Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Stages of the Clear Realization of Black Yamāri is a sādhanā, or liturgical manual, attributed to the master Śrīvajrabuddhi, designed to guide the practitioner through the visualization and embodiment of the wrathful deity Black Yamāri (Yamāntaka). The text functions as a technical guide for deity yoga, moving from preliminary vows and the generation of the dharmodaya (source of phenomena) to the complex construction of a mandala. It instructs the practitioner to visualize the central deity and a retinue of Buddhas and goddesses, such as Sarasvatī and Gaurī, while employing specific seed-syllables and mantras to cultivate divine pride. The work commits the reader to a rigorous process of mental transformation, utilizing wrathful imagery and offerings to torma to overcome delusions and achieve the state of Yamāntaka. The ultimate goal is the liberation of all beings through the realization of the deity's nature, blending meditative equipoise with the active application of tantric power.
Provenance
About this text
A treatise detailing the stages of clear realization of Black Yamāri, the Kṛṣṇayamāryabhisamayakrama belongs to the collection of Other Skillful Means Tantras. The work is attributed to the Indian author Vajrabuddhi. Preserved in the classical Tibetan tradition, the text appears in volume མི of the Tengyur, where it extends over ten pages under the Tibetan title gshin rje gshed nag po'i mngon par rtogs pa'i rim pa. The work enacts a process of meditative visualization centered on the deity Yamāntaka. It guides the practitioner through an opening of devotion and refuge, leading into the authentic meditation on the dharmodaya, or source of phenomena. Specifically, it instructs the practitioner to visualize a white, triangular source arising from the body of the excellent Vajra, containing a multicolored lotus and a vertical vajra that equals the expanse of space, within which the maṇḍala arises from the syllable BHRŪṂ. A scholar or serious reader consults this text today to examine the technical requirements of this specific visualization practice and the ritual construction of the mandala as preserved in the Tibetan canon.
Cite thisAnuvāda, “The Stages of the Clear Realization of Black Yamāri” (Toh 1958), machine draft, 2026.https://naxiai.com/tibetan/works/toh1958
Summary & commentary
Significance
This text is significant as a representative example of the Anuttarayoga Tantra tradition, specifically the Yamāntaka cycle, which emphasizes the transformation of anger and death into wisdom. For the modern reader, it illustrates the precise intersection of iconography, mantra, and visualization used in Indo-Tibetan ritual practice to achieve rapid enlightenment.
Structure
Passages
Section
Description
1-5
Preliminaries and Generation
Includes homages, confessions, and the initial visualization of the dharmodaya and the seed-syllable to establish divine pride.
6-10
Deity and Mandala Visualization
Detailed descriptions of the physical attributes of Black Yamāri, the arrangement of the four Buddhas in the cardinal directions, and the placement of goddesses within the mandala.
11-14
Ritual Application and Offerings
Instructions for blessing the vajra body, performing offering songs, presenting tormas with specific mantras, and the concluding dedication of merit.
Themes
Deity Yoga and Divine Pride (3-5, 11)
Mandala Construction and Iconography (6-10)
Ritual Offerings and Mantras (12-13)
Universal Liberation (14)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaThe Stages of the Clear Realization of Black Yamāri·
In the language of India: Kṛṣṇayamāryabhisamayakrama. In the language of Tibet: Gshin rje gshed nag po’i mngon par rtogs pa’i rim pa (The Stages of the Clear Realization of Black Yamāri). Homage to the Blessed One, Yamāntaka.
With devotion, I prostrate to the Guru and to the Black Yamāri Vajra, who, together with his consort, is completely filled with bliss, engages in the welfare of others, and holds in his hands a vajra, a sword, a wheel, a lotus, a curved knife, and a skull-cup. I prostrate to him who has three faces and dispels all fears.
For those who desire the practice of the Black Enemy of Time (Kṛṣṇayamāri) and have obtained the empowerments and so forth, and who know reality, I shall write this sequence of meditation so that beginners may easily understand it, so that those of equal learning may remember it, and to inspire joy in the minds of the elders regarding the words of the beginners.
One who possesses generosity, ethical discipline, and the like, whose mind delights in the welfare of sentient beings, who is perfected in qualities such as loving-kindness, and who is adorned with faith and learning, should first wash the face and so forth. Having first cultivated the nature of compassion, one should begin in a secluded place, such as a charnel ground or a pleasant location. Sitting there, one should visualize a lotus and an extremely luminous moon at the heart, and upon it, a beautiful blue syllable YA, which brings about the prosperity of sentient beings. One should meditate on the Guru and the Perfect Buddhas filling the entire expanse of space. Having performed the physical arrangement, one should prostrate while focusing on them. Having made offerings with Cāmuṇḍā and the others, one should also confess misdeeds: "Whatever misdeeds I have committed, caused others to commit, or rejoiced in, with body, speech, and mind..."
Whatever I have rejoiced in, I confess to the Protectors throughout the three times. I rejoice in all the merit accumulated by the perfect Buddhas, their sons, and the Noble Ones. I take refuge in the sublime Dharma and the supreme Assembly, and in the perfect Buddhas. To you, oceans of qualities, I offer my body. I pray that you remain, beautified by the sound that teaches all the sublime Dharma. For the sake of attaining the three bodies and primordial wisdom, I shall abide with great joy in the essence of generosity and the other perfections, together with the perfect Buddhas and their sons. For the sake of sentient beings, I shall generate the mind of perfect enlightenment. Whatever virtue has been correctly accumulated, I dedicate toward enlightenment. Having made the aspiration, "May I become the glorious Yamāntaka and benefit all wandering beings," I then request them to depart with my mind. Looking upon the ritual with compassion, I contemplate the various [appearances] as empty. Because they are devoid of intrinsic nature, they are signless in their very cause. Because conceptualization is abandoned, even aspiration itself is completely relinquished. OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. Having stabilized that mind, upon a sun disk arising from RAṂ, I should meditate for the sake of protection on a five-pointed vajra arising from HŪṂ, blue in color and surrounded by radiating light rays. The vajra ground-maṇḍala, the fence, and the canopy are likewise. In order to completely purify the Buddha-fields...
One should also undertake the authentic meditation. In that regard, upon a multicolored lotus and moon, one should meditate on a white, triangular source of phenomena (dharmodaya) arising from the body of the excellent Vajra. Inside that, a multicolored lotus and a vertical vajra, equal to the expanse of space, should be meditated upon. Within that is the maṇḍala, arisen from the syllable BHRŪṂ and the wheel, produced from the limb of the Permanent One (Nitya). It is square with four doors, beautifully adorned with four archways (toraṇas), and graced with long and short necklaces (hāra and ardhahāra). It possesses various multi-pointed banners with bells moved by the wind, and is pressed down by a multicolored vajra. The seats of the Victors are the moon and the sun. The eastern direction is great white; the southern direction is perfectly yellow; the western part is red; the northern direction is like emerald; and the northeastern direction is like the color blue. One should meditate on the central part in this way. Likewise, one should meditate on the multicolored vajra, the walls, and the upper covering. Having meditated on the five aspects, one should meditate on the form of the Buddha. The glorious Vajradhara himself is the five aspects; he is renowned as the Buddha-form of Yamāntaka, the Terrifier. I shall explain its divisions. At the center of the multicolored seat, there is a lotus, a moon, and a pair of vowels. Then, from the moon, the consonants beginning with Ka, along with Ḍa, Ḍha, Da, Dha, Ya, and La, doubled, arise; one should meditate on a red moon. The complete perfection of these is called the mirror-like wisdom (ādarśa-jñāna). Their unification is the wisdom of equality (samatā-jñāna). The HŪṂ born therein is the wisdom of individual discernment (pratyavekṣaṇā-jñāna). It possesses the wisdom of all-accomplishing activity (kṛtyānuṣṭhāna-jñāna).
From that, the vajra is born, resembling a jewel with the luster of the sun, shimmering with light and the seed-syllable. One should cultivate the divine pride with the mantra: oṃ vajrātmako ’haṃ.
From that, the body is embraced by a host of Munis, beautiful as the color of the first dawn. Having the forms of both the graceful and the wrathful, the nature of supreme bliss, with faces white, blue, and red. Standing with the left leg extended, brandishing a flaming sword, a vajra, and a curved knife; holding in the right and left hands a wheel, a lotus, and a vessel emitting rays of light.
The essence of the wisdom of the dharmadhātu, the very identity of Vajradhara, the nature of the five aspects—this is what is called "yoga." This is the yoga.
Having gazed upon the three realms of beings to be tamed through great passion, by the radiating light of the wisdom in one’s own heart, one should manifest in the forms of various Buddhas. Through the form of supreme joy and bliss, one should cause them to enter equally into one’s own body. Abandoning all conceptual constructions, one should meditate on oneself as the Sambhogakāya.
In that way, the three supreme syllables of the mantra, supported by two red hoḥ syllables, should then enter as the bodhicitta, like a shooting star. Through the very mind of compassionate passion, one melts into the state of Vajradhara himself. Tārā and the others, through love and the other [immeasurables], exhort the Lord of the Mandala:
"Arise, Tārā, who is wrathful through compassion! Dispel the ignorance of all the three realms! Arise, Tārā, who is effortless! Conquer these māras!"
Why does the Protector of the World abide in emptiness? Arise through the merit of the world that seeks liberation! Having invited the guests of the world who desire enlightenment, how is emptiness then contemplated? Having been expelled, the semen dissolves therein, and one becomes impassioned with it. Contemplating the nature of that very song as if it were a decline, the form of the semen completely transforms. From a blue yaṃ arising from the sun, a blue wrathful deity appears, accompanied by radiance, adorned with bone ornaments, with sharp horns, blazing, and pale-yellow hair. Standing upon the back of a buffalo that digs with its hooves and inspires terror, he is a blue vajra with light. Through the light of that seed-syllable, the enemies of future karma are destroyed, and he perfectly enters into oneself. Having meditated on the buffalo-vajra that terrifies even great terrors, one should meditate on the Lord of the Maṇḍala. He expels the maṇḍala of the Māras of the three worlds by emitting fierce rays of light. Fierce like darkness, with a fierce form, his tongue is curled and he emits light. His beard, eyebrows, and hair are yellow; standing with his left leg extended, he renders Yama unconscious. His root face is black, the right is like the light of the moon, and the left is said to be like blood. Adorned with vajra ornaments, short, with a protruding and thick belly, and draped with a garland of heads, he holds a skull-cup and a curved knife in his right and left hands. Embraced by a Wisdom Consort identical to himself,
Desiring the welfare of others through meditative equipoise in bliss, in his remaining right hands he holds a vajra and a blazing sword. In his left hands are a wheel and a lotus, adorned with the lords of nāgas. With the blue nāga Nanda as a hair-tie, he is most terrifying. With the red nāga Takṣaka as earrings and bracelets, he is fearsome. The variegated Kulika is the armlet, and the nāga known as Śaṅkhapāla is yellow, serving as the bracelets on his wrists. With the white Padma as a necklace, and the green Karkoṭaka as a sash, he is beautiful. With Vāsuki, who is like the color of nectar, as a belt, and Mahāpadma, white like the root of a lotus, as anklets, all of them roar a fierce "phuṭ" sound. With double tongues and rows of fangs, he is thus known as the form of Yamāntaka who tames the Lord of Death, the cycle of existence, and nirvāṇa. In order to abandon conceptualization, he is perfectly blessed by mantra: OṂ DHARMADHĀTU SVABHĀVA ĀTMAKO ’HAṂ. This is the subsequent yoga. Summoned by the light of the seed-syllable at one’s own heart, the perfectly complete Buddhas who pervade space are all to be made to enter through the mouth. Through the experience of bliss, they melt into the heart. Having done so, the wise one should emit that seminal fluid through the vajra path. Residing within a lotus identical to oneself, and having been made to possess the essence of the seed-syllable, the supreme wheel arises from the seed-syllable. Blessed by all the seed-syllables and made radiant by a mass of sparks, the wise one should meditate according to the ritual. In the center, from a blue YAṂ, there arises—
The one possessing the wheel of the teachings, Kṣe, arises from the wheel in the east; he is white, eternal, and has six arms. In his right hands he holds a wheel and a sword; in his left hands he holds a jewel and a lotus. In the south, from Ma and the jewel, arises Ratnasambhava, who is like the color of refined gold. In his right hands he holds a jewel and a sword; in his left hands he holds a wheel and a lotus. In the west is Rāgavajra, arisen from Me and the lotus; his color is like a ruby. In his right and left hands, he displays a lotus, a sword, a jewel, and a wheel. From Da and the sword arises green Īrṣyā-Yamāntaka. In his right hands he holds a sword and a wheel; in his left hands he holds a beautiful jewel and a lotus. All those with wrathful forms are similar in characteristics to Dveṣa-Yamāntaka. One should visualize that their two root hands hold a curved knife and a skull-cup. They become non-dual with their own insight-consorts in the essence of bliss. They stand upon sun maṇḍalas; the eternal one stands upon a moon maṇḍala. One should meditate on them abiding at the tips of the vajra spokes, acting for the benefit of sentient beings. At the eastern gate, from Ya and the hammer, arises one with a blue form. In his right hands he holds a hammer and a sword; in his left hands he holds a supreme jewel and a lotus. The hammer is like Dveṣa-Yamāntaka. In the south, from Ti and the staff, arises Daṇḍa-Yamāntaka, who is white in color. He holds a staff, a sword, a lotus, and a wheel. In the west is Padma-Yamāntaka, who is like Rāga-Yamāntaka, arisen from Ṇi. In the north is Khaḍga-Yamāntaka.
From ra arises the one who ends envy, similar [to the previous], distinguished by a blue lotus; he bestows fear upon the small-minded. All are adorned with snakes. Terrifying with a wrathful laugh, their hair is blazing and stands erect. Abiding upon a solar maṇḍala, with bared fangs and a fearsome face, they hold a curved knife and a skull-cup. In the four intermediate corners of the crossed vajra, likewise, goddesses abide upon moons. In the southeast, from ja and a wheel, arises the goddess Vajracarcikā; she is emaciated, white, and extremely wrathful, similar to Mohayamāntaka. In the southwest corner, from sa and a vajra, arises Vajravārāhī; she is wrathful with a sow’s face, similar to Dveṣayamāntaka. In the northwest corner is the very peaceful Sarasvatī; she arises from do and is intensely red, similar to Rāgayamāntaka. In the northeast corner, from ru, arises the green Gaurī, the Terrifying One, similar to Īrṣyāyamāntaka. The blue one has a white right face, and the white one has a blue right face; their left faces are red, while the others are blue and white respectively. In the four corners, from ṇa yo ni ra, are skull-cups at the corners of the maṇḍala. The wise should generate and emanate them according to the mantras taught for each. With the sound of mantras such as hrīḥ ṣṭrīḥ, one should invoke the Lord of the Maṇḍala. Having emanated immeasurable transformations and accomplished the supreme benefit of sentient beings, one should cause the wrathful heroes to enter one’s own body in every aspect.
In the east, with the mantra Jina-jik, the one who brings an end to the delusion of the deluded is likewise placed upon a variegated lotus and moon at the base of the eastern spoke. With the mantra Ratna-dhṛk, having summoned the one called "Slander" to the lotus and sun at the base of the southern spoke, one should place her according to the ritual. With the mantra Ārolik, one should visualize the Yamāntaka of Desire upon a lotus and sun in the west according to the ritual. With the mantra Prajñā-dhṛk, the terrifying black Yamāntaka of Envy is to be placed according to the ritual upon a lotus and radiant light in the north. With that very mantra Muṅgara-dhṛk, the wise one should visualize the terrifying Mūṣalāntaka upon a lotus and sun at the eastern gate according to the ritual. With the mantra Daṇḍa-dhṛk, the Yamāri of the Staff, who is difficult to subdue, is to be placed upon a variegated lotus and sun at the southern gate. With the mantra Padma-dhṛk, the powerful wrathful Padmāntaka is to be meditated upon upon a lotus and sun at the western gate. With that very mantra Khaḍga-dhṛk, the Māra-subduing Khaḍgāntaka is to be visualized upon a lotus and sun in the north. In the four intermediate directions of the variegated vajra, one should meditate on these four supreme goddesses. The goddess of the southeast is the wrathful, radiant Śuṣkā; she resides upon a variegated lotus and moon by means of the mantra Moharati. To her west is the supreme lady known as Vajravārāhī; the wise one should place her upon a lotus and moon by means of the mantra Dveṣarati. In the intermediate direction to her north...
With the secret mantra of Rāgarati, place Sarasvatī upon a lotus and moon. To her east is Gaurī; upon a lotus and moon, these are adorned by the homage of Vajrarati. At the four outer corners of the maṇḍala are the skull-cups of the three suchnesses. In this way, the sublime maṇḍala is emanated; it should be taught together with bliss. One should view the previous wheel as dissolving [into it] while in meditative equipoise. This is the "extreme yoga." The very essence of the maṇḍala deities of the black Yamāntaka is to be consecrated by the deities of the body, eyes, and so forth. From KṢIṂ on the wheel, the one equal to delusion, slightly wrathful, is the Vajra Eye; the wise should meditate upon it. From JRĪṂ in the ear, from Vajra, is the one equal to black Vajra. In the nose, from KHAṂ and Ratna, is the one equal to malice upon a moon. In the tongue, from GAṂ and Padma, one should visualize the one equal to passion upon a moon. KAṂ and the sword are equal to envy; the body is the one dwelling upon a lotus and moon. Vajra is equal to the Yamāri of jealousy; the so-called "body" is at the forehead. From SAṂ and Vajra, above the navel, is the Vajra Mind, like Vajradhara, possessing a form of both grace and wrath. This placement upon the six limbs is explained for the sake of accomplishing the purpose of the superknowledges. At the heart, from HŪṂ and Vajra, is the Vajra Mind of Yamāntaka, perfectly endowed with color and weapons. At the throat, from ĀḤ and Padma, one should visualize the Vajra Speech, similar to the Yamāri of passion. At the head, from OṂ and the wheel—
The body is like the wheel of the [deity’s] form, endowed with hands, color, and weapons. Having generated that supreme vajra body of the three [secrets], one should perform the blessing with mantras upon the supreme Buddhas abiding in the center of space:
OṂ SARVA-TATHĀGATA-CITTA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ.
OṂ SARVA-TATHĀGATA-VĀK-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ.
OṂ SARVA-TATHĀGATA-KĀYA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ.
With light rays from the seed syllable at one’s own heart, summon the Buddhas and their Sons residing in the ten directions and visualize them in front. From them, emanate Cāmuṇḍī and the other goddesses, who hold vases like the moon. While they sing auspicious songs and the like with resonant melodies, visualize that one’s own self or others are being empowered.
For the Black Yamāntaka, [visualize] Vajradhara upon one’s own head. With light rays from the seed syllable at one’s own heart, invite the wisdom wheel and visualize it in front of oneself. The wrathful deities subdue the obstructors and provide protection. Having offered the water for the feet, the water for the mouth, and so forth, summon [the deities] with the mantra OṂ MUDGARA JAḤ. Cause them to enter with OṂ DAṆḌA HŪṂ. Bind them with OṂ PADMA VAṂ. Delight them with OṂ KHAḌGA HOḤ.
With the light from the seed syllable at the heart, summon all the Buddhas and cause them to enter the mouth. Visualize them melting into the heart. Emerging through the path of the vajra, they enter the mandala of one’s own awareness. There, the hosts of goddesses born from the moon hold various flower garlands and so forth in their hands.
They offer with graceful gestures; the offering songs are captivating,
Transformed in various ways, they clarify great bliss.
O, O, Black Yamāntaka! You whose nature is the form of a rākṣasa,
I am terrified when I see you; please abandon this wrathful nature!
Make the humans, the underworld, and the oceans tremble with your dance!
Like a black añjana stone being crushed, dance like a wrathful zombie!
Emanating various forms, with a dark complexion and a short stature,
Dance with the essence of great bliss—thus Vajrasarasvatī supplicates.
With the mantra HRĪḤ ṢṬRĪḤ and your dance, you sever the delusions of the three realms.
When beings see you dance with compassionate wrath, they are filled with wonder.
OṂ SARVA-TATHĀGATA-PŪJA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ.
Having viewed all collections of sounds as being like echoes, the maṇḍala deities praise the central lord, and he likewise praises them.
"O most terrifying Yamāntaka, you whose essence is Mohavajra,
You are the nature of all the Teacher Buddhas; I prostrate and praise your Vajra Body."
Visualizing that they have been extracted, one recites: OṂ VAJRA-KĪLAYA VAJRA-MUṄGARA ĀKOṬAYA HŪṂ PHAṬ.
By reciting the mantra OṂ VAJRA-UTKĪLAYA and visualizing the extraction of the kīlas, one visualizes that all the directional guardians have become Yamāntakas. To them, one recites: OṂ INDRĀYA HRĪḤ, YAMĀYA ṢṬRĪḤ, VARUṆĀYA VĪ, KUBERĀYA KṚ, ĪŚĀNĀYA TA, AGNAYE Ā.
Nairṛtyāya, vāyaveya, candrāya hūṃ, arkāya hūṃ, brahmaṇāya phaṭ, vasudhāraye phaṭ, vicitrāya svā, sarvabhūtebhyo hā, hā hā hā hī hī hī hūṃ hūṃ hūṃ pheṃ pheṃ pheṃ svāhā. Having offered the torma with this mantra, say: "May you act as companions to fulfill all my aspirations." Then, by saying sarvadevādimuḥ, visualize that all the bhūtas are sent back.
Next, make the aspiration: "By this merit of mine, may I quickly become the great wrathful Mañjuśrī Yamāntaka." Then, visualize that the previously generated abodes and so forth gradually contract and dissolve into oneself until they become invisible; this is called the "great departure." Recite the hundred-syllable mantra of the Blessed One Mañjuśrī:
Oṃ mañjuśrī samaya manupālaya | mañjuśrī tvenopatiṣṭha dṛḍho me bhava | sutoṣyo me bhava | anurakto me bhava | supoṣyo me bhava | sarvasiddhiṃ me prayaccha | sarvakarma suca me cittaṃ śreyaḥ kuru hūṃ | ha ha ha ha hoḥ bhagavān sarvatathāgata vajra mā me muñca | vajrī bhava mahāsamayasattva āḥ.
By thus meditating and performing the recitation of the approach, and by carrying out the ritual procedures exactly as they are, any of the ten accomplishments, such as pacification and so forth, will be achieved. Based mostly upon the Kṛṣṇayamāritantra, through this merit of having composed the sādhana of the great wrathful Mañjuśrī Yamāntaka exactly as it is:
May all beings swiftly become Yamāntaka! This concludes the Sādhana of the Great Wrathful Mañjuśrī Yamāntaka, composed by the great learned master Śrīvajrabuddhi.
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.