Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text is a sādhanā, a liturgical manual for the ritual visualization and meditation on the deity Six-Faced Black Yamāri (Yamāntaka). The work guides the practitioner through the construction of a sacred space, beginning with the establishment of a maṇḍala's boundary, canopy, and ground. It then directs the practitioner to undergo a process of deity yoga, transforming the self into the deity, who is described as having six faces and six arms, holding specific ritual implements such as a hook, noose, chain, and bell. The text details the placement of auxiliary deities in the intermediate directions and the use of specific seed syllables and mudrās associated with the five Buddha families. By committing to the precise visualization of the deity within a sun-disk and the recitation of mantras up to ten million times, the practitioner aims to overcome obstructions and achieve a specific spiritual result. The work concludes with the names of its Indian and Tibetan translators.
Provenance
About this text
A sādhana for the ritual practice of the Six-Faced Black Yamāntaka, the Kṛṣṇayamārimukhaṣaṭcakrasādhana is a work of classical Tibetan Buddhism. The Indian author is identified as Devākaracandra. The text was translated into Tibetan by Devākaracandra and cog ro ban+de shes rab bla ma, and it is preserved in the Tengyur, volume ཙི, where it is situated within the Other Skillful Means Tantras collection. Spanning five pages in this edition, the work enacts a process of deity yoga intended for the attainment of liberation. It guides the practitioner through the visualization of a sacred environment, including the establishment of a canopy, ground, and a maṇḍala characterized by specific seed syllables and colors. The practitioner is directed to transform their own identity into the deity Yamāntaka, who is visualized in the center of an eight-spoked wheel possessing six faces and six arms, holding implements such as a sword and a vajra-hammer. A scholar or serious reader consults this text today to examine the precise liturgical instructions for constructing the deity's environment and the specific meditative sequence used to visualize the form and attributes of the Enemy of Death.
Cite thisAnuvāda, “A Maṇḍala Sādhana of Six-Faced Black Yamāri” (Toh 2015), machine draft, 2026.https://naxiai.com/tibetan/works/toh2015
Summary & commentary
Significance
The text is significant as a representative example of the complex iconographic and ritual systems found in Indo-Tibetan Vajrayāna Buddhism. It illustrates the synthesis of Indian tantric origins and Tibetan translation efforts, specifically in the cultivation of wrathful deities to overcome death and spiritual obstacles.
Structure
Passages
Section
Description
1-2
Introduction and Preliminary Setup
Contains the title in Sanskrit and Tibetan, homage to Vajradhara, and instructions for visualizing the maṇḍala's perimeter and foundation.
3-4
Deity Visualization
Instructions for the practitioner to visualize themselves as the six-faced, six-armed Yamāntaka, including details on posture and ritual implements.
5-6
Mudrās and Maṇḍala Details
Descriptions of specific hand gestures (mudrās), seed syllables, and the placement of goddesses in the intermediate directions of the maṇḍala.
7-8
Practice Requirements and Colophon
Guidance on the concentration required for visualization, the prescribed number of recitations, and the names of the translators.
Themes
Deity Yoga and Self-Transformation (3-4)
Maṇḍala Construction and Sacred Geometry (2, 5-6)
Ritual Recitation and Mantra (5-7)
Iconography of Wrathful Deities (3-4)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Maṇḍala Sādhana of Six-Faced Black Yamāri·
In the language of India: Kṛṣṇayamārimukhaṣaṭcakrasādhana-nāma. In the language of Tibet: Gshin rje gshed nag po gdong drug pa’i ’khor lo’i sgrub thabs zhes bya ba (The Sādhana of the Six-Faced Black Yamāntaka). Homage to the Blessed One, Vajradhara!
Having bowed with devotion to the Guru, the Blessed Akṣobhya, I shall write this sādhana for the sake of attaining liberation.
Regarding that, first, the practitioner should be one who is intent upon the mind of awakening (bodhicitta), who is generous and free from the pride of learning, free from laziness and free from anger, free from avarice and free from guile, who has abandoned deceit and possesses clear insight, and who is single-mindedly devoted to the Mahāyāna.
In a place such as the bank of a great river, a remote borderland, a charnel ground, the foot of a tree, a wilderness, a hermitage, or the abode of a Mātṛ, one should strive in this practice of the Protector. If practiced elsewhere, this will not be accomplished.
Sitting on a comfortable seat, one should visualize a sun disk arising from the syllable A at one’s own heart, and upon that, the syllable HŪṂ. From that, light radiates out, summoning the Gurus and the Perfect Buddhas. One should perform the sequence from prostration and offering up to confession and dedication.
Through the stages of the immeasurables—love, compassion, joy, and equanimity—one benefits sentient beings. Then, one meditates on the essence free from conceptual elaboration, which is neither existent, nor non-existent, nor both, nor neither.
Śūnyatājñānavajrasvabhāvātmako ’ham. By abiding in that state, one should meditate on a sun disk arising from RAṂ, and upon that, a vajra arising from HŪṂ, which is of the nature of five points in every direction.
In its center, from the syllable HŪṂ, a vajra radiates in all directions, expelling obstructing spirits. One should definitely meditate upon the fence, the canopy, and the ground beneath it. Through the sequence of SAṂ and the vajra, I clearly visualize a white, upward-pointing triangle. From LAṂ, one should contemplate the yellow-green, square maṇḍala of earth. From VAṂ arises water; one should contemplate it as white and circular. From RAṂ arises the maṇḍala of fire; one should contemplate it as red and triangular. From YAṂ arises the maṇḍala of wind; one should definitely contemplate it as blue, bow-shaped, and adorned with banners. From BHRŪṂ arises a twelve-spoked wheel, and from BHRŪṂ at its hub arises the celestial palace, adorned with four gates, archways, a perimeter, and lattices and half-lattices. The palace is an eight-spoked wheel, perfectly encircled by a garland of vajras. One should meditate on it as possessing five walls and being provided with lotus and sun seats. To be visualized upon the central seat are the two sets of sixteen vowels (Ā-li), excluding Ka and the others; these are the seed syllables of the wheel and so forth. Those are the thirty-two moons. Above them are the two sets of seventeen consonants (Kā-li), excluding A and the others, but not excluding Ya and the rest. The third set of three and the fourth itself make forty, and twice that is eighty; these are the seed syllables of the nails, copper, and so forth, renowned as the suns. In their center are three, arising from the nature of HŪṂ and YA: the vajra, the mallet, and so forth, which are the discerning wisdom. Through their dissolution, there is the all-accomplishing wisdom, the purity of the dharmadhātu itself.
One should desire the self to be the Enemy of Death (Yamāntaka). Various ornaments reside upon the body. By uttering "Hrīḥ," the Blessed One appears in the center of the hub of an eight-spoked wheel. One should meditate that one's own self possesses six arms and six faces. The feet are likewise similar. In the first right hand is a vajra-hammer; the second right holds a sword. Likewise, the two left hands hold a noose with the threatening gesture in the first, and a pestle is firmly grasped in the second; the last [hands] hold a vajra and a bell. The upper face is black and extremely terrifying. The two feet are in the vajra posture, while the four feet abide in a dancing posture of extended and tucked legs. The lower body is wrapped in a tiger skin, and the lion-maned locks of hair are tied upward and bound at the crown with a garland of skulls. Radiant and amidst a chaotic mass of wrathful deities, he is endowed with various implements and marks. With a smiling face, he proclaims the sound of "Hrīḥ Ṣṭrīḥ" and firmly embraces Vetālī. He tramples upon the buffalo-headed Yama and his consort. Crossing the two forearms and forming the hook gesture with the two index fingers, one should snap the fingers and perform the summoning. OṂ VAJRA SAMĀJAḤ JAḤ. One should offer the water for the face and the water for the feet. OṂ ARGHAṂ PRATĪCCHA SVĀHĀ. PRĀVARA-SATKĀRA PRATĪCCHA SVĀHĀ. By means of the four [mudrās] such as the hook, one should perform the summoning and so forth. OṂ VAJRA AṄKUŚA JAḤ. OṂ VAJRA PĀŚA HŪṂ. OṂ VAJRA SPHOṬA VAṂ. OṂ VAJRA ĀVEŚA HOḤ. The hook is white in color; he stands with the left hand resting on the hip and the right extended.
The right hand holds a hook. The noose is blue in color; the left hand rests at the hip while the right holds the noose. He stands in the posture with the left leg extended. The chain is red in color; both hands hold the chain. He dwells in the earth-touching posture. The bell is green in color; the left hand rests at the hip while the right holds the bell. He dwells in the circular sitting posture. He assumes the attire of a wrathful yet graceful deity, exquisitely adorned with all the ornaments. He resides in the eastern gate and so forth, in successive order. Upon the tongue, from the syllable HŪṂ, one should meditate on the black Yamāntaka. He is consecrated with the mudrās of Vajrasattva and the others, and adorned by the five families. Having bound the vajra-mudrā, extend the middle fingers and form them like sprouts; this is the mudrā of the Sattvī. Placing it on the crown while reciting the mantra, the crown is marked by Vajrasattva. The thumbs are in the sattva-paryanka (crossed at the wrists); the index and middle fingers are joined at the tips. Slightly bending the two middle joints of the index fingers and joining them closely, this is the mudrā of Vairocana. Placing it on the forehead, one is marked by Vairocana. The middle fingers are formed like the shape of a jewel; this is the mudrā of the Ratna family. Placing it above the right ear, one is marked by Ratnasambhava. Forming the fingers like lotus sprouts and joining the tips of the two middle fingers, slightly angling them downward, this is the mudrā of Dharmavajrī. Placing it at the nape of the neck, one becomes Amitābha. From joining the vajra-palms, the two thumbs are joined evenly; at the third joint of the middle fingers...
Placing the tips of the index fingers behind, this is the mudrā of Karmavajrī. Placing them above the left ear is Amoghasiddhi. OṂ JINA JIK. OṂ RATNA DHṚK. OṂ ĀROLIK. OṂ PRAJÑĀ DHṚK. On the four spokes beginning with the eastern one, the four [afflictions] such as delusion are also present. They are white, yellow, red, and likewise the fourth is green. In the right hands, they hold a wheel, a blazing jewel, a lotus, and a crossed vajra; in the left hands, they firmly hold bells. Having blessed the eyes and so forth, one is protected by Mohavajrī and the others. One should perform the purification of the sense bases into emptiness. By means of the essence or the syllables of the name, the bodies endowed with the family mudrās are definitely generated. From generating the body, speech, and mind at the throat, forehead, and heart, the deities of body, speech, and mind enter one's own body and abide there. The blessing with mantra is: OṂ SARVA TATHĀGATA KĀYA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ SARVA TATHĀGATA VĀKA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA TATHĀGATA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. At the heart is the wisdom being identical to oneself; at his heart, upon a vajra, is the syllable HŪṂ surrounded by letters. Joining the palms of both hands, the two thumbs are placed firmly at the second joints of the tips of the middle fingers. Joining the tips of the index fingers behind—this is the samaya mudrā. One should bless the heart, forehead, and throat, and the forehead. OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ.
ADHIṢṬHA SVĀM / LOCANĀ HŪṂ / MĀMAKĪ TRĀṂ / PĀṆḌARĀ HRĪḤ / TĀRĀ ĀḤ / In the intermediate directions, one should clearly visualize the four goddesses born from LAṂ and the other syllables. They resemble the Lord and assume graceful postures. In the southeast is the white Lāsyā, seated in the sattvaparyaṅka with one leg extended, her two vajra fists resting at her hips, slightly inclined to the left. In the southwest is the yellow Mālyā, holding a string of jewels in her hand. In the northwest is the white Gītā, playing a lute while singing. In the northeast is the green Nṛtyā, performing a dance with both hands toward the directions. In the corners are the stacked offerings: Dhūpā is slightly inclined to the left; Puṣpā is green and performs a dance; Dīpā is red, with both hands raised upward offering a lamp; and Gandhā is green, with both hands applying perfume. These are generated by reciting the mudrās and mantras: placing the fists at the two hips, likewise touching the forehead, emerging from the mouth, and performing a dance. Touching with incense, scattering flowers, extending the thumb to touch one’s own body or others—these are the mudrās for generating and properly establishing the eight offering goddesses. LĀSYĀ MĀLE GĪRTI NṚTI / OṂ VAJRA DHŪPE / OṂ VAJRA PUṢPE / OṂ VAJRA ĀLOKE / OṂ VAJRA GANDHE / One should fully praise them with praises. Having blessed them like nectar, one should taste them with the center of the tongue, reciting their respective mantras. The terrifying syllable of the incense is...
Regarding the fourteenth [chapter], concerning the visualization:
Just as one visualizes [the deity] within the center of the sun,
Visualize [him] and, without distraction, be fearless.
One should perform the recitation in that very manner.
By reciting ten million times in full,
There is nothing among the infinite activities that will not be accomplished;
Everything is accomplished by that.
Even by reciting one hundred thousand or one million times,
The subtle activities will be accomplished.
With a mind that does not wander elsewhere,
One should perform the recitation in such a way.
If the mind wanders to other objects,
Even if one recites for an eon, no result will be produced.
OṂ HRĪḤ ṢṬRĪḤ VIKṚTĀNANA HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ.
By combining this with the "fourteenth" [mantra] and the spirits,
One should offer the torma.
HI HI HI HŪṂ | PHEṂ PHEṂ PHEṂ SVĀHĀ.
Thinking of going for the sake of sentient beings,
One should perform the offerings, praises, and tasting of the nectar.
At the end of the three [mantras of] reality, with MUḤ,
The [deities] return to their natural state and the generation is withdrawn.
One should ask for forgiveness and make supplications,
And perform the dedication and the aspiration prayers.
Furthermore, as for the actual meditation:
Whatever comes into the path of the senses,
I should view it as being of that very nature.
Without practicing [ordinary] meditative concentration,
One should meditate with the mind everywhere.
Whether rising, lying down, bathing, or eating,
One should be diligent.
Although there is nothing to be added or removed,
This has been condensed for the sake of those of inferior intellect.
By this merit, may all beings
Be liberated from their bonds.
The Concise Sādhana of the Wheel of the Glorious Black Six-Faced Yamāntaka, composed by the master Devākaracandra, is complete.
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.