Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a detailed ritual procedure for the meditative realization of the Guhyasamāja deity mandala. The text guides the practitioner through a sequence of complex visualizations, beginning with the consecration of the space and the transformation of the mind into a multi-storied palace. It commits the reader to a rigorous process of deity yoga, where the practitioner visualizes the emergence of various deities—including Vairocana, Ākāśagarbha, and Yamāntaka—from specific seed syllables and mantras. The ritual involves the precise placement of these figures within the mandala, the invitation of wisdom buddhas, and the removal of spiritual obstacles. The process culminates in the stabilization of the mind through the sixteen recollections and the recitation of mantras. By synthesizing mantra, visualization, and meditative stability, the text aims to facilitate the practitioner's transition from ordinary perception to the clear realization of the glorious Guhyasamāja, effectively mapping a path from preparatory purification to the attainment of the great result of empowerment.
Provenance
About this text
A ritual manual for meditative practice, the Śrīguhyasamājābhisamayanāmasādhana belongs to the genre of sādhana and is situated within the classical Tibetan tradition. The work is attributed to the Indian author Avadhūtipa. It was translated into Tibetan by Śraddhākaravarman and the monk Rin chen bzang po, as noted in the colophon. This translation is preserved in the Tengyur, volume པི, where it is categorized within the collection of the Guhyasamāja and Related Tantras and extends over thirteen pages. The work enacts a detailed ritual procedure for the meditative realization of the Guhyasamāja deity mandala. It guides the practitioner through a sequence of complex visualizations, beginning with the consecration of the space and the transformation of the mind into a multi-storied palace. The process involves the precise placement of figures within the mandala, the invitation of wisdom buddhas, and the removal of spiritual obstacles through the use of mantras and seed syllables. A scholar or serious reader consults this text today to examine the synthesis of mantra, visualization, and meditative stability used to facilitate the practitioner's spiritual progress through the rigorous application of deity yoga.
Sanskrit title
Śrīguhyasamājābhisamayanāmasādhana
Indian author
Avadhūtipa
Tibetan translators
zhu chen gyi lo tsa ba dge slong rin chen bzang po, Śraddhākaravarman
Cite thisAnuvāda, “A Sādhana called “The Clear Realization of the Glorious Guhyasamāja”” (Toh 1881), machine draft, 2026.https://naxiai.com/tibetan/works/toh1881
Summary & commentary
Significance
The work is significant as a representative example of the complex visualization techniques found in the Anuttarayoga Tantra tradition. Its attribution to the master Piṇḍapātika and its translation by Rinchen Zangpo highlight the historical transmission of Indian Buddhist ritual technology into Tibet.
Structure
Passages
Section
Description
1-2
Preliminary and Consecration
Initial homage and the use of mantras to consecrate the practitioner's state and environment.
3-5
Mandala Visualization
The construction of the palace, the moon maṇḍala, and the transformation of the practitioner into a mantra-form.
6-11
Deity Generation
Detailed descriptions of the appearance, attributes, and placement of specific deities such as Ākāśagarbha, the Mind Vajra, Vairocana, Māmakī, and Yamāntaka.
12-14
Ritual Offerings and Integration
The invitation of wisdom buddhas, the expulsion of obstructors, and the merging of seed syllables.
15-16
Meditation and Colophon
Instructions on the sixteen recollections and mantra recitation, followed by the text's authorship and translation history.
Themes
Transformation of Perception (2-5)
Seed Syllables and Mantra Power (3, 7, 8, 10, 14)
Deity Yoga and Iconography (6, 9, 11)
Ritual Protection and Purification (12)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana called “The Clear Realization of the Glorious Guhyasamāja”·
In the language of India: Śrī-guhyasamāja-abhisamaya-nāma-sādhana. In the language of Tibet: Dpal gsang ba 'dus pa'i mngon par rtogs pa zhes bya ba'i sgrub pa'i thabs (The Sādhana of the Glorious Guhyasamāja Abhisamaya). Homage to the glorious Vajrasattva.
At dawn, one should first sit upon a soft cushion in a very secluded meditation cell that is agreeable to the mind. One should look upon all sentient beings of the six realms with the intellect, generate a mind of loving-kindness, and take them as one's own. Then, perceiving that they are possessed of sufferings such as boils and so forth, and that the cause of these is the path of the ten non-virtuous actions, one should generate a mind of compassion. With a mind pained by this, one should make the aspirational prayer: "Having myself become Mañjuvajra, I shall cause sentient beings to be generated in a similar way, in order to eliminate those harms."
Then, one should begin the application of meditation. At one's own heart, one should visualize a yellow syllable MĀṂ upon a moon maṇḍala, which is the complete transformation of the syllable A. From that, light rays emanate, and one should visualize the five Buddhas, one's own chosen deity, and the preceptor in the space before one. Having made perfect offerings and prostrations through the forms of Rūpavajrā and the others arising from the gateway of the light rays of the essence mantra, one should recite the verses for the confession of misdeeds and so forth three times. The verses are as follows: "Whatever [misdeeds] were committed in the river of beginningless existence..." and so forth.
Then, one should meditate on emptiness, which is the essence of the three doors of liberation.
One should perform the consecration with the mantra: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. Then, the single mind itself becomes twofold through the power of merit and wisdom. Oṃ āḥ hūṃ is the entry. That which has the nature of individual appearance is the aspiration. If obstacles should arise therein, one should visualize a sun maṇḍala arising from the syllable āḥ in front. Upon that, one should visualize a fierce black vajra together with the syllable hūṃ. One should imagine that its rays of light dispel the obstacles, and by that very means, a white, triangular, hollow dharmodaya is formed as a vajra lattice, standing upright. Below that, from the complete transformation of the syllable a, there is a moon maṇḍala. From the complete transformation of the syllable vaṃ, upon a multicolored lotus, there is a moon with a green khaṃ which completely transforms into a crossed vajra. There, upon the moon, from the complete transformation of brūṃ, there is a wheel together with the syllable brūṃ. From the complete transformation of those two, one should visualize Vairocana, white in color, with a black right face and a red left face. With his two hands he embraces the sublime Prajñā; in his right hands he holds a wheel and a sword, and in his left hands he holds a jewel and a lotus. He sits in the vajra posture, possesses a moon seat and moonlight, and wears a jewel crown. One should then imagine that the rays of light from the heart of his wisdom-being (jñānasattva) perfectly invoke the Buddhas and cause them to enter.
From the complete transformation of that, one should visualize a multi-storied palace endowed with four corners and so forth. In its center, upon a moon maṇḍala, are the sixteen vowels, such as A and so on, which are the essence of the sixteen emptinesses; their complete transformation is a moon marked by these, which is the form of Akṣobhya. Above that, from the complete transformation of the thirty-two consonants, such as Ka and so on, which are the essence of the thirty-two marks of a great being, is a second moon maṇḍala marked by them, which is the form of Ratnasambhava. Above that is the red syllable HŪṂ. From the two moon maṇḍalas and the syllable HŪṂ, a five-pronged red vajra arises, marked by the syllable HŪṂ, which is the form of Amitābha. Its light rays perfectly invoke all the buddhas and cause them to enter; the yogin who maintains the divine pride of that is the form of Amoghasiddhi. From the complete transformation of that, one should visualize oneself as the body of Vajrasattva: white in color, with a black right face and a red left face, embracing the supreme Prajñā with his two hands, holding a vajra and a sword in the right, and a jewel and a lotus in the left, wearing a jewel crown, seated upon a moon seat with moonlight, and in the vajra posture. Knowing that sentient beings are to be tamed by great passion, one should cause the buddhas to enter oneself through the sound of the illusion of joy, and having caused them to be absorbed into one's own goddesses in the forms of Locanā and the other nine, one should proceed.
Then, the light rays of the syllable HŪṂ perfectly exhort the buddhas, who are drawn into the mouth and expelled through the vajra path. One should visualize the bodhicitta within the lotus; from its total transformation, one should contemplate the maṇḍala. Having mentally caused all sentient beings without exception to enter, they are completely transformed into bodhicitta. The buddhas, emerging through the vajra path, should then confer empowerment.
Then, from the syllables VRŪṂ, ĀṂ, JRĪṂ, KHAṂ, HŪṂ; LAṂ, MĀṂ, PAṂ, TĀṂ; JAḤ, HŪṂ, VAṂ, HOḤ, KHAṂ, RAṂ; KṢIṂ, JRĪṂ, KHAṂ, GAṂ, ṢKAṂ, SAṂ; JAḤ, HŪṂ, VAṂ, HOḤ—one should mentally draw forth all the Tathāgatas, such as Vairocana and the rest, who arise from these syllables, from the pores of the goddesses within the maṇḍala inside the lotus.
In that way, the realm of sentient beings having been purified, light rays emerge from the HŪṂ. One should summon the "entering mind" (praveśacitta) by increasing the two HOḤ syllables and the mantra OṂ ĀḤ HŪṂ, drawing it into the mouth and expelling it through the vajra path. It descends into the lotus of the goddess in the form of bodhicitta. One should contemplate that by the mere touch of its light rays, the awareness (vidyā) together with the Vajra-holder melts.
Then, the four great elements having become the goddesses Locanā and the rest, one should contemplate them exhorting with the song beginning, "In the realm of sentient beings..." When they have thus perfectly exhorted,
Through the mind, those light rays are impelled by the four elements and all the buddhas, whereby the buddhas enter. One should then visualize oneself in the form of one’s own mantra. From the total transformation of that, there is a sword marked with the syllable maṃ. From the total transformation of those two, there is Mañjuvajra, yellow in color, with a black right face and a white left face, embracing the sublime Prajñā with his two hands. In his right hand he holds a sublime sword, and in his left he holds an utpala flower and a bow. He possesses the light of the moon and a precious crown. One should visualize him seated in the vajra posture upon a moon on a multicolored lotus. At his heart, upon a moon, is a sword; in the center of that is a wisdom-being (jñānasattva) identical to him; at his heart, upon a moon, is a sword; and in the center of that, one should visualize the syllable maṃ. One then consecrates with the secret mantra: oṃ dharmadhātu-svabhāva-ātmako ’ham. These are the branches of the supreme approach (sevā), which is the small result of concordant cause.
In his eyes, upon a moon, a white kṣiṃ completely transforms into a wheel marked with kṣiṃ. From the total transformation of those two, there is Kṣitigarbha, white in color, with a black right face and a red left face, embracing the sublime Prajñā with his two hands. In his right hands he holds a wheel and a sword; in his left hands he holds a jewel and a lotus.
Likewise, in the ears, from the total transformation of a vajra together with the syllable jriṃ, there is Vajrapāṇi, black in color, with a white right face and a red left face, embracing the sublime Prajñā with his two hands. In his right hands he holds a vajra and a sword.
In the left [hands] are a jewel and a lotus. Likewise, from the complete transformation of a jewel together with the syllable khaṃ at the nose, Ākāśagarbha appears, yellow in color, with a black right face and a white left face. With his two hands he embraces the sublime Prajñā; in the right are a jewel and a sword, and in the left are a wheel and a lotus. Likewise, from the complete transformation of a lotus together with the syllable gaṃ at the tongue, Lokanātha appears, red in color, with a black right face and a white left face. With his two hands he embraces the sublime Prajñā; in the right are a lotus and a sword, and in the left he holds a jewel and a wheel. Likewise, from the complete transformation of a sword together with the syllable ṣkaṃ at the head, Sarvanīvaraṇaviṣkambhin appears, green in color, with a black right face and a white left face. With his two hands he embraces the sublime Prajñā; in the right are a sword and a wheel, and in the left he holds a jewel and a lotus. Likewise, from the complete transformation of a vajra together with the syllable saṃ at the navel, Samantabhadra appears, white in color, with a black right face and a red left face. With his two hands he embraces the sublime Prajñā; in the right hand are a vajra and a sword, and in the left he holds a jewel and a lotus. These, such as Kṣitigarbha and the others, also possess moon seats and moonlight, wear jeweled crowns, and sit in the vajra posture. These constitute the branch of supreme near-attainment, which is the minor ripened fruit.
Upon Samantabhadra, on a moon, a black syllable HŪṂ completely transforms into a vajra with a HŪṂ at its hub. From the complete transformation of that, there is the Mind Vajra, like Vajrapāṇi, with a black syllable HŪṂ on a moon at his heart. At the tip of the tongue, a syllable ĀḤ completely transforms into a lotus with an ĀḤ at its hub. From the complete transformation of that, there is the Speech Vajra, like Lokeśvara, with a red syllable ĀḤ on a moon at his heart. At the forehead, a syllable OṂ completely transforms into a wheel with an OṂ at its hub. From the complete transformation of that, there is the Body Vajra, like Kṣitigarbha, with a white syllable OṂ on a moon at his heart. With the light rays of those essences, one perfectly makes offerings to the Buddhas, such as the Mind Vajra, and recites: "Glorious Holder of the Vajra Mind," and so forth. Thus, one should perfectly exhort them and perform the blessing with the mantra. These are the branches of the supreme accomplishment, the minor result of human effort.
By the light rays of the essences, all the Buddhas are exhorted, and through the emission of light rays by them, one is consecrated with nectar from the precious vases of the families, such as Locanā, and the Lord of one's own family is placed upon the crown. These are the branches of the great supreme accomplishment, the minor result of power. This is the first of the four branches.
Through these branches, such as the supreme yogi’s approach and so forth, the middling concordant results and so on should be generated in a manner similar to oneself. Furthermore, one should generate [the deities] from the syllables OṂ HŪṂ SVĀ ĀḤ HĀ, from the crown of the head down to the heart, the navel, the secret place, the thighs, and finally the feet. From the syllable HŪṂ comes the lotus, from ĀḤ the navel, and from PHAṬ the descent and retention. One should also [visualize] a vajra from the syllable HŪṂ, a jewel from OṂ, and the retention from PHAṬ. Then, having exhorted and drawn [the deities] in with the light rays of the essence, the mantrin should begin the joy together with them. OṂ SARVA-TATHĀGATA-ANURĀGAṆA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. This is the second of the four branches, and these constitute the meditative absorption of the initial application.
With the light rays of the essence mantra, the buddhas are exhorted and summoned, then placed within the mouth. Through the passion of the goddess, the moon melts and descends into the interior of the lotus. From the complete transformation of one’s own seed-syllable arising from that descent, one should visualize the maṇḍala deities with the Lord residing in the center, and emanate them through this ritual. By the words VAJRA-DHṚK, one exhorts Akṣobhya: black in body, with a white face to the right and a red face to the left, embracing the sublime Prajñā with his two hands, holding a vajra and a sword in the right, and a jewel and a lotus in the left, possessing a sun seat and moonlight, with matted hair and a crown, seated in the vajra posture—one should cause him to abide within oneself as the nature of all things.
With the mantra Jina-jik, one should place Vairocana. He is white in color, with a black right face and a red left face. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a wheel and a sword; in his left, he holds a jewel and a lotus. Seated upon a moon-disc seat and possessing moon-like radiance, he should be placed upon the eastern lotus.
With the mantra Ratna-dhṛk, one should place Ratnasambhava. He is yellow in color, with a black right face and a white left face. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a jewel and a sword; in his left, he holds a wheel and a lotus. He should be placed in the south.
With the mantra Ārolik, one should place Amitābha. He is red in color, with a black right face and a white left face. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a lotus and a sword; in his left, he holds a jewel and a wheel. He should be placed in the west.
With the mantra Pra-jñā-dhṛk, one should place Amoghasiddhi. He is green in color, with a black right face and a white left face. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a sword and a wheel; in his left, he holds a jewel and a lotus. He should be placed in the north.
These [deities] are seated upon sun-disc seats with sun-like radiance, wearing fine garments and ornaments, possessing matted locks and crowns, and are seated in the vajra posture.
With the mantra Moha-ratī, one should place Locanā in the southeast. She is white in color, with a black right face and a red left face. With her two hands, she embraces the Means (Upāya). In her right hands, she holds a wheel and a sword; in her left, she holds a jewel and a lotus.
From the syllable dveṣarati, Māmakī is placed in the southwest. She is black in color, with a white face to her right and a red face to her left. With her two hands, she embraces the consort. In her right hands, she holds a red utpala and a sword; in her left, she holds a jewel and a lotus.
From the syllable rāgarati, Pāṇḍaravāsinī is placed in the northwest. She is red in color, with a black face to her right and a white face to her left. With her two hands, she embraces the consort. In her right hands, she holds a lotus and a sword; in her left, she holds a jewel and a wheel.
From the syllable vajrarati, Tārā is placed in the northeast. She is yellow in color, with a black face to her right and a white face to her left. With her two hands, she embraces the consort. In her right hands, she holds a yellow utpala and a sword; in her left, she holds a jewel and a lotus.
In the outer circle, in the southeast, from the three suchnesses, is Rūpavajrā, who is like Kṣitigarbha and holds a mirror and so forth. Likewise, in the southwest is Śabdavajrā, who is like Vajrapāṇi and holds a lute and so forth. Likewise, in the northwest is Gandhavajrā, who is like Ākāśagarbha and holds a perfume conch and so forth. Likewise, in the northeast is Rasavajrā, who is like Lokeśvara and holds a skull-cup and so forth. To the left of the eastern gate is Sparśavajrā, who is like Sarvanīvaraṇaviṣkambhin and holds various divine garments. To the right of the eastern gate is Dharmadhātuvajrā, who is like Samantabhadra and holds the source of phenomena and so forth. These ten goddesses possess the light of the moon and sit in the vajra posture.
They are adorned with precious crowns and excellent garments. From the mantra Yamāntakṛt, Yamāntaka is to be placed at the eastern gate; his body is black, with a white face on the right and a red face on the left. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a hammer marked with a vajra and a sword; in his left hands, he holds a jewel and a lotus. From the mantra Prajñāntakṛt, Prajñāntaka is to be placed at the southern gate; his body is white, with a black face on the right and a red face on the left. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a staff marked with a jewel and a sword; in his left hands, he holds a jewel and a lotus. From the mantra Padmāntakṛt, Padmāntaka is to be placed at the western gate; his body is red, with a black face on the right and a white face on the left. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a lotus and a sword; in his left hands, he holds a jewel and a wheel. From the mantra Vighnāntakṛt, Vighnāntaka is to be placed at the northern gate; his body is black, with a white face on the right and a red face on the left. With his two hands, he embraces the sublime Prajñā. In his right hands, he holds a vajra and a sword; in his left hands, he holds a jewel and a lotus. These wrathful deities stand upon sun seats and possess sun-like radiance. They sit in the wrathful posture, are clad in tiger skins, and are adorned with snakes. Their eyebrows, beards, and eyes are yellow; their hair is bristling upward, their fangs are bared, and their tongues are curled. Having thus shown the maṇḍala complete with all its constituent elements:
Light rays from the seed syllable at the heart invite the buddhas of the wisdom maṇḍala. Visualizing them in front, one expels the obstructors who have arrived with them by means of Yamāntaka and the others, and then performs the protection, binding, and pleasing. Having offered the water for the feet with a vessel filled with nectar, one makes perfect offerings with Rūpavajrā and the others, who have arisen from the light rays of the essence mantra. Then, one should perform the summoning, entering, binding, and subjugating by means of the secret mantras that are the nature of Yamāntaka and the others. These are the branches of the common approach, the great result of concordant cause.
The blessing of the eyes and so forth of the deities of the maṇḍala, such as Vairocana and the others, is the branch of the general near-attainment, the great result of ripening. Likewise, the blessing of the body, speech, and mind is the branch of the general accomplishment, the great result of the person’s activity. That itself becomes the conferral of empowerment: Akṣobhya is on the crown of the buddhas, Vajradhara, Māmakī, Śabdavajrā, Dharmadhātuvajrā, Prajñāntakṛt, and Vighnāntakṛt. Vairocana is on the crown of Locanā, Rūpavajrā, and Yamāntaka. Amitābha is on the crown of Pāṇḍaravāsinī, Rasavajrā, and Padmāntakṛt.
On the crown of Tārā and Sparśavajrā is Amoghasiddhi; on the crown of Gandhavajrā is Ratnasambhava. These are the branches of the general great accomplishment, the third of the four branches of the great result of empowerment. One should visualize the Buddhas being exhorted by the light rays of the essence, drawn into the mouth, and expelled through the vajra path. Through the passion of the goddess, they take the form of molten moon within the lotus. From the light rays of that, one should emanate Rūpavajrā and the others to perform the perfect offering, and then consecrate them with the secret mantra: oṃ sarvatathāgata pūjāvajrasvabhāvātmako ’haṃ. Then, one should imagine one’s own mind as the meditational deity offering praise to the dharmas with the sound of emptiness, like an echo, beginning with: "Akṣobhya is the great vajra," and so forth.
Then, the ritual for tasting the nectar is as follows: from the complete transformation of the syllable yaṃ, there arises a wind maṇḍala in the shape of a bow, marked with banners, smoke-colored, and accompanied by the syllable yaṃ. Above that, from the complete transformation of the syllable raṃ, there arises a triangular fire maṇḍala with three corners, marked with vajras, and accompanied by the syllable raṃ. Above that, upon a moon, from the complete transformation of the syllable a, there arises a skull cup. In that, the practitioner should arrange the five nectars—vi, mu, śu, ma, and ra—and the five heroes—go, ku, da, ha, and na. One should then visualize that fire, stirred by the wind, transforms the contents of the skull cup into the nectar of primordial wisdom (jñāna).
There, one should also visualize a vajra arising from the syllable HŪṂ. Furthermore, having drawn in the seed syllables of the five Tathāgatas with the syllable OṂ and caused them to merge, the yogin should recite the three syllables and satisfy the deities with an excellent vajra tongue arranged with HŪṂ. This is the meditative stabilization known as the Supreme King of Maṇḍalas.
The Buddhas, who have emerged from the essence, have abandoned incorrect conceptualization and have brought all beings to that very nature. Having placed them within their own seed syllables, one should thoroughly meditate on one’s own mind in the form of a drop (bindu). By the appearance of a garland of light rays from that mind, one awakens the body, speech, mind, and the supreme of the body. Then, by entering into that very state, one should visualize the descent of the nectar of wisdom.
By that, the internal body and likewise everything is illuminated. Infinite masses of light emerging from each and every pore fill all variety, and then, having gathered back and remained, becoming stable, is the yoga of the drop. Then, having placed the Buddhas with the light rays of one’s own mantra, they are expelled through the vajra path. From the melting of the moon, one generates the two meditative stabilizations at the center of the subtle sign into which that has completely transformed. Having placed the various [beings] into the nature of the Buddha with one’s own mantra, one should contemplate oneself as the luminous form of that drop.
With the light rays of that [mantra], one should look at the maṇḍala, and once the mind has become stable, one should meditate on the sixteen recollections. If one becomes weary from meditating, one should perform the recitation of the mantra without distraction, either all at once or sequentially. To satisfy one's own continuum, one should visualize a white parasol at the crown of the head, elevated by the distance of a span, and upon that, a maṇḍala of nectar with the syllable OṂ above it. With its light rays, nectar is brought down; then, drawn by the life-sustaining wind and the light rays of one's own mantra, it is brought to the palate and satisfies the body, speech, and mind through the eight channels and pores. Then, having performed immeasurable recitation, one should dissolve the maṇḍala circle by means of the three suchnesses, such as OṂ, and manifest the perfect aspiration. Then, possessing the divine pride of one's own deity, one should arise and remain while visualizing everything as being similar to that. One should consume food and so forth through the sequence of tasting nectar. One should perform ablutions through the sequence of empowerment. One should engage in the activities of the village through the medium level of concordant causes and so forth. During the intervals between sessions, one should again emanate the maṇḍala of the three suchnesses, perform recitation preceded by offerings and so forth, and then dissolve the maṇḍala of the three suchnesses and go to sleep. Furthermore, at the time of dawn, one should complete the three samādhis through the generation stage, and having settled in meditative equipoise, perform recitation and so forth. This ritual of meditation was taught upon seeing sentient beings of inferior insight.
The master composed this work anew. This concludes the Sādhana titled The Manifest Realization of the Glorious Guhyasamāja, composed by the master Piṇḍapātika. It was translated and edited by the Indian abbot Śraddhākaravarman and the chief editor-translator, the monk Rinchen Zangpo, and was subsequently revised and finalized.
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.