Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Annotations to the Glorious Vajrabhairava Tantra, composed by Sonaśrī, serves as a technical manual for the interpretation and application of the Vajrabhairava system. The text functions as a concise explanation (mdor bshad pa) that bridges the gap between the symbolic language of the tantra and the practical requirements of the practitioner. It argues that the deity's terrifying form and attributes are not literal, but are semiotic markers for specific realizations, such as the sixteen emptinesses and the nature of great bliss. The work commits the reader to a rigorous path of visualization and ritual precision, detailing the construction of colored-powder maṇḍalas, the use of seed syllables, and the performance of specific activities ranging from enrichment to the rites of killing and expelling. By mapping the deity's physical attributes to internal spiritual states and external ritual actions, the text transforms the tantric continuum into a functional tool for achieving non-apparent status within the three realms.
Provenance
About this text
A concise explanation of the Glorious Vajrabhairava Tantra, the Śrīvajrabhairavatantraṭippaṇī is a commentary belonging to the tradition of the Other Skillful Means Tantras. The work is attributed to the Indian author Sonaśrī. Preserved in the classical Tibetan period, the text appears in the Tengyur, volume མི, where it extends over thirteen pages under the Tibetan title dpal rdo rje 'jigs byed kyi rgyud kyi mdor bshad pa. The work enacts a technical decoding of the Vajrabhairava system, interpreting the deity's terrifying form and attributes as semiotic markers for specific realizations. It defines terms such as 'fierce' and 'terrifying' in relation to the unruly mind and unattractive forms, while identifying the 'jewel' as great compassion. Furthermore, it provides instructions on the symbolic meaning of the half-moon and garlands, as well as the spatial requirements for drawing a wheel with nine squares and the placement of four gates. A scholar or serious reader consults this text today to understand the bridge between the symbolic language of the tantra and the practical requirements of the practitioner, specifically regarding the mapping of physical attributes to internal spiritual states and the precision of ritual visualization.
Cite thisAnuvāda, “Annotations to the Glorious Vajrabhairava Tantra” (Toh 1971), machine draft, 2026.https://naxiai.com/tibetan/works/toh1971
Summary & commentary
Significance
This work is significant as it provides a systematic decoding of the Vajrabhairava iconography, transforming aesthetic terror into a map of emptiness and compassion. For the modern reader, it illustrates the intersection of meditative visualization and ritual magic within the Indo-Tibetan tradition.
Structure
Passages
Section
Description
1-3
Introduction and Definitions
Establishes the title and provides etymological and symbolic definitions of terms like tantra, fierce, and jewel.
4-7
Ritual Setup and External Activities
Instructions on maṇḍala construction, the use of the phaṭ syllable, and the specific configurations for rites of killing and expelling.
8-13
Internal Visualization and Deity Yoga
Guidance on realizing selflessness, reciting mantras for non-appearance, and the symbolic meaning of Vajrabhairava's physical form and implements.
14-18
Advanced Practice and Ritual Application
Details on breath control, fire offerings (homa), the invitation of the wisdom-being, and the specifics of enrichment rites.
19
Conclusion
Dedication of merit and attribution of the text to Sonaśrī.
Themes
Symbolism of the Deity Form (3, 11, 12, 13)
Ritual Magic and Specific Activities (5, 6, 15, 17, 18)
Non-duality and Emptiness (8, 9, 11)
Visualization and Mantra (7, 9, 10, 16)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaAnnotations to the Glorious Vajrabhairava Tantra·
In the language of India: Śrīvajrabhairavatantrapañjikā-nāma. In the language of Tibet: Dpal rdo rje ’jigs byed kyi rgyud kyi mdor bshad pa zhes bya ba (The Concise Explanation of the Glorious Vajrabhairava Tantra). Homage to the Blessed One, the Glorious Vajrabhairava.
Bowing at the lotus feet of the glorious protector Vajrabhairava and the Guru, I shall compose this concise explanation of that King of Explanatory Tantras. Regarding the phrase "Then" (atha) and so forth: here, the word "then" indicates immediate succession. One might ask: if that is so, why is the tantra introduced at the beginning without the phrase "Thus have I heard" (evam mayā śrutam)? The word "then" is applied at the beginning of the tantra in order to establish that this is the tantra enumerated immediately after the Sādhana of the Great Bhairava from the eighteen-thousand-verse Mañjuśrī Tantra.
Regarding the phrase "I shall correctly explain": here, the meaning of "correctly" refers to recitation, yantras, fire offerings, meditative concentration, and ritual activities. As for the "Sādhana of Vajrabhairava":
"Vajra" is taught as emptiness;
"Bhairava" is held to be the vajra of activity.
The realization of their very nature
Is through the yoga of Vajrabhairava.
Thus, Vajrabhairava is the essence of Vajrasattva, the inseparability of emptiness and the vajra. His sādhana is that by which one realizes the deity in the essence of Vajrabhairava.
Having done so, the text is established; in this tantra, it is made into a "tantra" (continuum) because it causes specific realization. "Fierce" (ugra) is so called because the mind is unruly. "Terrifying" (bhīṣaṇa) is so called because the form is unattractive. "Single tree" (ekavṛkṣa) means that the shadow of that tree is not touched by the shadow of any other tree. "Subjugating, summoning, and slaying," and so forth, are the words of the brief exposition. The detailed exposition is the explanation of the various siddhis. Regarding the pigments: the ash of a cremated corpse is white; black is from the charcoal of a cremated corpse; yellow is from orpiment; red is from the bricks of a charnel ground; and green is from the leaves of the neem, the niṣundhara, and so forth. These pigments are to be used to draw the maṇḍala—this is the connection. "Square" means it is without unevenness. "Four doors" refers to the four doors of liberation, which are emptiness, signlessness, wishlessness, and lack of formative activity, purified as the four doors. "Adorned with four archways" (toraṇa) refers to the purification of the four dhyānas. The sounding of the bell is for the purpose of making all phenomena understood as emptiness. The nine banners represent the purification of the nine branches of the excellent speech. The fragrant flower garlands represent the purification of the five sensory qualities. "Vajra-jewel" means that the vajra is emptiness.
"Jewel" (ratna) refers to great compassion (mahākaruṇā), which causes one to expand through unsurpassed joy; thus, it signifies that these are inseparable. The half-moon symbolizes the descending bodhicitta. The garlands and half-garlands represent the purity of method and insight. "In the center, one should draw a wheel with nine squares" is easy to understand. "In the corners of the four gates" means in the vicinity of the four gates. "Great Vetālas" refers to the Vetālas: two-armed, one-faced, with three red eyes, yellowish-brown hair standing erect, naked, baring their fangs, black in color, brandishing a curved knife (kartṛ) in their right hands and holding skull-cups filled with blood in their left hands. "One should place them" means one should draw them. "Great clarified butter" and so forth are easy to understand. "Having performed the preliminary conduct" means having performed the service (sevā). "Uttering 'Ha Ha'" means laughing with laughter. "Being perfectly composed" means being endowed with the yoga of Vajrabhairava. "The object of accomplishment in the center" refers to the desired siddhi. "Upon that" means adhering to it. "Whenever the mantrin does not achieve success" means that if the Blessed One is pleased, he will even bestow the Great Seal (mahāmudrā). "Whenever the yogin does not achieve success due to the power of non-merit" [is the continuation of the previous thought].
At that time, minor activities will certainly be accomplished; this is for the purpose of increasing one's faith. "This" refers to the complete [text]. "Mañjuśrī" refers to an emanation of Mañjuśrī. "The extensive teaching of the maṇḍala" means that "maṇḍala" refers to a colored-powder maṇḍala. That in which the ritual manual (kalpa) is taught extensively is what is so described. If one asks, "Why is the colored-powder maṇḍala taught first?" it is because one should understand that the activities taught in the tantra must not be performed without empowerment, nor should the tantra be viewed [without it]; therefore, it is appropriate to teach the colored-powder maṇḍala at the very beginning. "Complete" (samāpta) means perfectly attained or thoroughly obtained. This is the explanation of the first ritual manual from the Vajrabhairava-yoga-tantra.
Since no one will engage [in practice] without a purpose, in order to demonstrate the purpose, the ritual manual for various siddhis is taught starting with "Then..." and so forth. Regarding "the extremely fierce mantrin," the remainder is that one performs the three activities of killing, expelling, and separating with a wrathful mind. "In the middle of the two fires" means that "fire" is the syllable ra. If one asks, "What is being conceptualized?" it is because it is the seed-syllable of fire; one understands that this is simply a case of designating the cause by the name of the effect. "Eight hūṃs" refers to the directions.
Regarding the phrase "the syllable phaṭ at the corners," this is connected to the instruction that one should write eight phaṭ syllables in the intermediate directions. It is not otherwise. As for the phrase "if one wishes to afflict with fever," this means that when a yogin wishes to afflict someone with fever, he should perform this ritual. On a human skull—either one struck by a weapon or one that has been sealed from above—one should clearly draw the fever with lac juice or white chalk and mineral pigment. In that regard, the hot fever is red, with red hair pointing upward. The cold fever is white, with hair hanging down and accompanied by wrath. Both of these have three legs and three arms.
Subsequently, having combined charcoal and ash from a cremation ground with the dust from the feet of the target, one should carefully draw the effigy and the yantra here according to the previous ritual. Having placed it in the heart of that [target], and having thoroughly smeared it with poison, salt, mustard seeds, and so forth, one places that effigy inside another lotus-shaped skull-cup (padma-bhāṇḍa). Having seated both [the target and the effigy] and placed the skull-cup upside down over the one drawn upon it, one then imagines that it is being seized and burns it beneath a fire hearth. If this is performed at night under the moon through the yoga of Vajrabhairava, there is no doubt that the person will certainly be seized by fever; of this there is no uncertainty.
Regarding the phrase "the remains of a crow," this refers to the remnants of what has been completely eaten by a crow. For the rite of killing, one should write "Kill so-and-so" (amukaṃ māraya) upon the yantra. For the rite of expulsion, one says "Expel so-and-so" (amukam uccāṭaya). For the rite of causing division, one says "Divide so-and-so" (amukaṃ vidveṣaya).
Through these and other such methods, one should understand everything in accordance with the specific activity. For the rite of killing, one should draw a wheel within a fire maṇḍala situated in the belly of Yama. For the rite of expelling, it is within a wind maṇḍala situated on the back of a camel. Regarding the term "mindfulness," it refers to the syllable Ha according to the pith instructions. One should understand it to be adorned with a half-moon, a bindu, and the sixth vowel. For the rite of paralyzing, it is in the center, beautifully adorned by an eight-sided Mount Meru. For the rite of subjugating, it is within the source of phenomena (dharmodaya) of a woman. For the rite of summoning, it is on the back of an eight-legged lion. For the rite of pacifying, it is on a moon. For the rite of increasing, it is on a yellow moon. For the rite of dividing, it is in the hearts of a buffalo and a horse. For the rite of muting, it is in the heart of a goat. In these and other such locations, one should draw [the wheel] in accordance with the specific activity. Regarding the erasure of the wheel for the purpose of pacifying: "First, the final letter Ya; then both Dhi and Dhi; and afterwards, the central letter Ya. The remaining letters may be as one pleases." This is the explanation of the second chapter from the Yoga Tantra Vajrabhairava. Since the intention of what was taught in the second chapter will not be accomplished without the mantra, in order to ensure there is no doubt regarding the mantra, the chapter on the extraction of the mantra is taught, beginning with "Then..." The phrase "Then..." and so forth is easy to understand. The letter Ya is known as "slander." The letter Kṣe is said to be "delusion." The letter Ma is renowned as "slander." Me is the "slayer of the enemy of desire."
The essence of envy transforms into the syllable DA. YA is the hammer and the staff; NI is the lotus in the hand; and RA is the raised sword. JA is the goddess Cāmuṇḍā; VA is Vārāhī; DO is known as Sarasvatī; and RU is the nature of Gaurī. Furthermore, the nature of ṆA YO NI RA is the terrifying Skull-Timer. One should meditate on these seventeen syllables as the nature of the seventeen deities. Then, by means of the light rays from the seed syllable at one’s own heart, one should invite the wisdom maṇḍala, which is the essence of the seventeen deities of Yamāntaka, and request them to remain in the space before one. Having offered the water for the feet and so forth, one should cause them to enter the previously drawn wheel through the application of the hammer and other implements. Then, having meditated upon oneself according to the sequence taught in accordance with the activity, one should recite the mantra and thoroughly accomplish the rite. This is the explanation of the third chapter from the Yoga Tantra Vajrabhairava.
The purpose of teaching these is that accomplishment will not occur without the visualization of the deity; therefore, for the sake of the deity’s visualization, the chapter on the sādhana is taught, beginning with the words "Then..." "Then" means immediately after the extraction of the mantras. "The sādhana of Vajrabhairava" refers to the method by which one accomplishes Vajrabhairava—that is, the means by which one becomes his very self. Regarding the phrase "I shall correctly explain," the "correct meaning" here refers to what is to be explained through the oral instructions of the guru.
Regarding that, the pith instruction is as follows: "Having first [realized] that all phenomena are selfless, one should assume the form of the deity"—this is to be understood later. "First of all" means at the very beginning. The intended meaning here is as follows: first of all, the mantrin, relying on some person, sits upon a comfortable seat. Having placed a pill made of the five nectars and so forth in the mouth, the yogi remains naked with his topknot loosened, facing directly south. Then, the rays of light from the seed-syllable residing upon a sun disk at his own heart pervade the world systems of the ten directions. He invites the assembly of deities—the Buddhas, Bodhisattvas, wrathful deities, and so forth—and requests them to remain in the space before him. Then, the four goddesses, such as Vajracarcikā and others, who have emerged from the light rays of the seed-syllable at the heart, perform a perfect offering, holding various offering substances in their lotus-like hands. After performing the confession of misdeeds and so forth, and the request for the deities to depart, one meditates on all of them. The phrase "all phenomena are selfless" symbolizes the meditation on the four immeasurables. Among those, the characteristic of cherishing all sentient beings like an only child is loving-kindness (maitrī). Compassion (karuṇā) is the complete extraction [of beings] from suffering and the causes of suffering. Joy (muditā) is the state of being stable in happiness. Equanimity (upekṣā) is the practice of remaining impartial toward all conceptualizations of subject and object. Then, [one contemplates] that all things are dependently originated...
One should view [all things] as being free from the four extremes and recite the mantra: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. By actualizing the meaning of this mantra, one renders oneself non-apparent within the three realms. Then, through the power of aspiration, in the expanse of space, upon a red syllable āḥ arises a sun disk, upon which is a hūṃ emitting five-colored rays of light. From the total transformation of that, a crossed vajra (viśvavajra) appears; from the total transformation of that, one should meditate upon a vajra fence, a canopy, a celestial awning, and the ground.
Having meditated on all of those, from the syllable yaṃ arises the wind mandala—this is indicated by the inclusion of the anusvāra. From dhīḥ means from a yellow dhīḥ. "Mañjuvajra" refers to the Protector with one face and two hands, holding a sword and a volume of scripture, in the vajra posture, the nature of the causal Vajradhara. Following the sequence taught in the tantras, one should generate oneself in the essence of the resultant Vajradhara, adorned by the eight charnel grounds. Without the pride of the non-duality of existence and peace, one should recite the mantra: oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’haṃ.
Then, one should perform the blessing of the eyes and so forth. Regarding the empowerment and sealing with Akṣobhya: "Meditate on the lords of the senses at the crown of the head; endowed with the flavors of the graceful and so forth; the wrathful forms are from the exterior."
From the light rays of the seed syllable at one’s own heart, invite the Buddhas together with their Sons, who reside in various forms, and visualize them in the space before you. Imagine that they, holding vases like the moon, filled with the five nectars and presided over by Cāmuṇḍā and the others, perform the empowerment upon oneself, preceded by verses of auspiciousness. Then, with the light rays from the seed syllable at one’s own heart, invite the Jñānasattva and request him to remain in the space before you. Having offered the drinking water, the water for the feet, and so forth, summon him with the mantra oṃ muṅgara jaḥ, cause him to enter with oṃ daṇḍa hūṃ, bind him with oṃ padma vaṃ, and bring him under control with oṃ khaḍga hoḥ. Then, the wise should make offerings with various offering materials by means of the Vajra-Cāmuṇḍā and others arising from the seed syllable at one’s own heart. Subsequently, one should consume the nectar accomplished through the ritual of blazing and so forth, drawing it in with the hollow tube of the tongue-vajra.
"Therefore, I myself am that very union;
Neither true nor false,
I shall meditate on the form of the deity.
Then, I shall recollect the purity."
Regarding "having the skull as a crown": it is because [the deity] is the nature of the five wisdoms. Regarding "the great terrifying one": it is because he causes the Māras to be struck with fear. Regarding "adorned with the ornament of skulls": it is because he has arisen from the Dharmadhātu.
The sixteen legs are the complete purity of the sixteen emptinesses. He is naked because he liberates the obscurations of all phenomena. His erect phallus is the nature of great bliss. His left leg is extended because all phenomena are established as emptiness. He has a large belly because he is fierce and wrathful. His hair is bristling upward because he demonstrates the state of nirvāṇa. He utters the sound "phet" because he terrifies those who are hostile and so forth. The thirty-four arms are the complete purity of the thirty-four factors of enlightenment. Right effort, right mindfulness, and right samādhi are subsumed within the very essence of the Blessed One’s body, speech, and mind. He is perfectly composed because his body, speech, and mind are undistracted. "Always" means throughout the three times. "The application of suchness" means that the object of meditation, the meditator, and the meditation itself are non-referential. The curved knife cuts through ignorance. The bhindipāla (javelin) splits apart the conceptualizations of subject and object. The pestle crushes the loss of mindfulness. The dagger cuts through negativity. The single-pointed vajra crushes the faults of body and speech. The axe cuts through the hardness of the mind. The spear pierces wrong views. The arrow pierces the thorn of discursive thought. The hook is for the purpose of summoning.
The khaṭvāṅga is the weapon that destroys the obscurations of karma. The khaṭvāṅga is the essence of bodhicitta. The wheel is for the purpose of turning the wheel of Dharma. The vajra is the nature of the five wisdoms, which transform all tastes into equality. The vajra hammer is that which opens up avarice. The sword is for the purpose of bestowing the siddhis of the sword and so forth. The ḍamaru is that which exhorts all the Buddhas with supreme joy. The skull cup filled with blood is that which maintains the samaya. The head of Brahmā is for the purpose of acting for the benefit of beings through compassion. The shield is for the purpose of conquering the Māras. The leg is for the purpose of bestowing the state of Buddhahood upon the meditator. The noose is that which binds authentic wisdom. The bow is for the purpose of conquering the three worlds. The intestines are for the purpose of making one understand emptiness. The bell is the nature of the perfection of wisdom. The hand is for the purpose of performing all activities. The cemetery cloth is that which destroys the veil of ignorance regarding the selflessness of all phenomena. The so-called "pierced by a stake" is for the purpose of realizing that all things are pierced by emptiness. The so-called "fire hearth" symbolizes the luminosity of all phenomena. The caṣaka is filled with the nectar of compassion. The threatening gesture is for the purpose of intimidating the Māras.
The three-pronged banner signifies the realization of the body, speech, and mind as a single essence. The cloth of wind symbolizes that all phenomena are like an illusion. The so-called "elephant hide" refers to the elephant of ignorance. The eight beings, such as humans, under the right feet represent the purification of the eight great siddhis. The eight beings, such as vultures, under the left feet represent the purification of the eight great powers. The nine faces are for the sake of ripening sentient beings by teaching the Dharma through its nine branches. The buffalo face is because he is the self of the three realms. The two horns represent the purification of the two truths. The so-called "five mudrās" are the nature of the five Tathāgatas. The red upper face, dripping with blood, is for the sake of cooking sentient beings with the Buddha-dharmas. The yellow ninth face symbolizes the emanation of Mañjuśrī. He is adorned with the ornaments of a youth because he is the essence of a youth. He wears a crown of five locks of hair because of the purification of the five aspects. He has three eyes because he perceives the three times. Having thus visualized oneself through the deity yoga and so forth, the yogi should recite the mantra for as long as the mind does not grow weary. One should visualize the letters of the mantra being recited circling clockwise upon a sun maṇḍala at one's heart, forming a circle accompanied by rays of light.
Having performed the benefit of beings through the application of emanation, as the exhaled breath emerges from the apertures of the gates, one should again withdraw it, draw it in through the nostrils of the inhaled breath, and abide [in that state]. One should perform the recitation by this very ritual again and again until the limit of weariness is reached. Then, if weariness arises, one should offer the torma according to the ritual, request the jñānasattva to depart, and abide in the deity yoga. This concludes the explanation of the fourth chapter, the visualization of Vajrabhairava, from the Yoga Tantra.
Then, in order to clarify that very visualization of the deity, the chapter on the cloth painting is taught, beginning with the words "Then..." and so forth. The phrase "Then..." and so forth is easy to understand. "Non-conceptual" refers to the knowledge of suchness (tattva). "An excellent painter" refers to one who maintains the samaya. "Secret" refers to unerring meditative concentration (samādhi). "Expert" refers to the work of painting. "The stage of the hero" refers to a mind that delights in partaking of alcohol and meat. "A rosary of great conch" refers to a rosary made of great conch, which should be purified. Regarding that, this is the pith instruction for purification: one should visualize each bead as the form of glorious Vajrabhairava arising from the syllable HŪṂ, or alternatively, meditate on it as being of the nature of a rosary of human heads dripping with blood, and then recite the mantra. This is the explanation of the fifth chapter from the Vajrabhairava Yoga Tantra.
[Regarding] those who are intensely devoted to the fire offering...
He performs the ritual for the sake of sentient beings. The glorious Vajrasattva taught the ritual for the complete accomplishment of all activities. The ritual for the activity of fire offering (homa) is easy to understand. Regarding the phrase "if one desires to kill": this refers to the time when one wishes to kill. At that time, the yogi should go to a charnel ground and, remaining firm, perform the fire offering of substances into the mouths of the fire deity and others, according to the sequence to be explained, by means of the yoga of Vajrabhairava in the cremation fire.
Alternatively, having prepared a secluded spot in one's home, on the fourteenth day, one should construct a red triangular hearth, twenty finger-widths in size and five finger-widths deep, adorned with a garland of vajras. In the center of this, either in a fire from a charnel ground or a fire from an outcaste (caṇḍāla), one should visualize a multicolored lotus arising from the syllable paṃ. In the center of that, from the syllable raṃ, arises the fire deity, white in color, with three faces and six arms. His right hands hold a rosary and the gesture of fearlessness; his left hands hold a three-pronged staff, a water flask, a curved knife (kartṛ), and a skull cup. He stands with his left leg extended, adorned with the ornaments of a wrathful deity. His heart center is marked by his own seed syllable.
Then, one should invite the wisdom fire deity, offer the water for the face and the water for the feet, and so forth. Having caused the commitment deity (samayasattva) to enter, one should perform the offerings and so on. Placing the syllable raṃ in the deity's mouth, one should offer a small amount with this mantra: oṃ agnaye svāhā.
At his heart, one should visualize the sequence of the manifestation of the form of Vajrabhairava. Preceded by the blessing of the eyes and so forth, one should perform the invitation of the wisdom-being (jñānasattva) and so on. Having performed the offerings and so forth, one places the syllable RAṂ in his mouth. Then, possessing the yoga of oneself as Vajrabhairava with the appropriate color, one burns the offering substances, and it will proceed as described.
The specific distinction is that for the fierce activities such as killing, expelling, and separating, one should act with a malicious mind on the fourteenth day. The fire pit for killing is the same as that for separating. Then, regarding "if one wishes to expel": at the time one wishes to expel, one should dig a pit one cubit deep within a space of two cubits. It is blue, adorned with a garland of vajras. In that, according to the sequence described, one should perform the fire offering for all activities.
Then, regarding "if one wishes for pacification": on the first day of the waxing moon, one should construct a circular, white fire pit measuring one cubit, dug half a cubit deep, and adorned with a garland of wheels. Regarding "wishing to pacify illnesses and so forth": with a peaceful and virtuous mind, one should perform the yoga of Vajrabhairava in white. Having prepared the fire pit as before, if one performs the fire offering with the substances described, pacification will occur.
Then, regarding the phrase "if one desires [the rite of] enrichment": at that time, in a fire pit for burnt offerings that is square, yellow, and two cubits in size, with a depression of about one cubit and surrounded by a garland of jewels, one should perform everything as before. Then, through the yoga of yellow Vajrabhairava, facing north and with a mind of enrichment, if one performs the burnt offering on the full moon using the substances prescribed, enrichment will occur.
Furthermore, regarding the phrase "if one desires summoning": at the time when one desires to summon, one should prepare the fire pit as before on the eighth day and perform everything as before. There, through the yoga of red Vajrabhairava, facing west and with a mind of passion, if one performs the burnt offering using the prescribed substances, summoning will occur. As it is with summoning, so it is with magnetizing as well. This is the explanation of the sixth chapter from the Yoga Tantra Vajrabhairava.
"The mantra practitioner should always teach meditative concentration. For the sake of benefiting those who have become weary from the recitation of secret mantras, the Omniscient One taught the seventh chapter." Regarding the phrase "for that," and so forth, it is easy to understand. The specific distinction is this: if the mantra practitioner performs the rite of killing, they should visualize themselves as the yogi Vajrabhairava. From the seed syllable situated on a sun disk at one's own heart, an emanated form emerges, surrounded by a multitude of wrathful deities. Having gone forth, it enters the heart of the target; having settled in the heart of the target, it bestows blessings upon them.
One should properly worship the deities and offer prayers: "Since this person is performing such an act, they will certainly die in hell; therefore, abandon them and depart!" Then, having summoned those protective deities to their own abodes, one should offer the water for the mouth and so forth, cause them to enter through the path of one's own mouth, join them with the seed-syllable at the heart, satisfy them well, and establish them there. Having taken hold of the protective deities, they depart into the sky. Then, one should visualize the body of the subject as empty and perform those rites. Regarding the phrase "even a person staying a hundred yojanas away is seized": this connects to the instruction that one should understand their age, complexion, signs, form, and name, and then begin the meditative concentration. "Holding an iron hook and a lasso" means holding a hook and a lasso. "Having the form of Yama" refers to the form of Padma Yamāntaka, with one face and two arms. "The application of the buffalo face" means being endowed with the yoga of the buffalo face. "The eight-petaled lotus" is white. Its pericarp is the seed-syllable Hrīḥ, from which nectar drips. On its eight petals are eight white i syllables. Regarding "at the crown from a": this connects to the instruction that from the complete transformation of the letter a, there is a moon maṇḍala, upon which the letter a resides. This is the explanation of the seventh chapter from the Śrī Vajrabhairava according to the Yoga Tantra. From the clear and concise explanation of the Vajrabhairava Tantra, [this concludes the section].
By whatever merit has been gained, may all beings be victorious. This concludes the "Brief Explanation of the Glorious Vajrabhairava Tantra," composed by the master Sonaśrī. It was transmitted from the lips of the great scholar Tathāgata.
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.