Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This commentary serves as a technical manual for the Black Yamāri Tantra, designed to resolve ambiguities and clarify the precise execution of complex ritual and meditative procedures. The text functions by systematically dissecting the tantric root text, providing linguistic definitions for Sanskrit and Tibetan terminology, and detailing the visualization of the deity Yamāntaka and his celestial palace. It commits the reader to a rigorous adherence to the specificities of the deity's form, the geometry of the mandala, and the exact phonetic and symbolic properties of seed syllables and mantras. Beyond ritual mechanics, the work integrates a philosophical framework based on the non-duality of the apprehender and the apprehended, arguing that the ultimate nature of mind is a selfless state of great bliss. By bridging the gap between external ritual performance and internal realization, the text guides the practitioner from the construction of the mandala to the realization of emptiness.
Provenance
About this text
A commentary on the difficult points of the Tantra of Black Yamāri, the Kṛṣṇayamāritantrasya pañjikāratnāvalīnāma belongs to the classical Tibetan tradition. The work is attributed to the Indian author Avadhūta Kumāracandra. It was translated into Tibetan by Līlāvajra (II) and bod kyi lo tsa ba dpyal se rtsa bsod nams rgyal mtshan, and is preserved in the Tengyur (vol. བི) within the collection of Other Skillful Means Tantras, where it extends over 105 pages. The work functions as a technical manual designed to resolve ambiguities and clarify the precise execution of complex ritual and meditative procedures. It systematically dissects the tantric root text, providing linguistic definitions for Sanskrit and Tibetan terminology while detailing the visualization of the deity Yamāntaka and his celestial palace. The text commits the reader to a rigorous adherence to the deity's form, the geometry of the mandala, and the phonetic and symbolic properties of seed syllables and mantras. By integrating a philosophical framework based on the non-duality of the apprehender and the apprehended, the work argues that the ultimate nature of mind is a selfless state of great bliss, bridging the gap between external ritual performance and internal realization.
Sanskrit title
Kṛṣṇayamāritantrasya pañjikāratnāvalīnāma
Indian author
Avadhūta Kumāracandra
Tibetan translators
Līlāvajra (II), bod kyi lo tsa ba dpyal se rtsa bsod nams rgyal mtshan
Cite thisAnuvāda, “A Commentary on the Difficult Points of the Black Yamāri Tantra called “The Precious Garland”” (Toh 1921), machine draft, 2026.https://naxiai.com/tibetan/works/toh1921
Summary & commentary
Significance
The work is significant for its role in preserving the precise ritual lineage of the Yamāntaka cycle, ensuring that the complex visualizations and mantra applications are not lost to misinterpretation. For the modern scholar, it provides a window into the intersection of tantric ritualism and Madhyamaka-style analysis of the nature of consciousness.
Structure
Passages
Section
Description
1-7
Introduction and Preliminary Definitions
Initial homages and the clarification of terminology regarding the Blessed One and the nature of the deities Padma and Khadga Yamāntaka.
8-25
Mandala Construction and Visualization
Detailed instructions on the creation of the celestial palace, the placement of the deity Yamāntaka, and the transformation of seed syllables into ritual offerings.
38-87
Ritual Action and Mantra Application
Guidelines for summoning deities, the specific functions of mantra syllables (e.g., hūṃ, phaṭ), and the color-coding of fire for different ritual activities.
99-136
Empowerment and Consecration
Descriptions of the vajra and bell empowerments, the visualization of the union of Vajra Amitābha, and the yoga of the deity.
137-143
Ethics and Philosophical Conclusion
Discussion on the samaya of protection, the transformation of faults into qualities, and an analysis of the non-existence of the apprehender and apprehended.
Themes
Deity Yoga and Visualization (8-25, 99-136)
Mantra and Seed Syllable Functionality (25, 50, 75, 111)
Non-duality and Emptiness (4, 139-142)
Ritual Ethics (Samaya) (137)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Commentary on the Difficult Points of the Black Yamāri Tantra called “The Precious Garland”·
In the language of India: Kṛṣṇayamāritantrapañjikāratnāvalī-nāma. In the language of Tibet: Gshin rje gshed nag po’i rgyud kyi dka’ ’grel rin po che’i phreng ba zhes bya ba (The Precious Garland: A Commentary on the Difficult Points of the Tantra of Black Yamāri). Homage to glorious Vajrasattva! Homage to the Blessed One, the Black Yamāri!
To the glorious Yamāntaka, from whom all qualities without exception arise; who is like a youthful rain cloud of the time of destruction with blue light rays; who has three faces and holds a vajra, a sword, a curved knife, a wheel, a lotus, and a skull-cup—to him I prostrate with my head.
Regarding the words "Thus have I [heard]" and so forth: this is the authentic beginning of all the scriptures, and it is the statement of the compiler. This is because, although it was spoken at the time of the Blessed One’s parinirvāṇa, it was not actually composed by him. Rather, it was for the sake of correctly teaching that you [the disciples] should compile my teachings with the words "Thus have I heard," since you are without the power of a teacher [to do so otherwise].
In that context, "thus" (evam) refers to exactly what is taught in all the tantras, and not otherwise. "By me" (mayā) means that I heard it directly; I heard it from the Blessed One, the Teacher himself, and not through a lineage passed down from one to another. If one asks when it was heard and spoken, "samaya" refers to the time.
The meaning is: "At the time when the Māra who obstructs the awakening of the Great Sage, the Blessed One, drew near." This will appear in the narrative of the eighteenth chapter of that very [text]. Furthermore, as for what that is: it is because it is said, "having heard the words of the entire tantra." Regarding the term "Blessed One" (bhagavān) and so forth: one is called the "Blessed One" because of possessing what has been conquered (bhagna). As it is said:
"Because he conquers the four Māras,
He is described as the Conqueror, the Blessed One.
Through insight (prajñā), he conquers the afflictions (kleśa);
Therefore, insight is called the Blessed One."
According to these words, "conquering" refers to the wisdom (jñāna) whose nature is the clarity of non-appearance and great bliss. One who possesses that is the dharmakāya. To be fully perfected in that and that is to have mastery over the maṇḍala of deities; the meaning is that by means of this, one is perfected in the form of Vajrasattva.
The term "dwelling" (viharati) is connected elsewhere. If one asks where he dwells, it is said: "the Tathāgatas" and so forth. The word "all" (sarva) should be applied individually to Akṣobhya and the others, as well as to the Tathāgatas and so forth. In the various maṇḍalas, they are of the nature of various seed-syllables. "Vajra" means indivisible; it refers to the male deities of the maṇḍala. "Consorts" (mudrā) refers to the female deities of the maṇḍala. "The Tathāgatas, Vajras, and Consorts" is a collective compound.
Following that, the word bhaga is used together with the word tathāgata as a preceding term for the purpose of bestowal. Alternatively, the word tathāgata is used together with "Vajra and Consort" as distinct terms. Subsequently, the word "all" (sarva) is used together to specifically include them. Following that, the word bhaga is used together, forming a genitive compound (tasya puruṣasya). In that context, "in the bhagas" refers to the source of birth. Because one relies upon the completion of the deity wheel in each of those, those very things are of the nature of the lotus embraced by Vajradhara. Regarding the word "abide" (viharanti): when the assembly produced from the union with the Vajra has not yet actually manifested, then "in the bhagas" refers to the place of generation, meaning those respective seed-syllables. "Abide" means to dwell. Wherever the Vajra, dwelling in a lotus similar to itself, generates Vajrasattva, the teaching of the deity wheel is spoken of, beginning with "Moha-vajra Yamāntaka and so forth." This means by means of the seed-syllables of Moha-Yamāntaka and the others; the meaning is "together." To indicate that they are not other than the result, the seed-syllables of the tantras of Moha-Yamāntaka and so forth are designated by the name of the result. In that regard, indivisible ignorance is Moha-vajra, because it is the cause of greatness and meaninglessness. Yamāntaka is like Yama.
Its enemy is that which destroys them. Since the apprehended and the apprehender cannot withstand analysis, one views the nature of one’s own and others’ migrations as false in each moment; this is what completely exhausts ignorance. The word "and" (dang) is used to include [the terms] in mutual dependence. Likewise, these four terms beginning with "subtle" (phra ma) and "Vajra Yamāntaka" (rdo rje gshin rje gshed) also serve to make [the meanings of] "indivisible" and so forth understood in all respects.
In that regard, ignorance is the grasping at a self where there is no self. Slander is the word that differentiates [the self] from others. Attachment is the clinging to all collections [of phenomena]. Envy is the inability to bear the excellence of others.
Regarding "Mallet Yamāntaka" (mthe bo gshin rje gshed): it is like a mallet because it crushes the great stability of the view of the transitory collection—which pervades all sentient beings without exception until samsara is emptied—just as a mallet crushes [its object]. "Yamāntaka" means the enemy of the nature of Yama; because it is the cause for destroying that very view of the transitory collection, it is "Mallet Yamāntaka." Similarly, the three subsequent terms should also be understood as applying the same [etymological] analysis.
Regarding "Staff Yamāntaka" (dbyug pa gshin rje gshed): it is like a staff because it extracts the fault of the view of extremes that resides in all sentient beings without exception until samsara is emptied. "Yamāntaka" means the enemy of the nature of Yama; because it is the cause for destroying that very view, it is "Staff Yamāntaka."
Regarding "Padma Yamāntaka": it is "Padma" because it is like a lotus, for it is unstained by the mud of wrong views, and it is "Yamāntaka" because it is the enemy of the Yamāntaka-like nature of wrong views; thus, it is Padma Yamāntaka. Regarding "Khadga Yamāntaka": it is "Khadga" because it is like a sword, for it cuts the enemy of the supreme view. "Yamāntaka" refers to that very supreme view which is the nature of Yamāntaka; because it is the enemy of that, it is Khadga Yamāntaka. Regarding "Vajracarcikā": this is "Vajracarcikā," where the first case ending is used in the sense of the third. The same applies to the subsequent terms. In that context, "Vajra" is like a vajra, for it is that which has arisen without purpose and from the obscurations of the afflictions. Its "Carcikā" refers to the investigation through the application of being free from the one and the many, up to what is called "the principal." Regarding "Vajravārāhī": it is "Vajra" because it is like a vajra, for the obscuration of karma in the bhaga is not obscured. Its "Ā" is the taking and realizing of all. "Ha" is "ha" because it is seen as another chapter. It is "Di-pa" because of the pippalī and so forth. Regarding "Vajrasarasvatī": that very indivisible wisdom is the "melody" (svara), for it clears away the stream of the obscuration of the knowable. "Cān" means possessing that. Regarding "Vajragaurī": "Vajra" is indivisible. "Gaurī" is the view of emptiness, for it is the antidote to the obscuration of birth. Because it takes and holds that, it is Vajragaurī.
Vajragaurī is the fault of one’s own purpose. "In the corners" refers to the intermediate directions such as fire and the direction of the Lord of Lies (Nairṛti) within the inner tier. Represented by the corners, in the directions of the inner tier such as east and south are those beginning with Mohayamāntaka. Dveṣayamāntaka is in the center of them all. Those beginning with Mudgarayamāntaka are in the directions of the outer tier such as east and south. Likewise, the four skull-cups are also in the outer corners, which shall be understood later. "And so forth" means that these are the principal ones, and they are gathered with those beginning with them. The meaning is that from each of those, there is an infinite radiation and reabsorption from their respective seed-syllables. Furthermore, this is connected with the previous phrase "they dwell," taken together. The meaning of that is that they dwell together in the perfection of bliss. These are presented in relation to a single maṇḍala, whereas others should be understood as having their own respective lords of the maṇḍala and maṇḍala deities in relation to other [maṇḍalas]. Through their differentiation, there is also the differentiation of Vajrasattva. Because the deities of the maṇḍala as described are generated from seed-syllables, the five aspects of manifest enlightenment are taught, beginning with the words "Then..." "Then again" refers to the introduction of such a statement.
Then, the phrase "the Blessed One called Vajrapāṇi" should be applied here. "Having called" means having questioned. That calling should be understood in accordance with the response. Otherwise, it would be an irrelevant statement, as it would be a different teaching for a different question. To whom was he called? It is said: "Vajrasattva" and so forth. Since he is both "all" and a "Tathāgata," he is the "Tathāgata of All," namely Akṣobhya and the others. "Lord of those" means he is the one who perfectly speaks for them. Furthermore, he is a Tathāgata because he is the progenitor. The meaning of the response is stated from "Then again" and so forth, up to "the destruction of all Māras." "Harming all" means striking. By applying the suffix ap to the action, "all Māras" refers to the afflictions such as attachment and so forth. Their "destruction" is their purification. That itself is the "Vajra" because it is indivisible. "Name" means that which is well-known. "Samādhi" refers to the form of the causal Vajradhara Yamāntaka. "From his own body, speech, and mind" means by way of the five natures, such as the mirror-like wisdom and so forth. "Emanated" means having projected them forth. "By the union of the moon and vajra" means when, from the seed-syllable at the heart, the sevenfold supreme offering of purified offerings and the meditation on the four Brahma-abodes are arranged.
Regarding the emptiness of awakening, the vajra fence and so forth, and the great elements of space contained within them, as well as the four great elements perfectly gathered and abiding upon the crossed vajra: from these, a celestial palace arises, in the center of which one meditates upon the moon following the sun, the vajra, and so forth. This is taught through a sequence of manifest agitation. Such a process occurs only rarely for one who, through supreme insight, enters into the very nature of pride based on mere words, and subsequently, for the sake of not violating the samaya. In this context, the moon consists of the āli vowels and so forth. From the doubling of the sixteen vowels, the mirror-like wisdom (ādarśa-jñāna) arises. The "vajra" refers to the vajra that conquers the māras; from the doubling of the forty-two consonants, beginning with ka, the sun-vajra arises, which is the wisdom of equality (samatā-jñāna). These are the moon and the sun. "Union" (yoga) means the supreme application. Then, upon the sun, from the syllable HŪṂ, a vajra arises, its hub blessed by the syllable HŪṂ; this is the nature of the discerning wisdom (pratyavekṣaṇā-jñāna). Then, the emanation and reabsorption of the mandala of deities is the nature of the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna). One should understand that the total melting and transformation of all these is the nature of the thoroughly pure wisdom (suviśuddha-jñāna).
Regarding the one called "Yamāntaka, the Terrifier": he is generated from the complete transformation of the moon, sun, vajra, and seed-syllable, arising from the state of melting. He is the causal Vajradhara Yamāntaka, with his left leg extended, white in body color, and with a white central face, while the right and left faces are blue and red, respectively. With his right hands he holds a vajra, a sword, and a curved knife; with his left hands he holds a wheel, a lotus, and a skull-cup, and he embraces in union a consort who resembles himself. As it is said in the tenth chapter: "Having placed the liṅga in the bhaga, one should clearly meditate on the Lord of the Maṇḍala."
Regarding "the Māras": there are four types—the Māra of the afflictions, the Māra of the gods, the Māra of the aggregates, and the Māra of the Lord of Death. "For the sake of complete pacification" means for the purpose of that [pacification], which is the fourth [line]. "Pacifying all those who are hostile" means that "all those who are hostile" refers to enemies, and "pacifying" means for the purpose of eliminating them.
Regarding the statement "for the purpose of protection" and so forth, which describes what is to be done following the awakening of emptiness: "vajra" refers to the crossed vajra. Thus, it is said: "thick with five-colored rays of light." This means that from the complete transformation of the syllable RAṂ, the syllable HŪṂ is perfected upon a sun disk. "Vajra ground" means that from that very vajra, numerous rays of light emerge, transforming the ground below into a vajra-natured foundation.
The term "iron wall" refers to the square enclosure outside the light rays of the vajra garland. The "enclosure" refers to the four walls that arise from the light rays in the four directions above the vajra ground. The "tent" refers to the covering of the roof, pervaded by vajra light rays in the direction of space.
Regarding the activity to be performed after the completion of Vajrasattva, the text says "Then," and so forth. The progenitor of all tathāgatas is Vajrasattva, the causal Vajradhara, who is Yamāntaka. "Entering into the meditative absorption called the 'Vajra that Destroys the Māras'" means that light rays are emitted from one's own heart, summoning the tathāgatas, who enter the mouth and melt into the heart. Emerging through the vajra path, they take the form of melted moonlight within a lotus identical to oneself, and the seed syllables of the maṇḍala deities become a circle of perfected goddesses. Since these are the very cause for destroying the māras, the name of the result is applied to the cause; thus, the meditative absorption called the "Vajra that Destroys the Māras" refers to these very things.
"From his own vajra body, speech, and mind" means that they have entered as his own likeness, the essence of body, speech, and mind, which is the meaning of the "source of phenomena" (dharmodaya) purified as the three tathāgatas. "Emanated" means they were perfectly projected and arranged in their respective positions.
This is from the stage of emanating the seed syllables of Mohayamāntaka and the others. In the center, the syllable ya should be understood by implication as the seed syllable of the principal deity, Yamāntaka. From the process of melting, he becomes Yamāntaka, and at that time, the seed syllable is formed. Now, yakṣe ma me da and so forth are emanated into their respective locations. Kṣe ma me da are situated in the directions of the inner circle; these are the remainder. Ya ja ni ra are in the four outer gates. Ja sa do ru are in the intermediate directions of the inner circle. Ṇa yo ni rā are in the four corners of the outer circle. Regarding the classification of the seed syllables according to the deities, it is said: "Ra and so forth are the first," and so on. "Yamāntaka" refers to Akṣobhya. "Delusion" refers to Vairocana. "Malice" refers to Ratnasambhava. "Passion" refers to Amitābha. "Jealousy" refers to Amoghasiddhi. "Renowned as the five Yamāntakas" means that those very ones, Akṣobhya and the rest, are explicitly designated as the five Yamāntakas. Following that, regarding the section on the mudrās, the instruction to "meditate on Yamāntaka upon the heads of all the maṇḍala deities" means that one should meditate on the Tathāgatas themselves as appropriate.
Now, in order to explain the meaning of Yamāntaka residing in the center of the celestial mansion—which is to be described as being of the nature of space within the vajra fence and vajra canopy—it is said: "Space-vajra," and so forth. In this context, "space-vajra" refers to the great element of space, the nature of the space that exists within the vajra fence and vajra canopy. "In its center" means pervading that [space]. "Variegated vajra" refers to the very variegated vajra previously generated from the syllable HŪṂ. "Visualize" means to recollect: that from the nature of the five Tathāgatas, [the variegated vajra is] black in the center, white in the east, yellow in the south, red in the west, and green in the north. "In its center resides Yamāntaka" means that he resides in the center of the celestial mansion situated upon the perimeter of that variegated vajra. Furthermore, it should be understood that Vajrasattva, having melted, is exhorted by vajra songs and then arises. "On the eastern spoke" refers to the eastern portion. Likewise, it should be understood for the southern, western, and northern portions as well. "In the intermediate directions" refers to the corners of the inner tier. "On the four vajra spokes" means that the "vajras" are the Vajra-Yamāntaka of Ignorance and the others. Their "tips" are in the corners of the symbolic Dharma [mandala]. "Carcikā and so forth" refers to Carcikā, Vārāhī, Sarasvatī, and Gaurī.
Regarding the phrase "at the tips of the four gates": this refers to the four tips of the crossed vajra (viśvavajra) at the gates of the outer tier; that is, the four types of five-pronged tips. The meaning is "at the gates themselves, which are in close proximity to that." Regarding the phrase "in the corners of the crossed vajra": this refers to the corners of the celestial mansion (vimāna) situated upon the crossed vajra. "Human heads" refers to the skulls of men filled with blood, which are situated upon various lotuses.
The passage beginning with "Then again" and so forth is for the purpose of teaching the mantra recitation of the deities. "Having entered into the meditative absorption (samādhi) called 'Vajra Yamāntaka'" means having attained the state in which the resultant Yamāntaka is about to arise. "Recite the mantra" is the remainder of the sentence. "Spoke" means that he spoke it at this very moment. The mantras for the recitation of the maṇḍala deities are spoken by means of the twelve lines beginning with "Then again" and so forth.
Regarding the "mantras for blessing the body, speech, and mind," these belong to the lord of the maṇḍala and the deities of the maṇḍala. "The body of great hatred" refers to the body of Yamāntaka, the embodiment of hatred. "Three faces" means the central face is black, the right is white, and the left is red. Regarding "hands," this is because the right hand is marked by a vajra. The other two hands hold a sword and a curved knife (kartṛ). Likewise, the three left hands hold a wheel, a red lotus, and a skull cup. "Three faces" [refers to] the central black face and...
The left [face] is red and the right is black. "Peaceful" means beneficial through peaceful activities. "Luminous form" refers to the moon; its white light rays are equal to that. "Hand" refers to the right, because it is characterized by the wheel; the other two hands also hold a sword and a curved knife. Likewise, in the three left hands are a jewel, a lotus, and a skull-cup. "Three faces" means the central is yellow, the right is white, and the left is black. "Increasing" means beneficial through increasing activities. "Appearance of refined gold" means the excellent color resulting from smelting, which is its light. "Hand" refers to the right, because it is characterized by the jewel; the other two hands also hold a sword and a curved knife. In the three left hands are a wheel, a lotus, and a skull-cup. "Three faces" means the central is red, the right is white, and the left is blue. "Magnetizing" means beneficial through magnetizing activities. "Padmarāga" refers to a red jewel. "Hand" refers to the right, because it is characterized by the lotus; the other two hands also hold a sword and a curved knife. In the left [hands] are a wheel, a jewel, and a skull-cup. "Three faces" means the central is green, the right is black, and the left is yellow. "All" refers to all activities. "Emerald" refers to a green jewel. "Hand" refers to the right, because it is characterized by the powerful sword; the other two hands also hold a vajra and a curved knife. In the left [hands] are a wheel, a lotus, and a skull-cup.
Having thus taught the five Yamāntakas who abide in the inner sequence, the chapter is concluded with the words "The Tathāgata," and so forth. The body, speech, and mind of all the Tathāgatas are called Vajrasattva. That which is the complete transformation of these is the Black Yamāntaka; he is the Yamāntaka of the body, speech, and mind of all the Tathāgatas. That which makes those tantras clear is the "tantra." "From that" means from a single portion. "Manifest attachment" refers to all forms of clear devotion; that which is perfectly attained and realized through the nature of all things, and is attained by that very nature, is "clear realization" (abhisamaya). Because it is like a cloth that covers all ignorance, it is called a "cloth" (paṭa). Because it takes up and holds that, it is a "chapter" (paṭala). Since it is both a clear realization and a chapter, it is the "Chapter on Clear Realization." The explanation of the first chapter is complete.
Now, for the purpose of drawing the maṇḍala and so forth for the sake of the disciples and others, the praise to the master is spoken, beginning with "Then the Blessed One." Regarding "Great Vajrasattva," "Great" means he who gathers all. "Vajra" is by way of the nature of awakening. As it is said: "That which is the mind of awakening is the vajra." Because he possesses that and because he is of its nature, he is "Sattva."
Regarding the praise, it is asked: "What is being praised?" The text replies with "Delusion Vajra" and so forth. Following the meditation on the circle of deities, the blessing of the eyes and other faculties is taught; thus, "Vajra Eye" and so forth are spoken. The word "spoken" means having spoken. Having blessed the eyes and so forth, their "samaya" refers to the symbolic signs, which is to say, the mantras for blessing the eyes and so forth. In some manuscripts, this is a phrase ending in the first case. Its meaning is this: "by which samaya for blessing the eyes and so forth, the Blessed One..." This is a bahuvrīhi compound used to distinguish the specific [deities] for the sake of their application. In that case, subsequent phrases should also be understood in this manner. Regarding the intention behind the spoken praise, the drawing of the maṇḍala is taught with "Then" and so forth. "Destroying" means having blessed [the deities] as being extremely fierce. It is called a "maṇḍala" because its nature is the bodhicitta. As it is said in the Glorious Guhyasamāja: "Bodhicitta is the maṇḍala." "Yamāri" is Yamāntaka. "Completely similar to that" means being like that, because of the identity of the action and the agent. "Accomplishes all desired aims" means that whatever desired aims exist—such as pacification and so forth—they are accomplished therein. The "distinction" is by way of the differences in the color, hand symbols, and so forth of the central figure.
Regarding the explanation of the maṇḍala cord, beginning with the word sattva and so forth: "well-prepared" refers to the five tathāgatas and their five purities; thus, the cord consists of five types of thread, each of five colors, making twenty-five in total. "Of excellent measure" means it is twice as long as the maṇḍala. "Beautiful" means it is perfectly fine. "In thickness" means it is one-twentieth the width of the maṇḍala door. "Cord" refers to the wisdom cord (jñānasūtra) produced through consecration by mantra. Regarding the phrase "to strike the lines," the oral instruction is as follows: taking a maṇḍala of one cubit as the standard, one should prepare a square of three cubits. In the center, holding the cord with the thumb and index finger of the left hand, and holding the tip of the cord together with the chalk by the right hand, one should draw a single circular line all around. Then, the master and the disciple, facing east, west, north, and south respectively, and having assumed the yogic identity of the deities Akṣobhya and Vairocana, should strike the two Brahma-lines in the center in their proper order. Likewise, standing in the directions of wind, fire, Ishāna, and Nairṛti, they should strike the two intermediate lines, ensuring that the spaces between them are equal and of the correct measure. In the center of that, starting from ten finger-widths less one-quarter, one should draw a single circular line all around.
Following that, a single circular line measuring one thumb minus one-quarter of a cubit is for the purpose of the vajra garland. Then, after that, a single fine line of five finger-widths is in each of the four directions. Then, there is a line measuring one thumb minus one-quarter of a cubit. Having thus removed the lines that exceed the nine-square grid, the remaining squares and pillars should be drawn as beautifully as possible.
Then, extending from the Brahma-thread in the eastern direction, outside the vajra garland, a line of one and a half thumbs is for the purpose of the colored-powder ground; a single special thread should be laid down in the intermediate direction between the southeast and northeast. Then, the corner is for the purpose of the five colors. The others are the area of one thumb minus one-quarter of a cubit. Outside of that, leaving one and a half thumbs from the side of the Brahma-thread, two threads each are laid down in the middle of a line measuring one thumb minus one-quarter of a cubit, which is three lines long; these are called the "sides" and are for the purpose of five lines.
Then, on the flanks, at a measurement of one and a half finger-widths, in the middle of a line measuring one thumb minus one-quarter of a cubit, two threads each are laid down; these are called the "edges" and are for the purpose of five lines. Then, the "directions" are for the purpose of five lines; at a measurement of one and a half fine finger-widths, in the middle of a line measuring one thumb minus one-quarter of a cubit, two threads each are laid down. Then, extending across both sides, these are called the "shoulders."
For the purpose of the five decorative bands, two threads should be laid in the center of the thumb’s breadth, which is one unit less than a full foot. Following that, for the purpose of the jewel frieze, a single thread should be laid on both sides, measuring one thumb’s breadth beyond the cross. Then, for the purpose of the pillars, two threads should be laid on both sides between a space of one thumb’s breadth less than a full foot outside the jewel frieze and another space of one thumb’s breadth less than a full foot. On top of the architrave, a space of one thumb’s breadth less than a full foot should be marked for the tops of the pillars. Then, on both sides outside the pillars, a single thread measuring one and a half finger-widths outside the jewel frieze should be laid on both sides of the dhāraṇī frieze. Then, for the purpose of the jewel frieze itself, a single thread is laid as before. Then, for the purpose of the lattice and half-lattice, a single thread measuring one and a half thumbs’ breadth outside the jewel frieze is laid. Then, the thread for the jewel frieze is laid as before. Then, on top of the pillar heads, a space of one thumb’s breadth less than a full foot from the sides is marked with eleven vajras. The vajra canopy hangs from the pillar heads at a distance of one thumb’s breadth less than a full foot, with two śarapuṣpa ornaments moving as beautifully as possible. Then, on the frieze at the junction of the lattice and half-lattice, there are seven makara faces; from both sides of their mouths, pearl garlands hang down from the jewel frieze.
In the center of all the lattices and half-lattices, half-moons resting on lotus seats and half-vajras resting on sun disks hang from atop jewels. Those hanging from the center of the mouths of makaras are beautified by being attached to large, stainless single-pointed jewels. The garlands on both sides are slightly smaller, making three garlands in total. Then, on the colored ground of the two sides of the doors, two vases resting on lotuses should also be drawn as beautifully as possible. The so-called dhāraṇī [band] is also a frieze accompanied by compassion. Then, in the four corners, there are banners of yak-tail hair attached to staffs marked with jewels and vajras, fluttering and ringing. The rows of pendants also reach to the end, just as the parasols are well-placed. In the center of the pillars and the jewel frieze, a wish-fulfilling tree resting on an excellent vase should be drawn. In the openings between the sides and the pillars, vajra-jewels should be drawn. Above the vajra canopy is a frieze of flower garlands, expanded by two thumbs [units], and square with two feet [units] added to each side. Following that is a jewel, expanded by three feet [units] and long, equal to the flowers. Then, on both sides, the frieze of the pa-gu [molding] is smaller by one foot [unit]. In the center, it is larger by two feet [units], resembling a horse's hoof, with various colors like a hoof.
Then, the suvarṇa (fine) molding, including its width, is yellow and is two pāda (feet) less on both sides. Then, the tamas (dark) molding is two aṅguṣṭha (thumbs) in width and two aṅguṣṭha less on both sides. Then, there is the previous suvarṇa molding. Then, the khura (hoof-print) molding is two pāda in width; it is two pāda greater than the suvarṇa molding on both sides. Then, the maṇi (jewel) is three pāda in width and greater by one pāda on both sides. Then, the four khura moldings are like the previous khura molding. Then, the golden molding is as before. Then, the kramaśīrṣa (stepped crest) is one and a half aṅguṣṭha at the top and one-quarter aṅguṣṭha less on both sides. Then, at the measure of one pāda, upon the lotus seat, the body of the deer is in the center, with a measure of one pāda and a finger (aṅgula). Its birth-mark is one and a half fingers in measure. The head is one and a half fingers in measure. Above that, leaving half a finger, it should be encircled by a single line. Outside of that, a lotus garland is three aṅguṣṭha in measure. Outside of that, a vajra garland is three fingers in measure. It is as beautiful as it can be, together with five rays of light. Thus, on each side, it is one cubit (hasta) outside the corner. Then, inside, the maṇḍala of one cubit becomes triangular.
Then, in the middle of the two deer, upon a lotus seat measuring one thumb-span (aṅgula) less than a foot, one should place a seat measuring one thumb-span less than a foot. The twelve spokes of the wheel are each one and a half finger-widths (aṅgula) in measure. They are at the tips of the central [spokes]. The other four tips should be drawn on both sides. In front of the two deer, two banners hang down, reaching as far as the tails of the deer. On the outer edge of the deer, upon the kramaśīrṣa (stepped molding), one should draw two lions, two royal swans, two peacocks, and two makaras, facing outward in the sequence of east, west, north, and south. In this manner, the maṇḍala should be drawn starting from one cubit (hasta) up to a thousand cubits. "Insight" (prajñā) refers to being skilled in laying the lines. "Engaging in pacification and so forth" means performing activities such as pacifying (śāntika), enriching (pauṣṭika), magnetizing (vaśya), and wrathful rites (abhicāra); the distinction is made by the difference in the colors and symbols situated in the center. The "activity vajra" is the crossed vajra (viśvavajra). The "five-pointed" is the five-pronged [vajra]. "Equally endowed" refers to the four directions. "In its center" means situated on its perimeter, in the middle of the inner tier of the celestial palace (vimāna). The "vajra" is a black five-pointed vajra. "Blazing vajra" refers to light rays in the form of vajras. "The eastern spoke" refers to the inner tier itself. [It is] in the east.
"Wheel" refers to a white wheel with eight spokes. "Light rays" refers to the very light rays of the wheel-vajra. "Jewel" refers to a yellow [jewel] with nine facets. "Light resembling the luster of a ruby" refers to red light rays. "Green sword" refers to the remainder. "Blazing with various [colors]" refers to the five types of light rays. Thus, having drawn the symbols of the five Tathāgatas in the inner row, for the purpose of indicating the symbols in their four corners, [the text says] "in the eastern corner" and so forth; "in the eastern intermediate direction" means in the southeast. "In the south" means in the southwest. "In the west" means in the northwest. "In the north" means in the northeast. For the purpose of drawing the symbols in the four gates of the outer row, [the text says] "hammer" and so forth. Among those, the "hammer" is black and marked with a three-pronged vajra. The "staff" is white and marked with a black three-pronged vajra. The "lotus" is a red lotus. The "vajra-sword" is green. Regarding the fact that [symbols] were not mentioned for the four corners of the outer enclosure, they should be understood as the four skull-cups, because it is said: "All characteristics are perfectly complete." Otherwise, it would follow that they are deficient. One should also understand the seats of the symbols according to the sequence of the seats of the deities. "Complete" means having fully entered the gates of the wisdom maṇḍala; it does not depend on any other activity.
"Buddhas" refers to those who abide in the manner of signs. "Without doubt" means having abandoned the grasping and the grasped that involve clinging to the truth. "All the Tathāgatas" and so forth are as explained previously. Regarding the "great maṇḍala," it is both great and a maṇḍala, hence a "great maṇḍala." The collection of texts that teaches this is the chapter; thus, the explanation of the second chapter is complete.
It was said that one should offer a request after performing a praise for the purpose of drawing the maṇḍala. That is expressed in the passage beginning with "Then the Blessed One." "Lord" refers to Vajrasattva. "King of Praises" refers to the verses to be explained, beginning with "The maṇḍala," and so forth. "Offering a request" means making an inquiry. "All sins" refers to committing acts such as taking life, causing others to commit them, or rejoicing in their commission. "Terror" is as explained before. "The chief of all maṇḍalas" means the principal among the maṇḍalas of Vajraḍākinī and others taught here.
Once the maṇḍala of colored powders or the maṇḍala of the deity circle visualized in meditation is complete, the food and drink are taught in the passage beginning with "Then again." "Nectar" refers to the wind maṇḍala in the shape of a bow, marked at its two corners by two fluttering banners, which arises from the complete transformation of the syllable yaṃ.
Above that, upon a fire produced from the complete transformation of the syllable RAṂ, is a skull cup produced from the complete transformation of the syllable A. Within it are the forms of GA, KU, DA, HA, and NA, representing food and so forth. Stirred by the wind and heated by the fire, these melt within the skull cup and are blessed by the syllable OṂ. From the bindu of that syllable, light rays emanate, summoning the essence of all the tathāgatas; these are unified with the wisdom nectar to become the fivefold nectar. To taste this is the "enjoyment." Its "samaya" is the symbolic gesture. The "mantra of blessing" is the definitive extraction, which is clearly taught. What is it? It is stated as the "mantra of blessing," beginning with OṂ and so forth; the meaning is "blessed by the three syllables." Regarding the phrase "by the application of the vajra tongue": from the syllable HŪṂ, the tongue is visualized in the form of a single-pointed vajra, and from it, light rays emerge in the form of a tube. What is the purpose of this? It is to "please," meaning to delight. "All the Vajra-holders" refers to the lords of the maṇḍala and the deities of the maṇḍala. When should the nectar be tasted? It is said: "Abiding," and so forth. Those who are like the samaya maṇḍala of the "Perfect Buddhas" are summoned by light rays arising from the seed-syllable at one's own heart and are made to abide in the direction of space. "By the nature of the source of wisdom" means by the nature of dreams and illusions. "Summoning" refers to...
Having offered the water for the feet and so forth to the circle of deities who have been summoned, they are brought into close proximity. "Seated" means that the samaya circle and the wisdom circle have been made into one. "Bound" means that, through being thoroughly inserted, they do not depart. "Subjugated" means that the suffering of being bound is relinquished and they become blissful. Furthermore, regarding the phrase "by the four mantras, the hammer and so forth," these are: OṂ MUDGARA JĀḤ, OṂ DAṆḌA HŪṂ, OṂ PADMA VAṂ, and OṂ KHAḌGA HOḤ; or it is by means of these in their proper order: JĀḤ HŪṂ VAṂ HOḤ.
If one asks, "Upon what should one meditate on Yamāntaka as being mounted?" it is said: "The buffalo, the vajra," and so forth. "Buffalo" refers to a great buffalo, and upon it is the vajra. The remainder is: "Having meditated on the samādhi of the Vajra Victory over Māras, it is made into the seat." The "Lord of the Maṇḍala" is the principal deity of the maṇḍala. The "secret maṇḍala" is the moon maṇḍala. "Delusion Vajra" is Delusion Yamāntaka. The "seventh of the seven" is the deity; that which possesses its seventh of seven is the sun. The "maṇḍala" refers to the sun. "Action Vajra" is Jealousy Yamāntaka. Regarding the side of the colored-powder maṇḍala, one should draw the respective symbols, as appropriate, situated upon a multicolored lotus, on the sun and moon. This is for the purpose of teaching which deity yoga should be performed by the practitioner through meditation and recitation.
Regarding the phrase "peaceful" and so forth: "Karmavajra" refers to the yoga of the Yamāntaka of Envy. "All" means every [instance]; the meaning is "as much as is currently described." "Human fat" refers to the flesh and bone-marrow of a slain person. "Human hair" refers to the hair of a slain person together with a fence. "In a charnel ground on the fourteenth or eighth day of the waning moon" is the remainder. Regarding "cast," the remainder is "in a human skull." "By the application of the Karmavajra" means assuming the form of the Yamāntaka of Envy. "Eye salve" is that which is produced from soot. "The meditation of the activity" means one should act in that manner in the form of the Yamāntaka of Envy. "The eye salves" refers to that soot on the ring finger. There are three ways the eye salve is accomplished: as long as that soot is burning, it is made into eye salve; by that, one may travel through the three worlds and yet be seen by no one. If smoke arises from the soot of the eye salve, it is the siddhi of the underworld. By the soot of the eye salve that has become warm, one will be cherished by all beings. If one asks, "What is accomplished by the burning and so forth?" it is said: "The excellent application of the Karmavajra." The meaning is this: through the yoga of the Yamāntaka of Envy, one should cover [the object] with the right hand and perform the recitation until that soot burns, as well as for the smoke and the warmth. "Saffron" refers to the flower of a woman.
"Blood" refers to the flesh of a slain person. These are the pith instructions. Regarding the phrase "by the excellent application of the vajra activity": this refers to the yoga of the Jealousy Yamāntaka and the grasping; these two are then made into one, placed in a skull-cup, and the mouth is covered with the hand. The recitation is as before, for as long as the three accomplishments have not arisen in the charnel ground. "The five nectars" refers to the five meats: the flesh of a fish, a cow, a goat, a dog, and a human. One should hold pills made from these ten ingredients in equal parts, filling the interior. Regarding "wrapped with the three metals": having made the pills in vessels of gold, silver, and copper respectively, they are divided into three, four, and four portions of the size of a mañca (a small weight) according to their respective order. The pills, exceeding seven, three, and five rati (a unit of weight), are the size of a small rak (a small weight). Everything from "in the application of the activity" and so forth is as before. "A sword of kānta iron" refers to a sword forged from the kānta iron of the Six-Faced One. Regarding "in the application of the activity": one should hold it in the hand in the form of the Jealousy Yamāntaka and recite as before for as long as the three types of accomplishments have not arisen. "The activity sword" is similar to the sword of the Jealousy Yamāntaka itself. Setting aside the pacifying and other rites as they were taught, the other activities such as the wrathful ones are the primary practice of Yamāntaka.
Although the Blessed One did not state this explicitly, it is to be understood by implication. Regarding the "Chapter on the Stages of the Application of Activities," this refers to the individual explanations of the various enlightened activities. "Application" refers to the methods for accomplishing those activities. The collection of texts that praises these is also called a "chapter"; thus, it is the "Chapter on the Stages of the Application of Activities." The explanation of the third chapter is complete.
Now, in order to describe the stages of the activities of the yantras as taught for pacifying and so forth, the passage beginning with "Then again" and so on follows. The phrase "this" refers to the remainder of the text: "You are the nature of Mohavajra," and so forth, which praises [the deity] with the "King of Praises" previously mentioned. "Supplication" means to inquire. "Thoroughly distinguished by the divisions of activity" refers to the divisions of activity, such as pacifying and so forth. "Thorough distinction" means being distinguished by the excellence of whichever [activity] is preeminent, such as accomplishing the object of practice through meditating on the form of the deity and so forth. "Great Vajra" refers to Vajrasattva. "Oceans of wisdom" refers to the bodhisattvas. "The nature that heals all faults" means being completely liberated from all defects in every respect.
One should not consider this activity here to be a malevolent one; rather, it is for the sake of completely rescuing others from going to hell by means of such methods. It is just like the actions of a skilled physician, such as cauterization, performed for a patient with a chronic illness.
Regarding the phrase "with these words": it refers to what will be explained, beginning with, "The ultimate yantra is Yamāntaka," and so forth. This was spoken for the purpose of grasping the guru’s oral instructions on the sequence of constant practice. Then, the words "Furthermore..." and so forth were spoken. Regarding the "yantra for the purpose of power," this is the yantra for subjugation. If one asks what is recited, it is said: "The yantra of Yamāntaka." This is also for the purpose of showing respect for the domain of the yantra. Regarding "for the purpose of protection," this is for the purpose of pacification. Regarding the explicit mention of both subjugation and pacification, it is said, "one should take the gorocanā for pacification," meaning that for both, one should write with gorocanā itself. If one asks on what paper it should be written, it is said: "on birch bark and so forth." Regarding "bamboo bark," this refers to the skin-like membrane situated inside the hollow of a bamboo joint, which resembles paper. This will be explained in the sixth chapter on drawing the wheel. Regarding "having made a three-tiered maṇḍala," and so forth: as for the words "namo namas," the term namaḥ indicates reliance, which is for pacification. Here, by way of illustration, whichever activity is performed, it should be interspersed with the mantra spoken for that specific rite. Regarding the place where the drawn wheel is to be kept, it is said: "black" refers to the black color. "Hairy" refers to the central portion. This also includes the outer, the inner, and the inferior. The word "and so forth" includes cracks, movement, and the like.
This is connected to the instruction to "visualize oneself as the nature of Yamāntaka." If one asks how this is to be done: it is like the light rays of the moon; it is Mohayamāntaka. "Place the object of accomplishment in front" is connected to other objects of accomplishment. "Abiding upon a moon maṇḍala" means that the yantra should be made upon a sun and moon maṇḍala, and [the object] is situated in the center of that. "The object of accomplishment" refers to whoever is to be pacified. "The perfect buddhas" refers to the emanations from the seed syllable at one's own heart, in the form of many Mohayamāntakas. "That" refers to the object of accomplishment. "Having looked" means one should visualize them in such a manner. The mantra to be recited is taught as "Oṃ dhṛti," and so forth; the mantra of all [the deities] consists of nine syllables, beginning with the syllable Oṃ and ending with the syllable Hūṃ. Beyond that, the name of the object of accomplishment is to be written, inserted between two interlaced mantras. The "samaya of pacification" is the mantra of pacification. "It is taught" means it has already been stated; it is connected to the previous mention of "Vajradhara." Regarding the ink with which to write for the pacification of a man, it is taught starting with the word "man," and so forth; for women and so on as well, it is by means of that same pacification ritual. Likewise, "for enrichment" means that in the context of enriching a man, it is with saffron itself. Regarding the ink with which to write for the enrichment of a woman, it is taught starting with "the two wheels," and so forth; the meaning is that even in the context of enriching a woman, it is with saffron.
Regarding the phrase "svāhā-name": it means that the name is augmented by the sound "svāhā." One should offer [the mantra] with the sound "svāhā" at the beginning and the end. As for what is to be augmented, it is stated: "having taken the name," which means one should augment it with the name of the person to be accomplished (sādhya). The remainder is: "having written it, place it in the yantra."
"Yellow Yamāntaka" refers to the Yamāntaka of divisiveness (paiśunya). "Abiding on a yellow moon" means one should meditate on the yantra itself as a yellow moon and visualize [the deity] abiding therein. "Yellow vase" refers to the many hands of the Yamāntaka of divisiveness, who have emerged from the seed-syllable at the heart and are holding [the vase]. "Vauṣaṭ" means that the name is augmented by the sound "vauṣaṭ." "The samaya of enrichment" refers to the ritual of enrichment (puṣṭi).
The ritual for subjugation (vaśīkaraṇa) is taught: "on birch bark," and so forth. "Cloth" refers to cloth stained with blood. "Blood of the ring finger" refers to the blood of the ring finger of the one who desires to subjugate and the one who is performing the rite. These should be prepared with lac and so forth, either individually or collectively. The phrase "with the syllable Ho" is an illustration; it indicates that the name is also augmented by the sound "vauṣaṭ." "Free from black and so forth" is as before. "Blood-colored" means having the nature of red. "Yamāntaka" means that one has transformed oneself into the Yamāntaka of passion (rāga). "Abiding on a red moon."
Regarding the phrase "the yantra itself," one should visualize the yantra as a red moon and place the object of accomplishment within it. Regarding "by the light rays arising from one's own body," this refers to the form of the deity arising from the light rays produced by the seed-syllable residing in oneself. "Ten thousand" means ten thousand; here, it is used as an illustration. For all activities, the mantra should be recited ten thousand times. If the object of accomplishment is not achieved even after reciting the mantra ten thousand times, the specific procedure is taught: "If they are not brought under control," and so forth. One should then project [the deity] while reciting the previous mantra. Regarding "having separated the butter and so forth," this means placing a clay bowl filled with butter and honey in a joined position. To explain the summoning, it is said: "in a charnel ground," and so forth. "Cīsa" refers to cloth. The word "yang" (also) has the sense of "and"; it is taken in the context of what is being explained and serves to indicate an alternative. Thus, the meaning is "on cloth from a self-arisen flower or on cloth from a charnel ground." Regarding "mixed with blood and lac," this means mixing lac or the blood from one's own ring finger. Regarding "the syllable JA and the syllable DHRI," one should place the two syllables JA and DHRI at the beginning and the end. Regarding "the lotus vessel of the queen," this refers to a woman's skull-cup. "Joined" means placing those two one below and one above. "Red" refers to the red Yamāntaka. "Summoned by a red hook..."
"Thus it is said" means that light rays in the form of hooks are summoned from the seed syllable at one's own heart. "Bound with a noose" means binding with the red lotus stalk held as the hand-symbol in the right hand. "By means of the application of the wind mandala" means that from the complete transformation of a red yaṃ, a wind mandala in the shape of a bow should be visualized beneath a red lion. "The five substances" refers to mu, tsi, ra, su, and ma. Regarding the "classification of magnetizing," although it was not explicitly mentioned there, everything should be understood as before. Because the desired object was not accomplished, it was taught for the purpose of a specific ritual action: "If the object of accomplishment does not come," and so forth. "Heated the yantra" means that after removing the joined skull-cup, one performs the recitation and correctly commences the yantra. At the time of heating, the mantra recitation is as before. For the purpose of teaching "paralysis," it was said: "With the juice of turmeric," and so forth. "Turmeric" is well known. "Juice" refers to orpiment. Having written [the mantra] correctly with these, one places it inside a joined earthenware bowl and should draw lines upon a yellow earthenware bowl; this is the connection. "Upon that, one should draw evenly" means that upon the four or seven lines, one should meditate; the meaning is that one should meditate on Mount Meru, which is surrounded by the nature of the ocean, as being the lines themselves. "One should support this with Mount Meru" means that one should visualize the syllable hūṃ upon Mount Meru.
This is the left side in relation to the practitioner. In the other part is the syllables YAṂ and BAṂ; in relation to the practitioner’s body, this is the right side. "Above that" means beneath Mount Meru. "The maṇḍala of Mahendra" refers to the earth maṇḍala, which is square, yellow in color, and marked at its corners with three-pronged vajras. "Pressed down by a viśvavajra" means it is pressed down by a viśvavajra; the meaning is that it is beneath the earth by means of a viśvavajra. "Arising upon the maṇḍala of Mahendra" means meditating on oneself as abiding upon the maṇḍala of Mahendra. "Having visualized the objects of accomplishment" is the remainder, meaning beneath the viśvavajra. "By the mountains" refers to Mount Meru itself. The plural form "by [them]" indicates that it is pressed down by many Mount Merus, because of the eight peaks. If one asks where they are placed, it is said: they are pressed down beneath the viśvavajra of the maṇḍala. The meaning is this: the yellow yantra is the moon; upon that, the yellow object of accomplishment; upon that, the viśvavajra; upon that, the earth; and upon that, one should meditate on Mount Meru. "By the mountains" means by the peaks. "By the snowy ones" refers to the mountains arising from the snow; "pressed down" means from the sides, while from above it is pressed down by Mount Meru itself. The meaning of the teaching on paralyzing speech is stated:
Regarding the statement "the speech is to be paralyzed," and so forth, "in that same way" means just as previously described. Then, the form of the deity itself is also that very same [visualization], but its specific distinction is as follows: upon the tongue of the target, there is a yellow crossed-vajra, and upon that, the maṇḍala of the Great Powerful One (Mahendra). Upon that, one should visualize Yamāntaka. "As it is said" refers to the pacifying rites and so forth. "By the application of Black Yamāri" means by the application taught in the Black Yamāri Tantra, for the purpose of liberating this person who harms the Buddha, the Dharma, and the Saṅgha from going to hell. In order to show that killing [the target] while holding their name brings about a great purpose, it says "on a cemetery cloth," and so forth. "The practitioner" is the yogin of Yamāntaka. To indicate the ink, it says "white mustard," and so forth; this is the juice produced from the leaves. Regarding "the seed of the fierce one," and so forth, "the index finger" refers to one's own. "Or with the juice of citraka" is a compound where the word "hair" (keśa) is used for "action" (karma). "A pen of well-understood feathers" means one should write with a pen made from the feathers of a large crow. "The person who harms sentient beings" refers to the name of the sentient being to be killed. To indicate the form of the deity, it says "oneself," and so forth. "The beard and eyebrows likewise yellow" means the beard, the eyebrows, and the hair are yellow. "Having written" means one should meditate [upon it].
The wheel is white. The great lotus is red. The skull itself is white. The light of the excellent moon is white. "Perfectly adorned with vajra ornaments" means holding the five mudrās that are the nature of the Tathāgatas. "From the great pores of the skin" means the forms of light rays arising from the seed syllable residing in the sign of slaying at one's own heart, [emanating] from all the pores of the skin. "The lord of one's own family" refers to the host of Yamāntakas who assume one's own form; by this indication, one should also understand Yamāntaka himself. "With the left leg extended" means the left is fully extended while the right is drawn in. "Upon a sun mandala" means residing upon the sun mandala situated on the back of a buffalo. "Similar to the blazing fire of the kalpa" refers to the fire of the time of destruction. "Armor" means it should be correctly meditated upon. "Stained" means black. "Afflicted" means emaciated and distressed. By what? It is said: by disease. "Arising in the body" means the body has been transformed into an inferior state. "Speaking words desiring an object" means coughing and speaking. "By weapons" means by spears, arrows, and so forth. "To be afflicted" means the entire body is possessed of many wounds and the like. "Long-beaked" refers to the kāka (crow/carrion bird). "The body filled with thorns" means a body covered with thorns. "Bound with fetters and shackles for the feet."
"Bound with ropes and iron" means bound with cords and iron chains. "Protecting their bodies and so forth" refers to the body, speech, mind, eyes, and so on. "Summoned by the light rays of the seed-syllable at one's own heart" and "in front of me" refers to the form of one's own deity. "Place" means they should be inserted into their respective locations. At the time of meditating on the accomplishment, one should first perform those very [actions], and then observe the passage beginning with "stained by outer and inner impurities." "Armor" means that following the deity who was meditated upon, one should summon [the enemy], place them into a lotus similar to oneself, and visualize them being pressed down by a vajra. "Like an empty body" means like a corpse. "Struck" means to be killed. "Those who drink" refers to those wrathful deities who drink [the blood]. Regarding "marrow and fat," the term "the object of accomplishment" is the remainder. Regarding "diseases such as urinary obstruction," yasmari is the disease of urinary obstruction. This very ritual is not performed merely for one's own affliction; thus, for the sake of purification, it is said: "With a mind abiding in compassion." This means having analyzed that those [beings] themselves will go to hell. If one asks, "Is not compassion the desire to liberate [beings] from suffering and the causes of suffering, and is not all such [action] harmful to oneself?" it is said: "Having removed them from their state," and so forth. This means liberating them from the suffering in which they reside; the meaning is: "What else is there than acting for the benefit of others?"
Regarding the phrase "spoke in this way," it refers to such speech. Regarding "caused to be brought forth," it means having spoken. If one asks how he spoke, it is as follows: "O, marvelous!" and so forth. "Killing sentient beings" refers to harming the guru and the Buddha. "Great conceptualization" means that which is both great and conceptual; it is the nature of the suffering of animals and so forth. To "kill" these is to destroy them. Because it is like a vajra in that sense, it is a "vajra"; since it kills great conceptualization, it is the "killing vajra." If one asks who the Blessed One is, it is the one who spoke such a ritual, namely the ritual beginning with "the mechanical device" and so forth. The meaning is this: by being blessed through the certainty of the samaya regarding the mechanical device and so forth, the distinction is that it is the mechanical device itself. This is the samaya of the Blessed One, the very meaning of Vajrasattva. The explanation of the fourth chapter is complete.
The meaning of the mutual classification is spoken of in the passage beginning with "Then." "Then" refers to the various [deities] and gods, as before. "The joined skull-cup" should be understood as placing the killing mechanical device into two shards of pottery, such as a phru-pa and so forth. "Yamāntaka" is a term for killing itself. "Mounted on a horse and a buffalo" means that one is mounted on a horse and the other is mounted on a buffalo.
Regarding the phrase "by the assembly of the emanation wheel," both [wheels] should be arranged with the words of the emanated wrathful deities. "Strengths" means possessing strength; "wrathful" means possessing wrath. To demonstrate the rite of expulsion, it is said: "The two wheels are to be drawn," and so forth. "The ritual itself is these" refers to the ink and other materials taught for the ritual of killing. "Supported by the syllables HŪṂ and PHAṬ" means interspersing the name of the target with HŪṂ and PHAṬ. "A skull-cup joined together" refers to two shards of pottery such as a cooking pot. "In the father's forest" means in a charnel ground. "Yamāntaka" refers to Yamāntaka himself. "Arisen from YAṂ" means from the complete transformation of the syllable YAṂ. "By the assembly of wrathful deities" means by the emanated Yamāntakas. "If not accomplished, for the sake of conviction" is the remainder of the sentence. Having stated, "The ritual has been taught," should a student occasionally become confused, the forms of the deities, the cloth, and so forth are taught. "Wrathful" and so forth means facing south, that is, directed toward the south. "One's own blood" means the blood from the ring finger of one's own left hand. "Ashes" means charcoal. "With the juice of the madman's leaf" means with the juice of the datura leaf. The specific method for drawing the wheels is taught: "Killing," and so forth, refers to the ink and other materials taught for the ritual of killing. Regarding both wheels, "abiding in his body" refers to the wheel facing south of him.
Regarding "horses and buffaloes," one wheel is on the back of a buffalo and the other is on the back of a horse. "Expelling" means to drive out from one's location. "Residing on the body of a camel" means that both wheels are on the back of a blue camel. "Upon a moon mandala" means that the wheels should be given as being completely surrounded by a moon mandala. "In the heart of the consort" refers to the bhaga. "Mounted on a goat" means also mounted on a sheep. "In the center of Mount Meru" means completely surrounded by a garland of mountains. "A young lion" refers to an eight-legged lion. "Others" refers to those who should be depicted as monkeys causing madness and so forth, or intoxicated men and the like. "Bound twice" means well-bound; it is taught that the ink and so forth should also be repeated, and "rocanā" refers to gorocanā. "Peace for women" is for the sake of women. "Subjugating men and women" refers to lac, which is used for the subjugation of both men and women. "Furthermore, on top of both: for the sake of a man, with an open mouth," refers to the pacification of a man. It also applies to the enrichment of both men and women; this is indicated by the instruction to "draw for subjugation." For both pacification and enrichment, it should be done with a virtuous mind; the remainder of the text implies this applies to any activity whatsoever. The meaning is this: for pacification, enrichment, and subjugation, one should place them in a joined vessel (a khampor).
Regarding the "feather of a crow" and so forth in the context of the fierce activity: "crow" refers to a large crow. The remainder of the text indicates that one should write [the mantras] for killing, separating, expelling, and so on, using a pen. "At midday, in a cremation ground" means that one should dig and place [the diagram] inside a cremation ground. "Lotus in union" refers to the union of the [two] lotuses; for the purposes of killing, expelling, and separating, this refers to the union of two earthenware pots or similar vessels. "Summoning" refers to the lotus, which is the skull of a woman. "By the yogi of Yamāntaka himself" means by means of the form of Yamāntaka as described therein. "Reciting" means uttering [the mantra]. "Abiding in the south" means facing toward the south; this is an illustration of the intent of fierce activity, and one should understand that one faces in various directions depending on the various other purposes. Since there is no need for the yantra to remain once the activity is accomplished, the sequence for dismantling it is taught as "peaceful." This means that once the activity is accomplished and the intent is fulfilled, when one understands the protection, at that time the holder of the wheel should erase those four syllables and then take [the diagram] up; this is the pith instruction. "The remainder" refers to those [syllables] other than the four syllables that have been erased. "As is convenient" means as one desires, or otherwise. "Ten thousand" means ten thousand [recitations].
"Jñānavajra" refers to the mind free from subject and object, appearing in the manner of a shadow or an illusion. "By the yoga of Yamāntaka" means by means of the form of such a Yamāntaka. If one asks why these four syllables are to be separated, it is said: "by this yantra." "Having written" means when all the syllables are placed. The sequence prior to drawing the wheel is the order; thus, the wheel comes first. "Tra-to-a-ta-ra-da" is the separation from the sound of what has been written. "Gatri-ba" refers to rocanā and so forth; it is written there. For the purpose of drawing the sequence of the yantra, it is shown on rocanā and so forth. A chapter is that which completely determines the intended meaning; it also refers to a collection of words. The explanation of the fifth chapter is complete.
Regarding the meditation on seeking the mudrā, it is said that there is no siddhi or practitioner without it. Thus, for the purpose of gathering this mudrā, preceded by praise, the supplication is spoken, beginning with "Then the Blessed One..." "By this" refers to what was previously stated: "You are the nature of Mohavajra," and so forth. "Hatred" means that which causes hatred and that which makes it manifest. "Their respective mudrās" refers to the respective Tathāgatas. "Of all the deities of the maṇḍala" means that from the extensive lord of the maṇḍala, all the deities of the maṇḍala are fully obtained.
The term "of all" refers to the principal deity of the maṇḍala, as it is additional to the text. Regarding "Yamāntaka," this is because the five [deities] beginning with Akṣobhya were explained in the first chapter. Therefore, one should meditate on Akṣobhya, Vairocana, Ratnasambhava, Amitābha, and Amoghasiddhi upon the heads of Hatred, Delusion, Slander, Attachment, and Envy, respectively. Upon the heads of Caurī, Vārāhī, Sarasvatī, and Gaurī, Akṣobhya, Vairocana, Amitābha, and Amoghasiddhi are likewise placed in their respective order. For the mallet, staff, lotus, and sword Yamāntakas, they are Akṣobhya, Vairocana, Amitābha, and Amoghasiddhi. "The maṇḍala" refers to the deities of the wheel. "Should be drawn" means they should be meditated upon. "Fire offering" refers to the internal nature, according to the logic of the ritual for tasting the nectar as it was taught. "Fill" means to satisfy the form of the deity's nature. "Regarding the samayas" refers to the [substances] such as goku, dha, and ha. "Should be accomplished" means they should be consumed according to the ritual for tasting the nectar as it was taught. "Vow" means that which is to be strictly observed, and that consists of the construction of the maṇḍala and so forth. Regarding the first, it is the empowerment of the crown.
This refers to the empowerment of the crown following the water empowerment after having entered the maṇḍala. "The sword" refers to the vajra empowerment. "The vajra and bell" refers to the bell empowerment. "The four excellent moons" refers to the name empowerment, the samayas of the three families, the vajra master empowerment, the vajra conduct empowerment, the encouragement, the prophecy, and the authorization; following these, the empowerments of method and insight should also be understood. Regarding "Kṛṣṇa," in the Kṛṣṇayamāri Tantra, Vajrasattva himself is called "Kṛṣṇa." This was spoken for the purpose of showing the intent of the empowerments, beginning with the words "by these empowerments," where "hammer" means "attainment." "Sons of the Victors" refers to the bodhisattvas. Since the bali offering precedes all ritual activities, the procedure for the bali offering is taught, beginning with the words "Then the mantra," and so forth. "All spirits" refers to all those who have become spirits, such as Indra and the others. Furthermore, by means of the gaze of one's own deity yoga, their bodies are reduced to ash; then, by the touch of the nectar emanated as light rays from the seed syllable at one's own heart, they are instantly perfected in the form of deities identical to the nature of the yoga. The bali for them is the near-offering. "Method" refers to the performance, which is the recitation of the mantra.
One should generate the five nectars through the sequence of tasting the nectar as it was taught. The deities then partake of those nectars through the tubes of light rays from their tongues. Then, following the accomplishment of the desired result, that very mantra is spoken: Oṃ indraye and so forth. With this, for the sake of the deities, one should burn incense in those respective locations with the right hand and ring the bell with the left hand. These locations are as follows: the right and left sides, the navel, the heart, the thighs, the throat, the mouth, the right nostril, and the left ear; and for the two eyes and the crown of the head—in all these locations, one should ring [the bell] three times each. Then, again, at the navel and the heart, as is convenient. Furthermore, at the time of drinking the liquor, it is taught for the purpose of satisfying one's own deity: kṛtvā and so forth. The instruction is that the triangle, which has three corners, should be drawn counter-clockwise with the ring finger of the left hand. How is it to be done? It is taught: vi and so forth, which means it should be made with excrement, urine, and the rest. "Water" refers to bodhicitta or liquor. The instruction is that if excrement and the rest are not available, it should be done with intoxicant alone. "To satisfy" means to satisfy the deities of the maṇḍala with the ring finger of the left hand, in the sequence of Oṃ jeṣa jamariye svāhā and so forth.
The word "also" (kyang) refers to the period following the complete satisfaction of the maṇḍala of the deities. "Recollection" (dran par byed pa) means to express. Regarding the fourth chapter, having provided a mere summary of the drawing of the maṇḍala, the statement "then, for the purpose of drawing those..." and so forth follows. "Action" (bya ba) refers to the drawing, such as the mountains and so forth. "The three-tiered maṇḍala" means that the first maṇḍala is to be surrounded by a second maṇḍala, and the second by a third.
"Eight, twelve, and sixteen" means that within all the maṇḍalas there are eight squares, in the second maṇḍala there are twelve, and in the third maṇḍala there are sixteen. In that regard, from the center that pervades all three maṇḍalas, one enters slightly toward the two ends from the east and draws two lines to the west. Likewise, entering from the north, one should draw two lines. By excluding the central square of the innermost maṇḍala among all of these, they become eight squares. One should add a line to each of the intermediate points of the second maṇḍala; by these, the second also becomes twelve squares. Starting from the head of the lines situated at the intermediate points of the second maṇḍala, one should draw two lines from each of the two sides. In that way, the ground is circumscribed in a circle, and the third also becomes sixteen squares. "One should arrange" refers to the circular circumambulation within all of them.
"Mantra" refers to the seed syllables of the five [families of] Tathāgatas, according to the subsequent words beginning with "Ya in the center" and so forth. Furthermore, this refers to the five remaining squares, excluding the four intermediate corners. The "twelve squares" refers to the second maṇḍala; therein are the twelve syllables of the gatekeepers and so forth. The intention for arranging the mantras is stated as "accomplished" and so forth. "Without exception or remainder" refers to both the mundane and the supramundane. "Together with the moving and the non-moving" refers to the environment and its inhabitants. Regarding the first and second circles, the verse for circling the seed syllables is stated as "Yamarāja" and so forth. If one asks what the verse to be arranged is, it is stated: "Ya in the center." The syllable Ya is in the first inner circle of all. "Kṣe" refers to the syllable Kṣe. "Mañjuvajra" refers to the syllable Ma. "Me" refers to the syllable Me. "Dan-dama" refers to the syllable Da. "The emptinesses of the intermediate corners" refers to the four intermediate corners of the inner maṇḍala that have been left empty. If one asks whether one should write only the name of the person to be accomplished, it is stated: "Hūṃ and so forth," meaning that two Hūṃ syllables should be placed at the beginning and the end. Such a description is stated in view of wrathful activities; for pacifying and other activities, one should understand that syllables such as Namaḥ are to be interspersed.
Regarding the purpose of drawing the second maṇḍala, it begins with "ya-ca" and so forth. "On the outside" means outside of the first enclosure; it refers to the second circular enclosure. "Starting from the left" means from the left side, in whatever way is most appropriate. The meaning is this: it should be drawn exactly as it appears in the verses that follow. Therefore, the meaning is that one begins with the syllable kṣe and proceeds clockwise. "The third stage" refers to the third circular enclosure. "In front" means starting from the eastern direction within the second circular enclosure; it means other than the syllable ya. "From the east" means those enclosures starting from the eastern direction; the remainder is "starting from the square and proceeding clockwise." It begins with dhṛti and so forth. "Mantra" refers to the meaning of oṃ hrīḥ ṣṭriḥ vikṛtānana hūṃ. "In the very intervals between those" means in the squares situated between the written mantras. If one asks what should be written, it is said: "The supreme mantra beginning with namo at the end," which means one should understand that the word namaḥ is at the beginning and the end of the supreme mantra. The "supreme mantra" is the syllable oṃ; this is the supreme mantra at the beginning of which. The meaning is oṃ hrīḥ ṣṭriḥ vikṛtānana hūṃ. At the end of this mantra, the word namaḥ should be written. "At the end" also means that namaḥ is at the end of the name of the person to be accomplished. These are for pacification; therefore, the meaning is: oṃ hrīḥ ṣṭriḥ vikṛtānana hūṃ.
Namo amukasya śāntiṃ kuru namaḥ. "Vaśīta" means to bring under control. "Bauṣaṭ" means to increase or enrich. "Hūṃ" means to kill. "Phaṭ" means to expel. Furthermore, by making two hūṃ syllables, one should understand "hūṃ phaṭ." Using these as examples, in other cases as well, one should first employ "ho" and so forth, and recite them as appropriate. "Seed" (bīja) refers to that which is like a seed; these are the seed syllables such as oṃ and hrīḥ. "At the end" means at the conclusion or the remainder, which is killing. Hrīḥ means to summon. The meaning is that it performs pacifying, expelling, and so forth. Regarding "protecting and drawing the maṇḍala," protection is pacifying. These are illustrative examples; for that reason, there are two types of wheels (cakra), namely yantras. As for drawing their forms, if one determines them according to the authentic sequence, it is the same for this as well. The explanation of the sixth chapter is complete.
In order to show the faces and so forth of the four yoginīs of the maṇḍala not previously mentioned, it is said: "three faces," and so forth. By the phrase "wheel in hand," because he holds the primary hand-symbol of Mohayamāntaka, the "sign" (cihna) is such that his other faces are also similar to Mohayamāntaka. To show the purpose, it says "summoning blood," and so forth, which is the domain of the application of the ritual practice.
Regarding the meaning of the face of Vajravārāhī and so forth, it says "three faces" and so on; "at the head" refers to the pig's face. By the phrase "Vajrapāṇi," this [deity] is also similar to Yamāntaka of Hatred in the respective order. To show the purpose, it says "summoning wine" and so forth. Regarding the meaning of the face of Vajrasarasvatī and so forth, it says "three faces" and so on; by the phrase "holding a red lotus," this is also similar to Yamāntaka of Passion in the respective order. To show the purpose, it says "increasing insight" and so forth. To show the faces of Vajragaurī and so forth, it says "three faces" and so on; by this, through the primary presentation of the faces and body color of Yamāntaka of Jealousy, this is also similar to Yamāntaka of Jealousy. To show the purpose, it says "summoning semen" and so forth. To explain the purpose of Caurī, it says "then again" and so on; "summoning blood" refers to that by which blood is summoned. That itself is the "vajra" because it is indivisible. That is also the form of Vajracaurī, and because the mind is one-pointed upon it, that itself is the meditative absorption (samādhi). Regarding "having made the mouths open," it means visualizing a red syllable jaḥ on the tongue, and from its light rays, they go forth in the form of padma worms.
One should maintain the pride of having pierced the heart of the target and drawn their blood into one’s own mouth in the form of a lotus worm, while reciting the mantra. "The three realms" refers to the three worlds. "Great blood" refers to a collection of blood. "The Vajra that summons liquor" refers to the form of Vajravārāhī as previously described; "is taught here" means it was taught. Regarding the vessel for placing the liquor, it is said: "The clay wiped from a potter’s hand." This means that after a clay vessel has been made and the hands have been wiped, one should use the clay that the potter has discarded. "Having prepared it" means that the vessel should be one cubit in height and one span in width at the mouth, with a large belly; having poured the liquor into it, one should seal the opening with another smaller vessel. "Upon the hair of a thief" means that one should make a bundle from the hair of a distracted person and lead it in with this mantra. "Having come slightly intoxicated" means that once the liquor has arrived, it is poured into the vessel; one should then visualize it being drawn in through a tube of red light rays from the syllable jaḥ, entering and being poured into the vessel, while reciting the mantra. Regarding "taught at the Pāṭana stūpas," there is a Pāṭana stūpa in the place called Oḍḍiyāna; there, in the maṇḍala of heroes and heroines, the Blessed One summons the liquor of the three worlds through his own ritual. Likewise, in that very house of Vajravārāhī, there is an inexhaustible scent of liquor. One should strive by focusing slowly.
This is not the domain of others, for it is inexpressible. The "Vajra of the Perfection of Insight" refers to thorough discernment; insight is the wisdom in which the entities of subject and object do not exist. Its characteristic is the non-dual knowledge that all phenomena are selfless beyond it. "Perfection" (pāramitā) refers to the intellect; thus, it is the Perfection of Insight. Because that very [wisdom] is indivisible, it is the "Vajra," the form of Sarasvatī. "Meditative absorption" (samādhi) is as explained previously. One should also engage in the practice with this form and recite it every day. The mantra "Oṃ Rāgarati" should be recited one hundred thousand times as the prior service. The pith instruction is that one should perform all [rituals] in the form of Vajra Sarasvatī herself. Regarding the phrase "starting from the first day of the month," this means starting from the first day of the waxing moon. If one asks at what time, it is said: "as long as," and so forth; this refers to whatever has been properly accumulated. If one asks whether that accumulation occurs on that very same day, it is said: "as long as the moon follows," meaning when the moon has risen and one is facing it. If one is unable [to do so], the pith instruction is to place a vessel filled with water in front and look at the reflection of the moon. "Without exception, leaving none behind" refers to the mundane and the supramundane. "The three realms without exception" means that all three worlds are brought under one's power.
The summoning of the seminal fluid and so forth is as before; this is the meaning of the phrase "in the form of Vajragaurī." Regarding the line "the wind and the bell-hook join": this refers to the recitation of the mantra beginning with oṃ kaṭani. At the time when the three jaḥ syllables are uttered, one should visualize that from the tongue, the elemental wind—accompanied by the light rays of a red jaḥ syllable and in the form of a hook—draws the seminal fluid inward through the form of a tube and enters the mouth. If one asks from where it comes, it should be connected to what was previously mentioned: "from the mouth-face" means from the path of the bhaga; "from the vajra-path" means from the opening of the male organ. The meaning is this: through those paths, this application of the wind and the bell-hook enters, and the collection of seminal fluid residing in the head is summoned and drawn forth from the haṃ syllable. "Recitation and meditation" refers to the application of reciting the mantra and meditating on the deity. "Yamāntaka" refers to the affliction of hatred in the form of Yamāntaka. "Supreme empowerment" is called supreme because it is the most excellent for caring for sentient beings. It is an empowerment because it serves as the cause for empowerment. Its samaya is the mantra; therefore, it is the samaya of the supreme empowerment. This is the mantra for giving the flower for the purpose of entering the maṇḍala. The meaning is this: having covered the disciple's eyes and pierced a curtain outside the maṇḍala house, one should place the flower in their hand with these words of the mantra beginning with udumbara.
Following the casting of the flower, the water and crown empowerments are bestowed. At the time of the vajra empowerment, it should be bestowed with this mantra, beginning with "The Great Three Realms," and so forth. Regarding the explanation of the vajra and bell empowerment, it begins with "Wisdom and Method," and so forth; one should grant encouragement by saying, "You are the essence of the five Tathāgatas, O Vajra." "Gather the disciples" is the granting of the authorization. The mantra for consuming the bodhicitta arising from method and wisdom is spoken: "By this precious drink, the vajra body is perfectly accomplished." Regarding the drinking of the samaya water for the purpose of entering the maṇḍala during the stage of drinking, it is spoken: "Drink," and so forth. It is spoken for the sake of the cause of great purpose and for the purpose of clearing away impurity: "Supreme Joy," and so forth; "Great Self" means "one of great qualities." The explanation of the seventh chapter is complete.
Following the previously mentioned supplication, the seizing of the ground for the purpose of drawing the maṇḍala is spoken: "Then, the Vajra Holder," and so forth. "Obstacles, misleading guides, and the malevolent" refers to the divisions of body, speech, and mind. "For the sake of destruction" means for the sake of clearing them away. "Spoken" is the remainder, referring to the mantra. "Wielding the sword" is an illustration that includes the wheel, the jewel, the lotus, and—
Having bestowed the vajras, this mantra should be recited for all five. Thus, having illustrated it with the sword, it acts as a cutter and an obstructer. That which is born from the three reasonings is that which has perfectly arisen from body, speech, and mind. For the purpose of summoning the Earth Goddess, [the mantra] begins with "O Goddess, you..." and so forth. "Of all the Buddhas" is the second case used in the sense of the sixth. Regarding "become the witness," a witness is described as the path of seeing the truth; because it exists therein, it is a witness. The samaya and the ritual for entering the maṇḍala are taught: "with red garments" means with cotton cloth. "At the front door" means at the eastern door. "Recite the question" is the remainder [referring to] the student. "Recite" is also the remainder [referring to] the student. "Make the supplication" refers to the student; this is after the face has been covered with red cotton or silk and the student has taken hold of a flower. "Three times" means three repetitions. "Recite after" means to make the supplication. "Buddha" refers to those whose nature is the dharmakāya, arising from the realization of the selflessness of all phenomena and persons. "Great Dharma" refers to the saṃbhogakāya and nirmāṇakāya; the meaning is "the gateway to those." Regarding "Vajrasattva," "vajra" is unsurpassed awakening. "Sattva" is that which possesses the intention; such is the meaning of "Vajrasattva." "For the sake of liberating me" means "me" is oneself. "Liberating" means protecting.
The "supreme" refers to the desired object, which is the meaning of "empowerment." "Of mine" means "to me." Following that, the activities of the disciple are taught, beginning with "song and music" and so forth. "Praise" refers to "You are the nature of Mohavajra," and so forth. After meditating on emptiness, the "magnificent" is taught, beginning with "Oṃ śūnyatā" and so forth. If one asks what is the purpose of analyzing its meaning, it is taught that the very expression itself is the result. To eliminate the inferior faults of the consecration and the disciple's activities and so forth, the fire offering is taught, beginning with "Then the fire offering" and so forth. "With a magnanimous mind" means having consumed molasses and milk. "Desire" is attachment. "Wrathful" means accompanied by wrath. The "shape of the maṇḍala" is a circular hearth. The "shape of a pond" is a square. "Resembling the expanse of space" is a triangle. To show the dimensions, it is taught, beginning with "one cubit" and so forth. "Just as for magnanimity, so for power" also refers to two cubits. "Twenty finger-widths" is the measure of twenty finger-widths. The depth of the hearths is taught, beginning with "half a cubit" and so forth. "Twice five" means ten finger-widths. Just as it is for power, so it is for summoning, in accordance with the hearth of power. Although not explicitly taught for paralyzing, it is similar to the hearth of magnanimity because it is identical to the deity yoga.
Likewise, one should understand that the hearths for expelling, separating, and killing are similar. To demonstrate the certainty of the days, it is said: "The first day," and so forth; the fourteenth is for the dark fortnight. "Ritual of force" refers to separating, expelling, and killing. The eighth is for the white fortnight. Here, the oral instruction is as follows: "Even if the ritual becomes deficient due to lack of mindfulness or capacity, one should perform a fire offering to completely fill it after the consecration and so forth. Due to the distinctions among many objects of accomplishment, the fire offerings also become numerous. For fear of making the text too long, only a mere direction is given here. First, the purification of the ground is performed with mantras and mudrās: one should grasp it with the right hand and then strike it while meditating on a vajra. OṂ HANA HANA KRODHA HŪṂ PHAṬ. One should dig the hearth to the measure of one cubit. The dug portion is half a cubit in depth. From that, there is the base and the rim; the base should be made with a pericarp, and the rim is like an opening lotus. In length and width, they are equal, each being four finger-widths. For the four types of enrichment, they are eight finger-widths. Excluding that, the height is eight finger-widths; the eight finger-widths are square, marked with a vajra perimeter. For magnetizing and summoning, it is like the enrichment type. For the form of the half-moon, the hearth for wrathful activities omits the base and the rim. In the center of those hearths are the wheel, the jewel, the lotus, the sword, and the vajra."
In the center, one should draw a [mandala] one finger-width in height and eight finger-widths in width. The colored powders should be white for pacifying, yellow for enriching, red for magnetizing, and black for the others, according to the classification of the activities. This was taught for the sake of the truth through the distinctions of direction and time. Just as it is with the directions, so it is with the times; the wise should perform each activity accordingly. The mantrin should face east to correctly begin the pacifying activity; enriching is known to be in the north; the activity of wrathful sorcery is in the south; magnetizing is said to be in the west, as it is also for summoning. Pacifying should be performed in the forenoon, and enriching in the evening. The activity of wrath is at midday, and magnetizing at midnight. The firewood appropriate for the fire offering should be uncracked, from the tips of branches, and possessing two leaves; such is auspicious. Summarized by the classification of activities: for enriching, the wood is fourteen finger-widths; for pacifying, twelve finger-widths; for magnetizing, ten finger-widths; and for dividing or expelling, eight finger-widths. Likewise, for pacifying, one uses śakara [grain] and uncracked white rice. Similarly, for magnetizing and summoning, one uses a mixture of ghee, honey, and sugar. For red flowers or utpala [flowers], and likewise for enriching and paralyzing, one uses yellow flowers smeared with ghee. Similarly, for killing, one burns thorns, poison, mustard seeds, salt, and crooked dry wood, smeared with hot ghee. Likewise, for expelling, one should perform the fire offering with the feathers of a large crow.
In that manner, others should be understood by following the same sequence. The grains and the wood, as well as the vessel for the offering water, should be placed to the right. Having arranged them in the proper order, all of them should be consecrated. With the hands joined in the añjali gesture, the two middle fingers extended, this is the mudrā that purifies everything. Oṃ śrī svāhā. This is the mantra for purifying the ghee. Oṃ sva svāhā. This is the mantra for washing the substances. Oṃ jrīṃ svāhā. This is the mantra for purifying the grains. Oṃ kuru kuru svāhā. This is the mantra for cleansing other substances. Oṃ a svāhā. This is the mantra for purifying the samidh fuel wood. The wood should be lower than the hearth, and the hearth should be prepared according to the requirements of the fire offering. The kuśa grass should not be withered and its tips should not be broken; its tips should be pointed toward the east. Having spread them out, they should be arranged with their tips facing a single direction along the rim of the hearth. Sandalwood, agaru wood, and other fragrant woods should be used to kindle the fire through the fire offering. Afterwards, the fire should be summoned. One should visualize the Fire God in the center of the fire, upon a lotus and sun maṇḍala, with three eyes, four arms, and four faces. His right hands hold the gesture of supreme generosity and a rosary; his left hands hold a staff and a water-pot. His color should be visualized in accordance with the ritual activity, arising from the seed syllable raṃ. Holding an incense burner in one's hand, one recites: Oṃ, come, come, great being! Divine sage, supreme brahmin! For the sake of accepting the burnt offerings and the food, please remain close here! This is the verse for summoning.
In that regard, offer the drinking water and the water for the feet. The mantra for the drinking water is: OṂ JAḤ HŪṂ BAṂ HOḤ KHAṂ RAṂ. The mantra for the water for the feet is: OṂ NĪRĪ HŪṂ KHAṂ. The mantra for the pure food is: OṂ DHVAṂ DHVAṂ. With the mind itself desiring the siddhi, one should correctly recite the samaya: OṂ VAJRĀNALA MAHĀBHŪTA JVALAYA SARVA BHASMI KURU SARVA DUṢṬĀN HŪṂ PHAṬ. DṚŚYA JAḤ HŪṂ BAṂ HOḤ SAMAYA STVAṂ SAMAYA AHAṂ. The verse for bestowing the samaya is as follows: Placing the right hand inside the knee and holding it, the supreme pouring and ladling spoons are to be visualized in the center with the seed-syllable and the vajra mark. Bless the body and speech of the fire deity: on the head is Ratnasambhava, and on the tongue is a three-pronged vajra. One should offer the excellent burnt offerings. OṂ AGNAYE SVĀHĀ: for ghee. OṂ SARVA PĀPAṂ DAHANA VAJRĀYA SARVA PĀPAṂ DAHANA SVĀHĀ: for black sesame. OṂ PUṢṬAYE SVĀHĀ: for unbroken śāli rice. OṂ SARVA SAṂPADE SVĀHĀ: for cooked rice, yogurt, and the finest parched grain. OṂ SARVA VIJAYĀYA SVĀHĀ: for unblemished barley. OṂ MAHĀVĀYĀYA SVĀHĀ: for wheat. OṂ MAHĀBALĀYA SVĀHĀ: for mung beans. OṂ VAJRA GHASMARĪ SVĀHĀ: for wheat. This ritual is for all activities and is harmonious. In particular, one should perform the fire offering with the specific substances for each activity using their specific mantras. Color, fragrance, and curling tips, as well as auspicious forms, sounds, and so forth, are virtuous.
Through the virtue of qualities, the substances are burned in the fire. For pacification, it is white; for enrichment, it is yellow in color; for magnetizing, it is red; and for wrathful activity, black is supreme. Like a rainbow, the fire of the burnt offering is supreme when it curls to the right. It is deep like the sound of a drum, oily, and its tip curls into one. If there is much smoke and sparks, rising gradually and very slowly, with rays of light breaking into fragments and possessing brilliance, or if it is oily, dark like the sky, resembling the color of a Palāśa flower, with a tip the color of the sun, or likewise similar to the head of a bull—these are seen as signs of inauspiciousness. Such are the indications. At the conclusion of the burnt offering, when the fire has subsided, one should request the deity to depart with this verse, accompanied by a collection of offerings such as flowers and incense, and especially distinguished flowers:
"Having accomplished the welfare of myself and others, and having accepted the burnt offerings, please depart at the proper time. Grant me all siddhis!"
For extinguishing the fire, white water is used; for the practices of pacification and enrichment, white or yellow water; for magnetizing and so forth, red or black water is known to be used. With the mantra: oṃ gili gili hūṃ ja svāhā, the ashes should be cast into a river along with incense, flowers, and the sound of a drum.
The explanation of the eighth chapter is complete. Now, the ritual for bringing down rain is taught, beginning with the words: "The earth of the ocean," and so forth.
Regarding the case where those are not found, it is illustrated by taking [clay] from the two sides of rivers, streams, ponds, pools, marshes, and wells. As for "a single nāga," one should fashion from clay an eight-petaled lotus, in the center of which is the Lord of Waters (Varuṇa), with seven snake-hoods, a human face, and two arms; holding a sword in the right and a noose in the left, he is born from the syllable baṃ. On the eastern petal is Ananta, dark blue like a blue utpala lotus; in the south is Vāsuki, white; in the west is Takṣaka, red; in the north is Karkoṭaka, black; in the southeast is Padma, red; in the southwest is Mahāpadma, white; in the northwest is Śaṅkhapāla, yellow; and in the northeast is Kulika, multicolored. Having consecrated the clay seven times with the syllable nāṃ, one should visualize them as born from the syllable nāṃ, with palms joined at the heart, and each possessing a snake-hood.
Regarding "Oṃ phu should be placed at the heart," it is: Oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ sapta-pātāla-gatān nāgān ākarṣaya haraja ya phu phu phu phu phu phu phu phu hūṃ. Having written these on birch bark, they should be inserted into the heart of each [nāga]. Regarding "reciting the mantra hrīḥ ṣṭrīḥ and so forth," one should recite that very mantra placed at the heart. Possessing the yoga of Yamāntaka and with a wrathful mind, all the ornaments should also be blue.
One should visualize the tails of the nāgas dwelling in the eight directions being firmly pressed down by the seven waters in the center, and all their heads being likewise pressed down by Yamāntaka. One should repeatedly visualize the abodes of all the nāgas as being ablaze. By reciting ten thousand times the mantra of the assembly of Yamāntakas, clearly visualized and endowed with various hand-symbols, rain will undoubtedly fall.
Alternatively, having observed other signs, one should also perform the following: having requested the construction of the Yamāntaka maṇḍala, one should then make a small pond in the direction of the wind. In its center, one should place the nāgas inside a pair of joined clay bowls. An intoxicated elephant is used for the head; one who subdues nāgas should apply [the paste] to the nāgas. The bowls should be filled with the milk of a black cow, and the joined bowls should be bound with black thread. Offerings, torma, and so forth, as well as the samaya substances, should be consumed, and one should maintain the preliminary service during the fierce ritual.
Regarding the teaching for the purpose of paralyzing the ocean waves, it says "black snake" and so forth. "Black snake" refers to the flesh of the alagarda [cobra], which is to be mixed in equal parts with neem leaves; this is the remainder of the instruction. "With pills" means the size of a chickpea. "Having performed ten thousand recitations" means one should recite the paralyzing assembly ten thousand times. To paralyze the waves, whenever a wave arises, one should cast a single pill into it.
Regarding "one hundred sandalwood fruits": the seeds contained within the fruits of the dāruharidrā are twenty-five, and the fruits of the māṣa bean are likewise that many. "Grains" refers to unhusked śāli rice, and those are also that many. Calculated in this way, they total three hundred. "Eight hundred thousand" refers to the eight hundred thousand recitations performed through the ritual of summoning; "three hundred" refers to the remainder. Regarding "the deity in the fire offering": at the stage of summoning alone, taking one of each of the ci-tse and śāli rice grains, there are three types of seeds. "Fire offering" is the burning of all the sacrificial substances. "The deity" is the Blessed One, Black Yamāntaka himself; by using his name as a representative, or by using the name of any [deity] whatsoever, one performs the fire offering and will see that very [deity]. "Seeing" is the desired siddhi. "Wood from a funeral pyre" refers to the charcoal from wood that is half-burnt and stirred from a corpse that has been cremated. This is connected with the phrase "ground with the fluid of a madman." Regarding "the knife": one should recite the mantra ten thousand times through the ritual of subjugation. Having accomplished it together in that way, at whatever time it is needed, whoever one looks upon will be brought under one's power. "Recite the root mantra four hundred thousand times" refers to the ritual of pacification by means of Mohayamāntaka. If the name has not been seen before, one should recite it as "seeing."
If one acts in this way, one should strike with white mustard seeds consecrated seven times anyone who has been bitten by a snake. Regarding the phrase "having taken earth from a mountain cleft," one should press with one's own hand a piece of white earth from any mountain cleft until it is visible to all, as if it were underground. One should then consecrate it with the mantra augmented by the words "head disease" (śiroroga) according to the pacifying ritual (śāntika). In the future, as long as the limits of space endure, one should empower that clay with a stable mind and then smear it on the head of any person suffering from a headache. By that, the headache is destroyed. "Consecrated seven times" refers to the pacifying ritual. "With the hand" means by means of a stream of rain like frost from meditating on a moon maṇḍala in the hand. "It will not arise" means that it will not be born again in the future. "It destroys" means that even what has already arisen is pacified. To explain the meaning of the subjugation, it is said: "The Brahmin," and so forth. "With ash" means with charcoal. "Cemetery earth" means with clay from a charnel ground. The "image" is of whatever size one desires. The "great vajra" is a five-pronged vajra. "Apasya" means the left. "Ṇṛ-mukha" means a human head. "Greatly terrifying" means that which causes fear through such things as distorted faces. "With the five nectars and the five meats" means the five meats and the five nectars.
Regarding the phrase "constantly offer supplication," one should focus on that yoga and recite the mantra beginning with oṃ hrīḥ ṣṭrīḥ vikṛtānana and so forth, interspersed with the name of the enemy, according to the secret ritual. The phrase "saying this" means "at a swift time," which means on any given day. This was spoken in order to show other methods of subduing. Regarding the phrase "such as" and so forth: Vairocana refers to feces. "Human foot-tube" refers to the hollow of one's own finger used for applying [the substance]. "Recite one hundred thousand" refers to the previous [mantra] interspersed with the name of the enemy. Regarding "expelling," it is the visualization; one should recite while being free from the yantra. "At the tip of a tree" means at the tip of a sarpota tree or a beleric myrobalan (bībhītaka) tree. "Rubbing" means that having visualized Vairocana in the hearth from that wood, one fills the foot-tube with only butter and performs the pacifying ritual for the enemy; if one recites it eighty thousand times, at that time they will become well. "The terrifying Yamāntaka" means that the terrifying Yamāntaka taught above is also like that. The explanation of the ninth chapter is complete.
In order to explain the meaning of the previously mentioned brief teaching on the ritual for accomplishing the vetāla, it is said: "On a tree" means suspended; "suspended on a tree" means hung. "Unimpaired" means a body that is not inferior. "Limbs" [refers to the parts]. "Unwounded" means not struck by a weapon. "Excellent" means not rotten.
Regarding "bath," the phrase "with fragrant scents" is to be understood as the remainder. Furthermore, one should summon a terrifying preta into the heart of the corpse by means of the seed-syllable at one's own heart. Having inserted hands holding a curved knife and a skull-cup, one should also make offerings of flowers, incense, ointments, and so forth. Then, having laid the corpse on its back, one should recite the mantra over it; this is what is meant by "recitation there."
Oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ. Kve! O preta, grant me the siddhi I desire! Hūṃ!
"Vow-holder" refers to one who possesses the yoga of the glorious Yamāntaka. Regarding the explanation of the signs of siddhi, it says "Ema!" and so forth; "crying out" refers to a distorted sound. Regarding what occurs from being fearless, it says "Whatever and by whatever" and so forth; "whatever is requested" refers to mental accomplishments such as the sword, eye-ointment, swift-footedness, and so on.
Regarding the explanation of the purpose of the image of the Blessed Lord, the glorious Yamāntaka, and its construction from clay, it says "With buffalo meat" and so forth; "image" means the clay to be fashioned for the purpose of the image. "Grant those to such-and-such" means to insert the name of the father and the name of the [deceased] person. Then: Oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ. Grant me, such-and-such, [this]! Hūṃ! In this way, one should perform ten thousand recitations; by requesting it, it will be granted. If it is not granted, it is said that they will suffer: "O Yamāntaka," and so forth.
The faces and so forth of the four gatekeepers, such as the previously unmentioned Mallet Yamāntaka and the others, are now described, beginning with the phrase "three faces." All of them have the form of Hatred Yamāntaka, with the distinction that the vajra is replaced by a mallet. Similarly, the Staff Yamāntaka is identical to Ignorance Yamāntaka, with the distinction that the vajra is replaced by a staff in the position of the wheel. Likewise, the Lotus and Sword Yamāntakas are identical to the nature of all Desire and Envy Yamāntakas.
Regarding the meditation on the deity taught following the five stages of manifest enlightenment according to the previous sequence: "Visualize the liṅga in the bhaga." In this context, "liṅga in the bhaga" means that it is generated by visualizing the seed syllables through the supreme yoga. The meaning is as follows: through the light rays from the heart, all the Buddhas are summoned and drawn into the mouth of Vajrasattva Yamāntaka, who is in union with a consort identical to himself. They are then melted and, descending through the vajra path into the lotus of the goddess, the sixteen seed syllables—such as Ya, Kṣe, Ma, and so forth—are emanated and arranged in their respective places; from this, one should meditate on the lords of the maṇḍala.
Passion and subsequent passion, together with insight, are melted, and the syllable Yaṃ is fully perfected. Then, being perfectly exhorted by the yoginīs, the lord of the maṇḍala, the Great Hatred Yamāntaka, becomes complete.
"Recollection of hatred" refers to the completion of the visualization of Yamāntaka as hatred. "One should meditate on Yamāntaka as delusion" means one should meditate on Yamāntaka as delusion, born from the seed-syllable kṣe. In this way, one should understand each subsequent stage. Regarding the phrase "one should emanate" and so forth, which teaches the emanation once the maṇḍala of deities is complete: "clouds of the families" refers to the hosts of deities similar to oneself. "Respective" means possessing their respective [attributes]. "The four wrathful ones" refers to the four, such as the mallet and so forth. The "clear maṇḍala" is the moon maṇḍala. The explanation of the tenth chapter is complete.
To show the purpose of the distinctions of hatred and so forth, it is said: "Oppressed by hatred" and so forth. "Yamāntaka" refers to Yamāntaka as hatred. "Sublime form" is like a shadow or an illusion. In the same way, "oppressed by delusion" and so forth should also be understood through this. Furthermore, to ensure that the mind does not differentiate the various forms, it is said: "By oneself" and so forth. One should have firm conviction that oneself is the entire maṇḍala, the deities of the maṇḍala, and so forth. The meaning is that all are inseparable from oneself.
"Yoga emanates the seed-syllable from the heart" refers to what was previously taught: "emanate from the tips of the pores of the skin," and so forth. If one asks, "What happens by doing it in that way?"
"Accomplishment" (siddhi) refers to seeing the signs of attainment. Regarding the phrase "Then," and so forth: "conduct" (caryā) is the ninth [chapter], which is the specific activity and its defining characteristic. If one asks for what purpose, it is said: "Yamāntaka," and so forth. "Accomplished in body, speech, and mind" means having become Yamāntaka. That very conduct is explained by the words "Great Protector," and so forth; when one has become empowered through such a ritual procedure, at that time the siddhi of Yamāntaka is attained.
Furthermore, at what time is it possible to perform this? It is said: "With a slight capacity," and so forth. "Arisen" (jāta) means having been manifested. The meaning is that it is not merely through meditation at some rare occasion. "Born from the six" means being like one born from the six [flavors]; it means becoming attached and passionately enamored by various things possessing many tastes.
To demonstrate other capacities, it says "banner," and so forth. "Banner courtyard" refers to a hanging corpse. "Milk" refers to meat situated in a vessel. "Tasting the nectar" is accomplished by manifesting it through the stages of meditation. "Without training in the ritual" means by having trained in that nectar ritual in such a manner. "One should assume the form of Vārāhī" means that, having formed a firm conviction in the form of Vārāhī as it was described, one should meditate on oneself in the form of Yamāntaka. This is the meaning.
Following that, in order to teach the concise sādhana of Yamāntaka together with its result, it is said: "Then," and so forth. Here, too, everything is the same up to the offerings and so on, and the multicolored vajra situated in the sky within the Vajrapañjara. If one asks, "Upon what seed-syllable should one meditate on the arising?" it is said: "The syllable Tiṃ," and so forth. The meaning here is this: within the multicolored vajra, from the syllable Repha comes a sun disk, and upon that, [the deity] is born from the syllable Tiṃ. If one asks, "How does it arise?" it is said: "Abiding upon the vajra maṇḍala," and so forth. The meaning is this: it abides upon a sun maṇḍala atop a buffalo. To teach the weapons, it is said: "Whatever little," and so forth. "By the hands" refers to the hands. As for the staff of Yamāntaka, for the most part, it is just like the sādhana of the hundred-armed [Yamāntaka]. The distinction is that the seed-syllable of this very one is the syllable Hrīḥ, and the face is also that of a human. "As high as Mount Meru" means it is equal to Mount Meru. Regarding the distorted face, it is also like the staff Yamāntaka; furthermore, its seed-syllable is the syllable Hūṃ, by which everything is completed. "Weary from mantra" refers to the yogi. "Easy to find" means because it is despised by all, it is taken from inferior sources and so forth. Garo is a donkey. Kriṣṭu is a jackal. "Great grease" is human fat. "Blue" is indigo.
"Blended" means it is mixed in equal parts with the juice of indigo leaves. Regarding the explanation of the ointment, it is said: "Rocana" and so forth. Rocana is Vairocana. One should discard its first and last parts and take the middle. "Brick powder" refers to bricks that have been submerged in water for a long time. "Equal halves" means that the quantity of brick powder is the same as the quantity of the rocana and the other ingredients. "Gold tree" is datura; having prepared all these together, one should rub and smear with this. "The great one" is human urine. "To be drunk" is the remainder, meaning it is to be taken through the nose. "Vajra nectar" is bodhicitta. Regarding the statement that these should be drunk one by one, it says: "Likewise, drink the self-arisen flower." This means mixing it together with the blood of a woman. From this illustration, the other Tathāgatas should also be understood. To clarify the meaning of this, the subsequent chapter states: "The offering of the sixty-four torma cakes to the sixty-four dhyu-gu [staves]," which the wise should understand here. The explanation of the eleventh chapter is complete.
To teach the offering of the song of the maṇḍala wheel, it is said: "Then," and so forth. Regarding the term "Great Being" (mahāpuruṣa), because he is the nature of the innate saṃbhogakāya, he is "great." Because he fills everything, he is explicitly called a "being" (puruṣa), and thus he is a "Great Being."
Furthermore, "filling" refers to the maṇḍala wheel. Its "samaya" is that which is closely emanated; that itself is the samaya of the Great Being, the glorious Vajrasattva. "Entering into meditative equipoise in the form of Carcikā" means assuming the form of Vajracarcikā, and the same applies to the others. "He spoke this" means it has already been spoken. "A-de-de" means "a-re-re." "Black Yamāntaka" refers to the Black Yamāntaka. "I" refers to oneself as Carcikā, whose nature is loving-kindness. "You" refers to you. "Having seen" means having seen. "Terrified" means through intense fear. "Guru" means the teacher. "Release" means to completely let go. "The nature of wrath" means the essence of wrath. "The ocean, the surface of the earth, the heavens, and the underworld" refers to the ocean, the celestial realms, the subterranean realms, and the surface of the earth. "Antimony" refers to black ochre; it is black, like the mineral antimony. These are the words spoken by Vārāhī. "Black" means "O Black One." "Short stature" means a stature like that of a dwarf. "In many forms" means in many ways. "Emanated" means to manifest. "Form" means in the form of. "Vajrasarasvatī" refers to Vajrasarasvatī. "Māra" means to cause to melt. "Your dance" means your dance. "The nature of great bliss" means the nature of mahāsukha. Thus, the speech of Vajragaurī is spoken.
Regarding the mantra Hrīḥ ṣṭrī and so forth: "Sola" means to emanate. The "delusions of the three existences" refers to the delusions of the three realms. "Enraged by compassion" refers to the wrathful deities of Hevajra. "Venerable One" refers to Tārā. "Act thus" means to act in that manner. "Who" refers to those [beings]. "Worlds" refers to the realms of existence. "Behold" means to look upon. "Characteristics of recitation" refers to the manner of uttering the recitation mantra. "Neither long" means that what is short is uttered as long. "Neither short" means that what is long is made short; it means to be neither of those. "The mantra should be heard slightly" means that it should be such that others do not hear it; this is the meaning of "recite in that way." "Yama" refers to the Lord of Death. "Double-eater" refers to an elephant. "Vaja" refers to a horse. "Torment" refers to bone. "Fourteenth" refers to the dark fortnight. "Five meats" refers to the five meats of cow, dog, elephant, horse, and human. "If recited" refers to the recitation with a rosary. "Human head dripping with blood" refers to the blood dripping from a head just severed. "Not like that" means one should cultivate the superior resolve that they are indeed [the deities]. "Elementals" refers to Śakra and others who cause harm to humans. "By the ḍākinīs" uses the sixth case in the sense of the second case. "Thousands" means by thousands. "Kills" means to subdue. "By the application of Yamāntaka..."
Regarding this, by performing the yoga of Yamāntaka exactly as it is, one should recognize that the person is possessed by a bhūta. At that time, one should perform the three actions of summoning, entering, and binding the bhūta and so forth upon that person, using the three syllables jaḥ hūṃ baṃ in their respective order, by means of the light rays from the seed-syllable at the heart. Following that, the head is marked with a crossed vajra. Furthermore, one should visualize the practitioner being burned from below up to the throat by a blazing fire-maṇḍala and a wind-maṇḍala arising from the syllable yaṃ, which are squeezed between two five-pronged vajras produced from the syllable hūṃ. Then, with the pride of having empowered white mustard seeds with one hundred and eight recitations of the mantra—which are similar to the blazing hūṃ syllable—one should strike them, visualizing that the person's body is certainly pierced, whereby they will certainly be liberated. Alternatively, one should visualize two blazing vajras produced from the syllable hūṃ on one's own two hands. One should summon the bhūta and so forth from the body of the practitioner. Having caused them to enter between the two vajras, one should gently rub and draw them out with the palms of one's hands joined, while also reciting the mantra. In that way, or even by rubbing with the feet, [the result is achieved]. To show that the purpose will not be accomplished if one is devoid of the preliminary service (pūrvasevā), it is said: "If one recites one hundred thousand," and so forth. "The yogi himself" means one who possesses the deity yoga.
"Attainment" refers to the acquisition of the form of Yamāntaka. "What need is there to mention" means that this is not even within the scope of human speech, as it is the domain of the Buddhas. Regarding the phrase "One should drink the great unity," and so forth: if one asks when it should be drunk, "From each one" means on each individual day. If it is not obtained on each day, what should be done? "On each month." If it is not obtained even on each month, it is said: "On each year," which connects to the phrase "the offering cake should be given," and so forth. "Offering cake" (bali) is a form of offering to the Tathāgatas, arising from the internal nature of the fire sacrifice (homa). From where? From the nose. "Sixty-four" also connects here to the term "danda" (stick/measure). The meaning is this: the sixty-four dandas, with four added, constitute the vow; sixty dandas make up one full day and night. If one asks what occurs from the dandas of that single day and night, it is "sixty-four," meaning the remainder of the days is sixty-four. The oral instruction for this is also from the nose: first, for Vairocana, Ratnasambhava, Amitābha, Akṣobhya, Amoghasiddhi, and the nature of Na-ra and so forth, each is five ratis in measure; for the remainder, Akṣobhya, and for Vajrasattva, which is called "mercury," one should refine one rati and mix it therein.
Regarding the taking of Ratnasambhava: for the women who are black or dark blue, it should be taken during the dark fortnight; for those who are white or pale white, it should be taken during the light fortnight. Furthermore, if the so-called dark and light fortnights are established in any other way that is consistent, the internal subdivisions are as follows: on the first, second, and third days of the light fortnight, the purposes of the light fortnight should be accomplished. On the fourth, fifth, and sixth days, the purposes of the dark fortnight should be performed. Likewise, on the three days beginning with the seventh, the purposes of the light fortnight are also [performed]. On the three days beginning with the tenth, the purposes of the dark fortnight are also [performed]. On the three days beginning with the thirteenth, the purposes of the light fortnight are also [performed]. According to what has been taught, by reversing the order, one should understand the three days beginning with the first day of the dark fortnight. As it is said in the scriptures: "The moon itself is the sun; the sun itself is the moon." It is taught that "the moon" refers to the light fortnight, and "the sun" refers to the dark fortnight. Regarding what was taught, during the remainder of the light days and nights, one should inhale through the left nostril. During the remainder of the nights, it is also through the opening of the right nostril. Furthermore, through the union of water and the great power (earth) in the nose, it is in the left nostril, which is not very auspicious. Through the union of fire and wind, it is middling. Regarding the right nostril as well, the union of fire and wind is not for all inhalations.
One should perform the offering only when the wind and the great power (earth) are in conjunction. As it is said: "On earth and water, the action is auspicious; on wind and fire, it is black. The moon is correctly known as auspicious; the sharp light is middling. If the sun is in the wind and fire, death is certain; if the moon arises in that same [conjunction], it does not bestow extreme suffering." Thus it is said. The four types of conjunctions are called wind, great power (earth), fire, and water; they are the characteristics of the wind flowing intensely from the sides, the top, the center, and the bottom, respectively. Regarding other activities as well, one should personally understand the characteristics of virtue and non-virtue from this very conjunction. Whatever is performed by one who is always possessed of the yoga of Yamāntaka is the activity of Yamāntaka himself; for the attainment of that, nothing at all need be said. Furthermore, for that which is not to be practiced, one should have exceptional devotion in this way; therefore it is said: "Always, whatever little one eats," and so forth. Moreover, "to eat" refers to flowers, the tilaka mark, and so on. "To offer the first portion" refers to the very first pure food. Since everything is accomplished by pleasing the guru, the meaning of offering to him is stated: "Then," and so forth. The "gift" is the most excellent. "All the various necessities" refers to those things that are suitable for the retinue; that is their specific quality. It clarifies those [necessities], and thus it is so called.
The explanation of the twelfth chapter is complete. In order to show the hand symbols of the Blessed One, it is said: "Then," and so forth. Regarding the phrase "as many sinful actions as there are," sinful actions are suffering. "Sheathed" refers to a sword. "Afflictions" refers to attachment and so forth, as they are indicated by way of illustration. One should also understand the purification from other passages as they have been taught.
"Visualize abiding in the center of the space element" means that after meditating on the seven purities, the unsurpassed offerings, and the four immeasurables, one meditates on the nature of the world of beings as emptiness—free from the duality of subject and object—and thus renders it like a dream. One should then meditate on the great element of space, which is free from obstruction, in the direction of space.
If one asks what is there, it is said: "The maṇḍala of the sun," which is the remainder of the phrase "arisen from the syllable Ra." "Five-pointed" refers to the variegated vajra arising from the syllable HŪṂ. "In that place" refers to the foundation, the celestial palace. The meaning of this is as follows: within the vajra fence and the vajra canopy, the celestial palace arises from the complete transformation of the four great elements situated upon the perimeter of the variegated vajra. Likewise, in the subsequent purification, this should be understood within the maṇḍala wheel.
"DHIḤ" is the placement of the seed syllable. Here, as before, there are the five aspects of manifest enlightenment and so forth. The distinction is that from the sun, the moon, the vajra, and the seed syllable, there is a melting.
Arising from the dissolution, and again abiding as a vajra, the seed-syllable itself is Vajrasattva. From the complete transformation of these, the Bhagavatī herself is born. From the seed-syllable at her heart, the deities of the maṇḍala should be emanated. "The hand" refers to the primary right hand. "The others" refers to the five [remaining hands]. These are the sword, the curved knife, the wheel, the lotus, and the hammer. These, such as Vajraḍākinī and the rest, have three faces and six arms, just like the four [wrathful deities] such as Yamāntaka of Hatred. Lāsyā is white and blue, with a graceful appearance. The one called Mālā is yellow and holds a garland. Nṛtyā is red and performs the dance. Gītā is dark blue and sings. These also have one face and two arms. "Likewise, the others" refers to the hammers and so forth at the gates, as before. Although not explicitly mentioned here, there are also the four skull-cups in the corners. "Oṃ vajraḍākinī" and so forth are the mantras for recitation. Regarding the purpose of the meditation and the mantra, it is said: "From afar," and so forth. "Hearing from afar" means hearing from a distance. "Abiding perfectly" means standing in the posture with the left leg extended. "Jewel crest" refers to a jeweled crown. "Sword" refers to the right hand. "Threatening gesture and noose" refers to the left hand. Locanā is white in color and holds a wheel in her right hand.
Māmakī is blue and holds a vajra in her right hand. Pāṇḍaravāsinī holds a lotus in her right hand. Tārā is green and holds a sword in her right hand. All these goddesses stand with their left legs extended, and their left hands hold a threatening gesture and a noose. Puṣpā is white and holds a garland of flowers. Dhūpā is blue and holds an incense burner. Dīpā is red and holds a lampstand. Gandhā is green and holds a conch bowl of perfume. These stand with their right legs extended and perform a dancing, striding posture. The remaining details, such as the hammer and so forth, are as before. Regarding the phrase "having seen the ritual of the activity": after generating the Blessed One, all the deities should be emanated from the seed syllable at his heart. "The king of the seventh" refers to the supreme horse. "Should be meditated upon" is as before. "The right" refers to the right hand. The mantra consists of three phus and three hrīs. As for the mudrās that were not spoken of or explained, they should be understood by following the colors of the Tathāgatas. The distinctions of the goddesses' colors and so forth should also be made according to the previous maṇḍala. Regarding the phrase "just as the face and hands of the lord": this refers to the lord; like the principal deity, she has two hands, a single horse face, and holds his hand symbols. "By this mantra" refers to the syllable haṃ itself, which resides in the heart of the supreme horse.
"Arising" means emanating. The bamboo flute and so forth are the holding of the signs of their respective names. "The fair-faced and the ugly-faced" is merely a symbolic designation. In reality, these also possess the attire of the wrathful deities. The distinctions of color are as previously described. Regarding the sequence of how the gatekeepers hold their hand-symbols in their right hands, it is stated as "the pestle" and so forth. To express the meaning of the mantra of Vajrapātāla which was not previously mentioned, it says "the supreme horse" and so forth; following that is the mantra of Vajrapātāla itself. The seed syllables are the letter Hrīḥ. "In the sky" means in the atmosphere. "The realms" refers to the three worlds. "Definitively revealing the accomplishments" means that the accomplishments are those such as entering the subterranean openings and so forth; that in which they are definitively revealed is so called. The explanation of the thirteenth chapter is complete.
Regarding the laying of the lines for the purpose of requesting the construction of the maṇḍala, it says "therein" and so forth. "Therein" refers to the ground that has been thoroughly seized and purified. "Supreme" means because of the aspiration. "Samaya" means that which is not to be transgressed. "Wisdom thread" is so called because it is not to be transgressed; thus, with the mantra ākāro mukham and so forth, the thread should be consecrated. Vairocana is Mohayamāntaka, and Yamāntaka is Dveṣayamāntaka.
Wisdom consists of the five syllables: yakṣe, ma, me, and da. Because it is generated by these, the marking cord is the supreme wisdom cord. Therefore, it is the "peak." Regarding the phrase "perfectly composed in meditative equipoise," this refers to the sequence of the directions, such as the east and so forth. If one asks, "Is that the samaya of the great maṇḍala?" it is said: the maṇḍala should be consecrated by these three syllables: oṃ āḥ hūṃ. To indicate the measurement of the marking cord, it is said: "twice the maṇḍala" and so forth. To indicate its thickness, it is said: "of the gate." Regarding the "samaya of the supplication to the great vajra," the "vajra" is the vajra master; it is for the purpose of entering him into the maṇḍala. "Supplication" means a request. Because it serves that purpose, it is the "samaya," which is its expression. That very point is stated: "Emao" and so forth. Regarding the "samaya of the complete seizing of the ground," this is the mantra for completely seizing the site. If one asks, "What is its intention?" it is said: "vajra" and so forth. "Summoning" means to make manifest. Furthermore, if one asks, "What is the mantra of the verse?" it is said: "O Goddess, you..." and so forth. If one asks, "I do not understand that thickness of the marking cord which was stated to be one-twentieth of the gate," the measurement of the gate is stated: "one-eighth of the maṇḍala" and so forth. "One-eighth" means that, in terms of a maṇḍala of one cubit, it is three finger-widths. "Please arise" means after the colored powders have been correctly laid out.
Regarding the term "Great Courtyard" (khyams chen): it is called "Great Courtyard" because it is both great and a courtyard. Furthermore, it is "great" because it is the place where the principal deity resides; this is the meaning of the term "inner tier."
Regarding "pleasing": in relation to the ground of the five [deity] figures, it is one thumb-breadth less than a foot; in relation to the ground of the colors, it is one and a half thumbs; and in relation to the vajra garland, it is one thumb-breadth less than a foot. Likewise, by omitting three thumbs on each of the four sides, those eighteen thumbs are called "well-arranged." On that very ground, various pillars—one thumb-breadth less than a foot in width—are drawn, forming the nature of nine squares.
"Door-enclosure" (sgo khyud) refers to the five colors of the door. "Just the door" (sgo tsam) refers to three finger-widths in length. "That much" (de tsam) refers to just the door, which is the measure of three thumbs.
Regarding the "deity ledge" (lha'i snam bu): if one asks whether it is not to be arranged in some parts of the colored powder ledge, for that purpose it is stated here that they are in the skull-cups, measuring three finger-widths at the corners. On both sides of the door, there are also two vases, all of which are white.
Furthermore, regarding the "deity ledge," it is stated for the purpose of drawing the offering ledge: "Vajra Goddesses," and so forth. If one asks what the measure of that courtyard is, it is stated: "offering ledge," and so forth. "Half" refers to one and a half thumbs.
"Edge" refers to the surface of the five-colored [lines] upon the perimeter; that which is adjacent to those five colors is the "side." "Just that much" means that both of these are the measure of one and a half thumbs. Regarding the statement that the lattice and half-lattice bands are one and a half thumbs in measure: the remainder is to be understood as the measure of that band, starting with the lattice and half-lattice. "Half of that" refers to half of the door, which is one and a half thumbs. "Root line" refers to the exterior of the vajra fence of the inner tier and also the exterior of the [other] lines.
Regarding the statement made for the purpose of entering the wisdom maṇḍala into the painted maṇḍala: "In that," and so forth. "Great essence" is so called because it is connected to the Tathāgatas; it is "great" because it is the quintessence, and since it is also the essence, it is the "great essence." "Array" means that it should be drawn down from the direction of space and established [there]. "One's own wheel" is a term for the wisdom wheel that is equal to the colored-powder wheel. "One's own mudrā" is one's own insight; the remainder refers to one endowed with the yoga of Yamāntaka. "To rely upon" means to engage in the union of the two organs. "Samaya syllable" refers to the generation of the bodhicitta.
Regarding the term "maṇḍala," it refers to the unification of the wisdom wheel with the colored-powder maṇḍala by means of summoning it. Its thorough consecration is the performance of the sprinkling and cleansing. At the time when one is unable to manifest the bodhicitta for the consecration of the maṇḍala and so forth, it should be performed through meditation as well.
Likewise, the ten vases should be made with large bellies, drooping lips, and long necks. They should be made white with chalk. On the side of the central vase, one should draw a five-pronged vajra resting upon a multicolored lotus and a sun disk. On the side of the eastern vase, one should draw an eight-spoked wheel resting upon a multicolored lotus and a moon disk. Similarly, for the other three directions such as the south, one should draw a jewel, a lotus, and a sword, each resting upon a multicolored lotus and a sun disk. In the southeast, one should draw two eyes resting upon a multicolored lotus and a moon disk. In the three directions such as the southwest, they should be marked with a vajra, a red lotus, and a golden utpala, each resting upon a multicolored lotus and a moon disk. For the all-activity vase, one should draw the symbol of Amṛtakuṇḍalī—a five-pronged vajra—resting upon a multicolored lotus and a sun disk.
These vases should also be adorned with the leaves of the jambu, cūta, vijapura, madhuka, and jayantī trees. They should be provided with vajra necks and contain the five precious substances: gold, silver, copper, lapis lazuli, and coral. They should be filled with the five grains: barley, masha beans, wheat, rice, and...
The sesame seeds are also placed inside. It should be endowed with the five medicinal substances: white Aparājitā, Vṛhatī, Kaṇṭakārī, Sahadevā, and Viśvadevā. Then, a garland of flowers should be hung upon the central Victory Vase (vijayakalaśa). The other eight vases should also be hung with garlands of those same flowers and connected to them. Having placed a vajra at the mouth of the Victory Vase, one should recite the mantra of the deity to be consecrated, or of its family, one hundred and eight times. For the vases in the east and so forth, one should recite the four mantras Bhrūṃ, Āṃ, Jhrīṃ, and Khaṃ, preceded by Oṃ and Āḥ and followed by Hūṃ, one hundred and eight times respectively. For the vases in the southeast and so forth, one should likewise recite the four mantras Laṃ, Māṃ, Paṃ, and Tāṃ in the same manner. For the Amṛtakuṇḍalī vase, one should recite the mantra Oṃ Hūṃ Svāhā one hundred and eight times and place it in the north. All of them should be placed while circling clockwise. When evening has arrived, the remainder of that day, and on an auspicious occasion, one should summon the deities corresponding to the colored powder maṇḍala by means of light rays from the seed syllable at one’s heart, and offer them the water for the feet and so forth in this sequence. The sequence for the water for the feet is as follows: vessels of gold, silver, mother-of-pearl, conch, stone, clay, or copper—these are the vessels for the water for the feet.
If [proper materials] are unavailable, use leaves as the vessel. This explains the vessel for the arghya offering. Fragrant water, sweet milk, pure water, and white flowers should be placed in whatever vessel is available. Incense should be burned and [the water] consecrated with mantra. These are the ritual procedures for preparing the arghya.
For the accomplishment of pacifying, enriching, and so forth, one should apply fragrances, water, and so on, in accordance with the specific activity: white, yellow, red, or green. This is the classification of the arghya ritual.
Flowers, incense, lamps, and the conch for fragrance should be placed to the right. To the left, place the arghya vessel for the mantra. The vessels should be arranged in front. This is the arrangement of the arghya vessels.
The mantra for the arghya and so forth should be as taught in the tantras, such as the three syllables or the mantras of the five Buddhas. Following the tantras: for pacifying, end with bhūṣaṭ; for enriching, end with voṣaṭ; for killing, end with hūṃ phaṭ; and for summoning and magnetizing, use jaḥ and hrīḥ. This is the consecration of the arghya.
First, offer fragrant water; second, honey and milk; third, pure water; and fourth, water with flowers. Offer the fragrant water from the conch as the pādya (water for the feet). Oṃ nīrī hūṃ khaṃ hūṃ pādya. Offer milk and honey to the mouth. After sprinkling with a bundle of kuśa grass, offer only pure water while reciting the arghya mantra: Oṃ sarva saṃśodhani hūṃ phaṭ. This is the pādya and the ācamana (water for sipping). Take the flowers with the thumb and forefinger.
One should release the thumb and little finger and make offerings with flowers. The water for washing the feet is offered in a basin or a copper vessel; the water for sipping is likewise offered in an iron vessel; and other substances are offered in vessels of gold and the like, placed upon a mañji cloth.
Thereafter, the circles of deities corresponding to the colored powder maṇḍala are summoned, entered, bound, and brought under control with the mantra jaḥ hūṃ baṃ hoḥ. One should then perform the blessing of the eyes and so forth, the blessing with the three syllables, and the empowerment, and also perform the mudrā of the tathāgata. When the reflection of the maṇḍala appears in a mirror, one should first wash it with the five products of a cow using the mantra oṃ sarvatathāgatakāyaviśodhani. Likewise, one should anoint it with fragrant oil using the mantra bhrūṃ āṃ jrīṃ khaṃ hūṃ. One should also anoint it with the five types of bark well-ground together using this same mantra. Similarly, one should anoint and wash it with fragrance using the mantra oṃ sarvatathāgatābhiṣekavajrasvabhāvātmako ’haṃ.
Then:
"These flowers, excellent divine substances,
Pure and prepared with purity,
I offer with devotion;
Please accept them and grant me your grace."
This is the offering of flowers.
"This essence of the forest, so pleasing,
The supreme fragrance of the king of scents,
I offer with devotion;
Please accept it and grant me your grace."
This is the offering of incense.
"This which subdues demons and brings auspiciousness,
Virtuous and dispelling darkness..."
Since I offer this with devotion, please accept it and grant me your grace. This is the offering of lamps. These fragrances, both innate and compounded, which satisfy the sense of smell—I offer them to you with devotion; please accept them and grant me your grace. This is the offering of fragrance. This pure food, perfectly endowed with all qualities, including various edibles and snacks, and possessing color, fragrance, and taste—I offer it; please accept it individually. This is the offering of food.
Having thus presented the five types of offerings, one should say: "Just as all the Buddhas, while perfectly residing in the Tuṣita heaven, entered the womb of the goddess Māyādevī, so too, O Protector, remain steadfastly here. By remaining here forever, please accept these flowers and so forth; regarding me with compassion, cause the bodhicitta to increase."
Following that, at the time of the conclusion, one should collect the colored powders with the mantra: oṃ gili gili hūṃ ja svāhā. Pour the colored powders into a clean vessel and cast them into a river while reciting that same mantra. All the stages of this procedure also apply to the consecration of a painted image (paṭa), though the ritual of requesting the deities to depart (visarjana) is not performed. For the activities of the disciples, one should also perform everything such as the vase and the maṇḍala. Since the ritual for disciples taught in this tantra is presented only as a partial illustration, it is not limited to those actions alone; rather, the common practices should be stated in brief. Regarding the painted image, there are the five Tathāgatas and—
There is a single vase together with the four yoginīs and their symbols, filled with the five precious gems, the five medicines, the five grains, the five essences, and fragrant water. Recite the mantra oṃ āḥ vighnāntakṛt hūṃ phaṭ one hundred and eight times. Adorn the mouth with a pālāśa branch, wrap the neck with cotton cloth, and having made offerings of flowers, incense, and so forth, place it in front.
Then, the disciple should prepare a maṇḍala and, holding a garland of flowers, place the right knee on the ground. To make the request for becoming a vessel for the Mantra Vehicle, one should proclaim into their ear:
"Whoever seeks the siddhi of mantra,
Should be introduced into this maṇḍala.
Others who desire merit,
Or those who seek the next world,
Those with great faith who focus on the next world,
Such wise ones should be introduced into the maṇḍala.
One should not desire the fruits of this [world].
If one desires the fruits of this world,
The next world will not arise.
For a person who seeks the next world,
The fruits of this will be accomplished without difficulty."
Then, having mentally placed that disciple into a body visualized as the deity, [the master] should draw [the disciple] out from his own vajra and place them upon a lotus that appears of itself. The Tathāgatas, being exhorted by the melting [of the deities], emerge and sit in a squatting posture at the eastern gate of the maṇḍala. To request entry, [the disciple] should pray:
"You are my teacher, the great hero,
Endowed with union with Māmakī.
O Great Protector, I seek you!
You who show the way of great awakening..."
"Grant me the samaya itself; grant me also the bodhicitta. Grant me the Three Jewels—the Buddha, the Dharma, and the Saṅgha. O Protector, I wish to enter the city of great liberation." Thus, having addressed the principal disciple, one says: "The ritual of the Secret Mantra system within the Mahāyāna shall be correctly taught to you; you are a vessel for the Mahāyāna." Having said this, the disciples recite three times the verses for taking refuge in the Three Jewels: "I take refuge in the Three Jewels; I confess all misdeeds; I rejoice in the virtue of beings; I mentally uphold the enlightenment of the Buddhas." Then, having protected them all with the mantra of Amṛtakuṇḍalī, "Oṃ āḥ vighnāntakṛt hūṃ phaṭ," one should visualize at their hearts, throats, and heads, respectively, a blue vajra, a red lotus, and an eight-spoked white wheel resting upon a sun, a red moon, and a white moon, with the syllables Hūṃ, Āḥ, and Oṃ at their centers. Then, the preceptor, holding a vajra in his right hand, touches the disciples' hearts, throats, and crowns while reciting "Hūṃ Āḥ Oṃ," and places a flower on their heads, incense before them, and likewise offers a lamp and ointment at their hearts. These are the preliminary rites for the disciples. Then, the torma offering is given.
This is preceded by the yoga of one’s own deity. Beginning from the ritual of entering the maṇḍala as a disciple, up until the conferral of the permission empowerment, one should mentally take up the Blessed One and make a supplication for the sake of the truth:
All phenomena are like reflections,
Pure, luminous, and untroubled.
Without grasping and inexpressible,
They arise entirely from causes and karma.
By that truth which arises from suchness,
May the disciple, like a reflection in the maṇḍala,
See it clearly and without fault.
Then, outside the curtain, for each disciple who has offered the fee, one should visualize them in the form of Vairocana. Having placed into their hands a flower consecrated seven times with the mantra oṃ akhaṃ vīra hūṃ, one covers their face with a cloth, purifies them with water from the vase, and asks: "Who are you? What do you delight in?" They reply: "I am fortunate; I delight in great bliss."
Then, placing a vajra at their heart, one says: oṃ sarvayogacittam utpādayāmi | suratena samayas tvam | ho siddhi vajra yathā sukhaṃ. Then, summoning them with the mantra hūṃ jaḥ hūṃ, one leads them inside the curtain and places them at the door of the maṇḍala. One should say: "Do not speak of this to those who have not seen the maṇḍala, and do not let your samaya degenerate."
Placing the vajra on their head, one says: "If you speak of this method, this samaya-vajra will shatter your head."
Then, placing the vajra together with a flower at the heart, one should say:
Oṃ! Vajrasattva has today truly entered your heart. If you speak of this way, he will immediately tear it apart and depart.
With this, the oath is sworn. Place the five nectars in a lotus vessel and consecrate them with the three syllables. Recite "Oṃ vajrāmṛta udaka ṭha" seven times and say:
"This is your hell-water. If you transgress the samaya, it will burn you. If you guard the samaya, the siddhis will be accomplished by this vajra nectar-water."
Having said this, it should be made to drink. Then, one should say:
"From this day forward, I am your Vajrapāṇi. Whatever I command, all of that must be done. Do not show me contempt. If you die without having abandoned your fears, you will surely fall into the hell realms." Thus, the samaya-water should be made to drink.
Then the disciple should say:
"May all the Tathāgatas grant their blessings; I pray that Vajrasattva descend into me."
Then, at the disciple's heart, from a yellow laṃ arises a square maṇḍala of the Great Powerful One (Mahendra), marked with a vajra, upon which resides a black syllable hūṃ. At the crown of the head, from a baṃ arises a white, circular water maṇḍala, marked with a vase, upon which resides a white syllable haṃ facing downward. At the throat, from a black yaṃ arises a wind maṇḍala in the shape of a bow, marked with fluttering banners, which is red in color.
With the feet, one should blow upon the wind maṇḍala, visualizing the syllable JHAIṂ together with its rays of light, abiding upon a triangular fire maṇḍala blazing with light. While performing a majestic posture and ringing a bell, one causes the descent by reciting: āveśaya stambhaya raṃ raṃ raṃ calaya calaya hūṃ ha a jhaiṃ. Once the descent has occurred, one should visualize a red syllable A on the tongue and visualize the form of Amitābha at the nose. Then, by saying "Speak!", the disciple will speak of what is virtuous and non-virtuous. Once the speech is understood, one should stabilize it by reciting oṃ tiṣṭha vajra and ask: "What do you see with your eyes?" If, when asked, the disciple says that white, yellow, red, or black appears, one should explain: "You will become a vessel for the siddhis of pacifying, enriching, magnetizing, and wrathful activities." Then, one should perform the blessing of truth:
"In this maṇḍala, I shall cause the disciple to enter correctly. May it be just as their merit is. Whatever siddhi is accomplished through the knowledge of the deity family, and whatever vessel of a family they may be, whatever merit they possess—may it be just so in this maṇḍala."
Then, one should cast a single flower into the maṇḍala with the mantra: pratīccha vajra hoḥ. From the way the flower is cast, one should indicate the inferior or superior siddhis. In that regard, if it lands on the heads of the Buddhas, or on the crown of the head, or...
If it falls upon the crown of the head, at that time the siddhi of Mahāmudrā will be attained. If it falls into the eyes or the mouth, at that time the siddhi of mantra will be attained. If it falls on the supreme limb, the supreme [siddhi] is attained; if on a middling limb, the middling; and if on the lower part, the lowest is attained. If it falls far from the body, the lowest is attained; if it falls near, it is attained quickly. One should understand that the respective abodes of the deities are demarcated by the grid lines. When it falls between two [deities], at that time it will belong to the family of whichever deity the flower is closer to. If it falls outside the maṇḍala, it will become a minor siddhi. If it falls on a line, it should be discarded. If it falls in that very same spot after being discarded three times, there is no siddhi. If it falls outside the vajra garland, it is difficult even to attain [siddhi] by merely falling inside. These are the rituals for casting the flower. Then, taking the flower and binding it to the disciple’s head, one says: pratigṛhṇa samayaṃ me sva mahābala. Then, visualizing the syllable Oṃ in both eyes, one should say: "Oṃ, Vajrasattva, today you strive to open your eyes; the eyes that open all things, the unsurpassed vajra eyes." Having said this, the face veil should be removed. These are the rituals for entering the maṇḍala. Now, the conferral of empowerment will be described: "Just as the great offering was bestowed upon the Buddha, the Vajra of Awakening..."
"For the sake of my own liberation, O Vajra of Space, grant it to me this very day!" Thus, while the disciple makes this supplication, they should be visualized in the form of Vairocana. Then:
"Taking one's own consort as the water of the person,
All eight vases, having meditated upon them as the Vajra Mind,
One should confer the empowerment of the Vajra-holder."
Pouring the water from the joined fists:
"The great Vajra empowerment,
Bestowed by all the Buddhas,
Arisen from the abode of the three secrets,
And to which all the three realms prostrate."
By reciting "Vajra abhiṣiñca," the disciple should be empowered like a universal monarch. These are the rituals for the water empowerment, which is the mirror-like wisdom.
Following that, the crown—protected by gold, cloth, or the like—is bound upon the disciple's head. Through the application of Ratnasambhava, one should visualize all the Tathāgatas residing in the direction of space as abiding within the crown in the form of their respective families. These are the crown empowerment, which is the wisdom of equality.
Then, holding a great five-pronged vajra at the heart with one's own hand, one says, "Empowerment Vajrasattva." The disciple is to be made Amitābha, and the Buddha Vajra empowerment is conferred:
"Grasp this vajra,
For the sake of the supreme accomplishment
Of all the Buddhas!"
While saying this, the vajra is touched to the heart, the throat, and the crown of the head, and the vajra is then placed in the disciple's right hand.
These are the rituals for the vajra empowerment, which is the wisdom of discernment (pratyavekṣaṇā-jñāna). Then, visualizing [the disciple] in the form of Amoghasiddhi, the bell is placed in the left hand. Adopting the manner of embracing with the vajra and bell, the ritual for the bell empowerment is performed with the mantra: oṃ vajrādhipati tvaṃ abhiṣekata. This is the wisdom of all-accomplishing action (kṛtyānuṣṭhāna-jñāna).
Then, visualizing [the disciple] as Akṣobhya, the name empowerment is also bestowed. Placing the vajra and bell upon the head, the mantra is: oṃ vajrasattva tvaṃ abhiṣiñcāmi vajranāma abhiṣekata. One should then assign a name in accordance with the family, such as "O Glorious Mohavajra," "O Glorious Rāgavajra," or "O Glorious Dveṣavajra." This is the ritual for the name empowerment, which is the wisdom of the utterly pure sphere of phenomena (suviśuddhadharmadhātu-jñāna).
These five types of empowerment are called the "empowerments of knowledge" (vidyā-abhiṣeka), because they all engage in the activities of the knowledge-consorts, such as Locanā and the others.
Following that, for the empowerment of the Vajra Master, the disciple makes this supplication: "O Supreme Compassionate One, please grant it to me! May I become capable of benefiting myself and others. Just as you have granted it to yourself, please grant it to me today." Having seated the disciple upon a lion throne, they are visualized in the form of Vajrasattva atop a multicolored eight-petaled lotus. The vajra arising from the syllable hūṃ is then placed [in their hand] with the words: "The being without beginning or end is Vajrasattva, the Great Joy."
"Samantabhadra, the self of all, the lord of the vajra-pride, the master of masters, the Blessed One, the glorious primordial being"—this is how one should grasp [the meaning] through suchness. Following that, regarding the bell produced from the syllable Aḥ:
"This is explained as the melody of insight
Of all the Buddhas. You too should always hold it;
The Victors intend it for supreme awakening."
With these words, the bell should be placed in the left hand. Then, reciting:
"Existence is pure by its very nature;
By its very nature, it is free from existence.
The supreme being, pure by nature,
Is declared to be the supreme state of existence."
The student should ring the bell. Following that:
"Because the mental form is stable,
It is called the samaya-mudrā.
When it is stabilized in the form of all,
It is renowned as the great mudrā."
With these words, one should bless oneself as the great mudrā, having the internal nature of the deity's form, and then embrace. At that time, the master should visualize the hosts of deities arising from the seed-syllable at his own heart, abiding in the sky, conferring empowerment:
"The great vajra empowerment,
Bestowed by all the Buddhas,
Arising from the abode of the three secrets,
Venerated by all the three realms."
With these words, the empowerment is conferred. As it is also said:
"Embracing with the hands a wisdom consort
Who has reached sixteen years of age,
Through the union of vajra and bell,
This is held to be the master’s empowerment."
Then, the disciple should be visualized in the form of Vairocana and granted the authorization, as follows: "For the benefit of all sentient beings, throughout all worlds, turn the wheel of Dharma in whatever way is necessary to discipline them." In this verse, the word "Dharma" is replaced in sequence by "Jewel," "Vajra," "Lotus," and "Sword," and these five verses constitute the granting of the authorization. Following that, the disciple should be visualized in the form of Akṣobhya, and the vajra produced from the syllable HŪṂ should be placed in the disciple's hand with these words: "This is the vajra of all the Buddhas, which resides in the hand of Vajrasattva. You too must always hold it; this is the firm vow of Vajrapāṇi." Then, saying "OṂ SARVA TATHĀGATA SAMAYA VAJRA TIṢṬHA EṢA STVAṂ DHĀRAYĀMI HI HI HI HI HŪṂ," the vajra vow should be taken. This is the granting of the vajra vow. Then, visualizing oneself in the form of a Buddha, holding the corner of the Dharma robe with the left fist at the heart and forming the right hand in the mudrā of supreme generosity, the disciple should be visualized in the form of whichever Buddha family they belong to and given the prophecy: "OṂ! Here, I prophesy for you: you are the Tathāgata Vajrasattva. I have rescued you from the miserable realms of existence and shall bring you to the supreme state of existence. O Tathāgata [Name], you are the one who accomplishes the samaya. BHŪRBHAVAḤ SVĀHĀ." Having thus given the prophecy, [the ritual continues].
This is the prophecy made by the mudrā of the source of phenomena (dharmodaya). All the Tathāgatas, together with the maṇḍalas of the surrounding Bodhisattvas, will prophesy unsurpassed, perfectly complete enlightenment with one voice. This very thing is the mudrā of the source of phenomena; it is the power of blessing, and this is the power of mantra. Thus it should be said at the beginning. This is the prophecy by them. Following that, one should say "Mahāsamaya hūṃ phaṭ" and grant the breath of relief:
"Having entered and seen the supreme secret maṇḍala, you abide liberated from all misdeeds. Today you have become fortunate. In this Great Vehicle of Great Bliss, there is no further death; for the sake of accomplishing the supreme state of existence, you have transcended the suffering of existence. One must not abandon the bodhicitta. This is the mudrā called 'Vajra'; by merely generating it, there is no doubt of buddhahood itself. One must not abandon the sublime Dharma; it should never be cast aside. It should not be shown to those who are ignorant or deluded. The mudrās of the vajra and bell should also never be abandoned. The master should not be disparaged, for he is equal to all the Buddhas. Having completely abandoned self-centeredness, one should not torment oneself with austerities. One should maintain happiness just as it is. This is the future Perfect Buddha."
"Today you have become a master of the maṇḍala; you shall uphold the mantras and the tantras. This has been spoken in unison by all the buddhas, bodhisattvas, and deities. For the sake of compassion for sentient beings, you must diligently draw the maṇḍala according to the ritual, and you must also apply the practitioners to the tantras." This is the granting of encouragement.
These four, beginning with the authorization, are to be bestowed either after the five types of empowerment or after the master empowerment. The master empowerment itself is called the "empowerment of non-retrogression." The five empowerments and the master empowerment are called the "vase empowerment," because they all involve the activity of the vase. These six empowerments are not in contradiction with any of the tantras. These are the master empowerments, which are the purification of the vajra body.
Following that, in a place secluded by curtains and the like, the fortunate disciple, for the sake of the secret empowerment, should offer [the consort] and make a supplication at the time of being led forth.
"Just as the great offering was bestowed upon the Buddha, the Vajra of Awakening, so too, for the sake of my complete liberation, bestow upon me the Vajra of Space."
The guru, having generated the superior resolve in the deity yoga and having made self-awareness manifest, draws [the consort] from the lotus of the wisdom [consort] shining in the expanse of space, and binds the face of the wisdom [consort].
The face of the method is likewise; with the thumb and ring finger, it should be placed into the mouth of the disciple. The disciple should then say, "Aho sukha," and it should be inserted into the hollow of enjoyment, thereby attaining the nature of Vairocana. The disciple should then rise and offer it in that very same manner. These are the secret empowerments, the complete purification of vajra speech.
Following that, into the hands of the disciple:
"Entrust the mudrā into your hands;
Make the Tathāgatas your own.
Hold the vajra correctly upon your crown;
The Vajra Master shall speak:
'This is your excellent holding,
Proclaimed as firm by all the Buddhas.
Through the yoga of turning the wheel,
Perfectly initiate the sublime bliss.
These three worlds are pure;
There is no other Buddha.
Therefore, never at any time
Should you act apart from her.
This is the unsurpassed
Vidyā-vow of all the Buddhas.
Any fool who transgresses it
Will not attain the unsurpassed siddhi.'"
Having spoken thus, it should be given for the sake of the disciple. Then, through the yoga of oneself as the Lord of the Deity, one should arrange the collection of vidyā-mantras—OṂ HŪṂ SVĀ A HA—at the crown, heart, navel, secret place, and thighs, respectively. Following that, with HŪṂ and A, one should visualize the lotus and vajra; at their anthers, the syllables A and OṂ. At the opening of the aperture, one should also visualize a yellow PHAṬ.
With "Oṃ padma sukha dhara mahārāga sukhaṃ dada caturānanda bhaga viśva hūṃ hūṃ kuryaṃ kuru śvame," the lotus is consecrated; and with "Oṃ vajra mahādeśa caturānandadaya khā khā mukhe kara soṇatha hūṃ hūṃ kuryaṃ kuru śvame," the vajra is consecrated. Then, the channel residing in the left of the bhaga is called Vajradhātvīśvarī. Having moved it slightly with the fingers, that too is to be known from the guru’s instructions. Following that, one should initiate the joy with: "Oṃ sarvatathāgata-anurāgaṇa-vajra-svabhāva-ātmako ’haṃ."
Through the perfect union of the vajra and the space-element, from the great wonder of that contact, whatever bliss arises, it brings about supreme joy. "Between supreme joy and the joy-free, indicate, look, and remain firm." By this, the initiation of the wisdom-gnosis (prajñājñāna) is conferred, which purifies the Mind Vajra. Then:
"Bestow the initiation according to the ritual as it has been taught. If the disciple’s devotion is known by the mind and they have faith in the profound and vast way, the precious initiation should be given through words. Joy is slight bliss; supreme joy is greater than that. The joy-free is the state of being free from passion; the coemergent joy is the remainder. The first is the desire for contact; the second is the desire for bliss; the third is the fading of passion; then the fourth is to be meditated upon. The first joy is the manifold; supreme joy is the ripening; the joy-free is the crushing."
The innate is devoid of characteristics. The various aspects are described as manifold. Regarding kissing, embracing, and so forth, the ripened [aspect] is the reverse of that. The enjoyment of the wisdom of bliss is described as the companion of the definitive [aspect]. "I have consumed bliss." Apart from the three that are devoid of characteristics, it is completely free from passion and the absence of passion. Therefore, it is said: "It is not passion, nor is it the absence of passion; it is not perceived as the middle. By abandoning these three, right here, the innate is said to be realized." Thus, it is said that one who has received the empowerment has "done what was to be done": "Today my life has borne fruit; my living is fruitful. Today I am born into the family of the Buddha; I am now a son of the Buddha." Furthermore, here, according to the word of the Tathāgatas, one should offer three garments and a fee to the guru for entering the maṇḍala and for each of the empowerments. If these are not available, they should be offered at the beginning, middle, and end. In the case of those who cannot afford them at all, one should gather everything together and offer the three garments and the fee at the very beginning. If even that is not available, then whatever is possible—canopies, banners, a high seat of soft cotton, and a gold ring—should certainly be offered. The same applies to fire offerings and consecrations. Then: "Perform the fire offering and give the torma; also, discipline the supreme beings."
Thereafter, one should give a Dharma teaching to the Saṅgha and satisfy the destitute and the helpless. All of these [implements] should be held in the hands together with the vajra and the bell. Regarding that:
The vajra should be made starting from eight finger-widths up to twenty-two, in equal proportions. The eight-pronged vajra is made according to the rules; it arises from gold, brass, and so forth. There are three types of what are called "vajras": the three-pronged, the five-pronged, and the nine-pronged. Alternatively, they are divided into two types: the peaceful and the non-peaceful.
The fourth is the viśvavajra (crossed vajra), which has five prongs and four faces. The central [prong] is the place for grasping, and the size of the peripheral prongs is equal to that. At the ends, there is the makara-ornament; it emerges from the mouth of a makara. The mouth is thick and the prongs gradually taper. The prongs are curved and become progressively sharp. They do not exceed the directional parts; the central prong is in the shape of a barley grain. The spaces between the four prongs are also made to be the intervals of the central prong. In accordance with the vajra, the small [ornaments] are increased and decreased by two parts. The tips should be made equal to one another, and the central [part] should be slightly recessed.
As for the eight prongs, which are the primary limbs, a lotus rim is attached as a girdle. The central part should be slightly more than the girdle. The remaining equal parts should be made twice as high in succession. The mouth of the beautiful eight-petaled lotus has two garlands at the base. This is the definition of the vajra.
The bell has faces on all six sides. Regarding that, the four pure parts should be made from the nature of bronze.
The other is to be fashioned from another [material]. The interior opening of that bell should be made equal in width and depth. The rim is one-eighth of the [bell's] size. For the others, there are the portions of the vase and the two upper portions; on the sides, one should fashion the "faces of insight." Those faces should be like the previous half-vajras; they should be made resembling half-vajras. In that way, the vajras of the bell, measuring eight finger-widths and so forth, should be applied accordingly. "The mouth is slightly like an opening lotus, or else there is a lip at the mouth"—this is the definition of the bell. To explain the distinctions of the colors of the colored powder base, it is said: "In the east, insight," and so forth, which is easy to understand. Regarding "by seeing the ritual of the activity," and so forth, it refers to being situated appropriately upon the sun, the moon, and so forth. "Vajra" refers to the five-pronged [vajra]. "Wheel" refers to the eight-spoked [wheel]. "And so forth" refers to the yellow nine-faceted jewel, the red lotus, and the green sword, which are in the directions of the inner row. In the intermediate directions are the wheel, the vajra, the lotus, and the utpala. In the gates of the outer row are the black hammer, the white staff, the red lotus, and the green sword. In the corners of the outer enclosure are also the four types of skull-cups. "The hand symbols are everywhere equal to the faces" means that the deities themselves [have hand symbols] equal to the primary face; [this excludes] the two-finger-width jewel and the six-finger-width vajra mentioned below the line "the size of a cubit."
The handle is one cubit in length. Upon that handle, there is a base, bound by a belt, measuring four finger-widths; this is the "maṇḍala" on top, which is square. If one asks what the dimensions of all these are, it is said: "the measure of four finger-widths." "Two finger-widths in depth" means that for the four finger-widths of width, one digs two finger-widths into the depth; for the four finger-widths of width, one digs by omitting half a finger-width in depth. In the center is a three-pointed vajra of two finger-widths; this is the oral instruction. "The hole for the dripping of the essence" refers to that which is located at the head of the pouring ladle (dguṅ-gzar). It has the form of a lotus petal, eight finger-widths in width and two finger-widths in depth. In the center, a four finger-width wide hollow is carved, in which a four finger-width three-pointed vajra is situated. For the purpose of the butter dripping, there is a half-finger-width hole; that is the "half-finger-width hole for the dripping of the essence." Such is the pouring ladle measuring two cubits. Regarding "the pouring ladle is like a lotus petal": the pouring ladle (blugs-gzar) is one and a half cubits. At its base is a two-finger-width five-pointed vajra, and below that is a one-finger-width jewel. Above that is a handle one cubit long. Above that, it is further adorned with a three-finger-width belt. Above that is a lotus form measuring six finger-widths. The pouring ladle has a three-finger-width three-pointed vajra. To demonstrate the greatness of the tantra, it says: "one who has not entered the maṇḍala," and so forth.
Based on the Yamāri Tantra, the phrase "by means of mere offering and faith" is an addition. If one asks what that is like, it is "the one called Black" and so forth; the meaning is that Vajrasattva himself knows the manner of the supreme faculties, the tantra, and the result. "Vajra words" refers to the definitive words of Vajrasattva, which express the nature of reality, such as "not having entered the maṇḍala" and so forth. For the purpose of the disciple newly entering the maṇḍala, there is the phrase "to that" and so forth; "the seed-syllables of the four elements" refers to the seed-syllables of the great elements—wind, fire, earth, and water—namely the syllables YAṂ, RAṂ, LAṂ, and VAṂ. "The four wheels" refers to the maṇḍalas of wind and so forth. "The four locations" refers to the soles of the feet, the navel, the heart, and the crown of the head. The phrase "feet" and so forth is for the purpose of reciting the seed-syllables in the locations according to their respective order. To demonstrate the four wheels, it is said: "the shape of a bow" and so forth, which is endowed with two fluttering banners at the two corners. "Triangle" means three corners. "Vahni" refers to the fire maṇḍala. "The Vajra-holder is able to sustain" means he is able to sustain the Vajra Mountain. To demonstrate that very Vajra Mountain, there is the phrase "Mount Meru" and so forth; "clouds" refers to the masses. "Great coolness" expresses the meaning as it was previously stated.
Regarding the passage beginning with "the snow mountain" and so forth: "snow mountain" refers to snow. "Descending" means descending upon the body. The meaning of descending upon the speech is stated as "the union of Vajra Amitābha." One should visualize a red syllable hrīḥ upon a sun disk, which is the transformation of a red syllable a on the tongue of the disciple who has been possessed; that itself should be viewed as Amitābha. "In that" means at that time, once [the disciple] has been perfected as Amitābha. "The samaya of questioning" means to inquire and request; it refers to the purpose of showing the signs of whichever mind has been summoned through the power of one's own merit by meditating on the four elements as previously described, as indicated by the passage beginning with "one cubit" and so forth. From the words "Then" and so forth, up to "the jewel crown six finger-widths [high]," it is easy to understand and thus is not explained. Regarding the purpose of accomplishing a yakṣiṇī, it is stated: "Then" and so forth. "At the time of accomplishing the yakṣiṇī" means at the time when one wishes to accomplish the yakṣiṇī; "Great Blue One" is the remainder [of the name]. Although the seed syllable was not explicitly stated, according to the oral instruction, it is born from the syllable hūṃ. Furthermore, the complete celestial mansion is like the celestial mansion of Yamāntaka. All of these have two arms, whereas the mallet and so forth have six arms. "The previous maṇḍala" refers to the wheel of the maṇḍala drawn with colored powders. "Like" means like the maṇḍala of Yamāntaka.
Regarding the phrase "holding the master's sign," this refers to holding a skull-cup and a curved knife, just like Ekajaṭī. The meaning is as follows: one who possesses the yoga of Ekajaṭī should recite the mantra letters one hundred thousand times in silence. When the time comes to accomplish the yakṣiṇī, one should create a painted scroll (paṭa) of the yakṣiṇī using a thread spun by a young maiden from uncut cloth. She should be depicted adorned with all ornaments and in the full bloom of youth, with a graceful, seductive expression. In her left hand she holds the branch of an aśoka, pāṭala, or mango tree—any of these—complete with flowers and fruit, while her right hand is in the gesture of supreme generosity (varada-mudrā).
In front of her, one should offer flowers, incense, pure food, and so forth. In a secluded place, one who possesses the yoga of Ekajaṭī should recite the mantra, and she will arrive within seven days. Once she has arrived, one should offer fragrant flower-water as an arghya offering. Thereafter, the activities will be accomplished. One must certainly speak to her as a mother, a sister, or a wife, whichever is appropriate; by doing so, she will engage in worldly conversation. Otherwise, she will kill.
Alternatively, on the fourteenth or eighth day of the dark fortnight, one should draw [the image] on a wooden board as before. Through the yoga of Ekajaṭī, one should summon her with the seed syllable at the heart. Just as with the hammers and other mantras, she is summoned into close proximity, inserted into the drawing, bound, and brought under control. One should then recite the mantra while covering her private parts with the hand, or otherwise remain in silence.
Then, she will arrive within seven days. Having arrived, through the power of the practitioner, she will desire him and display various forms of play. She will also display terrors; however, one should neither be afraid nor speak. Then, once she has become easily accessible, the siddhi will be attained, and she will play with whichever yogin he desires. If she is still not accomplished, then at that time, through the yoga of Yamāntaka or the yoga of Ekajaṭī, one should emanate vajra hooks from the seed-syllable at one's own heart. Piercing the birth-place with the hooks, binding her by the neck with a noose, and summoning her, she should be made to enter the drawing. On her head itself, one should visualize Yamāntaka equal to the fire at the end of an eon, and below, the syllable ra as a fire hearth. Then, with pride, having summoned her there and recited the mantra of Ekajaṭī while the practitioner of Yamāntaka recites the mantra, she will certainly be accomplished within seven days.
Then, regarding the phrase "Pukkasī is thoroughly accomplished," her siddhi is that of Pukkasī, who causes the heart to be recited. "Yellow-colored" is easy to understand; the remainder is that she is born from the seed-syllable pu. "The activity of Pukkasī" refers to the activity of agitating the heart. The meaning is this: such a yogin, with light rays arising from a red syllable ja on the tongue, pierces the heart of the object of accomplishment.
One should visualize a white syllable khaṃ at the heart. Then, one should imagine that those light rays summon [the target] and cause them to enter one's own heart. The noose is in the left [hand], and the hammer is in the right. The arrow is in the right, and the bow is in the left. Furthermore, the noose binds by the neck, the hook summons, and the bow, being drawn, strikes the heart with the arrow. One should first perform the preliminary service of one hundred thousand recitations of the mantra: oṃ pukka pukka [name] pukka.
Regarding the purpose of invisibility, it is said: "Then," and so forth. "The thorough accomplishment of Mañjuvajra" means accomplishing [the practice] once Mañjuvajra has been thoroughly established. "Yellow" refers to the yellow root face. The right and left faces are white and blue, respectively. According to the oral instructions, the right hands hold a sword, an arrow, and a curved knife (kartṛ). The left hands hold a blue utpala lotus, a bow, and a skull-cup. The term "hand" refers to the first right hand. "Place the wheel and so forth in the others" refers to the remaining hands. They hold their respective implements just like Mohayamāntaka and the others. "The condensed essence" means that which has become the essence. To show the primary hand implements, it is said: "The branch of the Ashoka" refers to the branch of the Ashoka tree together with its flowers and fruit. "Branch" refers to the branch of the Bodhi tree. "Staff" refers to the three-pronged staff (triśūla).
Since these also have two arms, the others hold the threatening mudrā. To explain their body colors, it is said: "yellow and so forth," in their respective order. The hammer and so forth are as before. "Meditate" refers to the Blessed One in this form. Regarding "will not be seen," the letter ca also indicates that he himself teaches through the power of compassion. Just as the sādhana of Mañjuvajra is taught, so too is this chapter. The explanation of the fourteenth chapter is complete.
"Arising perfectly from the seed-syllable phuḥ" means that after the celestial mansion and so forth have been completed as before, the letter a and so forth represent the mirror-like wisdom (ādarśa-jñāna); the letters ka and so forth represent the wisdom of equality (samatā-jñāna); the snake arising from the syllable phuḥ represents the wisdom of individual discernment (pratyavekṣaṇā-jñāna); and the syllable phuḥ at the snake's heart represents the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna). When the mirror-like wisdom and the others become one, that is the utterly pure dharmadhātu. The syllable phuḥ born from that is the completion of Vajrasattva. "Snakes in his hands" refers to the right hands. The other right hands hold a sword and a curved knife (kartṛ). The three left hands hold a wheel, a lotus, and a skull-cup. "Mounted on a peacock" means he rides a peacock. To show the symbols of the right hands in their respective order, it is said: "feathers and so forth," where "feathers" refers to a collection of peacock feathers.
The branches are the branches of the Bodhi tree. The iron shackles are the vajra chains. To show the differentiation of their colors according to their respective order, it is said: "Yellow and..." and so forth. Regarding their hand implements, up to what has been described, the other hands also hold implements just like those of Mohayamāntaka and the others. "Flowers and so forth" refers to the two hands as before. When the meditation is thus complete, one should meditate on the yellow maṇḍala of the Great Powerful One (Mahendra) arising from the transformation of the syllable laṃ within the water maṇḍala. For Kurukullā as well, everything is as before, up to the generation of the vajra fence and the vajra canopy. The distinction lies in the five manifest enlightenments: from the seed syllable, the utpala flower is the discerning wisdom (pratyavekṣaṇā-jñāna); the emanation and reabsorption from the seed syllable situated on the moon at its center is the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna); and their becoming of one taste is the utterly pure dharmadhātu. The syllable hrīḥ arising from that is Vajrasattva. Regarding the statement, "The nāgas are to be placed in the eight hands," in the four right hands are Ananta, Takṣaka, Kulika, and Śaṅkhapāla, respectively, blue like a blue utpala, red, multicolored, and yellow. In the four left hands are Padma, Karkoṭaka, Vāsuki, and Mahāpadma, respectively, white, black, yellow, and...
These are the colors of the white and pale [deities]. Regarding the summoning of the nāgas, it is taught that through this, the power to bring down rain arises. The oral instruction for this is as follows: on an unbaked clay bowl, one should draw an eight-spoked wheel of a sword with indigo dye, and in its center, an eight-petaled lotus. In the hub, one should write the mantra of Kurukullā interspersed with the name of the nāga to be accomplished: Oṃ kurukulle hrīḥ āmogha nāga ākarṣaya bharṣaya tarjaya garjaya phu hrīḥ svāhā. During the three months beginning with the first month of summer, one should sequentially substitute the names of the nāgas—Karkoṭaka, Śaṅkhapāla, and Vāsuki—into the mantra for each respective month. One should then join the two unbaked clay bowls together and wrap them with yellow thread. Having summoned, entered, bound, and brought under control Kurukullā there, and having made perfect offerings and received her permission, if one places the vessel in a spring or similar location blessed by the nāgas, rain will fall there.
Regarding the teaching on the Vajra-Aform for the purpose of summoning the vidyādharīs, the passage beginning with "Then..." and so forth follows. "Bringing under control" means to act for their benefit. "Holding a bow and arrow in hand" means holding a bow and arrow in the right and left hands. To show the hand implements such as joy and so forth, it says "the bow" and so forth. To show the body color, it says "yellow" and so forth. "Unobstructed" and so forth...
The body colors of Vajracarcikā and the others are as described, while the colors of the mallet and so forth correspond to the spring season and so on. The phrase "all of these have two arms" is the remainder of the description. As for the term "Yamāntaka," he is likewise a tathāgata as previously explained. This was spoken for the purpose of teaching the ritual of summoning: "Of a woman," and so forth. "Abiding within the crow-faced [one]" means abiding in the center of the female organ of the person to be accomplished. Furthermore, it is because one has become endowed with the yoga of the Vajra-Aśarīra (Vajra-Bodyless). "Vajra-Aśarīra" refers to its mantra, because the mantra and the deity are inseparable. If one asks what that mantra is, it is said: "The mantra of the syllable Sita." "Perfectly arisen from the syllable Sita" means that intensely clear, blazing rays of light are emanated, pervading his entire body. "Intoxicated and desiring bliss" means intensely desiring bliss. "Intersperse the vowel of the syllable Oṃ" means that, according to the oral instruction, the syllables Oṃ and Hrīḥ are to be placed at the beginning. "Then provide the syllable Svāhā" means that the syllable Siddha is to be placed in the middle, and the sound Svāhā is to be provided at the end. Thus, the mantra is: Oṃ Hrīḥ amuki me vaśībhava siddhi svāhā. "Seven times" refers to seven days. Where the sādhana of the Vajra-Aśarīra is taught, that is the Vajra-Body Sādhana. The explanation of the fifteenth chapter is complete. "To know" means to manifest.
To demonstrate its nature, it is said: "Two hands," and so forth. "Vajra in the hand" refers to the mudrā in the right hand. "Gorotaṃ" is a skull-cup. "The other" refers to the left hand. "Five ornaments" refers to the wheel, earrings, necklace, bracelets, and belt. "Perfectly arisen from the seed-syllable HŪṂ" means that the seven purifications, from the unsurpassed offerings up to the melting of Vajrasattva, have been performed. "Abiding in the preta" means abiding upon a sun disk at the heart of a corpse. "Through the excellent application" means through the purification. "Various forms" refers to the colors white, yellow, red, and dark blue. "Abiding in the preta" means abiding upon a moon disk at the heart of a corpse. The "Dharma wheel" is an eight-spoked wheel. "Aśvattha" is the Bodhi tree. Below the wish-fulfilling jewel and the wish-granting tree, the yoginīs should be drawn. "Vajra" refers to the five-pronged [vajra]. "Goddesses" refers to the goddesses. "In the right portion" means in the right hand. "Skull vessel" is a human vessel. "Ava" refers to the left. "Charming" should be applied individually to the eyes and so forth. "In the door portions" refers to the doors of the east, south, and so on. "Together with the swirling" refers to Amṛtakuṇḍalī.
Regarding the phrase "by seeing the ritual of the activity": to the left of the yoginīs of the directions is the khaṭvāṅga. Among them, Locanā and the others are white, yellow, red, and dark blue, holding a wheel, a vajra, and a sword in their right hands, and holding a skull-cup in their left hands. Yamāntaka and the others hold a hammer, a staff, a lotus, and a sword; with their left hands they hold a noose and make the threatening gesture. Likewise, although not explicitly mentioned, the entry of the wisdom maṇḍala and the sealing with mudrās should also be performed. Here, by the very generation of the Blessed One, the "maṇḍala deities" are also generated from the seed-syllable at the Blessed One’s heart. The explanation of the sixteenth chapter is complete.
In all tantras, even if the meditations are scrambled, they should be understood according to their proper sequence. Thus, the explanation is stated: "The five aspects," and so forth. In that regard, the sixteen vowels, such as the letter A, doubled, are the aspect of the moon, the nature of the mirror-like wisdom. The remaining consonants, including Ka and so forth, along with Va, Ra, and Ya, doubled to make forty, are the sun, the wisdom of equality; this is the second awakening. From the seed-syllable, the emblem arises, and within the emblem is the seed-syllable; this is the wisdom of individual discernment, the third aspect. The radiation and reabsorption from those is the fourth aspect.
In that regard, the melting of the moon and all the others into a single taste is the utterly pure wisdom of the dharmadhātu; thus, there are five [wisdoms]. "The form of the Buddha" refers to Vajrasattva. "The Vajra-holder" refers to the principal deity, the form of the desired divinity, who is invoked by the four songs. That very point is stated: "The four songs," and so forth. "Carcikā and the others" should be understood as those previously meditated upon, such as Maitreya and so on, because the deities of the maṇḍala have not yet been generated. In cases where Vajrasattva is not generated, there is the seed-syllable Vajrasattva, which abides in the sign arising from all suffering; for the sign is called the "vajra," and that which is the "sattva" is the seed-syllable, and therefore it is "Vajrasattva." The distinction there is the mere absence of the invocation by song, as it is simply born from the total transformation of all those [elements]. "Born from the six," and so forth, refers to the six, which have already been explained. The word "and so forth" (sogs) indicates the possession of various melodies. "Arisen" means having stood up. "Faith and Liberation" refers to the Venerable One. "Wrathful Compassion" refers to the wrathful deity invoked by compassion. "The three realms" refers to the three states of existence: the desire realm, the form realm, and the formless realm. "Clear away" means to eliminate. These are the [mantras] of Vajracarcikā. "From these māras" refers to the afflictions, the gods, the aggregates, and...
These are the four Māras, the forms of the Lord of Death. "Be victorious" means to triumph over the opponent, that is, to cause victory. "Faith Deliverer" refers to the Kṣatriya caste. "Be" means "desire." This is [the mantra] of Vajravārāhī. "By the Protector of the World" means inviting the worldly beings as guests. "Emptiness" means from emptiness, reaching the ultimate flavor of great bliss. "Worldly merit" means by means of worldly merit. These are [the mantras] of Vajrasarasvatī. "Why? For what reason?" "Emptiness-mind" means contemplating emptiness; it means "emptiness is the purpose." "By the Protector of the World" means inviting the worlds. These are [the mantras] of Vajragaurī. To show the purpose of the boat, it is said: "Just as," and so forth. The meaning is this: after melting and dissolving with a mind of compassionate attachment, one should understand that the bodhicitta enters just as a shooting star is launched, following the authentic exhortation. "Bodhicitta" refers to the three syllables Oṃ Āḥ Hūṃ in the form of blazing light. In this tantra, for the sake of easy understanding, "at the beginning" is a verbal convention; it is the first of the first yoga, and for the purpose of showing the first [stage], starting from the unsurpassed offering of the sevenfold purity.
The ultimate perfection of Vajrasattva is the meaning of what is called "yoga." "Its concordant cause" refers to the deity who arises from the melting of that very Vajrasattva through being perfectly exhorted; this is the resultant Yamāntaka. "All wheels" refers to the assembly of the wheels of the deities of the maṇḍala. "Body, speech, and mind itself" refers to the blessing of the body, speech, and mind. The meaning of these is as follows: the sādhana should be properly explained.
From a red syllable yaṃ at one's own heart, a red sun arises. Upon that, from a black syllable hūṃ, light rays are emitted. These transform into the two forms of a noose and a hook in front. One should meditate on the wheel of the Yamāntaka maṇḍala as being similar to that, piercing from below and binding from above. Having drawn the light rays straight toward the one situated in front, one emanates various offerings through their openings and prostrates. One confesses all those sins—whatever sins one has committed, caused others to commit, or rejoiced in—as long as they have been done. Furthermore, one makes the vow: "I shall not act for the sake of my livelihood." One rejoices in whatever merit has been performed. Then, one should dedicate all that has become merit, such as the offerings and so forth, for the sake of all beings toward unsurpassed enlightenment. Until enlightenment is attained, one takes refuge in the Buddha.
I take refuge in the Dharma. I take refuge in the Saṅgha. Following that, I shall awaken as the nature of Yamāntaka myself, and I shall cause all sentient beings to expand into the form of glorious Yamāntaka. For that purpose, I shall correctly rely upon this very great mantra. Thus, having performed the sevenfold correct offering—consisting of the offerings, the confession of misdeeds, the complete dedication of merit, the taking of refuge in the Three Jewels, the generation of the mind of supreme enlightenment, and the reliance upon the path—one should meditate on the four immeasurables: love, characterized by affection for all sentient beings as if they were an only child; compassion, characterized by the desire to truly deliver them from suffering and the causes of suffering; joy, characterized by the desire to truly gather all forms of happiness; and equanimity, characterized by the desire for a continuous stream of supramundane bliss. Then, contemplating all wandering beings as being like a dream or an illusion, one should recite the mantra oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ and make the mind equal to space. In front, one should meditate on a sun disk arising from the syllable repha. Upon that sun disk, from the syllable hūṃ, arises a crossed vajra. One should also meditate on the enclosure and the canopy formed by that very vajra. By that, the ground is bound.
This is like a house. Within it, upon a crossed vajra, is the nature of space. In the direction of space, from a black syllable yaṃ, arises a black wind maṇḍala in the shape of a bow, possessing two fluttering banners at its two ends. Above that, from a red syllable raṃ, arises a red fire maṇḍala, triangular in shape and marked at its corners with the syllable repha. Above that, from a white syllable vaṃ, arises a white water maṇḍala, facing downward and marked with a vase. Above that, from a yellow syllable laṃ, one should meditate on a yellow earth maṇḍala, marked at its corners with three-pointed vajras.
Upon that, from the complete transformation of the wind maṇḍala and all the others, arises a two-storied celestial palace. Upon the petals of a variegated lotus, in their respective places, are moon and sun seats. It is square with four doors, adorned with eight pillars, and perfectly endowed with four archways, lattices, half-lattices, bells, banners, and so forth. One should meditate on it as being complete with all its characteristics.
In the center of the inner tier, from the sixteen vowels, a and so forth, arranged in clockwise and counter-clockwise order and doubled, arises a moon maṇḍala, which is the purity of the mirror-like wisdom (ādarśa-jñāna). Above that, from the consonants, ka and so forth—specifically the letters da, dha, va, ya, ra, la—arranged in doubled order and non-order, arises a sun maṇḍala, which is the purity of the wisdom of equality (samatā-jñāna).
Above that, from the syllable HŪṂ, there arises a five-pronged vajra. At its hub, the syllable HŪṂ resting upon a sun disk is the purity of the wisdom of individual discernment. From that very syllable HŪṂ, the maṇ�ala of Yamāntaka is emanated; having performed the benefit of sentient beings, it is reabsorbed back into the essence, which is the wisdom of all-accomplishing action. All of these melt instantaneously, and one should meditate on the white [result] as the utterly pure wisdom of the dharmadhātu.
Thus, through the five aspects of manifest enlightenment, one visualizes Vajrasattva as Yamāntaka, who will be described later, holding his hand-symbols, white in color, with three faces: the central face white, the right black, and the left red, resting upon a moon maṇḍala. One should visualize him in union with the red Vajravārāhī, who appears as his own self-manifestation. These are the yogas.
Then, the light rays from the syllable HŪṂ residing in one’s own heart summon the maṇḍala of Yamāntaka. Entering through the mouth, they melt through passion and subsequent passion. Emanated through the vajra path into the lotus of the goddess, the seed-syllables of the maṇḍala deities born from that bodhicitta should be placed in their respective positions.
In that regard, on the inner rim, in the east, upon a moon maṇḍala is the white syllable KṢE; in the south, upon a sun disk is the yellow syllable MA; in the west, upon a sun disk is the red syllable ME; and in the north, upon a sun disk is the green syllable DA.
In the intermediate directions, such as the southeast and so forth, upon moon maṇḍalas, the four syllables JA, SA, DO, and RU are situated in their respective order, white, black, red, and green in color. In the gates of the outer perimeter, such as the east and south, the four syllables YA, CA, NI, and RA are situated upon sun discs, black, white, red, and green in color. In the four corners, the four syllables ṆA, YO, NI, and RA, situated upon moon maṇḍalas, should be visualized as white in color.
Then, through the melting of passion and subsequent passion together with one’s own consort, one should visualize Vajrasattva in the form of a melted state. Then, by the power of the force of previous aspirations, the four yoginīs—Carcikā and the others, representing loving-kindness, compassion, joy, and equanimity—should be visualized in the corners of the inner perimeter.
Regarding that, Vajracarcikā makes this supplication:
"O Lord, arisen from the wrath of compassion,
Dispel the ignorance of all the three realms!"
Likewise, Vajravārāhī also says:
"O Lord, do not remain in a state of melting; arise!
Conquer the māras!"
Likewise, Vajrasarasvatī also says:
"O Protector of the World, why do you remain in emptiness?
O Lord, arise through the merit of the world!"
Likewise, Vajragaurī also says:
"Having invited the guests of the world who desire enlightenment,
Why do you contemplate emptiness?"
Immediately following the song, one should visualize the three syllables OṂ ĀḤ HŪṂ entering into a mass of melting red light. From that very melting, there arises a blue syllable YAṂ resting upon a red sun, from which comes a blue five-pronged vajra. At its hub, there is also a blue syllable YAṂ resting upon a red sun. Then, from the complete transformation of the vajra together with the seed-syllable, one arises as the black and wrathful Yamāntaka of Hatred, wearing a garland of hanging severed heads, baring his fangs, with yellow hair blazing upward, yellow eyebrows and beard, slightly bared fangs, a protruding belly, and resembling the fire at the end of an eon. He is adorned with eight snakes, wrapped in a tiger skin, and has three faces: the central black, the right white, and the left red. He has six arms; the three right hands hold a vajra, a sword, and a curved knife (kartṛka). The left hands hold a wheel, a lotus, and a skull-cup. He stands with his left leg extended upon a sun disk on the back of a great buffalo. On his head are five skull-fragments representing the nature of the five Buddhas, and he wears the five mudrās. From the pores of his skin, he emanates hosts of Yamāntakas identical to himself, while one should contemplate the recitation of the mantra: OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. These constitute the subsequent yoga (anuyoga). Following that, from the syllable KṢE situated in the eastern direction of the inner tier, there arises white Mohayamāntaka, with a white central face and a blue right face.
The left [face] is red. The right hands hold a wheel, a sword, and a curved knife; the left hands hold a jewel, a lotus, and a skull-cup. One should recite the mantra: OṂ JINA JIK.
Then, in the southern direction, from the complete transformation of the syllable MA, arises Yellow Yamāntaka of Malice. His central face is yellow, the right is white, and the left is red. The right hands hold a jewel, a sword, and a curved knife; the left hands hold a wheel, a lotus, and a skull-cup. One should recite the mantra: OṂ RATNA DHṚK.
Then, in the western direction, from the complete transformation of the syllable ME, arises Red Yamāntaka of Passion. His central face is red, the right is black, and the left is red. In the right hands he holds a red lotus, a sword, and a curved knife; in the left hands he holds a wheel, a jewel, and a skull-cup. One should recite: OṂ AROLIK.
Then, in the northern direction, from the complete transformation of the syllable DA, arises Green Yamāntaka of Jealousy, the color of a ripe mārkaṭa fruit. His central face is green, the right is black, and the left is yellow. In the right hands he holds a sword, a vajra, and a curved knife; in the left hands he holds a wheel, a lotus, and a skull-cup. One should recite the mantra: OṂ PRAJÑĀ DHṚK.
These four also stand with the left leg extended, their yellow hair bristling upward. They have three round, red eyes, as difficult to behold as the fire at the end of an eon.
Then, at the fire corner of the inner tier, one should visualize the syllable JAṂ, from which arises Vajracarcikā, who resembles Mohayamāntaka and is the nature of great loving-kindness, while reciting the mantra OṂ MOHĀRATI. Then, in the southwest, from the syllable SA, one should visualize Vajravārāhī, who resembles Dveṣayamāntaka, has a sow’s face as her primary face, and is the embodiment of compassion, while reciting the mantra OṂ DVEṢARĀTI. Then, in the wind corner, from the syllable DO, one should visualize Vajrasarasvatī, who is red in color, resembles Rāgayamāntaka, and is the embodiment of joy, while reciting the mantra OṂ RĀGARĀTI. Then, in the northeast, from the syllable DU, one should visualize Vajragaurī, who resembles Īrṣyāyamāntaka, holds a yellow utpala lotus in place of the sword, and is the embodiment of equanimity, while reciting the mantra OṂ VAJRARĀTI. These yoginīs also stand with their right legs extended. Then, at the eastern gate of the outer tier, from the syllable YAṂ, one should visualize Mūrdhaghaṭayamāntaka, who resembles Dveṣayamāntaka, with the distinction that he holds a hammer marked with a three-pronged vajra in place of the vajra, while reciting the mantra OṂ MUDGARADHṚK.
Then, at the southern gate, from the complete transformation of the syllable CA, there arises Daṇḍa Yamāntaka, who is similar to Piśuna Yamāntaka, with the distinction that he holds a staff marked at its base with a three-pronged vajra at the position of the wheel. One should recite the mantra: OṂ DAṆḌA DHṚK.
Then, at the western gate, from the complete transformation of the syllable NA, there arises Padma Yamāntaka, who is similar to Rāga Yamāntaka. One should recite the mantra: OṂ PADMA DHṚK.
Then, at the northern gate, from the complete transformation of the syllable RA, there arises Khaḍga Yamāntaka, who is similar to Īrṣyā Yamāntaka. One should recite and visualize the mantra: OṂ KHAḌGA DHṚK.
The deities of the maṇḍala are also adorned with the ornaments of the Lord of the Wheel.
Then, in the outer row, situated in the four corners, one should visualize four skull cups filled with the five nectars, resting upon their respective seats on variegated lotuses, arising from the seed-syllables of the NAYONIRA mantra. This completes the entire wheel and is described as the "Great Yoga" (Atiyoga).
Then, the eyes and other sense organs of the Lord of the Maṇḍala and the deities of the maṇḍala are to be consecrated with the mantras: OṂ VAJRA CAKṢU, OṂ VAJRA KRODHA, OṂ VAJRA GRAṆA, OṂ VAJRA JIVA, and OṂ VAJRA KṢAYA.
Likewise, one should visualize a white syllable OṂ on the moon at the head, a red syllable ĀḤ on a red lotus at the throat, and a blue syllable HŪṂ on a red sun at the heart, representing the nature of the Body, Speech, and Mind.
Then, with light rays from the seed syllable at one’s heart, one should perfectly worship all the buddhas residing in the expanse of space and make this supplication: “O all you Tathāgatas, please bestow empowerment upon me!” Then, they assume the form of Yamāntaka and, holding vases filled with the five nectars, confer the empowerment. Thereupon, having washed away all outer and inner stains without exception, one should visualize oneself as being blazing, radiant, and purified of all outer and inner stains. One should visualize the lords of the maṇḍala and the deities of the maṇḍala as being crowned by the lords of their respective families. This is as follows: the lord of the maṇḍala is Akṣobhya; Mohayamāntaka is Vairocana; Piśunayamāntaka is Ratnasambhava; Rāgayamāntaka is Amitābha; and Īrṣyāyamāntaka is Amoghasiddhi. Vajracarcikā is Vairocana; Vajravārāhī is Akṣobhya; Vajrasarasvatī is Amitābha; and Vajragaurī is Amoghasiddhi. Mūrdhaghāta Yamāntaka is Akṣobhya; Daṇḍayamāntaka is Vairocana; Padmayamāntaka is Amitābha; and Khaḍgayamāntaka is Amoghasiddhi. Following that, with light rays from the seed syllable at one’s heart, one summons the wisdom maṇḍala and perfectly worships it.
OṂ MUDGA JAḤ, OṂ DAṆḌA HŪṂ, OṂ PADMA VAṂ, OṂ KHAḌGA HOḤ. By means of these four mantras, through summoning, entering, binding, and subjugating, the samaya-maṇḍala and the wisdom-maṇḍala should be made into one.
Then, from the complete transformation of the syllable YAṂ, there is the wind-maṇḍala as described; upon that, from the complete transformation of the syllable RAṂ, there is the fire-maṇḍala. One should visualize that the white syllable A, heated by that fire, completely transforms into a skull-cup. Within it, the life-force-deprived go, ku, da, ha, and na are blessed by the syllable OṂ and thereby melt. Light rays arising from the bindu of the syllable OṂ take the nectar from the hearts of all the Tathāgatas; by entering there, it is cooled by the five types of nectar. One should visualize that it is blessed by the three syllables OṂ ĀḤ HŪṂ and then thoroughly inserted into the mouths of all the deities through a tube of light rays from a single-pointed vajra born from the syllable HŪṂ.
Then, one should visualize the maṇḍala being satisfied and offer worship with the song from the mouth of Vajracarcikā:
"Aha! Aha! O Black Yamāntaka, Lord!
You whose nature is the form of a rākṣasa,
I am terrified when I see you.
Please, abandon this wrathful nature!"
Then, from the mouth of Vajravārāhī:
"The three realms—above the earth, below the earth, and upon the earth—
Are made to tremble by your dance.
With eyes like applied collyrium and a wrathful mind,
You dance like a risen corpse!"
Then, from the mouth of Vajrasarasvatī:
"Dark in complexion and short in stature..."
You manifest as the object of various forms; to Sarasvatī, I pray. Perform your dance of great bliss! Then, from the mouth of Vajragaurī: Through the dance of the mantra Hrīḥ Ṣṭrīḥ, dispel the delusions of the three realms of existence. O Venerable One, you manifest in wrath through the power of compassion; the world beholds your dance. Having thus perfectly offered the maṇḍala of this song, one should offer praise:
You are the nature of Mohavajra,
Yamāntaka, most terrifying.
Nature of all the Teacher Buddhas,
Homage and praise to the Vajra Body!
You are the nature of Piśunavajra,
Yamāntaka, most terrifying.
Perfectly equal to the Vajra Mind,
Homage and praise to Vajraratna!
You are the nature of Rāgavajra,
Lord of the source of the Dharma of passion.
Supreme among all melodies,
Homage and praise to the Vajra Speech!
You are the nature of Īrṣyāvajra,
Yamāntaka, the performer of all activities.
Perfectly equal to the Vajra Body,
Homage and praise to the Sword-Holder!
You are the nature of all Buddhas,
The union of all Buddhas into one.
Supreme among all Buddhas,
Homage and praise to the Lord of the Maṇḍala!
This is the Great Yoga: the blessing of the eyes and so forth, the body, speech, and mind, the entry of the wisdom wheel, the tasting of nectar, the great offering, and the praise—this is what is called the Great Yoga.
This should be used as an illustration; it should also be understood as the Great Yoga according to what will be explained later. Having meditated on oneself in that way, one should visualize and recite the seed-syllables of each [deity] residing upon their respective seats, moons, and suns at the hearts of all [beings]. In that regard, the mantra is as follows: OṂ YAKṢE MA ME DA YA CA NI RĀ JA SA DO RU ṆA YO NI RĀ HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. Likewise, from the bodies of all the deities, one should emanate deity bodies identical to oneself for the sake of sentient beings. In that regard, having subdued those sentient beings who are vessels for the family of hatred and having established them in the great offering of great hatred, the light rays enter the body of the Lord of the Maṇḍala, and one should visualize the wheel of Yamāntaka of Hatred. Likewise, having established those sentient beings who are vessels for the family of delusion in the great offering of great delusion, the hosts of Yamāntaka of Delusion should be absorbed into the body of Yamāntaka of Delusion. Likewise, having established those sentient beings who are vessels for the family of divisive speech in the great offering of great divisive speech, the deity wheels of the body of Yamāntaka of Divisive Speech should be absorbed. Likewise, Yamāntaka of Envy and the others should also be understood in the same way. When one becomes weary from meditating in that manner again and again, one should practice the yoga of the six limbs: "Black, yellow, and likewise red, dark blue, white, and green in sequence; until the mere innate joy..."
Meditate on the wheel together with its lord. Then, having arisen, one should meditate on the wheels of deities as before and recite the mantras for emanation, absorption, and so forth. Possessing the yoga of the deity in that way, one should perform the consecration of the torma and the activities of pacification and so on.
Then, in order to show how to proceed, it is said: "The master," and so forth. "The word of the Sugatas" refers to whatever the Blessed One has spoken: "This is to be done; this is not to be done." "Brothers" refers to those who have become brothers of Vajradhara; the connection is that one should not point out the faults of sentient beings. Likewise, "one should not be angry" means that the excellent Dharma is not taught from a state of anger. "Truth" refers to the ultimate. "Dharma" refers to things such as the rotten and the contradictory. "The measure of the Dharma" refers to the profound and vast deities and so forth, meaning for a small purpose. "One should always rely" is the remainder. "The nature of insight" refers to the reflections of the Perfection of Insight. "By means of alms" means by being without attachment to subject and object. "One should not [be] a yogi" refers to the yoga of the deity. "Constantly" means at all times. "Always" means by means of the yoga of meditative equipoise and non-equipoise. Whatever was previously mentioned in the Samayābhidhāna (Expression of the Samaya), its meaning is also this: protection, and...
There are two types of samaya regarding those things to be consumed: the samaya of consumption was explained previously, whereas here the samaya of protection is intended. "Slandering the guru" means to cause harm. Likewise, "the samaya" refers to the occasion when the samaya has been impaired. "The maṇḍala" refers to the maṇḍala of colored powders. "To the Sugatas" means to the gurus. If one is not in close proximity to them, it refers to the Buddhas themselves. If one asks what kind of person is to be considered a "guru" in the context of an impairment, it is said: "With faith," and so forth. "The samaya" refers to the practice of goku-dha-ha-na and so on. "Not otherwise" means that it is improper for anyone else to practice the samaya. "All faults without exception" refers to the faults taught in the scriptures. "Meditative concentration and so forth" means being endowed with the yoga of the deity. "Devoted to the supreme beings" means being intent on the supreme welfare of sentient beings. "To that guru" means that one should show reverence to that guru. To demonstrate the qualities of a disciple, it is said: "Taught" means listening to and reading the teachings. "Disciplined" means regarding all sentient beings as inferior to oneself. "Faithful intention" means being exceptionally pure. "Beautiful" means that the body and limbs are not deficient. "To be ripened" means to apply oneself to the teaching of the Dharma. "Great supreme joy" refers to the coemergent joy (sahajānanda). "Become joyful" means to be supremely satisfied.
"Udāna" refers to those things that are expressive. If one asks what is expressed, it is said: "The culmination of Yamāntaka" means that in the glorious Yamāntaka Tantra and the wheels from which accomplishments arise swiftly and without doubt, it is not otherwise than that. "The culmination of the skull" means the culmination of wearing the skull, which is the culmination of the Heruka yoga. Therefore, the meaning is that the ascetic observances of the Śrāvakas and so forth are not the culmination.
"O, the dharma of great peace!" means that because it is like a dream and an illusion, non-dual, and not truly existent, the one who brings about great peace acts with fear. This means that having become peaceful, he does not manifest to those to be trained in a wondrous form of terror. Thus, two deities are spoken of, beginning with "O, alas." "Samsara is nirvana" means it is peace. "O, samsara is itself peace!" means that this too is like samsara or like the world; even in the manner of engaging with the forms of the deities, it causes one to engage in a continuous flow.
"O, this is..." and so forth. "Whatever fault is that, it is flesh" refers to home, household, birth, death, and so on. These are the defects of samsara, and here too it is like that; everything has become the supreme quality. Because this is the abiding in the celestial mansion and so forth, it is not a cause of bondage, but rather it brings about liberation itself.
Furthermore, if one asks how faults are transformed into qualities, it is said: "There is no enlightenment," and so forth. This means that in the accomplishment of this enlightenment, the bodhisattva is free from the misconception of a separate "accomplisher." "There is no clear realization" means that the path for the sake of enlightenment is not to be grasped as a separate entity. "It is not a thing, nor is it meditation" means that it is not the self to be meditated upon, nor the meditator, nor the act of meditating; it is the mere nature of the mind itself, free from the misconception of duality, and consists of the repeated familiarization with that very mind.
If one asks why there is no misconception, it is said: "Nor is it the elements," and so forth. This means there is no external basis such as form and so on. If one asks, "Since there is no object to be grasped, is there also no grasper?" it is said: "Nor [is there]," which means that even the consciousness that grasps does not exist. If one then asks, "What is the nature of these individual appearances?" it is said: "It is just like the center of space." This is because space is the nature of space; it is a mere appearance devoid of the nature of blue, white, and so forth. Just as space is the basis for darkness, clouds, and the like, when these are gathered together, those who possess the nature of delusion fixate upon space itself, thinking, "It is like this." In the same way, this very cognition that realizes the single taste of great bliss is free from conceptual aspects.
Because it is the basis for such various aspects, the deluded are attached to it, thinking, "That itself is the nature." Regarding this, it is said: "Like space," and "This selfless dharma is great bliss." This means that the very nature of the mind as great bliss is the dharma of selflessness; furthermore, it is asserted to appear while being devoid of the nature of aspects, which is to say it is "without nature and free from aspects." Because the entities of subject and object do not exist, it is taught that the five elements are not established, as stated in the passage beginning, "It is not earth," and so forth. Earth and the others are asserted to be mere collections of subtle particles, and are described as entities without parts. However, how can there be anything without parts when it is analyzed by the divisions of spatial directions? Therefore, since subtle particles are not established, the functions of earth and the other elements are like a handful of water held in the palm. If all these are devoid of the nature of various subjects and objects, from what would they arise? It is said: "Vajra," and so forth. "Vajra" is indivisible wisdom. Its "truth" is the mind. "By its application" refers to the application that thoroughly dispels ignorance. "Generated" means arising from that; here, one should first observe dependent origination, such as: "I am the seer," and so forth. If one asks, "Is that not dependent upon the subject and object?" it is said: "All," and so forth.
"All things" refers to the aspects of the apprehended and the apprehender, which are clear, manifest, and dependent. "Explained as non-entities" means they do not have a truly existent nature. The meaning of this is as follows: based on cognition, the nature of the apprehended and the apprehender is not permanent; for the cognition of another is not of the nature of the apprehended and the apprehender, because the self-awareness of another is not directly perceived. Nor is it based on one's own correct awareness, because it is not the apprehended and the apprehender. Furthermore, the past and the future are not manifest, and thus are not established as the apprehended. Even the self-awareness of the present, being a single entity, how could it be the apprehended and the apprehender? For it is contradictory for something to act upon itself. Because of this very fact, it is called "non-entity" and so forth. The word "thus" means that for such a reason, it is a non-entity; that is, the apprehended and the apprehender based on cognition are not established as real entities. Well then, in order to abandon such truly existent aspects of the apprehended and the apprehender, if one definitely practices the method, that is the "antidote," which is the truth. One who possesses such an application is fit to be called a "yogin." If it is asked, "Is it not the case that the apprehended and the apprehender exist in another way?" it is said: "Yoga," and so forth. The meaning is this: the connection of the yogin exists; furthermore, this is not a nihilistic interruption, because it exists as mere appearance.
Because it cannot withstand the analysis as described, it is not permanent. If the ultimate is also not established, how could that permanence be established from the perspective of the apprehended and the apprehender in any other way? To clarify this point even for a deity yogi, it is said, "without limbs," and so forth; for from that which is clear and manifest, the limbs and so on arise. Therefore, it is not annihilated, and because it cannot withstand the analysis as described, it is not permanent. If one asks, "Even if that is so, what then is the ultimate?" the remainder of the text states, "it is characterized by supreme joy." The meaning of "truth" is that wisdom which is of one taste with great bliss, having completely abandoned the aspects of the apprehended and the apprehender. From what [is this known]? It is said: "all things," and so forth. "All things" refers to the external and internal. Their basis is the aspect of consciousness; from that subject, the phenomena arise. To show the intention that these are also not established ultimately, it is said, "the beginning," and so forth. Having realized those things spoken by the Blessed One, in order to make them understood, it is said, "Then the Blessed Ladies," and so forth. If one asks what they said, it is "stainless," and so forth. "Stainless" means free from stains, namely the external apprehended and those things dependent upon it. "Pure" means completely pure; "wisdom" is that which has not arisen as the apprehended form or the apprehender dependent upon it.
"Ho" signifies delight. If one asks what that is, it is said: "Supreme," and so forth. "Supreme" refers to the uncontrived, and "joy" refers to great bliss. If it is asked whether such a thing is not the nature of the truth of merit, which is the object to be accomplished through skillful means, it is said: "By merit," and so forth. "Merit" means by means of merit. "Attained" means thoroughly attained. "Not" means it is not [otherwise]. "Connection" means that which connects. The meaning is that by the nature of skillful means, the external nature of the truth of merit is made to be that [internal state]. Since the essence of skillful means is the mere appearance of the body and is of the nature of merit, it truly exists. If it is then asked: "In that case, when subject and object are abandoned, it is not a state of mere consciousness alone; if that were so, it would be described as mere emptiness and would become devoid of compassion," [the answer is:] "Therefore, this too was taught by the Blessed One himself as being inseparable, in the sense of 'with a mind of compassion.' The mind of compassion is an essence whose nature is like a dream or an illusion." "Exists" means that it possesses the capacity to act for the benefit of all sentient beings without exception, for as long as space endures. "Pure" means completely abandoning subject and object, and being stainless. Therefore, this very point is stated: "By the sole great treasure." "Great treasure" is like a vast treasury, because it bestows the experience of all beings without exception.
Suchness (tathatā) is the Blessed One, the essence of indivisible wisdom. Emptiness is being free from the defects of subject and object. If one asks: "Since that is the ultimate, does it not fail to pervade the nature of these transmigrating beings, as they are born and pass away?" It is said: "Supreme," and so forth. "Supreme" means pervading transmigrating beings. "Bliss" means being free from the afflictions (kleśa). Therefore, this is called "the first," meaning that from the very beginning there is no substantial entity; since it is not possible for it to have a singular nature, the meaning is that it "pervades." Furthermore, regarding the certainty of a singular nature, there is no "supreme bliss." If bliss is being free from the afflictions, how is that known? It is said: "Great bliss," and so forth. Great bliss is naturally free from the afflictions, and thus it is the meaning of "great bliss." Therefore, this is "the essence of phenomena." "Phenomena" refers to all stable and moving entities that maintain the characteristics of their own nature. Their nature is the primordial suchness, and the ḍākinīs are also naturally pure of that. If one asks: "In this way, transmigrating beings possess a nature that arises from conditions; would they not also become that [nature]?" It is said: "Non-existent," and so forth. "Non-existent" means the state of non-existence itself. That belongs to them. "Suchness" means in suchness. "Without merit and without sin."
This means that all things are of the nature of that single equal taste. Why is this? It is said: "Destruction," and so forth. Since destruction and arising are the applications of non-virtue and merit, and these are without intrinsic reality, how could their nature arise? "Bodhicitta" refers to the nature of the Buddha’s mind. "Clarifying that" means establishing it definitively. The collection of those who teach this is the chapter that clarifies bodhicitta. The explanation of the seventeenth chapter is complete.
Regarding the meaning of the occasion for the emergence of the tantra, it is said: "Then, the narrative shall be told," and so forth. "Having approached" means having become manifest. "Victorious over the great Māra" means that the great Māra consists of the characteristics of the afflictions and so forth. Being victorious over the adversary, he is the "Victorious One" (Jina); this refers to the form of Yamāntaka, the Vajra Holder, who has perfectly arisen from the five aspects of manifest enlightenment. "The Lord of the Vajra Body, Speech, and Mind" refers to the wrathful Yamāntaka. "Having been definitively emitted" means that through the body, speech, and mind, he becomes Yamāntaka. To show the purpose, it says "definitively emitted," and so forth. Since these also appear in that manner to the gods and others present at that time, it should be explained in this way:
The Blessed One did not issue this command to himself. "In an instant" indicates a very brief duration of time. "Well and thoroughly attended to" is the remainder of the phrase, referring to the māras. If one asks what is meant by "possessing the granting of excellence," it means that which performs well and that which brings about excellence. Regarding the term "Lord of the Great Secret," the "Great Secret" refers to the yakṣas, and their lord is Vajrapāṇi. Regarding the phrase "Foremost of the Vajra Family," this refers to the Akṣobhya family; since this is the supreme family here, the knowledge is presented in terms of it. If one asks whether this tantra is the primary one, or if it was extracted like the Hevajra Tantra, it is said: "The father of Nanda and Kuberā," and so forth. This means it was extracted from the one hundred thousand [verse] tantra of Nanda and Kuberā, including one additional line. "Practiced with diligence" means with authentic diligence, for the sake of those with minds to be tamed by it. Similarly, "from the Great King of Tantras" and so forth refers to the King of Tantras. "Arisen from Oḍḍiyāna" means it perfectly emerged from Oḍḍiyāna. The explanation of the eighteenth chapter is complete.
He who, with his hooves, covers even the waters of the ocean and causes even the mountains to tremble, who sports while mounted upon the back of a buffalo in the seat of the red sun—
May this, appearing in the form of Yamāntaka like a cloud at the end of an aeon, for a long time become the cause for the abundant prosperity of all wandering beings. The power of fully knowing the intention of the Sugatas is a jewel; it destroys the darkness of the three realms and, through joy, is also a garland. Possessing the light of jewels, it produces qualities within the heart. By means of this, which possesses qualities strung together like a garland of fine colors, the minds of the sentient beings who are the vessels are always joyful and expansive. Like the sun, it dispels darkness with a mind of supreme joy. Because it is like a jewel, it is a "Jewel Garland" (Ratnamālā); through its perfect compilation, it is victorious over the world. Its activity, the realization of non-duality, is peerless; through compassion and the love of emptiness, it becomes a vessel. From among the vessels of all sentient beings, the great compassion that sprinkles the nectar-water of the Sugatas' intention is like the waves of the ocean of the omniscient, perfect mind. This is the commentary on the difficult points of the glorious Victor Yamāntaka, which has become the glory of qualities; it is called by the name "Jewel Garland." It was composed by Kumāracandra, who became an Avadhūtipa, born from a great scholar at the Vikramaśīla monastery in the land of Bhangala, to the east of Magadha. It was translated by the Indian abbot Līlavajra and the Tibetan translator Sönam Gyaltsen, of the Pyal clan, whose name was Ser-tsa.
This was not translated for the sake of gain or fame. Having been requested by my own disciples, I have translated this meaning well with the intention of benefiting others. If there should be any additions or omissions, I shall further consult other Indian manuscripts and other scholars. Do not let other translators alter it with various linguistic terms and conceptualizations. If you hear and understand it, please provide an explanation. This concludes the Precious Garland Commentary on the Difficult Points of the Glorious Black Yamāri, composed by the master Kumāracandra.
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.