Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This technical commentary serves as a guide to the complex terminology and ritual requirements of the Vajrabhairava Tantra. The text functions as a manual for the practitioner, moving from the philosophical identification of the deity to the precise physical and linguistic requirements of ritual execution. It argues that the deity Vajrabhairava represents the indivisibility of emptiness and compassion, framing the sādhana as both the path and the result. The work commits the reader to a rigorous adherence to specific ritual protocols, including the exact arrangement of syllables in the mandala, the spatial orientation of directions, and the precise selection of seed-syllables from Sanskrit phonetic classes (vargas). By decoding the difficult points of the root tantra, the text transforms abstract scriptural instructions into a concrete blueprint for the construction of the mandala and the performance of the homa (fire sacrifice), ensuring that the practitioner's external ritual actions align with the internal realization of bodhicitta.
Provenance
About this text
A commentary on the difficult points of the Vajrabhairava Tantra, the Vajrabhairavatantrapañjikā belongs to the classical Tibetan tradition. It was composed by the Indian author Avadhūta Kumāracandra, who is also identified in the text as the glorious Kṛṣṇācārya. The work was translated into Tibetan by Tathāgatarakṣita and the lo tsa ba dge slong ba rin chen grags pa. It is preserved in the Tengyur, volume མི, where it comprises seven pages and is situated within the Other Skillful Means Tantras collection. The work argues that the deity Vajrabhairava represents the ultimate bodhicitta and the indivisibility of emptiness and compassion, framing the sādhana as both the path and the result. It enacts a technical guide to the root tantra, moving from philosophical identification to the precise physical and linguistic requirements of ritual execution. A scholar or serious reader consults this text today to decode complex terminology and ritual protocols, as it transforms abstract scriptural instructions into a concrete blueprint for the construction of the mandala and the arrangement of syllables and seed-syllables from Sanskrit phonetic classes.
Sanskrit title
Vajrabhairavatantrapañjikā
Indian author
Avadhūta Kumāracandra
Tibetan translators
Tathāgatarakṣita, lo tsa ba dge slong ba rin chen grags pa
Cite thisAnuvāda, “A Commentary on the Difficult Points of the [Great] Vajrabhairava Tantra” (Toh 1973), machine draft, 2026.https://naxiai.com/tibetan/works/toh1973
Summary & commentary
Significance
The work is significant for its role in preserving the precise ritual technology of the Vajrabhairava tradition, where minute errors in syllable placement or mandala construction are seen as detrimental to the practice. For the modern reader, it provides a primary example of how Tibetan commentators bridged the gap between Sanskrit tantric root texts and the practicalities of ritual implementation.
Structure
Passages
Section
Description
1-2
Introduction and Philosophical Definition
Identification of the text and the definition of Vajrabhairava as the indivisibility of emptiness and compassion.
3-5
Ritual Space and Mandala Construction
Instructions on the purpose of the ritual, the opening of gates, directional orientations, and the arrangement of syllables in the outer circles.
6-8
Phonetic and Seed-Syllable Specifications
Detailed breakdowns of specific vowels and consonants from various vargas used as seed-syllables for elements and deities.
9
Offerings and the Homa-Kunda
Guidelines regarding the payment of fees and the configuration of the sacrificial pit.
Themes
Indivisibility of Emptiness and Compassion (2)
Ritual Geometry and Spatial Orientation (4-5, 9)
Sanskrit Phonetics and Seed-Syllables (6-8)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Commentary on the Difficult Points of the [Great] Vajrabhairava Tantra·
In the language of India: Vajrabhairavatantrapañjikā. In the language of Tibet: rDo rje ’jigs byed kyi rgyud kyi dka’ ’grel (A Commentary on the Difficult Points of the Vajrabhairava Tantra). Homage to the glorious Vajrabhairava!
Having bowed to the glorious hero Vajrabhairava, the glorious Kṛṣṇācārya, known as Kumāracandra, has composed this brief commentary on the difficult points of the glorious Vajrabhairava Tantra.
Regarding the phrase "Then..." and so forth: "Then" refers to the sequence following all the great tantras of Mañjuśrī and the sādhana of Vajrabhairava. It indicates the auspicious beginning of the treatise. The term "sādhana" (means of accomplishment) serves as a qualification. "Perfectly" means having correctly analyzed. "Thoroughly" means having carefully reflected. "I shall explain" means: "I shall perfectly and thoroughly explain."
"Vajra" is so called because it is insight (prajñā) and because it is method (upāya). Furthermore, it is "Bhairava" (the Terrifier) because it terrifies all extremely fierce deities. Moreover, it is the very fruit of compassion. For those malevolent beings who cannot be tamed by compassion, and who cannot be tamed by the qualities of peace—for that reason, the Vajra-holder has truly become the Terrifier.
Adorned with a garland of skulls and holding a skull-cup, his body is like a great pool of sun-like wrath. The Vajra-Wrathful One is cool like the snow of the Himalayas; he protects beings through fierce external means. Thus spoke the Vajra-holder.
"Vajrabhairava" refers to the ultimate bodhicitta, the indivisibility of emptiness and compassion, which is the Blessed One, the glorious Vajradhara. Its "sādhana" is the means of accomplishment, which is the result. Because one accomplishes by means of this, it is also the path. All [deities] such as the self-pleasing Bhairava and others are "gods" (deva) because they sport in the conceptualizations of others and so forth. They are all extremely fierce, overwhelming everything. Because they cause others to be terrified, they are "Bhairava" (the Terrifier). This demonstrates that he is called "Bhairava." The authentic scriptures are the expression. The relationship between these two—the expressed and the expression—is the connection. The "siddhi" (accomplishment) is the purpose. The sādhana and the path are the means. The purpose of the purpose is to generate terror in all the extremely fierce gods. The sādhana of Vajrabhairava is the accomplishment, which is the perfection of one's own welfare. That, too, is twofold: the perfection of realization and the perfection of abandonment. The first is the awakening to the full extent of what is to be realized. The second is the abandonment of all habitual tendencies of the afflictive and cognitive obscurations without exception. The means for that is the path of the sādhana. The means for that, in turn, is the scriptures. The perfection of the welfare of others is to terrify the malevolent. The means for that is the sādhana. The means for that, too, is the scriptures themselves. Although the words of whoever the compiler may be have been spoken in many ways in this very [text],...
This is the context here. Regarding the phrase "In that [place]" and so forth: "In that" means for the purpose of accomplishing the Blessed One. "First" refers to the accomplishment of the purpose and so on. "Mantra" means protected by the mantra. Although there are many names for locations, nevertheless, some are singular. Furthermore, it is not any and every [place], but this very one is taught in the Great Mañjuśrī Tantra. However, it is in a place that is agreeable to the mind. Alternatively, "in that" refers to some among those many locations explained below; this should be understood by the phrase "a place agreeable to the mind." All the subsequent activities, such as the empowerment and so forth, are the necessary tasks. "In that" refers to the purpose. "For that" means for the sake of that. "A solitary tree" is one whose shadow is not touched by other trees. "Mothers" refers to Brahmāṇī, Vaiṣṇavī, Raudrī, and so forth. "Battle" refers to a battlefield where many soldiers have died. "Elementals" refers to the directional guardians, Vijayā, and so forth. "Vetālas" are those who accomplish [their ends] by blessing a corpse. "Piśācas" are those who eat vomit as food and so forth. "Yakṣas" refers to Vaiśravaṇa and so forth. "Adorned" means decorated. "In that" refers to the heart of the center of that square maṇḍala; by making eight squares, it becomes nine squares. Having made one circular line, one should make two lines in a row in the center of that, straight across.
If there is a single master, then at that time, one gate is opened, liberated, fully distinguished, and opened. [The directions are] east, northeast, south, and southeast. The vessel of the corpse is the vessel for the drink. The fourth is the form of the moon. The central protrusion is the nine-square grid. Regarding the phrase "Then," and so forth: the mudrās and signs of the outer protrusion of the wheel are the symbols such as the curved knife and so on; these should be drawn starting from the northeast corner, moving counter-clockwise, and ending in that very same corner. The single-pointed weapon is the form of an iron staff with a tuft of peacock feathers at its tip. The single-pointed vajra is a half-spear. The club is a staff. The vetāla is a corpse. "To be drawn" means to be placed. The "great mantra" is the domestic fowl. "Having performed the preliminary" means having performed the prior service (pūrvasevā). "In front of that" means in front of the maṇḍala. The ten-syllable [mantra] is: oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ phaṭ. These are all [the components]. "Obstacle" means seeking an opportunity. "Arising" means being found. Therefore, it is because there is no fear. "Knowledge" (vidyā) means the practice. "Uttered" means for the sake of the desired siddhi. This is the commentary on the difficult points of the first chapter from the Śrīvajrabhairava-tantra.
Regarding the phrase "Then," and so forth: it is the killing through certain suppression. Regarding the "sixteen," the center is calculated by excluding the four intermediate corners, resulting in four pairs of squares.
Regarding that, on the twelfth outer [circle], one should arrange the syllables beginning with Yamarāja. Here, they are to be arranged and interspersed in the four intermediate directions. The two fires are two stacked triangles. "Placing" refers to the act of establishing [the deity]. "Conch" refers to a skull-cup. By counting the two yas as one, it is said to be "endowed with the mantra of thirty-one syllables."
Furthermore, regarding the passage beginning with "Furthermore," the mantra of Yamāntaka is taught as: Oṃ yamarāja sadomeya | yamedorunayodaya | yadayonirayakṣeya | yakṣeyacchanirāmaya phaṭ phaṭ.
One should take earth from a charnel ground and so forth, up to the gate of a king's palace. It is the earth from both banks of a river that flows to the ocean. Regarding the "five places," one should strike the crown, the forehead, the throat, the heart, and the secret place with a human-bone kīla, using the very method described above.
"Seven types of earth from an anthill" refers to the earth substances from the charnel ground and so forth, up to the king's palace gate. Furthermore, regarding the passage beginning with "Furthermore," the "dust" is the fine dust that has settled on the feet of the target; "of that" refers to the skin. One should fill [the vessel] with dust, foul water, and earth. "That sound" refers to the name of the target. Regarding the passage beginning with "Then," "writing" refers to the act of drawing. Caṇḍālī is the ḍombī. "Charnel" refers to the charnel ground. "Name" refers to [the name of] so-and-so. "Recollection" refers to the purpose.
The frog is the frog. The madman is one who has caused harm. This is the commentary on the difficult points of the second chapter.
Now, regarding the passage beginning with "Then" (atha): the first of the sixth [vowels] is ya. The fifth of the fifth [consonants] is ma. In some traditions, there is also a text that reads "the first." In that case, counting in reverse order, it is ma. The second of the sixth [vowels] is ma. The second of the vowels is a. The third of the second [consonants] is ja. The second of the vowels is ā. The third of the seventh [vowels] is sa. The text that reads "the second" refers to sva in reverse order. The third of the fourth [consonants] is da. The thirteenth vowel is o. The fifth of the fifth [consonants] is ma. The eleventh vowel is e. The first of the sixth [vowels] is ya. The doubled [form] is ya. The fifth of the fifth [consonants] is ma. The eleventh vowel is e. The third of the fourth [consonants] is da. The thirteenth vowel is o. The second of the sixth [vowels] is ra. The fifth vowel is u. The fifth of the third [consonants] is ṇa. The seed-syllable of wind is ya. The thirteenth vowel is o. The third of the fourth [consonants] is da. The seed-syllable of wind is ya. The first of the sixth [vowels] is ya. The third of the fourth [consonants] is da. The seed-syllable of wind is ya. The thirteenth vowel is o. The fifth of the fourth [consonants] is na. The third vowel is i. The seed-syllable of fire is ra. The seed-syllable of wind is ya. The end of the letters is kṣa. The eleventh vowel is e. The end of the letters is kṣe itself. The seed-syllable of wind for that very [syllable] is ya.
The first of the sixth [varga] is Ya. The final consonant is Kṣa. The eleventh vowel is E. The seed-syllable of wind is Ya. The first of the second [varga] is Ca. The second count is Ca. The fifth of the fourth [varga] is Na. The third vowel is I. The seed-syllable of fire is Ra. The second vowel is Ā. The fifth of the fifth [varga] is Ma. The seed-syllable of wind is Ya. The first, Vairocana, is O. The supreme lord consists of the crescent moon and the bindu. Thus, it is Oṃ. The second of the fifth [varga] is Pha. The first of the third [varga] is Ṭa. Twice is Phaṭ Phaṭ; this is the extraction of the garland mantra. The fourth of the seventh [varga] is Ha. The fourth vowel is Ī. The seed-syllable of fire is Ra. The end of the sixteenth is the double bindu. Thus, it is Hrīḥ. The second of the seventh [varga] is Ṣa. The fourth vowel is Ī. The first of the third [varga] is Ṭa. The seed-syllable of fire is Ra. The end of the sixteenth is the double visarga. Thus, it is Ṣṭrīḥ. The sixth, known as Ya-ra-la-va, is the Va of that group. The third vowel is I. The first of the first [varga] is Ka. The seventh vowel is Ṛ. The first of the fourth [varga] is Ta. The second vowel is Ā. The fifth of the fourth [varga] is Na. The double is Na. Vairocana is Oṃ. The eighth is Ha. The sixth vowel is Ū. The second of the fifth [varga] is Pha. The first of the third [varga] is Ṭa. This is the extraction of the ten-syllable mantra known as the "near-essence."
The first of the sixth [class] is ya. The fifth of the fifth [class] is ma. The second vowel is ā. The first of the fourth [class] is na. The last of the fifth [class] is ta. The first of the first [class] is ka. Vairocana is oṃ. The end of mindfulness is the crescent moon. The deity of emptiness is the bindu. The second of the fifth [class] is pha. The first of the third [class] is ṭa. This is the extraction of the six-syllable mantra known as the Essence. This is the commentary on the difficult points of the third chapter.
Then, in the passage beginning with "Then," having performed the unsurpassed offering in seven aspects and meditated on the Brahma-abodes, one should expel the obstructors with light rays from the seed-syllable residing on a sun maṇḍala at one's own heart, and act exactly as it has been taught. This is the commentary on the difficult points of the fourth chapter.
Then, in the passage beginning with "Then," [it refers to] those who have actually died on the battlefield. That is the "hero's garment." "Flower" refers to the menstrual blood. "Smeared by that" is expressed as "smeared by the flower." It is the cloth worn by a woman at the time of giving birth to a child. A "good painter" is one who has attained empowerment. "Conceptualization" refers to being free from the conceptualization of what is to be eaten and what is not to be eaten. "Without anger" means possessing a mind of loving-kindness. "Drawing with fine detail" means being beautiful and free from the fault of defects. "Diligence" is effort. "Faith" is conviction in the Three Jewels. "Compassion" is the practitioner's desire to accomplish the practice. "Not looking for gain" means having few desires.
The offering of the fee is as much as the painter has described. This is the commentary on the difficult points of the fifth chapter.
Regarding the passage beginning with "Then," the mandala of wind is in the shape of a crescent moon. In the center of that sacrificial pit (homa-kunda) are both the Buddha and Brahmā. This is the commentary on the difficult points of the sixth chapter.
Regarding the passage beginning with "Then," the secret mantra is to be shown to others. This is the commentary on the difficult points of the seventh chapter.
Through the merit obtained by composing this commentary with diligence, may it be like the youth of the moon, and by that, may the entire world without exception attain the glorious Vajrabhairava.
This concludes the commentary on the difficult points of the Great Tantra of the Glorious Vajrabhairava, composed by the great learned master, the glorious Śrīkumāracandra. It was translated, edited, and finalized by the great learned paṇḍita Tathāgatarakṣita and the translator, the monk Bari Rinchen Drakpa.
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.