Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a ritual manual for the practice of Black Yamāri, a wrathful manifestation of the Buddhist deity associated with the conquest of death. The text guides the practitioner through a complex process of deity yoga, beginning with the visualization of seed syllables and the construction of a sacred environment, including a vajra ground and pavilion. It details the transformation of the practitioner's identity into the deity through the cultivation of discerning wisdom and pride, while specifying the iconography of the central figure and his retinue, such as Vajramudgara and Vajradaṇḍa. The work commits the reader to a rigorous regimen of meditative equipoise, mantra recitation, and specific offerings—including the use of pills and ritual substances like urine—to achieve the four activities. By integrating empowerment, the absorption of the deity, and the application of wrathful means, the text aims to transform the practitioner's bodhicitta into the union of method and insight, ultimately facilitating the liberation of sentient beings.
Provenance
About this text
A sādhana focused on the practice of Black Yamāri, the Kṛṣṇayamārisādhanaprotphullakumudanāma is a ritual manual belonging to the classical Tibetan tradition. The work is attributed to the Indian author Ratnākaraśānti. It was translated into Tibetan by Vinayacandra and lo tsa ba dge slong chos kyi shes rab, and is preserved in the Tengyur (vol. མི) within the collection of Other Skillful Means Tantras, where it extends over thirteen pages. The text enacts a process of deity yoga, guiding the practitioner through the visualization of seed syllables—specifically Oṃ Āḥ Hūṃ—and the construction of a sacred environment comprising a vajra ground, lattice, and pavilion. It details the cultivation of discerning wisdom and pride to transform the practitioner's identity, utilizing the invocation of Tathāgatas in the form of Vajrasattva. A scholar or serious reader consults this work today to examine the specific ritual instructions for the Black Yamāri practice, including the precise meditative visualizations and the use of mantras to achieve spiritual transformation.
Sanskrit title
Kṛṣṇayamārisādhanaprotphullakumudanāma
Indian author
Ratnākaraśānti
Tibetan translators
Vinayacandra, lo tsa ba dge slong chos kyi shes rab
Cite thisAnuvāda, “A Black Yamāri Sādhana called “The Blossoming Kumuda Flower”” (Toh 1935), machine draft, 2026.https://naxiai.com/tibetan/works/toh1935
Summary & commentary
Significance
The text is significant as a representative example of the Anuttarayoga Tantra tradition, specifically the Yamāntaka cycle, illustrating the use of transgressive substances and wrathful visualization to overcome ontological limitations. For the modern reader, it provides primary evidence of the technical precision required in Tibetan ritual technology and the conceptual framework of the saṃbhogakāya.
Structure
Passages
Section
Description
1-5
Preliminary Visualizations and Identity Transformation
Establishment of the ritual space, seed syllable visualization, and the transformation of the practitioner into the deity.
6-8
Iconography and Retinue
Detailed descriptions of the directional deities (Vajramudgara, Vajradaṇḍa, Vajrapadma) and the physical attributes of the central Yamāri figure.
9-10
Ritual Applications and Pill Consecration
Instructions for the creation of consecrated pills and a classification of practitioners based on their level of wisdom.
11-15
Advanced Meditative Practice and Empowerment
Guidance on meditative equipoise, the reception of empowerment, and the process of summoning and absorbing the deity.
16-17
Mantra Recitation and Closing Rites
Specific mantra applications, the preparation of a triangular maṇḍala, and the author's concluding dedication.
Themes
Deity Yoga and Transformation (2-5, 14-15)
Wrathful Iconography (7-8)
Ritual Purity and Transgression (9, 16)
Wisdom and Method (3, 10, 14)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Black Yamāri Sādhana called “The Blossoming Kumuda Flower”·
In the language of India: Kṛṣṇayamārisādhanaprotphullakumudā-nāma. In the language of Tibet: Gshin rje’i dgra nag po’i sgrub pa’i thabs ku mu da kha bye ba zhes bya ba (The Black Yamāri Sādhana: The Opening of the White Lotus). Homage to the Buddha!
To the Yamāri who dispels the darkness of beings with a swirling garland of blazing light rays, and who brings joy to his consort, the Radiant One—I bow and shall explain his sādhana.
First, the mantra practitioner should sit upon a comfortable seat. Visualizing a moon maṇḍala at one’s heart, one should behold a blue syllable Yam upon it. Immediately thereafter, one should meditate upon loving-kindness, compassion, joy, and equanimity. Following that, with light rays arising from the syllable Yam at the heart, one should cause the Guru, the Buddhas, and all the Bodhisattvas, as well as the glorious Yamāri, to appear in the sky. One should then perform prostrations to them, present offerings, confess misdeeds before them, rejoice in merit, dedicate that merit, take refuge in the Three Jewels, generate the aspirational bodhicitta, rely upon the path of the Victors, generate the engaging bodhicitta, and so forth, up until the stage of returning [the visualization].
Then, by recollecting the three gateways to liberation, one should meditate on emptiness and recite the mantra: Oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. This is the generation of the glorious Yamāri through the accumulations of merit and wisdom. Likewise, [one should visualize] one’s own natural body, speech, and mind...
One should visualize the three syllables Oṃ Āḥ Hūṃ situated between the father and mother, resting upon a moon disk above. In front, from a black Hūṃ resting on a sun disk, a blazing black vajra arises; from this, one should meditate on the vajra ground, the lattice, and the pavilion. With a mind free of obstructing spirits, in the center, upon a multicolored lotus and moon disk, Vajrasattva completely transforms. Within the source of phenomena (dharmodaya), one visualizes a multicolored lotus arising from the syllable Paṃ, and a multicolored vajra arising from the syllable Khaṃ. Upon its moon disk, an eight-spoked wheel arises from the syllable Bhrūṃ, consecrated by the syllable Bhrūṃ. From the complete transformation of that, the palace arises from the limbs of Vairocana together with his consort. It is square with four doors, endowed with four archways, beautified by lattices and half-lattices, and adorned with various ornaments. One should meditate on it as resting upon a multicolored vajra and a multicolored lotus, beautified by seventeen moon and sun disks. In its center, the Buddhas arrive, beholding the three syllables resting on the moon seat. The sixteen vowels and the forty consonants—ya, ra, la, va, ḍa, and ḍha—doubled in form arrive and sequentially become two moon disks, one below and one above; this is the mirror-like wisdom (ādarśa-jñāna). The merging of the two moons and the three syllables into a single full moon is the wisdom of equality (samatā-jñāna). From its complete transformation, one visualizes a vajra marked by a white syllable Hūṃ.
Oṃ vajrātmako ’haṃ. This grasping at the "I" is the discerning wisdom. The Tathāgatas arising from the syllable Hūṃ transform all sentient beings into Tathāgatas, who then enter within the syllable Hūṃ. Oṃ yathā sarvatathāgatās tathāhaṃ. This cultivation of pride is the all-accomplishing wisdom. Light rays arising from the syllable Hūṃ invoke the Tathāgatas who possess the form of Vajrasattva; they enter into the Hūṃ, and from the total transformation of the Hūṃ together with the vajra, Vajrasattva arises. He has the expression of wrathful charm, stands with his right leg extended, and his primary face and entire body are white, while his right and left faces are blue and red. With his first right and left hands, he holds a curved knife and a skull-cup while embracing a consort who resembles himself. His remaining hands hold a vajra, a sword, a wheel, and a lotus. He is crowned with Akṣobhya. Meditating on oneself in this way is the completely pure sphere of phenomena (dharmadhātu). This is the thorough meditation on the entry into the egg of the glorious Yamāntaka. Then, light rays arising from the seed-syllable of one’s own wisdom-being (jñānasattva) draw in all beings who have been made into buddhas and cause them to enter one’s own body. Following that, the three syllables situated between the father and mother—resembling a gandharva—enter through one’s own mouth, emerge in the form of bodhicitta through the path of the vajra, and fall into the lotus of one’s consort.
The red light rays arising from that touch her, causing the consort to melt through great passion, and the Blessed One is also seen to melt. From the egg of the melted state, Caurī and the other four emerge and take their respective seats. Seeing that the Blessed One is no longer present, they become distressed and, joining their necks together, exhort him with this song of invocation:
"Venerable One, arise in wrath through your compassion!
Lord, today, for the sake of victory over the Māras,
Bring an end to the ignorance of all the three realms!
Having invited the entire world as guests to your heart,
Venerable One, do not remain in emptiness; arise!
For the sake of the world’s accumulation of merit,
Venerable One, do not remain in emptiness; arise!
Since the world has been invited to the actual state of enlightenment,
Why do you remain without thought? Venerable One, arise!"
Immediately, Caurī and the others enter the egg, and as soon as they have entered, the egg completely transforms. From it emerges Yamāntaka, standing upon a buffalo on a variegated lotus and sun disk with his right leg extended. He has three faces and six arms; his central face and body are dark blue, while the right and left faces are white and red. His arms are marked with the signs of Vajrasattva, and he is adorned with bone ornaments. He is surrounded by a swirling garland of dark blue light rays, with blazing eyebrows and a frowning, wrathful expression. His fingernails and toenails are sharp, his belly is large, and he has a dwarf-like form. His tawny hair bristles upward, and he is adorned with the great nāgas, such as the one who utters "phuḥ" when seen, who are his great poison.
Thus, after having visualized oneself, one should recite: oṃ dharmadhātu-svabhāva-ātmako ’ham, while moving like the moon in water within oneself. This is the sādhana of the glorious Yamāntaka, the Egg-Born.
Then, light rays arising from one’s own seed syllable invite all the Buddhas. They enter through one’s mouth, pass through the vajra path, and from the mass residing in the lotus of the Wisdom Consort, one should emanate Vajra Hatred, Vajra Delusion, Vajra Avarice, Vajra Attachment, and Vajra Jealousy from the seed syllables Ya, Kṣe, Ma, Me, and Da. Likewise, from the mass, one should bring forth the hammers, clubs, lotuses, swords, Carcikā, Vārāhī, Sarasvatī, and Vasudhārā from the seed syllables Ya, Ca, Ni, Rā, Dza, Sa, Do, and Ru. Furthermore, from the mass, one should bring forth the four skull-cups in the four corners from the seed syllables Na, Yo, Ni, and Rā. In this way, from the seed syllables, one should emanate each of their respective root symbols upon their own seats, and from the complete transformation of those, they abide in their respective bodies.
Then, in sequence: oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā. oṃ jina-jik. oṃ ratna-dhṛk. oṃ ārolik. oṃ prajñā-dhṛk. oṃ mudgara-dhṛk. oṃ daṇḍa-dhṛk. oṃ padma-dhṛk. oṃ khaḍga-dhṛk. oṃ deṣarati. oṃ moharati. oṃ rāgarati.
With the mantras Oṃ vajrarāṭi and Oṃ āḥ hūṃ, the previously described deities and the four skull-cups are emanated. Having performed the benefit of beings, one should visualize them entering the bodies that have arisen from the seed-syllables upon our own seats. Now, their locations, seats, colors, and hand implements will be explained. In the center, upon a sun disk, is Dveṣavajra, with the color and hand implements previously described. To the east of the crossed vajra, upon a moon disk, is Mohavajra, white in color, with three faces and six arms; his right hands hold a wheel and a sword, and his left hands hold a jewel and a lotus. In the southern section of the crossed vajra, upon a sun disk, is Mātsaryavajra, like refined gold, with three faces and six arms; his right hands hold a jewel and a sword, and his left hands hold a wheel and a water-born lotus. To the west of the crossed vajra, upon a sun disk, is Rāgavajra, red in color, with three faces and six arms; his right hands hold a lotus and a sword, and his left hands hold a jewel and a wheel. To the north of the crossed vajra, upon a sun disk, is Īrṣyāvajra, green in body color, with three faces and six arms; his right hands hold a sword and a wheel, and his left hands hold a jewel and a lotus. For these, the root face is identical to the body, while the remaining faces are as will be explained. The first two hands hold a skull-cup together with a curved knife, and they embrace a consort who is similar to themselves. Their posture and all their ornaments are identical to those of Dveṣavajra, and they rest upon a variegated lotus.
At the eastern gate is Vajramudgara, white in color. His right hands hold a hammer and a sword; his left hands hold a jewel and a lotus. In the south is Vajradaṇḍa, yellow in color. His right hands hold a staff and a sword; his left hands hold a lotus and a wheel. In the west is Vajrapadma, red in color. His right hands hold a lotus and a sword; his left hands hold a jewel and a wheel. At the northern gate is Vajrakhaḍga, green in color. His right hands hold a sword and a wheel; his left hands hold a jewel and a lotus. These deities reside upon sun disks on variegated lotuses. As for their faces, the root face of each is similar to its own body. In their first hands they hold a curved knife and a skull-cup, and they embrace a consort similar to themselves. They possess forms that are extremely terrifying.
Likewise, in the southeast corner of the variegated vajra is Vajracarcikā, white in color. Her right hands hold a wheel and a sword; her left hands hold a jewel and a lotus. In the southwest is Vajravārāhī, yellow in color. Her right hands hold a jewel and a sword; her left hands hold a wheel and a lotus. In the northwest is Vajrasarasvatī, red in color. Her right hands hold a lotus and a sword; her left hands hold a jewel and a wheel. In the northeast is Vajragāndhārī, green in color. Her right hands hold a sword and a wheel; her left hands hold a jewel and a lotus. These deities possess extremely fierce forms and reside upon moon disks on variegated lotuses. With their first two hands, they hold a curved knife and a skull-cup.
He embraces a consort who resembles himself and stands with his left leg extended. He has three faces; whichever of his faces is the primary one, if it is blue, the right is white and the left is red. If the primary face is white, the right is blue and the left is red. If the primary face is yellow, the right and left are blue and white, and the same applies to the green and red faces. In the four corners are human skulls, white in color and filled with nectar, situated in the center of various lotuses. Then, the wisdom maṇḍala is dissolved into the samaya maṇḍala. The eyes and other sense organs of all are blessed, and likewise the body, speech, and mind of all are blessed. Having conferred empowerment according to the ritual, one should perform the sealing upon the crown of the head in accordance with the tradition. Then, according to the oral instructions, one should perform the offerings, praises, and the tasting of nectar. Then, at the heart of the wisdom being in one's own heart, there is a five-pronged vajra standing upright upon a lotus and resting on a moon. In its center is a moon maṇḍala. In the center of that is a blue syllable Yaṃ, surrounded by the mantra: Oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā. One should visualize these as extremely subtle syllables. From that, one should clearly emanate the Yamāntaka who rides upon the breath and enters together with it. When one becomes weary, one should take a rosary made of bone, well-anointed with the ten nectars.
For each pill, one should visualize the syllable me completely transforming into the form of Yamāntaka, the Enemy of Death, or visualize a freshly severed human head covered in dripping blood. Holding it with the right thumb and ring finger, one should recite the secret mantra using only the wrathful utterances. In this regard, when reciting sequentially, one should emanate each deity, such as Yamāntaka of Hatred, together with his consort from the seed-syllable yaṃ, and complete each secret mantra individually. However, if reciting simultaneously, one should emanate all deities from Yamāntaka of Hatred up to the consort Vasudhārā from the seed-syllable yaṃ at once, and likewise complete each mantra individually. In the simultaneous approach, the Vajra Body and the other aspects are also emanated together with the seed-syllable of the wisdom-being (jñānasattva). Here, the practitioner who has abandoned obstructions, extreme speed, excessive clarity, lack of clarity, and incorrect conceptualization will attain the subtle siddhi of one hundred thousand recitations. With ten million, one abides as the Great Seal (mahāmudrā) of the Lord of the Sky-farers. Then, when weary of the recitation, one should properly worship the wisdom wheel (jñānacakra) residing in front, offer praise and the ten nectars, and request them to depart with oṃ āḥ hūṃ muḥ. Furthermore, one should dissolve the samaya wheel into the seed-syllable yaṃ within oneself and abide in the pride of being Yamāntaka of Hatred. This is the practice to be performed during all four sessions.
The Glorious Yamāri: The Thorough Accomplishment of Activities. This is the practice for a beginner yogi. Furthermore, the practices to be accomplished by those who have slightly descended into wisdom, those who have attained mastery over wisdom, and those who have attained perfect mastery over wisdom are not discussed here in this extensive commentary on the seventeenth chapter. Likewise, the tasting of nectar and the offering of the torma (offering cake) are also understood simply by what has been clearly explained by me in the commentaries on the third and sixth chapters.
By the command of the glorious Dharma protector known as the Moon of the Directional Sovereigns, this clarification of the rituals and sādhana of the Black Yamāri is like a night-lily (kumuda) fully blossoming when touched by the rays of the moon. By whatever virtue is produced by this composition, may all beings be victorious over the Lord of Death.
The Sādhana of the Black Yamāri, titled "The Blossoming Night-Lily," composed by the master Ratnākaraśānti, is complete. It was translated, edited, and finalized by the master Vinacandra and the translator-monk Chökyi Sherab.
In the language of India: Śrīkṛṣṇayamārisādhana-nāma. In the language of Tibet: Dpal gshin rje gshed nag po sgrub pa'i thabs zhes bya ba. Homage to the glorious Yamāntaka! Having prostrated with devotion at the lotus feet of the guru, and through the kindness of the guru’s presence, I shall explain the concise sādhana of the three-faced, six-armed Black One. First, the Lord of Yogis...
Dwelling in a secluded place, rest in meditative equipoise upon the empty mind. Visualize an eight-petaled lotus at the heart, and upon that, a sun maṇḍala. Above that, visualize the syllable HŪṂ. From the HŪṂ, light radiates forth, and one should visualize the Guru and ḍākinīs residing in front. Having performed prostrations and offerings, accumulate the ten collections, such as the confession of misdeeds. Then, from the HŪṂ at the heart, light radiates and incinerates the habitual tendencies of body and speech; meditate on emptiness. This is the collection of wisdom.
Visualize the mind in the form of the syllable HŪṂ. From the HŪṂ, it transforms into a five-pronged vajra, and from the vajra, the deity’s body is generated. He has three faces, six arms, and a black body; the right face is white, the left is red, and the central face is blue. His faces have three eyes and bared fangs. His dark brown hair is tied upward. In his three right hands, he holds a vajra, a sword, and a curved knife (kartṛka). In his three left hands, he holds a wheel, a lotus, and a skull-cup (kapāla). With his right leg bent and left extended, he has a large belly. He is embraced at the neck by the goddess Vārāhī. Vārāhī has one face and two arms; her right hand holds a curved knife and her left a skull-cup. She embraces the body of the principal deity in a manner of non-duality.
One should also visualize the six sense faculties, such as the eyes and body, as the six Buddhas. The body, speech, and mind are also blessed. Light radiates from the HŪṂ at the heart, inviting the wisdom ḍākinīs, and one should receive the word empowerment. "All Blessed Tathāgatas, all Blessed Great Lords, please bestow the empowerment upon me."
Having thus received the empowerment, I imagine that the stream of the nectar of wisdom confers empowerment upon the crown of my head, and the five families become my crown ornament. One should perform the offerings, praises, and the consumption of nectar, and engage in the vajra recitation. The mantra for recitation is as follows: OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. Recite this for the sake of accomplishing all things. The mantra for the torma is as follows: OṂ AKĀRO MUKHAṂ SARVADHARMĀṆĀM ĀDYANUTPANNAVĀT OṂ ĀḤ HŪṂ PHAṬ SVĀHĀ. To protect against all obstacles, one should thus offer the torma. This is the generation stage. Then, the yogi should rest. With light rays from the HŪṂ at the heart, the three realms without exception are pervaded. All become the bodies of the Buddha. All who have become so are absorbed into me. I too am absorbed into the HŪṂ, and one should meditate that the HŪṂ also becomes a bindu. Abandoning all residual conceptualization, it is the aspect of authentic bliss. Without hands, without faces, and without color, it is the characteristic of supreme joy. By whatever merit is gained from doing this, may all sentient beings become Buddhas. This concludes the concise sādhana of the Black Yamāri, the Wrathful King with three faces and six arms.
In the language of India: Kṛṣṇayamārikrodharājavatrasarasādhanaṃ nāma. In the language of Tibet: Khro bo’i rgyal po gshin rje’i gshed nag po dus mthar phyin pa’i sgrub thabs zhes bya ba. Homage to the Blessed One, Yamāntaka. To the one who has realized the mind free from elaboration, who pervades all wandering beings...
To the one who subdues all māras without exception, the unimpeded lord of all wrathful deities, who is majestic in the beauty of the peaceful bliss of the lotus and vajra union, I bow to the essence of the manifestation as the saṃbhogakāya. I shall explain the Vijaya Yamāri Tantra, which arose from the Tattvasaṃgraha, the great sovereign of the hundred thousand tantras of the Buddha’s mind, as instructed by the father to Nadakuvera, and which is the great bodhicitta of that very compendium.
All beings possess the buddha-nature; the principal one is a human being, steadfast and endowed with faith. One should behold the one adorned with a crown, who dwells in the flawless lotus of the sword. Having focused on the principal one who does not abide in extremes, and having been sustained by the lotus, one should then invite the supreme deities while maintaining mindfulness of the king.
Through the purification of the sevenfold purity, and by abiding in the mental state of the four Brahmās, one should focus on the essence itself, which is without beginning or end and cannot be stolen. Oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. The nature of the three syllables is the very nature of bliss, clarity, and emptiness. Since it has resided in sentient beings from beginningless time, one must not let this awareness decline.
From Hūṃ arises the letter Repha, from which one meditates on a sun disk, a vajra, and a wheel. Following that, from Hūṃ arises Hūṃ, from which Vajrasattva appears in the source of phenomena (dharmodaya), endowed with the mudrās of body, speech, and mind, and marked by the lotus and vajra. From Bhrūṃ as before arises the celestial palace; from Oṃ arises the various eternal seats, which are arranged accordingly. From A arise the sun and moon with butter, and from Hūṃ arises the vajra in union.
Gathering the majesty of the body, one should meditate on the Vajra-Holder, the Lord of Death. Through the application of the descent, the bodhicitta completely transforms into the body of method and insight. From being filled with the five syllables, the goddesses who emanate from them exhort him, and he arises. One should meditate on the Lord of all phenomena. Oṃ dharmadhātu-svabhāva-ātmako ’haṃ. From ya is born Yamāntaka, with a color like sapphire. His right face is white and his left is red, embraced by Vārāhī. He stands in the alidha posture upon a pale-yellow buffalo. In his right hands are a curved knife and a vajra-sword; in his left, a skull-cup, a wheel, and a lotus. His head is adorned with five skulls, and his hair is upright and adorned with eight [ornaments]. Fifty fresh, blood-dripping heads hang down. One should meditate on him abiding within a mass of fire. The wisdom-being (jñānasattva) identical to oneself is endowed with the three rituals. The Tathāgatas, complete with the five syllables, possess the colors and consorts of their respective families. The body is one span in height, and the five subtle [deities] are one finger-breadth. In order to fully attain the three bodies, one should bless the three—body, speech, and mind. At the crown of the head is the King of Permanence; at the throat, meditate on Vajrasūrya; at the heart, Akṣobhyavajradhara. Oṃ āḥ hūṃ. At the eyes is Kṣitigarbha; at the ears, Vajrapāṇi; at the nose, the supreme Ākāśagarbha; at the tongue, the protector Lokeśvara; and on the body, Sarvanīvaraṇaviṣkambhin. For the mind, Samantabhadra. Kṣiṃ jiṃ khaṃ gaṃ kaṃ saṃ. For those endowed with the three rituals, one should augment them with oṃ and hūṃ. One should perform the offerings to the five vajras.
Through the power of the supplication, one becomes Akṣobhya, the unbearable Vajra Wheel itself. Having performed the offerings and praises, one should perform the summoning and absorption. OṂ VAJRA SATVA SAMAYA CAKRA MAṆḌALA DHĀTU JAḤ HŪṂ BAṂ HOḤ SAMAYA STVAṂ AḤ HAṂ. A LA LA LA LA HO. A A A A. Having blessed the vajra space, the fivefold bodhicitta is stirred. Having been born miraculously in the lotus of space, it is generated through the nine stages as the fully blossomed body. It is emanated from the great pores of the skin. Having also visualized the clouds of buddhas, one should accomplish the welfare of the families. OṂ VAJRA DHṚK YA HŪṂ. OṂ JINA JIK KṢE HŪṂ. OṂ RATNA DHṚK MA HŪṂ. OṂ ĀROLIK ME HŪṂ. OṂ PRAJÑĀ DHṚK DA HŪṂ. In the east is Mohāntaka (Slayer of Delusion); in the south is Mānāntaka (Slayer of Pride); in the west is Rāgāntaka (Slayer of Attachment); in the north is Īrṣyāntaka (Slayer of Envy). In the east, the light rays are sharp and other; white, yellow, red, and green are the awareness of their own light. They hold the mudrās of the lords of their families; the others are to be understood through their sequential application. From the emanation of ṆA YO NĪ RA, the goddesses such as Caurī and the rest, fully blossomed with bodhicitta, should be thoroughly pleased with offerings. Then, holding the vajra and bell, one should also specifically recite the praises. Having blessed the excellent samaya, one should taste it with the vajra HŪṂ. Having gathered the great joyful world-realms from the beginningless, one should familiarize oneself again and again with a mind possessing diligence in the manifold. Having arranged the mind-protector in the maṇḍala of the vajra heart, one should perform the recitation.
OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ. One should perform the recitation for the sake of sentient beings through both gradual and simultaneous application. On the fourteenth day of every month, one should prepare a triangular maṇḍala smeared with urine and adorned with flowers. It should be filled with excellent offerings and torma cakes. One should meditate on fifty human bones, smeared with blood, as heads. Recite the mantra ten thousand times, with each pill adorned by the Black Yamāri. Having pleased [the deities] with offerings, make the request and offer the torma in the charnel ground.
OṂ INDRĀYA HRĪḤ | YAMĀYA ṢṬRĪḤ | VARUṆĀYA VI | KUBERĀYA KṚ | ĪŚĀNĀYA TA | AGNAYE A | NAIṚTYE NA | VĀYAVE VA | CANDRĀYA HŪṂ | SŪRYĀYA HŪṂ | BRAHMAṆĀYA PHAṬ | VASUDHĀRĀYA PHAṬ | VEMACITRĀYA SVĀ | SARVA BHŪTEBHYO HĀ | HI HI HI HI HI HŪṂ | PHEṂ PHEṂ PHEṂ PHEṂ PHAṬ SVĀHĀ.
Having laughed the eight great laughs, visualize that they grant permission and depart. This is the ritual of the approach (sevā). The wheel of the three realms of existence, the emptiness of the sense bases and faculties, should be arranged as the vajra essence within the seventeen iron houses. The water maṇḍala is like a chariot or a running jackal. The sublime pith instructions for the application should be learned from the mouth of the sublime [master]. Since the wheels corresponding to the activities are explained extensively elsewhere, they are not mentioned here at length.
YAMARĀJA SADO ME YA | YAME DO RUṆA YO DA YA | YA DA YO NI RA YA KṢE YA | YA KṢE YA CCHA NI RĀ MA YA. For pacification, the end is SVĀHĀ; for enrichment and magnetizing, it is OṂ and HO.
Stabilize with the fierce syllable phaṭ; the four activities will then be accomplished. I am not a scholar of the tantras and treatises; relying upon the feet of the sublime guru, I have composed this Dharma. May the glorious qualities of the definitive realization of the tantra be bestowed, and may those endowed with faith, insight, and compassion be surely liberated. Through this jewel-like text, the sequence of the ritual for approach and accomplishment—the profound practice so difficult to find—may all beings become Yamāntaka Kṛṣṇa. This concludes the Sādhana of the Wrathful King Yamāntaka Kṛṣṇa to the End of Time. Composed by the Indian abbot, the venerable Paṇḍita. Translated into Tibetan by the yogi, the mendicant Prajñāśrījñānakīrti, in his own hand.
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.