Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a ritualized system for the visualization and invocation of the deity Black Yamāri (the Black Enemy of Death). The text functions as a technical manual for a practitioner to transform their ordinary perception into a divine identity through a sequence of meditative stages. It begins with preliminary refuge and prostrations, moving into the construction of a complex maṇḍala centered on a white triangle and the seed-syllable BHRŪṂ. The practitioner is committed to a rigorous process of divine pride, utilizing specific mantras to manifest the deity's form, attributes, and consort. The text integrates the subduing of Māras with the realization of emptiness, instructing the practitioner to perceive all phenomena as echoes or sound. Ultimately, the work commits the reader to a yoga-dharma practice where the distinction between self and other is dissolved into a state of equality and awakening, supported by ritual offerings and the conferral of empowerments.
Provenance
About this text
A ritual manual for the invocation of the deity known as the Black Enemy of Death, the Kṛṣṇayamārināmasādhana belongs to the genre of sādhana. The work is attributed to the Indian author Samantabhadrapāda. It entered the Tibetan tradition through the translation of Amoghavajra (II) and is preserved in the Tengyur, volume མི, where it comprises fourteen pages. Within the Tibetan canon, it is situated among the Other Skillful Means Tantras. The work enacts a technical system of visualization and meditative practice, beginning with preliminary refuge and prostrations to the Guru and the Slayer of Hatred. It guides the practitioner through the construction of a complex maṇḍala, centered on a white triangle and the seed-syllable BHRŪṂ, to transform ordinary perception into a divine identity. A scholar or serious reader consults this classical Tibetan text to examine the specific ritualized stages of divine pride and the integration of emptiness with the manifestation of the deity's form and attributes.
The work is significant as a representative example of Anuttarayoga Tantra practice, specifically the Yamāntaka cycle, which focuses on overcoming death and hatred. For the modern reader, it illustrates the sophisticated intersection of visualization, mantra, and non-dual philosophy used to achieve rapid spiritual transformation.
Structure
Passages
Section
Description
1-4
Preliminaries and Maṇḍala Construction
Initial homage, refuge, and the visualization of the dharmadhātu and the central wheel of the maṇḍala.
5-10
Invocation and Deity Visualization
The exhortation for the deity to arise, detailed descriptions of Yamāri's physical attributes, and the placement of secondary deities at the gates.
11-13
Internal Energetics and Empowerment
The mapping of the deity onto the practitioner's body and the process of summoning the wisdom wheel through empowerment.
14-17
Transformation and Non-dual Meditation
The transformation of perceived obstacles into the equal taste of the vajra and instructions on the meditation of awakening and selflessness.
18
Ritual Offerings
The consecration of tormas and the presentation of nectar offerings.
Themes
Divine Pride and Identity Transformation (4, 12, 13)
The Nature of Emptiness and Equality (5, 15, 17)
Ritual Visualization of the Maṇḍala (3, 7, 8, 9, 10)
Subjugation of Obstacles (Māras) (5, 10, 14)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Kṛṣṇayamāri-nāma-sādhana. In the language of Tibet: The Sādhana of the Black Enemy of Death, known as Yamāri. Homage to the glorious Yamāntaka, the Slayer of Hatred.
Having prostrated with devotion to the Guru, I shall then write the sādhana of the Black Enemy of Death. He who dwells in the limbs of his own light, filled with bliss, acts for the benefit of others. Holding a vajra, a sword, a wheel, a lotus, a curved knife, and a lotus in his hands, with three faces that terrify even the terrifying—to him I prostrate and shall write this sādhana.
This sādhana of the Black Enemy of Death is for those of intelligent mind who desire it. For whoever has obtained the empowerments and so forth, this is the sequence of meditation. It is composed for the easy understanding of beginners and for the sake of my own recollection. It is said that it will be accomplished for the supreme ones; therefore, with great joy, I shall write it.
Endowed with generosity, ethical discipline, and the like, with an excellent mind whose sole flavor is the benefit of beings, and possessing the qualities of love and so forth, one who is faithful and adorned with learning should first purify the face and so on. In the morning, identifying oneself as Yamāntaka, one should begin in a secluded place. Seated on a comfortable cushion in a charnel ground or similar location, one should visualize the syllable Yaṃ, radiant in form, upon a moon disc at one’s own heart. It is blue in color and performs the benefit of beings.
Meditating that the Gurus and the perfect Buddhas fill the entirety of space without exception, and having clearly visualized them, one prostrates to that assembly of bodies. Having made offerings of water for the feet and so forth, one confesses whatever sins have been committed by body, speech, and mind, as well as those one has committed and rejoiced in, by speaking to the Protectors three times.
I rejoice in the merit of the noble sons of the perfect buddhas and those who discipline beings. I take refuge in the perfect buddhas, the pure dharma, and the supreme saṅgha. I offer my body to you and present it to the ocean of qualities. All phenomena abide therein; they are taught by the sound of "well." The body of the perfect buddha abides in the path of generosity and the rest. For the sake of attaining the three bodies and wisdom, I abide by your permission and shall generate the mind of perfect enlightenment for the sake of sentient beings. Whatever merit I have performed, I dedicate to the perfect buddhas. Having become the glorious Yamāntaka, may I accomplish the welfare of all beings. Having made this supreme aspiration, I request those wise ones to depart. Having perceived the stages of compassion and visualized the various emptinesses, the cause is non-conceptual and free from intrinsic nature. Because it is without conceptualization, that aspiration is thus dissolved. OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. Having purified that very mind, from the syllable A arises a sun disk. Upon it, a blue HŪṂ is born, its light rays radiating and pervading everywhere. For the sake of protection, meditate on a vajra. It has five points everywhere, and from it arises the vajra ground, as well as the tent and the fence. For the sake of the pure buddha-fields, one should undertake all perfect meditative concentrations. Upon a multicolored lotus and moon there, the eternal vajra arises from its limbs.
The white triangle is the dharmadhātu; in its center is a lotus and vajra seat. One should visualize it standing as vast as space, situated in the center of the maṇḍala. From the syllable BHRŪṂ, a wheel arises in the center, produced from the limbs of purity. It has four corners and four gates, adorned with four archways. It is embellished with lattices and half-lattices, and perfectly adorned with offering goddesses. Various pinnacles are tossed by the wind, and it is endowed with banners and bells. A crossed vajra presses down upon it all; the moon and sun are the seats of the Victors. In the east is great white, in the south is perfect yellow, the western part is red, and in the north is the color green. Possessing the luster of sapphire, one should meditate on the central ground. Thus, through the divisions of the directions, one should meditate on the crossed vajra. One should meditate in the same way upon a painted image, according to the sequence of forms. Having contemplated the fivefold [emanation], one should meditate on the reflection of the Buddha. That fivefold [emanation] is glorious; thereafter, it completely dispels the māras. That is renowned as the reflection of the Buddha; therefore, it was taught as such. In the center, upon a crossed vajra, lotus, and moon, one should arrange the vowels in two rows. By that, the moon is perfected. One should arrange the consonants starting with KA in two rows. By adding the six—ḌA, ḌHA, DA, DHA, YA, and LA—the moon is perfected. One should meditate on the red moon. When those two are perfected, as it has been taught, they are described as the mirror-like and the equality [wisdoms]. In their center, the syllable HŪṂ arises as the discerning [wisdom].
From that, the vajra arises; it is described as the performance of activity. Like the radiance of a sun-gem, the light and the seed-syllable are the vajra. One should cultivate the divine pride with the mantra: oṃ vajrātmako ’haṃ.
Born from that, he is white in color, perfectly adorned by the supreme Sage. His body is embraced by his own light; he possesses a form that is both graceful and wrathful. Endowed with supreme bliss, he has faces that are white, blue, and red. He stands with his right leg bent and his left extended. Blazing, he brandishes a sword, a vajra, and a curved knife. The wheel, the lotus, and the fortunate [jewel] are held in his right and left hands, emitting rays of light. With the mantra: oṃ dharmadhātu-jñāna-vajra-svabhāvātmako ’haṃ, this yoga exists as the nature of the five aspects; this is the yoga.
Through the discipline of great passion, he perceives the three worlds in their entirety. By the light rays of his own consciousness, the various emanations are the perfect Buddhas. Having the nature of eternal bliss and joy, they enter into his own body. One should abandon all conceptual thoughts and meditate on oneself as the Sambhogakāya. This is the red tip of the mantra of reality; it is augmented by two hoḥ syllables. Just as a star shifts its position, the bodhicitta should be inserted in that same way. With a mind of compassionate passion, he melts into light as the Vajra-holder himself. Through Maitrī and the others, and through Carcikā, the Lord of the Mandala is exhorted: "O Compassionate Wrathful One, Noble Lord, arise! Abandon the ignorance of all three realms!"
Victorious over the four Māras, O Lord, arise with a turbulent mind!
The guest of the world remains in emptiness; O Lord, arise through the merit of the world!
O, why do you remain contemplating emptiness?
The guest of the world is the nature of awakening.
This is the exhortation of the request; it is the dissolution of the passion and its aftermath.
Through the manifestation of this song, the blissful mind that has melted into light
Is thoroughly melted and born from that melting.
Upon a sun disk is the syllable YA, blue in color,
The wrathful and the furious one, perfectly adorned with bone ornaments,
With sharp, blazing eyebrows, and limbs as terrifying as razors,
Possessing a blue vajra and radiance, he stands upon the back of a buffalo.
By the light rays of his seed-syllable, he takes the form of the black enemy;
He strikes fear even into the most powerful and terrifying beings.
The self of manifold nature remains in meditative equipoise.
Having visualized the vajra of the buffalo, one should meditate on the Lord of the Maṇḍala.
Emitting heat like poison, the maṇḍala that exhausts the three worlds
Has a dark, fierce body, a lolling tongue, and intensely radiating light rays.
With fangs emitting light rays, his face, eyebrows, beard, and hair are bristling upward.
He stands with his right leg bent and his left extended.
He causes time to be forgotten.
His central face is like a great bee; the right is the light of the full moon,
And the left is said to be red.
Adorned with vajra ornaments, he is short, pot-bellied, and black.
He wears a garland of heads as a necklace.
With his first two hands, right and left, [he holds...]
Holding a skull-cup and a curved knife, he is in perfect union with the insight consort of his own radiance. Bliss flows as he acts for the benefit of others. With his remaining two right hands, he holds a blazing vajra and a sword. With his two left hands, he holds a lotus and a wheel. Adorned with the kings of nāgas, he is decorated with countless blue serpents that bind his hair, making him extremely terrifying. With the red nāga Takṣaka, he wears powerful earrings. With the yellow Kulika, he wears armlets; with the yellow one, he also wears bracelets. With the white nāga king Śaṅkhapāla, he holds an extremely white lotus. With the green nāga king Takṣaka, he wears a fine sacred thread. With the nāga king Vāsuki, his belt is made. With the nāga king Mahāpadma, his anklets are made like white lotus threads. All of them are fierce, uttering the sound "phuṭ." He has two fangs, a row of teeth, and two tongues. This is the nature of the retinue; this is the excellent Yamāntaka. Knowing this, one should remain free of conceptual thought. Having blessed it, one should equalize it with the mantra: OṂ DHARMADHĀTU SVABHĀVA ĀTMAKO ’HAṂ. This is the subsequent yoga. Summoning with the hook of light rays from one’s own heart, all the perfect Buddhas who pervade space are made to enter his mouth. Having entered, they melt and flow, dissolving into the heart. Having done so, the wise yogi emits that very fluid through the vajra path. It abides within the lotus of his own radiance.
One should visualize the seed-syllables in the form of [deities]. From the seed-syllables, the maṇḍala perfectly arises. It is the blessing of the seed-syllables, emitting sparks and blazing. The wise should meditate on them in sequence, exactly according to the described characteristics. In the center, from the syllable YA, the blue [deity] appears; this is the arising of the Lord of the Maṇḍala. In the east, from KṢE, the Wheel is complete: the white, six-armed Śāśvata (Nitya). In his right hands he holds a wheel and a sword; in his left hands he holds a jewel and a water-born [lotus]. In the southern direction, from the form of MA, is Ratnasaṃbhava, the King of Jewels, with a complexion like 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; from the seed-syllable MI, the Lotus is complete. Equal in color to a ruby (padmarāga), a lotus and a sword are in his right hands, and a jewel and a wheel are placed in his left. From that seed-syllable, a sword is born: the green Īrṣyāyamāntaka. He holds a sword and a wheel in his right hands, and a lotus and a jewel in his left. All of them have the wrathful forms of the characteristics of Dveṣayamāntaka. In all their two primary hands, one should meditate on a curved knife (kartṛ) and a skull-cup (kapāla). Their nature is the non-dual body of their own insight (prajñā), possessing the form of bliss. Abiding upon sun maṇḍalas, they dwell upon virtuous moon maṇḍalas. Upon the tips of the spokes of the crossed vajra (viśvavajra), one should meditate on them performing the benefit of sentient beings. In the eastern gate of the YA-syllables, the blue Hammer (Mudgara) appears by nature. In his right hands he holds a sword and a hammer; in his left hands a jewel and a white lotus.
That which is called Tha is Yamāntaka; born from Ca, he dwells at the southern gate with a club. The club-bearing Enemy of Death is white in color; with his right hands he holds a club and a sword, and with his left he carries a lotus and a wheel. In the west is Padmāntaka, red, with three faces and six arms; born from Ni, he is Rāgarāja. In the north is Khaḍgāntaka; his appearance is born from Ra, and he dwells in the form of the king of envy. Slightly blue in distinction, he is made extremely terrifying; all are endowed with wrath and adorned with ornaments upon their limbs. With bared fangs and a laughing face, his yellowish-white hair is blazing and upright; he perfectly dwells upon a sun disk. Baring his fangs with a powerful face, he holds a curved knife and a skull-cup. At the four corners of the crossed vajra, likewise, the goddesses dwell upon moon disks. Born from Ja, Vajracarcikā—the goddess dwells in the southeast. Śuṣkā, white and greatly wrathful, dwells in the nature of Mohayamāri. Then, in the southwest is Vārāhī; born from Sa, she is the Vajra-born. With the face of a sow and greatly wrathful, her light is like that of Dveṣayamāri. Sarasvatī, who is utterly peaceful, dwells in the northwest corner. Born from Do, she is supreme and red in color; she has the form of Rāgayamāri. In the northeast corner she perfectly dwells. White and green, she is Bhīṣaṇī; she holds the hand-symbols of Irṣyāyamāri. Born from Ru, she has the form of envy; her right face is blue and her right [other] face is white, while the right of the white face is blue.
Those two have a red left face, while the other faces are white. In the four corners are the ṇa yo ni ra syllables; these are the skull-cups of the maṇḍala. With one's own mantra and awareness as they are, the wise should complete and radiate [the visualization]. By the sound of the mantras HŪṂ HRĪḤ ṢṬRĪḤ and so forth, the Lord of the Maṇḍala is perfectly invoked. Countless emanations radiate forth, and with diligence, they act for the benefit of sentient beings. All things are to be dissolved into one's own body by the heroic wrathful ones.
With the mantra JINA JIK, the Yamāntaka of Ignorance is in the east, upon the tip of a multicolored lotus and moon disc; he should be placed there. With the mantra RATNA DHṚK, for the sake of summoning without obstacles, he is drawn to the sun disc of the southern lotus and should be gradually dissolved into it. With the mantra ĀROLIK, the Yamāntaka of Desire, free from faults, is on the multicolored lotus and sun disc of the west; he should be visualized there in stages. With PRAJÑĀ DHṚK, the enemy of envy is completely overwhelmed; he should be visualized as residing in stages upon the sharp lotus of the north.
With MUṄGARA DHṚK, at the eastern gate upon a lotus, he resides blazing on a sun disc; he is called the "Mace-Ending One," and the wise should visualize him in stages. With the mantra DAṆḌA DHṚK, he resides perfectly at the southern gate; the "Staff Yamāntaka" who tames the unruly, he should be visualized on a multicolored lotus, sun, and moon. With PADMA DHṚK, the "Lotus Timeless Yamāntaka," at the western gate upon a lotus and sun disc, he should be visualized as the powerful, turbulent one.
By that very [mantra], Khaṅgadhr̥k, one should meditate on that sword, which is timeless, upon a multicolored lotus and sun maṇḍala at the northern gate, acting to subdue the māras. Furthermore, one should likewise visualize goddesses in the four corners of the crossed vajra. By the mantra Dveṣarati, the goddess of the southeast corner is Cāmuṇḍā, who dwells upon a moon and a multicolored lotus. Then, in the southwest corner is Vajravārāhī, the mistress of the family, Vārāhī; by the mantra Moharati, the wise one should meditate on her upon a lotus and moon. Then, in the northwest corner, by the mantra Rāgarati, one should place Sarasvatī upon a lotus and moon. Then, in the northeast, is Gaurī; by the mantra Vajrarati, one should meditate on the goddess upon a moon and lotus. In the four corners of the maṇḍala are the skull-cups of the three realities. This is the pure retinue of emanations; if one makes this sublime, one possesses bliss. That previous wheel dissolves, and through equanimity, one focuses [on it]; this is the first yoga. By the terrifying time of the Black Yamāri, the deities of the maṇḍala of that nature are the nature of the eyes, body, and so forth; they are to be blessed by the deities. From the syllable Kṣiṃ, the wheel is born from ignorance; slightly wrathful, it dwells in the eyes. The wise one should visualize the Vajra Eye. From the two ears, the syllable Jriṃ gives rise to the vajra; the Vajra Ear is black in color. From the syllable Ghr̥ṃ, the jewel arises from avarice; that is the supreme Vajra Smell upon the moon. From the syllable Gaṃ, the lotus arises on the tongue; the web of desire is the Vajra Tongue. From the syllable Kaṃ, the sword is born.
The body is the vajra marked by the deer; the nature-form of the enemy of death, jealousy, is the body at the forehead. From saṃ at the navel, the vajra arises; Vajrasattva is likewise supreme. The nature-form of the wrathful, charming one is the Vajra-holder to be visualized; this is the placement of the six limbs. It is taught in the Abhisamayārthasiddhi: "At the heart, the hūṃ-vajra abides in the center. The blue hūṃ-vajra is beautifully radiant, with hand-symbols identical to the enemy of death. Meditate on the Mind-Vajra abiding in the mind. From a at the throat, a lotus is born; in its center, from puṃ, passion arises. The body is like the enemy of death, passion; one should meditate on the glorious Speech-Vajra. At the crown, oṃ is in the center of the wheel; white and blazing like the enemy of death, it revolves there. The Body-Vajra is like the body, with identical hands, hand-symbols, and colors. That is the supreme Vajra of Suchness; having perfected it, one offers to the Buddhas abiding in space. One should consecrate those with mantras: oṃ sarvatathāgatacittavajrasvabhāvātmako ’haṃ. oṃ sarvatathāgatavāgvajrasvabhāvātmako ’haṃ. oṃ sarvatathāgatakāyavajrasvabhāvātmako ’haṃ."
With light rays from the seed-syllable at one's own heart, all the Buddhas together with their sons are summoned from their various abodes. Visualizing them seated in front, one should then visualize the empowerment being conferred once more by those who have perfectly emanated, with vases like moonlight containing cāritsī and so forth, and with auspicious songs. To oneself and to all—
What occurs through the conferral of empowerment? At the crown of the head is the Black Yamāri, the nature of the Vajra-holder. Likewise, by the light rays from the seed-syllable in one’s own heart, the wisdom wheel of the self and the front-generation is summoned. Having visualized that wheel, the wrathful deities expel the obstructors and provide protection. Having offered water for the mouth and a cooling fan, with the mantra oṃ muṅgara jaḥ, they are summoned. With the mantra oṃ daṇḍa hūṃ, they are caused to enter. With the mantra oṃ padma vaṃ, they are bound. With the mantra oṃ khaḍga hoḥ, they are brought under control. By the light rays from the seed-syllable in one’s own heart, the Buddhas are summoned and made to enter. Visualizing them melting into light at the heart, they are emitted through the path of the vajra without exception. Into the lotus of the consort of one’s own light, the goddesses born from the moon hold various substances such as flowers in the branches of their hands. This is the offering of the graceful one; with enchanting songs of offering and various types of dance, that is the supreme great bliss.
"O, O Black Yamāri, Guru of the nature of a rākṣasa! Seeing you, I am utterly terrified. Guru, abandon this wrathful nature! By the dance of the Lord, in the realms above, in the human world, and in the subterranean regions, with a mind as fierce as crushed collyrium, you dance with eyes wide open. Short and black, the enemy of death, you manifest in various forms of body. I, Vajrasarasvatī, request you: perform your dance of great bliss! By the mantra hrīḥ ṣṭrīḥ, you perform your dance."
Make the three realms free of doubt. O Lord, the wrathful Yamāntaka, you are seen by all beings as you dance. OṂ SARVA-TATHĀGATA-PŪJA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. All things are like echoes; they should be perceived as objects of sound. The deities residing upon the wheel praise the Lord of the Wheel: "You are the nature of Mohavajra, the enemy of death, the source of bliss and fear. You are the Protector endowed with all Buddhas; I prostrate and praise the fearless Vajra. You are the nature of Mātsaryavajra, the perfect enemy of death, the terrifying one. You are the manifestation of Cittavajra; I prostrate and praise Ratnavajra. You are the nature of Rāgavajra, the ocean of passion, the Lord of Dharma. You are the supreme of all supreme melodies; I prostrate and praise Vāgvajra. You are the nature of Īrṣyāvajra, the enemy of death who performs all actions. You are the manifestation of Kāyavajra; I prostrate and praise the one with the sword in hand. You are the nature of all Buddhas, the perfect union of all Buddhas. You are the supreme of all Buddhas; I prostrate and praise the Sovereign of the Maṇḍala."
From the syllable A, a pure lotus arises, perfectly situated upon three heads. Below that is the complete fire maṇḍala, a triangle arising from the syllable RAṂ. Below that is the wind maṇḍala, blue and moving like a bow, arising from the syllable YAṂ and marked with banners. Within that, the colors, names, and forms are manifested; Vairocana and the others reside there, and from them, all things are perfectly produced.
The five types, such as those of low caste and so forth, should be visualized as being blocked through the sequence of the vajra from the syllable HŪṂ. As the wind intensely fans the fire, they are visualized as melting. This is the transformation into the equal taste of the vajra, the visualization of the stainless Yamāntaka. Then, by the light rays of the OṂ syllables, the nature of the buddhas' wisdom is summoned. It is thoroughly inserted in the form of the mantra. Having visualized this, the supreme five nectars are blessed with the three syllables, and the lord of the maṇḍala is satisfied. The peaceful vajra resides upon the tongue; having visualized it as born from HŪṂ, one should draw it in evenly through the form of a tube. The perfect buddhas dwelling in various places, and likewise the deities of the maṇḍala, should be visualized by means of the light rays from the heart, having abandoned conceptual thought. Through the distinction of beginning, middle, and end, there is no single application here. Since the partless atom is the cause, that which is infinite should not be applied. That which is devoid of the nature of being one or many is neither that nor not that; one should act from within that very doubt. Because doubt abides in duality, there is no doubt regarding the inconceivable. It is the body of emanation and withdrawal, arising from the purpose of the single taste of sentient beings. There is no other extensive reality; this has been clearly and thoroughly taught. It emerged from the lips of Jñānapāda and was spoken in the glorious Guhyasamāja. I have not explained it extensively here. The nature of things is without entity; there are no elements, nor is there even consciousness.
Abiding in equality with all space,
Just as space is, so is selflessness.
This is the supreme dharma, great bliss.
It is not earth, not water, nor both;
Not fire, not wind, and not space.
Through the supreme union of Vajrasattva,
This birth is firmly established.
All things are without intrinsic reality;
Therefore, they are renowned as non-entities.
Yoga is connected with yoga.
It is neither eternal nor nihilistic.
Without face, without hands, and without color,
In the characteristic of supreme joy,
All things are certainly not permanent.
Completely free from beginning, middle, and end,
By thus abiding in the knowledge of the palace,
All conceptual constructions are abandoned.
Without aggregates, elements, or self,
One meditates on the form of pure bliss.
Having made the world Yamāntaka,
Through the lights of the seed-syllable in one’s own heart,
One visualizes them being summoned and arriving.
Having the nature of the Vajra Body, Speech, and Mind,
The dharma is of the nature of the Vajra;
Born from primordial wisdom, one should place it.
Therein are its seed-syllables,
Hrīḥ Ṣṭrīḥ and so forth, blazing with primordial wisdom.
Seen by abandoning superimposed concepts,
Having the aspect of pure bliss,
One should perfectly fill it through the radiation and reabsorption.
The wise one should meditate upon oneself.
One should radiate the Body and so forth,
Simultaneously and in succession,
Emanating various wrathful forms.
By the mantra Hrīḥ Ṣṭrīḥ and so forth,
All beings are brought to bliss.
Oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā.
By this sequence of meditative concentration,
One should exert oneself and likewise recite the mantra.
Furthermore, regarding food and so forth, one should perform everything while possessing meditative concentration. One should perform offerings, praises, and the consumption of nectar with the intention of acting for the benefit of sentient beings. Through the sequence of the three realities, the wisdom wheel is emanated. One’s own wheel abides within oneself according to the sequence. Whatever merit I have performed, I dedicate toward the aspiration for manifest enlightenment. Then, having made the aspiration, one should request the wisdom wheel to depart with the mantra OṂ ĀḤ HŪṂ MUḤ. This is the great yoga. Arising in the nature of one’s own form, one should correctly maintain the pride of that. With diligence, all things should be determined to be of that very form. Through the form of the Yamāri of Delusion, one meditates on the abodes and the transmigrating beings. At the times of what has been taught, one should meditate on the four yogas: the first yoga, the great yoga, the yoga of slight wisdom, and the subsequent application. The yoga of application is the great authentic yoga, abiding in the power of authentic wisdom. According to the single sequence as taught, one should meditate on the mantra at one time. The yogi possessing the great yoga is the very body of emanation and reabsorption. That very wisdom is the embodied form; therefore, one is oneself Yamāntaka. Through the sequence of empowerment and meditative concentration, one should perform all bathing and eating. Likewise, through the sequence of nectar, one should understand the other offerings. Oneself and others should always be offered according to the sequence. Thus is the glorious nature of Yamāri.
One should always focus on the meditation of awakening; awakening is the equality of self and other. Therefore, one applies oneself to one's own self; without that, one who wishes to transform the self will not find the practice of the yoga-dharma. Just as one conceptualizes a single entity within various aspects, happiness arises from the removal of suffering; these arise through the differentiation of karma. The self in the mind is free from conceptualization, possessing the nature of pure joy. In the nature of method and insight, "black" refers to joy. By that, in the ocean of saṃsāra, when one is embraced by that which has arisen at the time of death, the profound and powerful Black Yamāri is the only one who can be of benefit; there is no other. Holding the noose and hook of the Yamāri-sādhana, the fearless one who arises with great power, those are to be summoned and struck with the ritual stake (kīla). That is the terrifying form of wrath. OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ. This is the summoning of all bhūtas along with their retinues: JAḤ. OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ. This is the striking with the ritual stake of all bhūtas along with their retinues: HŪṂ PHAṬ. Having known that they have arrived by this, one should examine the ornaments of one's own color. In the right hand, one holds one's own weapon; in the left hand, there are various [implements]. Śakra, Yama, and Īśāna, by means of the seed-syllables HRĪḤ ṢṬRĪḤ VIKṚ, all of them are perfected. Agni, Nairṛti, and Vāyu, the body is to be known as arising from HŪṂ. The gods of the sun, moon, and earth, born from HŪṂ PHAṬ PHAṬ SVĀHĀ, all the gods are possessed of Viṣṇu.
Through the reality of this torma, all equalities are perfectly generated. Visualizing them in sequence, they are consecrated; then, the empowerments are bestowed in sequence. By means of the sequence of the five nectars, the seed syllable RAṂ is like gold. Present these offerings and tormas. This is the Sādhana of Kṛṣṇayamāri, composed by the master Samantabhadra. It is complete.
Through the immeasurable merit of translating this Sādhana which clearly elucidates [the practice], and by making this aspiration, may I and all other sentient beings never be separated from the cause and the Sādhana, and by following its pith instructions, may we behold the face of Yamāntaka.
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.