of oneself and, in an instant, meditate on oneself as the nature of Vajradhara, surrounded by the deities of the maṇḍala. To show this, the text begins with "One should be endowed with the mudrā..." and continues with "Above, one should visualize in that way."
The phrase "thus" refers to the ultimate. Since all of this is easy to understand, it is not explained here. These [details] regarding the hand implements, colors, symbols, and the four seats are to be described at the time of emanating the maṇḍala, and therefore are not taught in this context. Immediately following that:
"In brief, the five aggregates are renowned as the five buddhas. The vajra sense bases themselves are the supreme maṇḍala of the bodhisattvas. Earth is said to be Locanā; the water element is said to be Māmakī; fire is called Pāṇḍaravāsinī; and wind is renowned as Tārā. The mantrin should meditate upon the deities through forms, sounds, and so forth."
Having thus realized the meaning of the tantra, the Teacher spoke the words "according to the ritual" and so forth, to show that all things thoroughly meditated upon through devotion should be inserted into the body maṇḍala. "According to the ritual" means arranging [the deities] in the directions such as the east without deviating from the proper sequence. "By means of the union yoga" means that the very inclusion of those [deities] within the aggregates of form and so forth is the "union," and that is the meditation of the samādhi of yoga; by that, one should insert [them] into one's own body, which has become the nature of the lord of the maṇḍala.
If one asks, "What should be done after that?" it is said: "Relying on the body maṇḍala," and so forth.
Just as it is, one should contemplate and arrange those buddhas who reside in the wheels of the body according to the manner that will be explained. When they have entered the external maṇḍala as the maṇḍala of the body, all the tathāgatas—whose nature is fully established as subtle particles—act as that ultimate wheel; thus, one should cause them to enter the clear light and meditate upon their entry.
To demonstrate this very point, it says: "If the assembly of tathāgatas is slain." The "assembly of tathāgatas" refers to the wheel of the tathāgatas and so forth, which is the essential nature of the aggregate of form and so on. "Slain" means to dissolve them into suchness. If that is so, then the "siddhi"—the Great Seal and so forth—is attained; this is the meaning of "arising." One will obtain and find that.
This is the root cause. The definition of this meaning—the entry into the clear light preceded by the entry of the tathāgatas and so forth into the aggregate of form and so forth—is extracted and analyzed by the Blessed One himself, just as it appears clearly in the explanatory tantra known as the Vajramālā.
If one asks how it is analyzed, it says "just as." Regarding "the aggregate of form," Vairocana is the essential nature of the aggregate of form; he is included within the aggregate of form. When the mirror-like wisdom is realized, it is Yamāntaka.
They are gathered in the left hand. The earth element is Locanā, and it is gathered in the earth. The eye faculty is Kṣitigarbha, and it is in the two eyes. Form is Rūpavajrā, and it is in all forms. Regarding the phrase "endowed with the wrathful and Maitreya": the wrathful one is Acala, who is on the right rib. Maitreya is at the head. By this, the gathering of the deities residing in the eastern direction along with the intermediate points is established. The aggregate of feeling is Ratnasambhava, and it is gathered within the aggregate of feeling. Equality is Ākāśagarbha, and it is in the nose. The water element is Māmakī, and it is in the waters. The ear faculty is Vajrapāṇi, and it is in the two ears. Sound is Śabdavajrā, and it is in all sounds. Regarding the phrase "perfectly endowed with two wrathful ones": these are Ṭakkirāja and Prajñāntakṛt, who are respectively on the left rib and the left hand. By this, the inclusion of the deities residing in the southern direction along with the intermediate points is described. Perception is Amitābha, and it is within the aggregate of perception. Discriminating awareness is Mañjuśrī, and it is in the mind. The consumer of oblations is Tārā, and it is in the fire element. Regarding the term "nose faculty," this is an illustration by means of the nose, and it should be understood as the tongue. Thus, by the term "nose faculty," the tongue faculty is intended; since the mind and the tongue faculty are Lokeśvara, one should see that this establishes the meaning: "it is gathered in the tongue."
Smell is Gandhavajrā; she is in the smells. "Endowed with two wrathful deities" refers to Nīladaṇḍa and Padmāntaka, who are in the right knee and the mouth, respectively. This describes the deities residing in the western direction along with the intermediate points. Formative factors are Amoghasiddhi; they are gathered in the aggregate of formative factors. The All-Accomplishing Action is Samantabhadra; he is gathered in all the joints. Wind is Tārā; she is in the wind element. Regarding the "tongue faculty," because it is not for the sake of the [other] elements, it is said to "experience and touch"; thus, by the term "tongue faculty," the faculty of touch is intended. Therefore, it should be understood that Sarvanīvaraṇaviṣkambhin is gathered in the entire body. Taste is Rasavajrā; she is in the tastes. "Endowed with two wrathful deities" refers to Mahābala and Vighnāntaka, who enter the left knee and the vajra, respectively. This demonstrates the gathering of the deities residing in the northern direction along with the intermediate points. "Endowed with the wrathful deities of above and below" refers to Uṣṇīṣacakravartin and Sumbharāja, who are gathered in the crown of the head and the two ends of the feet, respectively. "Appearing as the very nature" means that the Blessed One perceives the aspect in which things appear as the very essence of the Blessed One’s own nature.
The form of the Blessed One, which appears as the natural state, is the abiding of the aggregate of consciousness. By this, it is shown that the gods and goddesses also enter into the clear light. This should be understood as the pith instruction known as "the subsequent entry." Now, with the latter half of the verse, the synonyms for the clear light are spoken in order to pacify delusion; this is done by the words "nirvāṇa" and so forth. The term "is expressed" means it is proclaimed by means of the word. Having thus briefly described the entry into the clear light, the secret mantra is spoken for the purpose of stabilizing the generation of the supported [deity] and for the purpose of making it firm; this is expressed by the words "for the purpose of stabilizing" and so forth. "This" refers to the mantra just mentioned, namely "oṃ śūnyatā" and so forth. If one asks for what purpose the supported is to be generated, it is as stated in the words "this is the ultimate maṇḍala" and so forth. Because this is the ultimate—the uncontrived, coemergent maṇḍala—it is the union characterized by the absence of appearance and free from the three impure appearances of the clear light; it possesses the nature of the kāya and is the cause or the sign. For that very reason, it is the abode of all Tathāgatas, the foundation, and is also called the ultimate truth.
Thus, the ultimate truth is also widely renowned by the name "truth"; therefore, having made the purpose of mindfulness the objective, one should generate the support. In that way, when all the stains of faults have been washed away by focusing on emptiness, the statement "one should generate the nature of Vajrasattva Mahāmudrā through this sequence" is spoken for the sake of stability: "The mantra and..." and so forth. The application which is the nature of the Mahāmudrā body arising from the syllables of the mantra, through the impetus of previously made aspirations, is the emergence of the visualization of the deity; its accomplishment is also to be shown, and it should be brought forth by the words "immediately thereafter" alone. If one asks how, it is said: "The space..." and so forth. The space element is the internal stage, because it is empty of deities and thus shares the same characteristics as space. In its center, one should meditate on a sun mandala, slightly reddish like a ripened Jambu fruit, born from the syllable HŪṂ. In its center, one should contemplate a white moon, the complete transformation of the white syllable OṂ. Immediately thereafter, one should meditate on an eight-petaled lotus generated from a red A upon that moon, and place those very three seed-syllables upon the center of the lotus; this is the pith instruction. From "The mantra, lotus, and sun..." up to "one should begin the subsequent yoga," the meaning is easy to understand. If one asks what that subsequent yoga is:
Regarding the expression "in the center of the moon" and so forth: in the center of that very moon, which is the nature of the dharmadhātu, one should arrange the three seed syllables previously mentioned. From the transformation of those two, one should meditate on a vajra that symbolizes the five aspects of manifest enlightenment (abhisambodhi). Then, from the total transformation of that, one should meditate on Vajrasattva; this is the summarized meaning. Thus, for the time being, having meditated on Vajrasattva, the birth of Vajrasattva has been shown.
Furthermore, when one wishes to meditate on Vairocana and the others as the principal deities, at that time one should meditate on the symbols of those [deities] arising from the total transformation of the three seed syllables upon the moon maṇḍala. In their respective places, one should visualize Vajrasattva as just described. Even if, during the previous occasion of meditating on the maṇḍala of conviction, the union of Vajrasattva with Vajrā was shown, those who are devoted to this or that [deity] should meditate on the other four tathāgatas as the principal ones, each embracing the consort of insight (prajñā) according to their own nature, while Vajrasattva is placed in his own position.
In the descriptions of the purification of the elements and so forth for the other maṇḍala deities, there is no status of being the principal [deity], as it is said: "Earth is described as Locanā," and so forth. Although Vairocana and the others are also included [in the lineage], [the text continues:] ...
The Teacher spoke thus to show that, according to the context, Akṣobhya is to be entered. Regarding the phrase "entered by Akṣobhya" and so forth, this verse is also easy to understand. The four points concerning the meaning of being entered by Akṣobhya are expressed by the words "the vajra wheel" and so on; by this verse, the signs to be meditated upon in the right and left hands of the Blessed One, who is as white as the universal moon, are described.
Now, in order to show that when he has become the essence of all the deities, he will become the object of experience for all beings to be trained through the very power of the arrangement of the mantras, the placement of the seed-syllables is taught, beginning from the words "Then..." up to "...visualize the King Sumbharāja arranged." Here, the nature of the seed-syllables for form, sound, smell, and taste is jaḥ, hūṃ, baṃ, and hoḥ. The seed-syllables for the deities beginning with Locanā and ending with Samantabhadra are to be meditated upon in the color of their respective lords. All the seed-syllables of the deities are to be meditated upon as being contained within the signs that abide upon their seats, having visualized the signs and seats according to their own nature in the manner that will be explained.
The ten wrathful deities, such as Yamāntaka and the rest, are the long syllable haṃ or the ten long raṃs; one should meditate that they have fully transformed into the various parts, such as the hands, which hold their respective hand-symbols. This is the pith instruction. Thus, having for the time being completed the three yogas, it is taught that the yogin who possesses the maṇḍala of the body should meditate on the great yoga, which serves as the method for the great accomplishment.
Regarding the passage beginning with "The ritual of the aggregates and so forth," this verse is also easy to understand. If one wonders what the great yoga is, it begins from the words "the moon maṇḍala" and concludes with "by reciting these two, one should make the supplication."
The meaning here is as follows: inside the head, one should visualize a white oṃ from which an eight-spoked wheel is fully transformed. Within its hub, upon a moon, one should visualize the syllable oṃ. Through its power, one should meditate that many [deities] possessing the colors, mudrās, and signs to be described as Locanā are emanated, pervading the entire expanse of space. Following that, from that very seed-syllable, one should emanate the Blessed One Vairocana, possessing the colors, hands, and signs to be described, pervading the entire sky and residing in the center of his own wheel. The practitioner should then imagine making a supplication to him in the space before them. With devotion preceding it, the practitioner should make the supplication to the Blessed One using these two verses.
To express that very point, it says: "The glorious holder of the Buddha-body," and so forth. "Glorious" (śrī) refers to Locanā; that which possesses her is "glorious." "Buddhas" refers to the Tathāgatas residing in the three times. Because he causes their bodies to be destroyed [of conceptual elaboration] through their very nature, he is the "holder of the Buddha-body." The "three vajras" is the Great Vajradhara; one meditates on him as being indivisible and of one identity with oneself. "In me" means: may he abide and remain within my body through his blessing. The "body-vajra" is Vairocana. Having thus made the request to the Lord, the words "those residing in the ten directions," and so forth, are spoken for the purpose of requesting his retinue. The meaning of this should also be understood as before. To show what occurs when the Blessed One has been thus petitioned, it says: "together with Locanā," and so forth. Immediately upon the request being made, one should meditate on the Blessed One seated in front, who, through his emanated nature, enters into union with Locanā in that very form. Following that, through mutual passion, they become the nature of great bliss; then, in the form of white light rays, they enter the region of the practitioner's head and bless this body filled with the five aggregates—this is the summarized meaning. Then, the practitioner’s aspiration is: "Just as the body of all Buddhas is completely filled with the five aggregates, may I likewise [be filled] by the nature of the Buddha-body."
"May I also become just like that." This means: the Body Vajra is the body of all Buddhas, which is perfectly adorned by the five aggregates, such as form and so forth. As for the word "which": just as he abides by way of the nature of the thirty-two marks of a great being and so forth, so too, by way of the nature of the Buddha's body—the very essence of the body of Vairocana—may I also become just like that; that is, "may my body become so," as is to be understood from the context. To demonstrate this and to express the meaning that must be spoken without doubt, the mantra beginning with "Oṃ" is taught.
Thus, having first completed the Body Vajra, the text now shows how the Speech Vajra is to be accomplished through this sequence, beginning with the words "the lotus of the tongue" and so forth. At the moon above the root of the tongue, which has the alternative name "throat," there is a red syllable A. From its complete transformation comes a red lotus, in the center of which is a moon. Upon that moon resides the seed syllable itself, from which Pāṇḍaravāsinī emerges. One should meditate on her—possessing the color and marks to be described—emanating in the manner of radiating for the benefit of sentient beings, pervading all directions of space.
"Vajra Speech" refers to the emanation from that very seed syllable. She abides in the center of her own emanated wheel, which possesses the color, marks, and so forth to be described, and has the nature of radiating and reabsorbing. She is adorned with the marks of a great being and so forth.
The meaning of the two verses is: "One should meditate on the one who is seated in front of oneself as the object of supplication." Now, to express the meaning of the supplication, the two verses beginning with "Glorious Speech..." are recited. "Glorious" (śrī) is tara; because he possesses that, he is "Glorious." "Dharma" is so called because he is the nature of the speech of Amitābha. The phrase "indestructible vajra" and so forth is as explained previously. "Upon me" means: "Please grant your blessings and remain within my speech." "Speech-vajra" means possessing the vajra of speech. The supplication to his wheel is exactly as before. Immediately after the supplication, the blessing of the speech-vajra is described by the words beginning with "With his own lord..." The Blessed One Amitābha, possessing the colors, hands, and so forth that will be described, and being in union with the goddess Pāṇḍarā—who likewise possesses the colors, hands, and so forth to be described—precedes this with mutual passion. Then, by means of red light rays, he enters through the opening of the mouth, enters the petal of the tongue, and blesses the speech of that practitioner; this is the summarized meaning. Now, to express the prayer of aspiration, the words beginning with "Whatever speech of Vajradharma..." are used. "Vajradharma" refers to the speech of Amitābha, which is what is attained. If one asks what it is like: "definitive expression" (nirukti) refers to etymological definition.
Those who possess [these] are those with the perfection of etymological definition (nirukti). The mention of etymological definition is an illustration; by that, the dharma, the meaning, and eloquence are to be understood. My words, too, are like that; they are to be expressed in a similar manner. Regarding the phrase "becoming like the holder of the dharma," it means: "May my own [words] also become like the holder of the dharma and be similar to that." The mantra to be recited for the purpose of stabilization is "Oṃ" and so forth. Now, to show the blessing of the mind, [it says] "the mantrin at the heart" and so forth. Having visualized a blue syllable Hūṃ upon a moon maṇḍala at the heart, from which arises a five-pronged vajra, and within which resides a moon from which five-colored light rays radiate—the Hūṃ blazing with luster—one should then emanate the goddess Māmakī, whose color, hands, and so forth correspond to what will be explained, and who is of the nature of emanation and reabsorption. One should then emanate the Blessed One Akṣobhya, whose color, hands, and so forth correspond to what will be explained, and who is of the nature of emanation and reabsorption, seated in the center of his own circle of goddesses, and visualize him in front of oneself and offer a supplication; such is the meaning of the two verses. Reciting the two verses for the purpose of supplicating as before is "O glorious heart" and so forth. "Glorious" is because she is perfectly endowed with Māmakī. "Vajra-like mind" is the Mind-Vajra (cittavajra).
This is because he is unstained by either saṃsāra or nirvāṇa. One who possesses such a mind is the Mind Vajradhara, Akṣobhya. The remainder is as before. Likewise, the supplication to his maṇḍala is also exactly as before. Having thus made the supplication, in order to show what is to be meditated upon, it is said: "together with the Mind Vajra," and so forth. The Blessed One Akṣobhya, whose nature is that of the emanated self, possessing the colors and so forth to be described, and together with Māmakī, whose nature is that of the emanated self and who possesses the colors and so forth to be described, having entered into union and experienced the nature of great bliss through mutual passion, one should bless the mind by causing black light rays to enter the moon at the heart; such is the meaning of the verse. Later, the statement "one should make an aspiration" is expressed by the words "Samantabhadra," and so forth. Samantabhadra is Akṣobhya. Regarding the term "Secret Lord" (Guhyendra): "Secret" (guhya) is non-dual wisdom. That which expresses it is "secret" (guhya). The syllable ka refers to the earth element. Because he exercises mastery, he is the "Lord" (indra), the supreme sovereign. He is the lord of those who reveal the luminous; the meaning is that he is the principal among those who reveal reality. "The Wise One" (Buddhimat) is in perfect union with Sparśavajrā.
The prayer is: "May my own mind also become just like that mind, which is similar to and equal to the Vajradhara." The mantra for blessing the mind is oṃ and so forth. Having thus first performed the individual blessings, the explanation of blessing the entire self is given with the words "In that way" and so forth. This verse is also easy to understand. The pith instructions for the blessing are also the same as for the individual blessings. The mantra is also oṃ and so forth.
Having thus meditated on the samayasattva, the teaching for the purpose of meditating on the jñānasattva is: "Having been blessed in that way, I..." and so forth. This means that, through the sequence already described, having been blessed individually and collectively by the Tathāgatas, one should contemplate: "Abiding on a moon maṇḍala," which, according to the previously explained method, is preceded by the complete transformation of the seed-syllable and the hand-symbol. This is the causal Vajradhara, who possesses the alternative name "samayasattva," is characterized by the vajra and bell, sits upon a moon seat, and is endowed with the six hand-symbols—the vajra and so forth—as previously described.
In his heart, one should meditate on a jñānasattva who is identical to oneself in form and so forth, but red in color. In his heart, one should place a blue syllable hūṃ upon a moon maṇḍala.
When one is empowered as the nature of the three beings (sattva-traya) known as Mahāyoga, one should meditate on oneself as possessing the crown of Akṣobhya. Having thus meditated on the yoga, the great accomplishment (mahāsādhana) is taught with the words "In that way" and so forth. "By this application of accomplishment" means by this ritual of accomplishment that is about to be explained. It is called "great accomplishment" because it accomplishes the great ones, such as Vajradhara and others. "Accomplishment" refers to the performance of the conduct and so forth, together with its branches; it is that which is to be undertaken. Now, to lay the foundation, the words "Form" and so forth are spoken. "Feeling" refers to the conduct that gladdens and transforms the minds of all sentient beings through the teaching of the Dharma and so forth. "Well-consecrated" means that an external woman, having been purified by the manner of bestowing the poṣadha vows upon oneself or others, is generated as the nature of Sparśavajrā through the three syllables—white, red, and black—just as Vajrasattva is generated. Having aroused her and embraced her, one should undertake the great accomplishment; this connects to the previous section. Now, to teach the assembly of the five families in sequence, the words "The syllable OṂ" and so forth are spoken. The syllable OṂ is the white syllable A, the life-force, residing on the moon at the center of a white wheel, which is the complete transformation of the white life-force upon a moon at the crown of the head.
Upon the moon at the base of the tongue is a red syllable A, from which a red lotus is completely transformed; in the center of its hub, upon a moon, resides a red syllable A. Regarding the phrase "the first Hūṃ": at the heart, upon a sun maṇḍala, is a blue syllable Hūṃ, from which a blue five-pronged vajra is completely transformed; in the center of its hub, upon a sun, resides a blue syllable Hūṃ. Regarding "at the navel, Svā": at the navel, upon a moon, is a yellow syllable Sva, from which a yellow jewel is completely transformed; upon that jewel resides a yellow syllable Sva upon a moon. Regarding "at the two feet, Ha": on the two thighs, upon moons, from two blue syllables Ha, two crossed vajras with light rays are completely transformed; one should place two blue syllables Ha upon the two moons residing in the centers of those two vajras. All these seed syllables are to be meditated upon as having the color of their respective principal deities, either actually or through visualization. Regarding "Locanā and so forth," this refers to the four goddesses, Locanā and the others. Within the four elements, earth and so forth, one should meditate on the nature of the seed syllables such as Moha Ratī, residing upon moon maṇḍalas in the centers of their respective symbols. Regarding the phrase "the goddesses, Vajrarūpā and so forth," this refers to Vajrarūpā, Vajraśabdā, Vajragandhā, and so on.
Rasavajrā and the Bhagavatī [Prajñāpāramitā] should be meditated upon as the nature of their respective seed-syllables, abiding in the center of a moon disk within the center of the letter Mā, according to the method to be explained, in relation to the external and internal forms, sounds, smells, and tastes. Regarding the phrase "those such as Kṣitigarbha and so forth," this refers to the nature of the apprehenders abiding in the sense faculties such as the eyes, which are the seed-syllables of Kṣitigarbha, Vajrapāṇi, Ākāśagarbha, and Lokeśvara; one should meditate on those such as Rūpavajrā as being in union with them, as they are the objects of apprehension. As for the other four Bodhisattvas—Maitreya, Mañjuśrī, Sarvanīvaraṇaviṣkambhin, and Samantabhadra—they should be meditated upon as abiding in the nature of their seed-syllables respectively in the head, the mind, the body, and the joints. Regarding the phrase "the right hand" and so forth, the goddesses of the ten wrathful deities should be meditated upon in the locations of the limbs of Sparśavajrā, purified from long blue HŪṂ syllables, just as before, similar to their respective lords and hands; this is the meaning of the practice. The seed-syllables of these deities, beginning from Kṣitigarbha and ending with Dharaṇīndhara, should be meditated upon upon the sun and moon disks abiding in the center of their respective emblems.
The specific distinction is that Vajravettālī and the others are to be meditated upon as entities entirely transformed from the seed-syllable of the earth element. Having thoroughly purified that goddess in the manner already described, and having arranged her as a goddess and so forth, the ordinary nature of the woman is abandoned. Then, the yogi, possessing the yoga of Vajrasattva, should "commence the union of the vajra and the lotus"; this means that as soon as the vajra and lotus have been transformed, one should commence in the manner that will be explained. This, for the time being, is the description of the complete purification of the external woman. If no external woman is present, then this very purification should also be performed upon Sparśavajrā, who resides in conceptual thought.
Now, to describe the complete union of the vajra and the lotus, beginning with the words "The mantrin..." and ending with "thereafter, one should commence the practice." Having visualized a dark blue syllable HŪṂ as one's own mark, a five-pronged black vajra endowed with five-colored light rays, one should place the white prāṇa (vitality) upon its central prong. Furthermore, within its source of phenomena (dharmodaya), one should meditate on a red eight-petalled lotus, transformed from a red syllable A. This is the summarized meaning. Then, with the mantra OṂ SARVA TATHĀGATA and so forth, possessing the divine pride of Ratnasambhava, and preceded by mutual passion, one should perform embracing, kissing, and so forth.
Then, to show that one should perform the movement by means of this very pride, the Teacher said: "By the song of the syllable HŪṂ," and so forth. By reciting the many forms of the song of the syllable HŪṂ and inserting [the mind] into the vajra-lotus, one should perform the movement—that is, cause the emission—possessing the pride of Ratnasambhava. Then, having gradually realized the two joys, when the third joy is generated within the vajra-jewel, one should block [the emission] by visualizing the two syllables that obstruct the opening at the tip of the jewel and recite these very two syllables; such is the meaning of the verse. Then, the deities of the body maṇḍala, having experienced the coemergent bliss, descend into the lotus in the form of bindus through the channel of the root. By this, it should be understood that the fourth joy is also truly generated. Then, to show that one should make offerings to all the Tathāgatas with the bodhicitta that has become visible, he said: "Even at the end of the emergence," and so forth. This refers to the purpose of accomplishing the emanated bodhicitta. The mantra is "OṂ," and so forth. Now, the deities of the maṇḍala are to be emanated by the nature of Dveṣavajra; therefore, to abide in the state of Dveṣavajra, he said: "The syllables of one's own mantra," and so forth.
One's own mantra syllable is the mantra vajradhṛk, from which [the deity] is born, being black in color. Regarding the "consecration by the three vajras," this refers to the consecration by the three syllables oṃ āḥ hūṃ, which are the nature of the Body Vajra and so forth, abiding at the head, throat, and heart. Having generated oneself in the nature of Vajradhara within the lotus—that is, within the womb of the Mother Lotus—one should immediately generate [oneself] again as Hatred Vajra. If one asks how to generate and meditate upon him, it is as follows: vajradhṛk. "Akṣobhya" means "unshakeable," which is Vajrasattva. He is the one who has that as his crown ornament; thus he is so called. "Possessing faces blue, red, and white" means the principal face is blue, the left is red, and the right is white. "Vajra" refers to a blue five-pronged vajra. "Wheel" refers to a yellow eight-spoked wheel. "Bell" refers to a white one possessing sound. "Wish-fulfilling jewel" refers to the wish-granting gem that fulfills the intentions of all sentient beings. "Sword" refers to a blue, blazing sword with a hilt adorned with great jewels and so forth. This demonstrates the nature of the six universal monarchs. This should be understood as applying to the other members of the maṇḍala and to the causal Vajradhara as well, as appropriate.
Therefore, the Blessed One who has become such should be meditated upon. If one asks what this Blessed One does, it is said: "This one..." refers to the Blessed One Akṣobhya, who from the heart—that is, from the nature of the minds of all the Tathāgatas—descends into the lotus of the consort. From the bodhicitta, the mantra vajradhṛk arises; having been extracted, he gazes throughout the ten directions. This means that having looked with the divine eye upon all sentient beings dwelling in the ten directions, he performs all the miraculous displays of a Buddha, such as blazing and radiating light, and turns the wheel of Dharma according to their respective inclinations. Thus, he abides as the Vajra of Hatred; having purified those sentient beings whose minds are afflicted by great hatred and having rendered hatred completely pure, he returns and sits before the practitioner, who is the Vajra Protector, the very nature of Vajrasattva.
If one asks what the practitioner should do next, it is said: "Then the mantrin..." and so forth. Having placed him who is sitting in front into one's own heart, one should meditate. If one asks in what form he should be meditated upon, it is said: "The previous form..." and so forth. Having completely transformed and abandoned the previous form of Vajradhara, which was white in color, and having come to abide in the state of the Vajra of Hatred—the nature of Akṣobhya—one becomes oneself black and blazing like an indranīla gem.
The bodies are brilliantly radiant with light rays emerging from the pores of the skin. Regarding the phrase "abiding in the center of a sun maṇḍala": it means abiding upon a sun disk located at the hub of a five-pronged vajra, which is of the nature of a blue syllable HŪṂ, which in turn arises from a blue syllable HŪṂ situated within a multicolored lotus. He is embraced by his own mudrā, Sparśavajrā, meaning she is closely embracing him by the neck. He is adorned with all ornaments, such as a crown and a belt, which are embellished with jewels, pearls, and so forth. One should meditate on the beauty of his three faces, which have the nature of the fierce [deities] and so on; this connects to the previous [text].
In that way: "Abiding in the samādhi of Dveṣavajra, one emanates the maṇḍala." "All maṇḍalas" refers to all the deities of the maṇḍala. If one asks how they are emanated, it is said: "By means of JINAJIK and so forth." Regarding the phrase "arisen from the mantra JINAJIK": it refers to the white mantra JINAJIK produced from the bodhicitta that has fallen into the lotus of the consort. Then, from that, an eight-spoked white wheel is generated. In the center of its hub is that very white-colored mantra; because it is generated by that very mantra which possesses the [appropriate] sign, it is "arisen from the mantra JINAJIK." In the same way, this applies to the other deities of the maṇḍala and also to the previously mentioned Dveṣavajra.
One should understand that the deity is to be generated by visualizing the signs and seed-syllables according to their respective identities and colors. Regarding the phrase "faces white, red, and black," the principal face is white, the right is black, and the left is red. As for the "wheel" and so forth, the colors and natures of these five signs—excluding the lotus—are exactly as previously described. Because desire is a partial aspect of delusion, it is taught that these [deities] are ultimately of that same nature; thus, the eight-petaled lotus is white in form. "From the heart" is as before. "In the eastern moon" refers to the center of an eight-spoked wheel generated by a white syllable OṂ, which is itself generated by a white OṂ syllable resting upon a multicolored lotus. This wheel is adorned with a moon maṇḍala. "Seated" should be understood as Vairocana. Thus, the emanation of Vairocana has been described, and that of Akṣobhya was already explained. Now, for the purpose of explaining Ratnasambhava, it is said: "Ratna-dhṛk," which is easy to understand. Regarding "yellow," the central face is yellow, the right is black, and the left is white. The colors and natures of these five signs are also as before. Because desire and avarice are [aspects of delusion], it is taught that he is of that nature; thus, the lotus is yellow in color. "From the heart" is as before. "In the center of the jewel" means:
Upon a moon disc arising from a white syllable OṂ at the center of a multicolored lotus, there is a moon disc situated in the center of a jewel generated by a yellow syllable SVĀ. Regarding the phrase "should be seated," the name Ratnasambhava is to be supplied from the context. Now, in order to show the emanation of Akṣobhya, it is said: "Arising from the mantra ĀROLIK," and so forth. "With the luster of a ruby" means red in color. "Red, black, and white" refers to the central, right, and left faces, respectively; the rest is easy to understand. The colors and natures of the five insignia are as before. The lotus is the color of the principal deity. Regarding the phrase "as before" and so forth, it means having emerged from the heart and performed the emanation and reabsorption. "In the lotus" means upon a moon maṇḍala situated in the center of an eight-petaled red lotus, which arises from a red syllable Ā, itself situated upon a moon disc generated by a white syllable OṂ within the multicolored lotus. Regarding the phrase "should be seated," the name Amitābha is to be supplied here as well. Following that, in order to describe the emanation of Amoghasiddhi, it is said: "Prajñādhṛk," and so forth, which is easy to understand. "Green" means the central face is green, the right is black, and the left is white. Regarding the "sword," here too the colors and natures of the five insignia are as before. Because he is intended to be the very embodiment of desire and envy, the lotus is green.
Regarding the term "variegated vajra" (viśvavajra): it refers to the moon situated upon the center of a variegated lotus, which is generated from a blue syllable hā resting upon a moon that has arisen from a white syllable oṃ. Here, the term "abiding" should also be understood as "Amoghasiddhi." The purpose of meditating on these five Tathāgatas is stated in the passage beginning with "hatred" and so forth, which is easy to understand.
Now, the emanation of the four goddesses is described, beginning from the mantra "moharati" and ending with "abiding in peace." This should be explained in the same manner as the emanation of the four Tathāgatas. Regarding the symbol of Tārā, the word "utpala" refers to a red lotus, for the purpose of indicating that she is the object of passion. For the others, Locanā and so forth, the utpala is used to indicate that they are the objects of jealousy; thus, this is the distinction from the former. In this way, all of this describes the emanation of the deities of the inner circle.
The emanation of the deities of the second circle is described in the passage beginning with "in the second circle" and so forth. To state what their respective locations are, it says: "The lovely Vajrarūpā," and so forth. Vajrarūpā is Pāṇḍaravāsinī. She is generated from the white seed syllable known as the three syllables, which rests upon a moon arisen from a white oṃ atop a lotus belonging to the Variegated Lotus (viśvapadma). She is generated from the transformation of the essence of the seed syllable into a white mirror.
He is marked by six arms and Vairocana. The two primary hands hold a mirror. The faces situated to the left, right, and center are blue, red, and white. Other attributes, seats, and activities are the same as those of Moharati. Having generated her within the lotus of the woman, she should be placed in the direction of fire; this is the meaning of the phrase "should be placed."
Likewise, the other three goddesses—Śabdavajrā, Gandhavajrā, and Rasavajrā—also arise from the three syllables yellow, red, and blue, which rest upon a moon disc transformed from a white Oṃ. They hold a yellow lute, a red conch vessel, and a blue vessel of flavors. Having been fully transformed from those containing the essence of the seed-syllables, they are beautified by Ratnasambhava, Amitābha, and Amoghasiddhi, and possess faces similar to their respective lords. Regarding the other activities of holding the aforementioned attributes in their primary hands, they are similar to Māmakī, Pāṇḍaravāsinī, and Tārā; they are to be arranged in the directions of Nairṛti, Vāyu, and Īśāna. To demonstrate this, it is said, beginning with "Vajratārā" and ending with "the remainder is just like Tārā." All of this is easy to understand.
The nature of Sparśavajrā, who is accomplished together with the Blessed One, is described as "embracing Vajrasattva," and so forth; this verse is also easy to understand.
In order to teach the other deities of the second stage, it is said: "From the eastern direction of the second stage," and so forth, up to "should be emanated in the northern direction." This is easy to understand. The emanation of these eight bodhisattvas, who abide upon moon maṇḍalas at the centers of various lotuses and are born from the complete transformation of their respective seed-syllables and hand-symbols, should be understood as being the same as before; this is the concise instruction. Now, in order to show the nature and other attributes of these eight bodhisattvas just mentioned, it is said: "These [deities] wear their respective crown ornaments," and so forth. The crown ornaments of Maitreya and Kṣitigarbha are Vairocana. Vajrapāṇi and Ākāśagarbha wear the diadem of Ratnasambhava. Lokeśvara and Mañjughoṣa have the Protector Amitābha as their crown. Sarvanīvaraṇaviṣkambhin and Samantabhadra have Amoghasiddhi as their lord. Regarding "colors and so forth," this refers to white and other colors, as well as the three faces and the wheels and other symbols situated upon moon maṇḍalas, which are similar to those of Vairocana and the others. Likewise, the six arms and the hand-symbols such as the vajra are also similar to those of Vairocana and the rest. The specific distinction regarding the hand-symbol of Maitreya is taught by the words "Maitreya alone," and so forth.
If one wonders what is accomplished for the practitioner and others by meditating on these, it is said: "Exerting the divine eye and so forth," and so on. This means that by meditating on the purification of the eyes and other sense organs of the practitioner, those very organs are thoroughly cleansed; likewise, through miraculous power, the eyes and other organs of other sentient beings dwelling in the three realms are also thoroughly cleansed—this is the intended meaning. "One should cause them to sit upon the seats" refers to the wheels and other seats previously described for Vairocana and the others. In that way, for the time being, all eight bodhisattvas are emanated. Now, the emanation of the ten wrathful deities for the purpose of expelling obstructors is taught with the words "Yamāntakṛt" and so forth. Their emanation is like that of Vairocana; one should understand that they are produced from the blue syllable Yamāntakṛt within a lotus. "With faces black, red, and white" means the central face is black, the left is red, and the right is white, each possessing three eyes. Although this deity is of the nature of Vairocana, because he is of the nature of the mind faculty, he is black. "Staff" refers to a white staff marked with a vajra. The wheel and the vajra possess the colors and natures previously described. "With a threatening gesture and a noose at the heart" means he holds a black noose of vajra nature together with a threatening gesture at the heart.
The "battle-axe" refers to a black battle-axe of vajra nature, marked with a vajra. The phrase "terrible" and so forth describes the activity. The summarized meaning is that those who cause the meditative absorption of the practitioner—who has entered the samādhi of Vajrasattva—to degenerate, such as Śakra and his retinue, are incinerated and driven far away.
If one wonders what is done after that, it says, "upon a lotus and sun." The pith instruction is as follows: upon a multicolored-petaled lotus, in the center of a white eight-spoked wheel generated by one's own seed-syllable, is the dark blue syllable HŪṂ. This resides in the center of a sun maṇḍala born from the seed-syllable, in a posture with the left leg extended.
The phrase "Padmāntakṛt" and so forth describes the emanation of the two. One should understand that the gatekeeper, Prajñāntakṛt, who has become white, is emanated from that mantra just as Ratnasambhava was emanated. Regarding the phrase "white and so forth," the root face is white, the right is black, and the left is red. This white nature of Ratnasambhava is due to the nature of the Dharma. The nature and colors of the hand-symbols should be understood as they were previously.
Regarding the phrase "abiding upon a lotus and sun": it means that at the center of a multicolored lotus, from the nature of the syllable HŪṂ previously mentioned, a yellow wish-fulfilling jewel is generated by its own seed-syllable; in the center of that, the Blessed One stands with his left leg extended, treading upon a sun disk. Now, the emanation of the third [deity] is described by the words "Padmāntakṛt" and so forth. Here, the emanation should be understood to be like that of Amitābha. Regarding the phrase "the face is red," and so forth: the first face is red, the right is black, and the left is white. The "pestle" refers to a blue staff marked with a vajra, having the nature of a vajra. The colors and natures of the other implements should be understood as before. Regarding "seated upon a lotus and sun": here too, at the center of a multicolored lotus, from the nature of its own seed-syllable, a red lotus is generated; in the center of that, from the syllable HŪṂ of the aforementioned nature, a sun maṇḍala is generated, upon which the Blessed One sits with his left leg extended. Now, the emanation of the fourth is described by the words "arisen from Vighnāntakṛt" and so forth. The emanation of this [deity] should be understood to be like that of Amoghasiddhi. Regarding the phrase "the face is blue," and so forth: the first face is blue, the left is red, and the right is white.
Regarding the phrase "on a lotus and sun": it means that in the center of a multicolored lotus, one sits with the left leg extended upon a sun disk that has arisen from the syllable HŪṂ—which has the nature previously described—located at the hub of a multicolored vajra that has arisen from one's own seed-syllable.
Similarly, it should be understood that for the other six wrathful kings as well, they are generated by the respective symbols of their lords in the same manner as before, and they should be known to abide within those symbols. To provide certainty, it is said: "Arising from their own secret mantra," and so forth. One's own mantra is the syllable HŪṂ; the same should be understood for the others as well. The color of all these is exclusively black. The rest is easy to understand. In this way, the emanation of all the members of the maṇḍala is complete.
If one wonders what should be practiced next, it is said: "The nature of the thirty-two deities," and so forth; this too is easy to understand. If one wonders what this subtle yoga is, it is said: "At the tip of the nose," and so forth. This means that at the tip of the nose of the wisdom lotus, one meditates on the maṇḍala, including the support and the supported, within the interior of the vajra and so forth, which has arisen from the emanation of the bodhicitta in the measure of a mustard seed. This is the abode of wisdom; it is the basis for the wisdom of the tathāgatas, because such a state becomes manifest when the mind is stable. For that very reason, it is delightful.
It is "secret" because it is to be concealed. The signs of wisdom should be meditated upon as being identical to wisdom; alternatively, the Teacher taught that one should meditate on the mere symbols, as in the passage beginning with "the great jewel." That "great jewel" is so called because of its great value. The "five-colored" refers to the symbols of the vajra and so forth, which arise from the five families. The phrase "as thick as a mustard seed" and so forth is as explained previously. "By means of yoga" means by means of the yoga of one's own deity. "Constantly" means day and night. To generate a stable mind that depends upon meditation, the Teacher taught that one should emanate, as in the passage beginning with "having stabilized the jewel." "Jewel" refers to the symbols of the vajra and so forth. "Stabilized" means that once one has ascertained the unwavering nature of the meditation, one should emanate; when performing the benefit of sentient beings, one should act with a single nature. When one perceives that the meditation is not yet stable, one must certainly not emanate, because the entity is not present and because the result of emanation is required. By stabilizing what has emanated from the vajra, it also becomes the nature of the Mahāmudrā. Regarding the first and second positions, it is taught that one should emanate what abides in that state and what emerges from it, as in the passage beginning with "the Buddhas." "Equal to the blazing of the Buddhas" means that the blazing of the Buddhas consists of colors such as white and so forth.
Those which possess the ultimate, delightful radiance that is equal and similar to those [qualities] are what is meant by "possessing colors such as white and so forth." "Supreme clouds" refers to the most excellent assemblies of buddhas. Now, regarding the statement "the vajra master should perform the recitation," it says "eating alms" and so forth; this means by way of the habit of eating alms. "Not speaking" means one should not engage in much talk. "Eating alms" is an illustrative term; it means that one should not recite even when engaged in other inferior activities such as seeking after things. "Nor should one delight in begging" uses "begging" as an illustration for food; thus, one should not delight in food, nor should one delight in begging. One should practice the conduct of extreme simplicity with contentment, taking only as much as is necessary to sustain the body. Regarding what should be done while abiding in such conduct, it says "of all desires" and so forth. Since the mantra practitioner engages with all desires, the mantra consists of the three syllables. Because the body is non-differentiated—meaning there is no distinction from the deity yoga—one should perform the recitation. The meaning of this is as follows: one should meditate on the indestructible [drop] residing in one's own heart. Having stabilized it, one should meditate on the form of whichever mantra is to be used, residing there as a red syllable. Then, as the entering breath, it enters in union with the [indestructible drop], and one should visualize the white syllable OṂ, which emanates the assembly of tathāgatas.
One should meditate on the outward-moving wind of the elements, the black syllable HŪṂ, the gathering of tens of millions of buddhas emanated by the syllable OṂ, and the syllable Ā, which causes those buddhas to abide. This is the nature of the four maṇḍalas that circulate in the right, left, above, and below. Because they are, respectively, the nature of Pāṇḍaravāsinī, Tārā, Māmakī, and Sparśavajrā, this is the recitation of Pāṇḍaravāsinī and the others.
Now, regarding the union to be performed for the purpose of verbal recitation, it is said: "The vajra," and so forth. "The vajra" refers to the bodies of the deities who are emanated. "Having uttered" means that after performing the recitation from the [respective] locations, one abides. "One should emanate" means that one should establish [the deities] within the nature of the aggregates, karma, and so forth. "When complete" means when the activity of performing the union is finished, one should gather [them] back, which is the accomplishment of establishing the samādhisattva. Then, possessing the pride of thinking, "I am the nature of all the tathāgatas," one should utter the three syllables with words that avoid faults such as being too fast or too slow. When the recitation is finished, the instruction is that the deities of the maṇḍala should be arranged in their respective places.
Having performed all of this, the Teacher spoke of whatever else is appropriate to be done, beginning with: "The subtle yoga," and so forth. "One should abide in suchness" means:
The state of bodhicitta should be visualized in the form of a moon maṇḍala. Having thus seen the Venerable Lady who has entered into clear light, the goddesses such as Locanā and the others exhort her, as expressed in the passage beginning with "O maṇḍala..." and so forth; this is easy to understand. If those four verses are summarized, the passage beginning with "O Vajra Mind" is spoken. "Vajra Mind" refers to having attained mastery over the mind. "You" is an address spoken as if visualizing her as being present before one. Because she has attained the sovereignty over the dharmas of the three realms, she is the "Lord of the Earth." She is the "Expanse of Sentient Beings" because she is the very nature of all living beings. "Joy" is the thrill of the channels. This is because it generates a delightful satisfaction. "Great Purpose" is supreme joy. Because she desires and generates that, she is the "Desire for Great Purpose." Thus, she is the one who desires the great purpose of such delightful joy; therefore, "protect me through embracing and so forth, and grant me joy." "Protector" means the Lord. Because she is the cause of all sentient beings, she is the "Producer." Because she brings benefit and happiness to sentient beings, she is the "Supreme Great Kinsman." "If you wish for me to live," then at that time, "enjoy me and grant me desire." This is the exhortation by Locanā. Immediately following that, for the purpose of showing the exhortation by Māmakī, it is said: "Because she possesses a body of fearlessness, she is the Vajra Body." "You" is as before.
"Sentient beings who are unhappy" refers to the purpose of generating joy. "Wheel of the Word" refers to having the nature of turning the wheel of the Word. Regarding the phrase "teaching the ultimate meaning of awakening for the sake of the buddhas," the "buddhas" are the five aggregates. The "meaning" of these is the relative truth. "Awakening" is the ultimate truth. Both of these are the ultimate, the body produced by the application of the authentic union. Because he teaches with the intention to benefit sentient beings of the three vehicles, he is "one who teaches the beneficial meaning." "O Protector, if..." is as explained previously. "Attachment" refers to the samaya of desire, which is the purity of the aspect of attachment; "delight in me" means "please enjoy me." The remainder has already been explained. Now, the exhortation by Pāṇḍaravāsinī is expressed in the words "Vajra Speech," and so forth. "Vajra Speech" is so called because of having attained mastery over speech. "You" is as explained previously. "To all" refers to the realm of sentient beings. "Out of compassion for their benefit" means having a nature of extreme compassion. For that very reason, through the four immeasurable abodes, he is one who perfectly engages at all times, constantly acting for the benefit of sentient beings. "Possessing the investigation of supreme joy" means by means of the conduct of supreme joy. He is "Samantabhadra" because he generates what is excellent and virtuous throughout the entire realm of sentient beings. "Delight in me" means "rely upon me."
Regarding the invocation of Tārā, it begins with the words "O Vajra-Desire" and so forth. Because she is perfectly endowed with the vajra and lotus, she is the "Vajra-Desire" who acts to purify the realms of sentient beings who engage in hatred and the like through the deities of the emanated maṇḍala. The phrase "you who accomplish the great compassion for the desired goal" is as explained previously. Because she is the sovereign of the action family, she is the "Supreme Samaya." Because she grants liberation to sentient beings who engage in desire through the method of the complete purity of desire, she is the "Great Beneficial Purpose." Because she has become the bindu for those born into the Śākya clan, she is the "Bindu of the Perfect Buddha Family." Alternatively, because she acts for the benefit of beings through the nature of the all-accomplishing wisdom, she is the "Bindu of the Perfect Buddha Family." Although she is free from the conceptual focus on the distinction between self and other, because she is compassionate toward sentient beings, she is the "One Possessing Compassionate Equality." The phrase "O Protector, if..." and so forth is as before. The intermediate praise, beginning with "Treasury of Qualities," asserts: "I am the one who generates the wisdom of passion, dispassion, and clear light." Thus, being invoked by the nature of the four immeasurables, through the power of the continuity of her previous aspirations, she arises from the yoga of emptiness and satisfies them all with her deeds of supreme joy; this is the pith instruction.
Regarding the praise spoken by the Tathāgatas to the Protector who was requested to arise by those [beings], it is said: "In that way," and so forth, which is easy to understand. In that context, the first praise is to [the Protector] in the nature of Akṣobhya, beginning with "Akṣobhya" and so forth. Because the entire collection of afflictions is unshakable, he is Akṣobhya. He is addressed as "Vajra" because he possesses the vajra of the enlightened mind. Because he is the essence of the four emptinesses, he is Great Wisdom. "Vajra" refers to Akṣobhya and the others. Because he holds them, he is the Expanse of the Vajra-Holder. Because he thoroughly knows the two truths in their distinction, he is the Great Element. Because he is the nature of the three—the ultimate maṇḍala, the body maṇḍala, and the third—he is the Three Maṇḍalas. Because he is the essence of the three, the Vajra Body and so forth, he is the Supreme of the Three Vajras. "Vajra-Chain" means: "Explain to us the reality of the samaya!" This is the praise by way of Akṣobhya. Now, the praise by way of Vairocana is spoken, beginning with "Vairocana" and so forth. Because he makes things appear clearly and illuminates them with the fire of luminosity, he is Vairocana. For that very reason, he is Great Purity. "Vajra" refers to the Tathāgatas. Because they are of the nature of complete purity, the sixth is Peaceful. Because he is the essence of the supreme, he is Great Joy. "The phenomena of natural luminosity..." [and so forth].
"Homage to you, Vajra Teacher!"—regarding this, the phenomena that are naturally luminous and pure by their very essence are addressed as "O Vajra," and "realize" means "please realize." Now, the praise by way of Ratnasambhava is spoken, beginning with "Jewel King" and so forth. "Jewel" refers to the jewel family; because they beautify and make things clear, he is the "Jewel King." Because he is the nature of the wisdom of equality, he is extremely profound. For that very reason, he is the stainless vajra of space. Because he is pure from the beginning, he is pure by nature. Because he is unmixed with any phenomena, he is unstained. "Homage to you, Vajra Lock"—this means "please clearly demonstrate." Then, the praise by way of Amitābha is spoken, beginning with "Vajra Immeasurable" and so forth. "Vajra Immeasurable" refers to the lotus family; because he is their lord, he is the "Great King." Because he is the nature of discerning wisdom, he is non-conceptual. For that very reason, he is the vajra of space. "Attachment" is the characteristic of being attached to saṃsāra. "The other side" is the limit; "having reached" it means having attained it. "Vajra Speech" is as explained before. The praise by way of Amoghasiddhi is spoken, beginning with "Amogha" and so forth. Because he is primarily the wisdom endowed with purpose, he is the "Amogha Vajra," the families of the Amogha [family].
The Perfect Buddha is placed at the forefront of those families. Because he fulfills the intentions of practitioners engaged in activities such as pacification and so forth, he is the one who completely satisfies all desires. He arises from the nature of purity. To such a one, I bow to you, Vajrasattva. Thus, he is praised by way of his meaningful qualities. Now, the summary is stated: "Praised by the Buddhas," and so forth. Then, immediately thereafter, the connection is made: "the Sole Protector remained." As for the reason why he remained in meditative equipoise, it is because the Buddhas who act as the agents praised him; this is the meaning of "Buddhas" as an illustration. The goddesses should also be understood as being of that same nature. "The wheel" refers to the wheel of goddesses. "Pleased in the previous manner" means that after having aroused passion and explained the supreme secret to them exactly as it is, he remained with the wheels of the maṇḍala deities—whose nature consists of the aggregates and so forth—subsumed within the wheel of his own body. The stages of the condensed [process] and the stage of vajra recitation have been taught previously. Since great bliss is the nature of the mind, the phrase "remained as the sole great bliss" here implicitly indicates the stage of the purification of the mind. Then, the meaning of the three stages of self-consecration is taught, beginning with "In that way," and so forth.
In that manner, by the method just described, one performs the four yogas. The practitioner who accomplishes the four yogas—the "sādhaka"—should contemplate the world, which has become the basis and cause, as having the syllable HŪṂ as its essence; that is, because this world has the syllable HŪṂ as its essence, it is called "having the syllable HŪṂ as its essence." Regarding the phrase "having contemplated," the term "at the heart" is to be supplied from the context. Then, having visualized those beings as being generated by that [syllable] and as having completely transformed into the nature of Vajrasattva by means of that syllable HŪṂ, and having oneself also arisen from the clear light (prabhāsvara) in a mere instant, one should act with the aforementioned nature of mindfulness and vigilance through the intellect. "Just as" means that one should move about through the four types of conduct exactly as previously taught. The intended meaning here is as follows: the yogi endowed with the four yogas should visualize the syllable HŪṂ residing at the heart of the world as having completely transformed into the nature of Vajrasattva from its seed-syllable; then, having realized that one has also arisen from the meditative absorption of emptiness, one should remain with the mind fixed upon that without interruption. Regarding the explanation of establishing the occasion for another yoga, the passage beginning with "the mantrin" and so forth is easy to understand. If one wonders how to meditate, it is taught in the passage beginning with "a span's distance" and so forth.
Having clearly visualized the white syllable BHRŪṂ, one should meditate on a moon maṇḍala arising from its complete transformation. In the center of that, one should visualize a white syllable OṂ, and meditate on nectar flowing from it; such is the meaning of the verse. The passage beginning with "By this vajra application..." describes the benefits, which are easy to understand.
To teach the inner nature of the fire offering, it is said: "In that way..." and so forth. If one wonders how the purification and other rites are to be performed, it is said: "By the syllable HŪṂ..." and so forth. "By the syllable HŪṂ" means by the vajra that has arisen from the transformation of HŪṂ. If one asks what is to be purified, it is purified by the "Blazing One" and the "Incense One." "By the syllable A" means that by the transformation of the syllable A into a lotus vessel, it is awakened; the meaning is that the substances, such as the "seized" and so forth, which have entered the lotus vessel, should be realized in accordance with the previous samaya.
If one asks how they should be placed, it is stated: "Having pressed with OṂ..." and so forth. "Pressed by the syllable OṂ" means marked by it. The sequence is as follows: in the sky, there is the vajra arisen from the transformation of the syllable HŪṂ; below that is the lotus vessel arisen from the transformation of the syllable A; and in the center of that are the samaya substances marked by the syllable OṂ. From the union of the vajra and the lotus, fire blazes forth.
By emanating and melting those substances, one causes them to dissolve. Then, through the light rays of the wisdom-sun that perfectly reveals the nature of all tathāgatas, one draws in the wisdom-nectar of all tathāgatas and unites it with those substances. Having blessed them with the three syllables, this is the complete purification of the food.
Regarding the purification of the throat, it is said: "The conch" refers to a white conch transformed from the white syllable Oṃ. "Arising from the syllable Hrīḥ" means arising from a red Hrīḥ. The "lotus" is a red lotus. The syllable Hūṃ is black. The "great vajra" is a five-pronged vajra, blue in color. The syllable A is red; this is the purification of the throat.
Regarding the satisfying of the deities, it is said: "The thunder in the heart," and so forth. "Thunder" is so called because it shares the same characteristics as the sound of thunder; it is the syllable Hūṃ possessing one, two, or three tongues of flame. One should cause the flames to blaze from that Hūṃ syllable of meditation. "There, one should perform the fire offering of the food" means that into that Hūṃ syllable, which is the essence of all tathāgatas, one should perform the fire offering—that is, the burnt offering—of those purified samaya substances. When this occurs, the deities of the body maṇḍala are perfectly satisfied; this is because this is the inner fire offering.
Now, the functions of the maṇḍalas of wind, fire, water, and the great lord (earth), which reside respectively at the navel, throat, heart, and secret place, are explained in the passage beginning with "By wind," and so forth. "Wind" refers to the wind maṇḍala; by it, the fire—that is, the fire maṇḍala—is to be fanned, and that fire maṇḍala is to be made to spread. "Making it spread" means making it dry. "The maṇḍala of the great lord" refers to the earth maṇḍala. There are four locations, and for that very reason it is said: "Where the sacrificial substances have entered." "Whatever food and drink have entered" means that all those food and drink substances that have entered are digested. If one asks by what means, it is said: "By water." The intention is that once they have been decomposed by the decomposing water, they are then digested. The practice that the practitioner must perform without fail is explained in the passage beginning with "Of the lotus of the mouth," and so forth. "By the application of the union of the two" means that by first closing the lotus of the anus, the lower and upper winds are restrained. Immediately following that, "from the lotus of the anus" means having emerged through the gateway of the anus. Thus, from the phrase "having shown" up to the end of "the limit of the ashes," one should understand that this refers to the stage of the explanation occurring immediately after the food has been digested. If one asks what the result of that is, it is said: "Without joy," and so forth, which is easy to understand.
The intention is that the practitioner, free from the afflictions of joy and so forth, will manifest [the goal] in this very life after meditating on the Blessed One for a long time. The aspiration, "May this object that has become my own sphere of experience be common to all beings," is expressed by the words "By the glorious Hayagrīva of the Vajra Garland," and so forth; this is also easy to understand.
Through whatever merit has been gained by explaining this Condensed Stage of the Vajra Holder Sādhana:
May the condensed stage that dwells within my body
Enter into the bodies of all beings for as long as they exist.
The Commentary on the Difficult Points of the Condensed Stage, composed by the master Līlavajra, is complete. It was translated by the Nepalese upāsaka Sūryadāsa and the monk-translator Blo ldan shes rab.
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.