Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Stages of Appearance of the Six-Branched Yoga is a technical manual attributed to Vairocanavajra that delineates a complex system of visualization and meditative absorption. The text guides the practitioner through a process of transforming ordinary perception into a purified, illusory state, utilizing seed syllables and light rays to dissolve the distinction between the observer and the observed. It argues that the path to wisdom requires a precise integration of method and insight, specifically through the transmutation of the five afflicted minds into the five wisdoms of the Buddhas. The reader is committed to a rigorous discipline of visualizing the three vajras, managing the breath as a manifestation of the five elements, and achieving a non-conceptual concentration that avoids the pitfalls of nihilistic or non-Buddhist interpretations of emptiness. The ultimate goal is the attainment of the dharmadhātu through the condensation of all phenomena into a single, perfected samādhi, culminating in a state of illusory bliss and purification.
Provenance
About this text
A treatise on the stages of the illumination of the six-limbed yoga, the Ṣadaṅgayogālokakrama belongs to the tradition of the Guhyasamāja and Related Tantras. The work is attributed to the Indian author Vairocanavajra. It was translated into the Tibetan language by Puṇyaśrī and lo tsa ba dge slong g.yung drung ’od, and is preserved in the Tengyur, volume པི, where it extends over ten pages. The work enacts a system of meditative visualization and absorption, beginning with homage to Mañjuvajra, the embodiment of insight and method, and respect for the disciple Jñānapāda and his lineage. It describes a process wherein a web of light rays emanates from seed syllables such as maṃ to transform stable and moving beings into forms like illusions or stainless moon rays, which are then absorbed into the bindu of the heart. Furthermore, the text addresses the withdrawal of the mind from the ten faculties—comprising the five faculties and their objects—to free the practitioner from attachment. A scholar or serious reader consults this classical Tibetan translation to examine these technical instructions on the transmutation of perception and the integration of the apprehender and the apprehended.
Cite thisAnuvāda, “The Stages of Appearance of the Six-Branched Yoga” (Toh 1879), machine draft, 2026.https://naxiai.com/tibetan/works/toh1879
Summary & commentary
Significance
This work is significant for its detailed mapping of the intersection between somatic control, such as prāṇāyāma, and high-level deity yoga. It illustrates the Indo-Tibetan Buddhist effort to systematize the transformation of cognitive afflictions into enlightened wisdom through structured visualization. For the modern reader, it provides a primary example of the technical precision required in Vajrayana meditative praxis.
Structure
Passages
Section
Description
1-3
Preliminary and Visualization
Homage to Mañjuvajra and the initial process of transforming beings into illusory forms via seed syllables and light rays.
4-6
Transformation of Afflictions
The transmutation of the five afflicted minds into the five Buddha wisdoms and the realization of the three vajras.
7-10
Somatic and Mental Stabilization
Instructions on prāṇāyāma, the stabilization of the seed syllable at the heart, and the emanation of individual appearances.
11-13
Samādhi and Final Purification
The condensation of phenomena into samādhi, the experience of illusory bliss, and the concluding aspiration for purification.
Themes
Transformation of Perception (2, 6, 9)
Non-conceptual Concentration (4, 5, 11)
Somatic-Energetic Integration (7, 8)
The Nature of Emptiness and Illusion (2, 5, 12)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaThe Stages of Appearance of the Six-Branched Yoga·
In the language of India: Ṣaḍaṅgayogālokakrama. In the language of Tibet: sbyor ba yan lag drug gi snang ba'i rim pa (The Stages of the Illumination of the Six-Limbed Yoga). Homage to the glorious Mañjuvajra!
Having first bowed to Mañjuvajra, the embodiment of insight and method, and having also paid respect to his disciple Jñānapāda and the lineage descending from him, I shall explain the six limbs as taught from the lips of Bhaiṣajyapāda. If one meditates thoroughly on these six limbs, the completion stage of Mañjuvajra and the others will be accomplished.
Those who wish to attain the generation stage should abide in the concordant application of the four-limbed stage; thus, the yogi will certainly achieve it. Those who wish to practice the completion stage should familiarize themselves with the six limbs; then, through the nature of activity free from conceptual elaboration, they will accomplish the supreme siddhi.
Withdrawal, meditative concentration, breath control, retention, recollection, and meditative absorption are known as the six limbs of yoga.
Regarding the explanation of withdrawal among those six: when one is awakened from the sleep of the great ocean of bliss by the four goddesses, one should visualize the seed syllables upon a lotus and moon at one's heart. First, having purified the face and so forth through the three doors of liberation, and having performed all the rituals such as offerings and the confession of misdeeds in a pleasant location, one should proceed.
From seed syllables such as maṃ, a web of light rays emanates, transforming all stable and moving beings—just as mercury transforms iron and other metals into a single mass—into forms like the stainless rays of the moon and like illusions. Having discerned them in this way, they are absorbed into the drop (bindu) of the seed syllable at one’s own heart. One’s own body, the lotus, and so forth, are then meditated upon as gradually dissolving into that very drop, like camphor evaporating. The drop, too, is the form of the indestructible bodhicitta, whose essence is emptiness; through the power of aspiration, it is blessed and should be viewed as a mere straight line. Then, with the mantra oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ, which is like an echo, one performs the blessing.
Immediately thereafter, the yogi who has entered into meditative equipoise upon emptiness, through the power of aspiration, quickly considers the welfare of beings as if waking from a dream. From the nāda (the subtle sound), the emanations of the web of light rays of the seed syllable gradually emerge and pervade everywhere. In the center of the source of phenomena (dharmodaya), at the hub of a crossed vajra, stands a celestial mansion upon the hub of a variegated lotus. In its center, upon a lotus and moon, the hand-symbol marked by the seed syllable completely transforms. First, all the Tathāgatas without exception are gathered, and one should visualize one’s chosen deity embracing a consort who resembles oneself.
Then:
“Because one withdraws each of the ten sense faculties
Into their respective points of entry,
It is explained as ‘withdrawal’ (pratyāhāra).”
This explains the meaning of withdrawal.
To explain the meaning of that subsequent verse: "The ten faculties" refers to the five faculties, such as the eye faculty and so forth, and their objects, such as form and so forth. "Abiding in their own [sphere]" refers to the mind that relies upon the apprehended and the apprehender, such as the nature of the eye-consciousness and so forth; "withdrawal" means to make [the mind] free from attachment. "Withdrawal of desires" is the turning back of the mind that is attached to objects.
This should be explained as follows: having generated the eye faculty and so forth from the seeds of Kṣitigarbha and the others, at the time of emitting a web of light rays from the seed-syllable in the heart, one visualizes the seed-syllables and signs such as JAḤ, HŪṂ, BAṂ, HOḤ, and KHAḤ for Rūpavajrā and the others. Having focused on Rūpavajrā and the others, the light rays are withdrawn inward, and one enters into union with Kṣitigarbha and the others. Since these are ultimately of one taste in emptiness, the awareness that generates bliss is as stated in that very [text]:
"When the yogi enters withdrawal,
He enters the meditative concentration of emptiness.
The mind that enters without an object
Is completely turned away from apprehended and apprehender.
This is also the stage of joy."
Thus, this is the first branch, withdrawal. Now, meditative concentration will be explained. Having familiarized oneself with withdrawal through the characteristics of the engaging consciousness and the turning-back consciousness by means of the first branch, one should practice meditative concentration, which is characterized by the transformation of the afflicted mind. "The five desires, in brief..." [and so forth].
"Through union with the five buddhas, analysis is explained as meditative concentration; that meditative concentration becomes fivefold." To explain the meaning of this: when the mind of affliction—consisting of attachment, aversion, delusion, pride, and envy—arises toward the objects of the five sensory qualities, such as forms and so forth, through perceiving them as beautiful, unattractive, neutral, supremely beautiful to oneself, or supremely beautiful to others, the unification of the object and the mind is the five sensory qualities; it is explained that these are the mind itself. Furthermore, it is said: "The mind of desire is explained as being under the power of attachment, aversion, and delusion; its nature is pride and envy; these are the five perfectly complete buddhas."
Regarding the statement, "Through union with the five buddhas, analysis is explained as meditative concentration": the mind that is attached to beautiful forms and so forth is the nature of Amitābha. The mind that is averse to the unattractive is the nature of Akṣobhya. The mind that is deluded regarding neutrality is the nature of Vairocana. The mind that is proud regarding what is supremely beautiful to oneself is the nature of Ratnasambhava. The mind that is envious regarding what is supremely beautiful to others is the nature of Amoghasiddhi. Constantly analyzing such a nature is meditative concentration. That meditative concentration also becomes fivefold through its divisions: investigation, analysis, joy, bliss, and equanimity. These five are subsumed within meditative concentration. Regarding "analysis, reflection, and meditation":
"Concentration is thus thoroughly explained; concentration is non-conceptual. That concentration is the domain of the Buddhas. If a beginner, having become deluded, otherwise contemplates emptiness, their intelligence will become utterly deluded, and they will enter the path of the non-Buddhists."
By this, the meditative equipoise of the object and the subject of cognition arises from the three secrets. As explained above, having established that the minds of desire and so forth are the nature of Amitābha and the others, the turning back of the mind of desire and so forth is "thought" (vitarka). Entering into the mere nature of mind itself in whatever way appropriate is "examination" (vicāra). Thoroughly knowing the nature of the mind is "joy" (prīti). The bliss that arises from that joy through the power of the action is like the body of the skull-cup. The nature of the mind abiding one-pointedly in just that state—where there is neither the realization nor the realizer—is the cognition of the union of the conventional and ultimate truths; this is "concentration" (dhyāna).
That very point should be explained as follows: if one engages with forms and so forth, and desire and so forth arise therein, one should ascertain them as the nature of Amitābha and the others. Then, by perceiving beautiful forms and so forth as the essence of a wisdom consort (prajñā) similar to oneself and entering into equipoise, one should contemplate the merging of the pride-vajra and Amitābha.
Having visualized that envy is subsumed within Vajra and Akṣobhya, and having realized the nature of the three vajras to be like space, one should contemplate one’s own body, speech, and mind as being the very nature of the three vajras. Since this is accomplished in whatever way is appropriate, one attains mental joy and the physical bliss of having attained the power of activity. Then, with the verse beginning, "The glorious holder of the vajra mind," and so forth, one should meditate on the samādhi characterized by one-pointedness, in which one's own mind and the three vajras abiding in space are without distinction. This is the second branch, the fifth of the branches of meditative concentration.
Now, for the third branch, prāṇāyāma:
"The breath, the nature of the five wisdoms,
The essence of the five elements,
Having been drawn out in the form of a sphere,
Should be clearly visualized at the tip of the nose.
The jewel of five colors,
Is explained as the mindfulness of prāṇa and āyāma."
This is explained as follows: because it is the very essence of the mirror-like wisdom and the others, it is the nature of the five wisdoms. Its nature as the five elements is that the breath, which emerges from the maṇḍalas of the five elements such as earth and so forth, is definitely expelled. At the tip of the nose—that is, at the tip of the lotus of the goddess—it is visualized in the form of a sphere, which is to say, it is to be contemplated in the form of a drop (bindu). The five colors are the nature of white, yellow, red, green, and blue. "Jewel" means a supreme gem. It is a "jewel" because it generates joy, is difficult to find, and because its light blazes intensely. "Mindfulness" is so called because it generates joy, is difficult to find, and because its light blazes intensely.
Because that has occurred, it is called "mindfulness of vital effort" (prāṇāyāma). This should be explained as follows: from within the nostrils, the exhaled breath—which is of the nature of the five great elements, possesses a lattice of light rays, and consists of the five colors and the five wisdoms—is emanated, pervading the entire sky. Through the bliss of the non-dual union of method and wisdom, those lattices of light rays draw in, as appropriate, the Buddhas and Bodhisattvas who are vividly manifest as the taste of the nectar of coemergent joy (sahajānanda). Having drawn them in through one's own nostrils, one meditates on them pervading all the limbs of one's body as the nature of bliss. Then, becoming non-dual with that lattice of light and bliss, they emerge through the vajra path and dissolve into the tip of the goddess's lotus as a drop (bindu)—like a precious pearl anointed with vermilion, appearing exceedingly beautiful in white and red. One should constantly meditate on the essence, such as Mañjuvajra and others, embracing a consort similar to oneself with their limbs; this, which is equivalent to the subtle yoga, is the third branch.
Now, for the fourth branch: "Having visualized one's own mantra at the heart, one should place the vital breath (prāṇa) in the drop. The arresting of the sovereign jewel is explained as the apprehension of the grasped. The mind becomes the vajra of cessation, and the signs of apprehension will arise. The elements of the signs are fivefold, as taught by Bodhivajra: the first is like a mirage, the second is like smoke, the third is like fireflies in the sky, and the fourth is a blazing lamp."
"Like a cloudless sky, it is the fifth appearance, ever-present"—this is explained as follows: having visualized one's own mantra at the heart, one stabilizes the seed syllable, such as Māṃ, which resides in the center of the sign located at the heart of the wisdom being (jñānasattva). Then, having drawn the vital breath (prāṇa) into the drop (bindu), one meditates on it as possessing five-colored light rays. "Restraining the precious self-mastery" means that because it has become stable, it is a restraint; this is done either together with the sense faculties or together with one's own sense faculties. "Grasping" has the meaning of reversing the outward movement [of the breath]. Through the sequence of the mind becoming stable in that way, the breaths arising from the maṇḍalas of the five great elements, such as earth and so forth, are exhausted, and the cognition of the signs arises. Furthermore, there are five aspects: first, by the "mirage-like" [sign], the breath arising from the earth maṇḍala is exhausted, which is the stage of "heat" (uṣmagata). By the "smoke-like" [sign], the breath arising from the water maṇḍala is exhausted, which is the stage of "peak" (mūrdhan) characterized by the appearance [of signs]. By the "cloudless sky-like" [sign], which is like the pervasion of space or like scattering sparks, the breath arising from the fire maṇḍala is exhausted, which is the stage of "great appearance" characterized by "patience" (kṣānti). By the "lamp-like" [sign], the breath arising from the wind maṇḍala is exhausted, which is the stage of "attainment of appearance" characterized by the "great supreme dharma" (agradharma).
The aspect of appearance also pervades all maṇḍalas of immeasurable directions. Through the nectar-like light that demonstrates this, the breath emerging from the maṇḍala of the sky is exhausted, whereby the characteristic of the dharmadhātu is attained as a near-appearance. This is the stage of entering the great bliss of the bhūmi of Perfect Joy.
That very point should be explained as follows: immediately thereafter, the jñānasattva is placed in the heart. From the seed-syllable of the sign, a web of light rays becomes integrated with the vital breath (prāṇa) and is emanated. Having performed all the rituals as before, one again dissolves them into the drop (bindu) of the seed-syllable of the sign at one's own heart. Having visualized the mantra syllables as the drop, one imagines oneself and the consort in the nature of experiencing an ocean of bliss by embracing with the limbs. With both hands firmly clasped at the two armpits, the two lower gates also closed, the tip of the tongue turned back, and the vajra posture assumed, one should gradually hold the vital breath. This is the supreme instruction of the bindu-yoga, the fourth branch.
Thus, having shown the path of seeing, which is characterized by the transformation of the afflicted mind during the stage of supreme joy, now follows the path of meditation, characterized by the repeated actualization of mindfulness based on what preceded it during the stage of the "separation from joy." This is the fifth branch, recollection:
"From the stable vajra path,
One should emanate into the expanse of space."
"Whatever recollection is meditated upon, one should emanate in a manner similar to that. This is explained as 'recollection' (anusmṛti). From that, the individual appearance arises." Regarding this explanation: by way of knowing that the cognition of the stable sign has arisen, one should emanate the stable cognition. The word "if unstable, one does not emanate" refers to the vajra path. From where? By the phrase "from space," it means from the source of phenomena (dharmodaya) and from the maṇḍala of space. "Recollection" refers to the recollection of the Buddha and so forth as described above; it is the recollection of such a cognition. Because the individual appearances of self and other are equal, the cognition arises as being similar to the maṇḍala circle and so forth.
That very point should be explained as follows: having known that the mind has become firmly stabilized through the emergence of the sign as described above, from the drop (bindu) at the heart of the wisdom-being (jñānasattva) at one's own heart, a web of light rays—through the union of method and wisdom—is emanated in the nature of the Buddha's form, or otherwise in the nature of the sign. Emanating it through the vajra path into the location within the lotus of the goddess, one meditates for a moment. Then, having made it the very nature of entering into union with all beings of the realm of space externally, it is withdrawn through the vajra path. Having accomplished the bliss of all limbs as the essence of bliss, and having also gathered the initial drop, one should meditate; this is the instruction, the fifth limb.
Now, the sixth limb, which has the nature of coemergent joy (sahajānanda) and serves as the path for the disciple to attain Buddhahood:
"Through the meditative union of method and insight,
All phenomena are condensed;
Having gathered them in the manner of a single mass,
One should meditate on the form in the center.
That which instantaneously perfects wisdom
Is designated as 'samādhi.'"
This is what is explained: the meditative union of method and insight is the meditation on the nature of non-dual bliss. One's own mind alone, which is the essence of all animate and inanimate phenomena, is the nature of method and insight. "Union" refers to the attainment of non-duality, which is the condensed, mass-like nature of the Buddha's form. "The form in the center" means that by meditating in the center of the body, they become integrated. "Instantaneously" refers to the samādhi that perfects the cognition which, through the process of complete melting and the exhortation by the songs of the four goddesses, is established as the nature of the deity's body of non-dual bliss-wisdom.
This should be explained as follows: from this point onward, the yogi whose mind has become stable is able to repeatedly generate the maṇḍala circle of the appearance of individual natures and so forth. For the purpose of emanation, withdrawal, and mastery, the experience of one's own bliss is gathered without attachment or obstruction into the essence of many extremely subtle forms, by means of a nature of meditative union that radiates a web of many light rays of an illusory nature.
Having visualized the illusory bliss of merging with oneself as one has dissolved, one is swiftly aroused by the four goddesses, Locanā and the others, who are of the nature of compassion and so forth through the power of previous aspirations. One then meditates on tasting the flavor of the dripping nectar generated by the embrace of a body identical to oneself, such as Mañjuvajra, whose nature is primordial wisdom (jñāna). This is the instruction on meditative concentration (samādhi), the sixth branch.
Through the accomplishment of withdrawal (pratyāhāra), all mantras are accomplished. Through meditative absorption (dhyāna), the superknowledges (abhijñā) are also accomplished. Through breath control (prāṇāyāma), one is blessed by the Bodhisattvas. Through retention (dhāraṇā), one is blessed by Vajrasattva. Through recollection (anusmṛti), the maṇḍala of light rays is emanated. Through the power of meditative absorption, one is completely liberated from all obscurations.
As it is said:
"When certainty is gained through withdrawal,
One is blessed by all mantras.
When the primordial wisdom of meditative absorption is attained,
The five superknowledges will be found.
When one has mastery over breath and effort,
Vajrasattva will grant a vision.
Through the power of retention, one constantly
Will certainly enter into Vajrasattva.
Through recollection, the maṇḍala
Is perfectly generated by light rays.
Through the power of meditative absorption,
One is certainly liberated from obscurations."
Thus it was said. By whoever has produced this virtue through the beautiful explanation of the six branches of yoga according to the glorious Jñānapāda, may it be auspicious.
May those with the vision of the Victorious Ones, who are utterly pure, have their limbs washed by the water of the six glorious branches and be completely purified. Following the lineage of the gurus, and through the kindness of Mañjuvajra, the glorious Vairocanavajra has composed this work in stages to clarify [the meaning].
This concludes the Stages of the Illumination of the Six-Branch Yoga, originating from the presence of the glorious physician Śrīpāda, composed by the glorious Vairocanavajra. It was translated from the presence of the great guru Paṇḍita Puṇyaśrī and the translator, the monk G.yung-drung-’od.
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.