Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This technical manual provides a precise geometric and ritual guide for the construction of a maṇḍala, specifically focusing on the 'laying of the lines' (thig gdab pa). The text functions as a prescriptive commentary on a concise sūtra, detailing the mathematical proportions, cardinal orientations, and physical tools—such as cords and wooden measures—required to establish the palace of the Tathāgata. It argues that a rigorous adherence to these spatial dimensions is essential for the ritual's efficacy, applying these standards across various tantras, including the Tattvasaṃgraha. The author commits the reader to a systematic process of demarcation, moving from the establishment of the outer boundary and the 'Brahmā-line' to the intricate placement of architectural elements like door-surrounds, archways, and symbolic ornaments. By integrating geometric precision with iconographic requirements, the work transforms a physical space into a sacred environment, culminating in the placement of deities and symbolic landscapes such as the Bodhi tree and celestial lakes.
Provenance
About this text
A commentary on the concise sūtra for laying the lines of the maṇḍala, the Saṃkṣiptamaṇḍalasautranāmavṛtti provides a technical guide for the geometric construction of the palace of the Tathāgata. The work is attributed to the Indian author Śraddhākaravarman. It was translated into the Tibetan language by Śraddhākaravarman and dge slong rin chen bzang po, and is preserved in the Tengyur (vol. རི) within the Yoga Tantra Treatises collection. Written in classical Tibetan, the work spans seventeen pages in its source edition. The text enacts a prescriptive ritual process, detailing the precise demarcation of space through the use of marking cords and the identification of the four cardinal and four intermediate directions. It argues that these spatial standards are applicable across various tantras, including the Tattvasaṃgraha. A scholar or serious reader consults this manual today to understand the rigorous mathematical proportions and physical tools required for the ritual efficacy of maṇḍala construction, specifically the process of thig gdab pa, or laying the lines, to ensure the correct architectural placement of the deity's residence.
Cite thisAnuvāda, “A Commentary on the “Concise Exposition on the Lines of a Maṇḍala”” (Toh 2506), machine draft, 2026.https://naxiai.com/tibetan/works/toh2506
Summary & commentary
Significance
The work is significant for its role in preserving the precise architectural and geometric standards of Indo-Tibetan ritual art. It demonstrates the intersection of mathematics and spirituality, where the physical accuracy of the maṇḍala is viewed as a prerequisite for the practitioner's realization of the deity's palace.
Structure
Passages
Section
Description
1-7
Preliminary and Geometric Foundations
Includes homages and instructions on establishing cardinal directions and the initial marking of the maṇḍala site using cords and wooden measures.
8-11
Architectural Demarcation
Details the division of the Brahmā-line into squares and the specific measurements for door-surrounds, walls, and archways.
12-19
Symbolic Ornamentation
Describes the placement of the Dharma wheel, parasols, banners, and the concentric circles adorned with garlands of vajras, jewels, and lotuses.
20-23
Environmental and Ritual Completion
Covers the placement of offering goddesses, the depiction of the Bodhi tree and lakes, the authorship of the text, and the final dedicatory merit.
Themes
Geometric Precision and Measurement (3-6, 8-11, 16)
Ritual Architecture and Iconography (9-13, 17-21)
Tantric Universality (2, 14)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Commentary on the “Concise Exposition on the Lines of a Maṇḍala”·
In the language of India: Saṃkṣiptamaṇḍalasūtravṛttināma. In the language of Tibet: Dkyil ’khor gyi thig gdab pa’i mdor bsdus pa’i ’grel pa (A Commentary on the Concise Sūtra for Laying the Lines of the Maṇḍala). Homage to Mañjuśrī Kumārabhūta!
In this regard, first of all, one engages in the composition of the treatise preceded by homage to the Blessed One. This is because, in all compositions of treatises, the noble ones invariably perform homage to their chosen deity at the very outset. Therefore, the words "pure" and so forth are stated. In that context, "pure" means being free from the defects of attachment and the like. That very [purity] is the "nature," which is the essence of the dharmadhātu; thus, "stainless by nature" means being free from the stains of the afflictions along with their habitual tendencies. That very [nature] is called "great bliss." "Bliss" refers to the essence of the unchanging dharmadhātu, which is naturally luminous and characterized by the emptiness of all things. The word "great" is a term of veneration, because it is to be honored with both mundane and supramundane offerings.
Having thus offered praise by way of the three bodies (kāya), one performs homage: "stainless by nature" refers to the dharmakāya; "great bliss" refers to the saṃbhogakāya; and "pure" refers to the nirmāṇakāya.
Having prostrated and bowed with body, speech, and mind to such a Blessed One, the meaning is that one shall explain and demonstrate the "laying of the lines for the maṇḍalas common to all tantras"—that is, the Tattvasaṃgraha and so forth—which clarifies the palace of the Tathāgata.
Now, in order to demonstrate the excellence of the location, it is said: "The ground, level and pleasing," and so forth. The "ground" is the site; it should be perfectly level, meaning even in all four directions. For that very reason, it is "pleasing," being delightful as it is endowed with nearby trees, water, and so on. Furthermore, it is said: "In width, twice the maṇḍala." If one is constructing a square maṇḍala or the like, the site of the maṇḍala should be eight cubits in width and so forth. Furthermore, it is said: "Well-sprinkled with fragrant water," which means it should be anointed with water that is extremely fragrant, such as camphor and sandalwood. "Purified by mantra" means that one should first recite the mantras for the preliminary stages of the maṇḍala ritual, such as the "taking possession of the site," to purify and consecrate it. "Exceedingly beautiful" means it possesses excellent qualities.
If one asks what should be done in such a location endowed with these qualities, it is said: "Having known the directions to be equal in front," and so forth. This refers to the directions of Indra, Yama, Varuṇa, and Kubera.
One should understand the four cardinal directions—east, south, west, and north—and the four intermediate directions—fire, nairṛti, wind, and īśāna—as being equal and identical, and then strike the lines. If one asks what kind of characteristics the lines must possess, the text says "the marking cord" and so forth. If one asks with what one strikes the lines, it is with the line. If one asks what its characteristics are, it says "twice the size of the maṇḍala," meaning its length is twice the measurement of the maṇḍala. Likewise, it says "on ground that is very fresh and moist." It is "very fresh" because it has not been used for any other maṇḍala. It is "moist" because it has been moistened with water consecrated by the mantra of all activities. "The wise one" refers to one who knows the ritual procedure for striking the lines; such a person should strike the maṇḍala lines exactly and without error. This teaches the following: for a maṇḍala that is square and so forth, the length should be twice that, or eight cubits. Likewise, if one is making a maṇḍala of eight cubits and so forth, it should be sixteen cubits; one should strike the lines with a cord that is smooth, without knots, well-twisted, and equal in thickness to one-twentieth of the door. Now, in order to teach the ritual procedure for striking the lines beginning from the second Brahmā-line, the text says "the master facing east" and so forth. In the previously described location, the master—the guru—faces east, and the disciple—the practice companion—faces west.
Thus, facing the western direction, both should stand in a harmonious stance. Extending the cord and holding it with vajra-fists, they should stretch and lengthen the cord so that a mark is established in the middle of the two intermediate directions of Ishāna (northeast) and Agni (southeast), held by the student’s fist. The preceptor, holding a mark in the middle of the two directions of Nairṛti (southeast) and Vāyu (northwest), places the vajra-fists on the ground. Having placed them on the site of the maṇḍala, the first Brahmā-line should be struck.
With respect to the second Brahmā-line, it is said: "That line by eight maṇḍalas." This refers to the previously struck Brahmā-line being [divided] by eight maṇḍalas, which is the measure of however many maṇḍalas one intends to construct. Alternatively, it is said: "Having divided it into four equal parts." This means that the former [line] should be divided into four equal segments. Having divided it in that way, regarding the phrase "the two ends of those four clearly divided parts," the two parts of the east and west are to be discarded—that is, they are unnecessary and should be set aside. Then it says: "One should make the measure of the two middle [parts]." This means that one should make the measure of those two middle parts which are joined to the center, and having prepared a piece of wood that is smooth and straight of that same measure, one should proceed according to the sequence explained below for the boundaries of the second Brahmā-line.
Regarding the phrase "equal in the center" and so forth, from as much wood as is available that is not crooked, [the length] should be half the measure of the maṇḍala in width.
Having carefully planed and fashioned it to be equal in width to one small unit (aṃśuka), one should place it without changing the two central parts as previously explained. Facing east from the west, one should hold the wood firmly with the left hand and, holding it as before with the right hand, keep the left hand motionless. Then, by dragging the tip of the wood held in the right hand toward the direction of Vaiśravaṇa, one should draw a line on the ground. Likewise, holding it firmly without moving, one should draw a line toward the south, the direction of Yama.
Having done that, one should stand up and, likewise facing west, place the wood in the center as before. Holding it firmly with the left hand, one should first draw lines from the south and north as before using the tip of the wood held in the right hand, and then draw two lines meeting at the center. If one asks what the result of doing this is: by that, two crow’s footprints will be formed in the south and north directions. Regarding the phrase "at the junction of the two crow’s footprints," this refers to the junction where the two crow’s footprints were made in the north and south directions, the place where the two lines were drawn. "The second Brahmā-line should be struck" means that the second Brahmā-line, extending from north to south, should be struck as before.
Having thus struck the second Brahmā-line, in order to demonstrate the ritual for equalizing the four corners, the text says "half of the Brahmā-line." This means by the measure of half the Brahmā-line.
Having measured and marked the boundary of the Brahmā-line with a piece of wood half the size of the maṇḍala, one should make four crow’s-foot marks and measure the dimensions of the four directions—starting from the direction of Indra (the east) and so forth—to ensure they are equal. Following that, regarding the phrase "the four corners" and so on: having done so, one should then strike the lines for the four corners, meaning the lines should be struck at the junctions of the four crow’s-foot marks.
If one asks by what sequence this is done, the text says "north and south" and so forth. First, the master should stand in the direction of fire (the southeast), face north, and strike the line toward Indra, which is the east. Then, standing in the direction of wind (the northwest), he should face south and strike the line toward Varuṇa, which is the west. Remaining in that same spot, he should face east and strike the line toward Kubera, which is the north. Then, again standing in the direction of fire (the southeast), he should face west and strike the line toward Yama, which is the south.
Having thus struck the four lines of the four sides, one should measure each side again. If, after measuring, they are perfectly equal and the parts are balanced, then one should subsequently strike the two intermediate (diagonal) lines. If one asks how to strike them, the text says "the consumer of offerings" (Agni) and so forth. First, the master should stand in the direction of the consumer of offerings (the southeast) and strike the intermediate line; then, standing in the direction of the rākṣasa (the southwest), he should strike the second intermediate line.
In all instances, the one holding the cord should look toward the master, and both the master and the one holding the cord should proceed by circling to the right. By doing so, a maṇḍala with four corners and four lines is formed; this explains how the site of the maṇḍala is established according to whatever dimensions are desired.
Now, in order to demonstrate the division of the great sections of the sides, the text says "thereafter" and so forth. "Thereafter" means immediately following that which has been done. Regarding the term "mantra practitioner," it refers to the wise Vajra Master who, possessing perfect insight, should "divide the parts of the four sides," meaning the parts of each of the four sides should be individually divided.
Regarding the phrase "each one," and so forth: for each side, when laying the lines, one should divide it into sixteen great sections. Furthermore, having divided each great section into sixteen [smaller] parts, one should mark them. Then, "perfectly level" means that they have been measured very well and made equal. "Pleasant" means beautiful and clear. "The individual parts should be divided" means that each great section should be divided into four small sections.
If one asks how they are to be divided, the text says "the first," and so forth. One should count from the great section behind the central Brahmā-line and proceed in all directions. Furthermore, starting from the first, or one, one should set aside the second, third, and fourth.
Likewise, for the fifth, sixth, seventh, and eighth [sections], up to the great square situated at the corner of the side, one should properly divide and demarcate each into four small squares. Having thus divided one side of the Brahmā-line, because the second side of the Brahmā-line is to be treated in the same manner, it says: "The other eighth should also be divided likewise." This means that the eight [sections] on the second side of the Brahmā-line should also be divided in accordance with the previous method. Having thus divided [the grid] equally and symmetrically in the four directions, one should subsequently and properly strike the lines.
If one asks how the striking of the lines results in a grid, it is shown by the passage beginning: "In this, each row or grid cell..." Here, "in this" refers to what is directly perceived. "Each row or grid cell shall become fifty-eight" means that for each row of lines struck, there will be fifty-eight [cells]; in total, one should know there are five thousand four hundred grid cells.
To show the striking of the lines for the locations of the five-colored designs, it says: "From the Brahmā-line..." and so forth. Starting from the first Brahmā-line, on both sides—that is, on the opposite edges—one should strike lines by dividing into five parts in each of the four directions for the sake of the five designs, counting the small squares: the third, and likewise the fifth, the fourteenth, the seventeenth, and the twentieth. These are to be divided into five parts each.
If one asks what the purpose of laying out the lines is, the text states "the door-surround" and so forth. The third [line] becomes the door-surround; likewise, the fifth becomes the side-wall; the fourteenth becomes the face; the seventeenth becomes the base; and the twentieth becomes the excellent lintel, which is the upper portion of the door. This sequence of lines previously explained is common to all the kings of tantras without exception, such as the Tattvasaṃgraha. The meaning is that the laying out of the lines has been taught and explained here in a concise and abbreviated manner.
Once the lines have been laid out in that way, what should be done? Following that, they must be erased according to the proper method. To show that method, the text states: "The wise one, beginning from the door, should erase." Here, "the wise one" refers to a master of great insight; he should first count from the door and erase [the lines], making them invisible. If one asks how they should be erased, it says: "Erase them very evenly and clearly." This means that the abodes of all the deities, such as the doors and so forth, should be erased evenly and clearly. "Very evenly" means equal to their respective dimensions, and "clearly" means distinguishing the particulars and making them manifest. If one asks what the measurement of the door is, it says: "The door is one-eighth of the wheel." Here, "of the wheel" refers to the eight great equal units situated within the lines of the five side-patterns.
In the center of that, adorned with the Brahmā-lines, one should open the door to the measure of one large part (mahābhāga) out of the eight parts. Regarding the phrase "together with the upper arch" (sapuṣpaka): it should be opened evenly and clearly in the center, together with the upper arch above and the side walls. Regarding the phrase "door-enclosure" (toraṇa) and so forth: the door-enclosure is to be made as a veranda (prākāra); it should be opened to a width of twelve parts, and its depth is described as: "As far as the interval between the two door-enclosures, the veranda portion should be extended." This means that a veranda should be constructed, well-encircling all four directions, reaching as far as the end of the door-enclosures of the two doors; this is the meaning of "extended." Starting from the outside of the door-enclosure, it should be adorned with the veranda. Regarding the phrase "the walls" (prati) and so forth: the "jewel frieze" (ratnapaṭṭikā) is a garland of gems; it should be drawn with a width of one small part (aṇu) behind the door-wall, connected to the very portion of the wall. To indicate the location of the lattice (jāla) and half-lattice (ardhajāla), the phrase "outside the side" is used; this should be made with a width of two small parts outside the side of the door. Regarding the phrase "behind the side" and so forth for the purpose of making the pillars: this refers to the other portion behind the side, which is one part higher than the previous one, situated at five small parts, and resting firmly on the lower belly of the veranda's back. "Inside the archway" (toraṇāntaḥ) means that the tops of the pillars should be joined to the inner lines of the archway. To indicate the location of the archway:
Regarding the passage beginning with "From the upper arches of the archways," and so forth: from the upper arches of the archways—that is, from the upper portion of the gate—one should omit one part. Having omitted one small unit (aṃśu) of the outer portion, it should be established; in width, it should be one large unit (mahā-aṃśu), and in length, it should be the measure of four large units.
Regarding the phrase "It shall be just like the stairs and so forth": it should be made into whatever specific shapes are designated by names such as "stairs" and so on. Furthermore, it should be made as beautiful and pleasing as possible. This means that the archways should be adorned with any of the following: those resembling stairs, the "elephant's back," the "gambhīra," the "bhalavi," the "bhaṅka," the "srikarṇa," the "makara," the "vīti," the "danti," the "garlanded," the "umbrellaed," or those adorned with vidyādharas and birds such as swans. This is the meaning.
In order to place the Wheel of Dharma (dharmacakra) atop the archway, the passage beginning with "one part of the archway" is stated: the lotus seat, relying on the upper part of the archway, should be established with a length of one small unit and a width equal to the Wheel of Dharma. As for that Wheel of Dharma, its dimensions should be two small units in both length and width, and it should be made with eight or twelve spokes. One should understand that the dimensions of that twelve- or eight-spoked Wheel of Dharma are one small unit in both length and width.
Above the wheel of Dharma, a parasol should be made. As for its dimensions, it should be one small unit in height; of that, half a small unit is the parasol and half is the handle. To explain the two deer, the text says "on the two sides of the wheel" and so forth. On the two sides of the wheel of Dharma—the right and left sides—directly opposite, two deer, specifically two black antelopes (kṛṣṇasārika), should be placed equally and symmetrically. How are they positioned? It says, "resting on the pediment, facing the wheel." This means they are positioned resting on the upper part of the pediment, and should be drawn sitting and facing toward the wheel of Dharma. How far apart should they be positioned? It says, "neither too close nor too far," meaning the space between the wheel of Dharma and the two deer should be separated by one small unit. To explain the handle with a vajra and jewel, the text says "vajra and jewel" and so forth. This refers to a staff marked by a vajra and a jewel. Regarding the dimensions, as stated in the phrase "of that measure" and so forth, the height and width of the deer are two small units. Furthermore, one should rest [the handle] on the outer line, omitting one part of the deer's back. The lower part of one small unit is made into the handle, and of the upper part of one small unit, half is made into a jewel and half is made into a vajra. To explain the banners, the text says "banners with bells" and so forth: "possessing banners and bells."
Regarding this, the former masters maintain that a single banner is attached to the handle of the supreme vajra jewel, from which a bell hangs and rings, while a second banner is attached near the top of the pillar at the edge of the archway (toraṇa). In this way, banners should be beautifully arranged on both sides of the archway. Furthermore, they should also be attached to both sides of the junctions on the outer edge of the bands of lattices and half-lattices. Calculating all of these together, twenty-four banners are to be attached to each maṇḍala. Here, the banners are merely illustrative; the maṇḍala should also be adorned with various excellent and beautiful divine offering substances as appropriate, such as vajra victory banners, multi-colored silks, jewels, and flower garlands.
Furthermore, regarding the phrase "from the sides," this refers to the lines of the deity platforms—the locations for the deities—situated within the five-colored drawings at the four corners, specifically at the respective intermediate directions such as the southeast. These are made to the measure of one large unit (mahā-aṃśa). In some tantras, the locations for the individual deities must be made with three lines; in some maṇḍalas, they must be made with five deity locations; and in some, they must be made as one. One should arrange the deities in accordance with whatever the Blessed One has taught.
Now, in order to show that this is common to all those rituals, it says "this is," and so forth, referring to what was just mentioned: "This is of all the tantras..."
This [instruction] is common to all the tantras without exception, such as the Tattvasaṃgraha, and there is nothing to be done differently in each. The phrase "the drawing of the lines is excellent" means that the laying out and dividing of the lines are well-executed and clear. If one asks, "What then is the specific distinction?" it is stated: "within this," and so forth. Having previously laid out the lines and performed the divisions, within the interior of the sides—which possess four gates and four archways—there is this maṇḍala adorned with the abodes of the deities. "Within this" refers to the interior of the lines of the deity platforms. At the four corners, where there are six large sections on all sides, the shape of that which resides there appears in various ways in many of the kings of tantras concerning the manner of the inner maṇḍala. Therefore, it is differentiated by the specific distinctions of each respective tantra. Consequently, one should understand and realize all of these clearly and completely from those very sources, and then establish them with certainty, free from addition or omission. Alternatively, the phrase "without addition or omission" means establishing the certainty that in this, my own treatise, there is no superfluous addition that is unnecessary.
Now, in order to show the emergence of the Vajradhātu maṇḍala from the Tattvasaṃgraha and its inner maṇḍala, it is stated: "the Tattvasaṃgraha," and so forth. "The Tattvasaṃgraha" is the name of the tantra, because it is designated by the title "The Compendium of the Suchness of All Tathāgatas."
Regarding the phrase "of the Root Tantra," it is because this very [text] is like a subsequent yoga tantra. Regarding the phrase "is to be explained," it is a commitment to the statement, "it shall be taught." If one asks what its dimensions are, it says: "Upon the lines of the deity’s ledge, a wheel of joined petals is most beautiful." This means that upon the lines within the ledge of the deity’s abode, a wheel of joined and touching petals—the wheel of the inner maṇḍala—should be made extremely beautiful and proportionate. Furthermore, it says: "In accordance with the tantra," meaning it should be done exactly as the Blessed One spoke in the tantra and so forth. That itself is: "Possessing the five maṇḍalas and clear." This refers to the Buddha maṇḍala, the Vajra, the Jewel, the Lotus, and the Action maṇḍalas; the maṇḍalas of the five Tathāgatas should be made clear and manifest in the center and the four directions, such as the east, within a circle.
Following that, in order to show the classification of the maṇḍala, it says "of the former" and so forth. In that sequence of the ritual for the lines explained previously, once the drawing of the lines for the subtle classification has been performed clearly and completely, one should divide and encircle it with the application of the maṇḍalas of the five Tathāgatas. Regarding the phrase "of the deity’s ledge" and so forth, having applied and touched the inner lines of the first deity’s abode, one should first encircle it with a single circle.
Immediately following that, the second inner circle should be drawn by circling one small unit (aṃśu) from the interior of the previous one. Regarding the space between those two circles—that is, the area between the two mutually facing circles—it is not fixed at twenty-two small units; rather, one should know and understand that this location is the site for the five supreme maṇḍalas. This is because it is taught that the Buddha maṇḍala is to be constructed in the center.
Regarding the phrase "from the Brahmā lines" and so forth: from both sides of the central Brahmā line—namely, to the right and left—one should circle three small units and draw a circle. Furthermore, inside that circle, a second circle should be drawn with a measurement of half a small unit. Regarding the phrase "those two" and so forth: between those two previously drawn circles, the central space, which is one large unit plus a quarter and a small unit, should be known as the maṇḍala of the Tathāgata.
Regarding the phrase "the five" and so forth: that maṇḍala is situated in five locations—the center and the four directions. Upon a variegated lotus, a moon should be drawn; with the full moon, the center and the four directions, such as the east, should be adorned. As for what such a maṇḍala is: it is the Buddha maṇḍala itself, the maṇḍala of the Blessed One Vairocana; therefore, it should be perfectly endowed with a garland of wheels.
The meaning is that between the two circular lines, the perimeter should be adorned with a garland of wheels. Having thus explained the maṇḍala of the Buddha, in order to construct the maṇḍala of the Vajra family in the eastern section, the text says "similarly" and so forth. "In the eastern section" means that to the east of the central maṇḍala, a maṇḍala equal in size to the central one should be made for Akṣobhya. "Having discarded one and a half small units" means that one and a half small units are discarded and left out from the maṇḍala of Vairocana. "Circle it likewise from the Brahmā-line" means that from both sides of the Brahmā-line, one should circle and form a mandala at the positions of three small units each. "Inside, one should circle from half a unit" means that inside the previously drawn circle, a second circle should be drawn with a measurement of half a small unit. Inside that as well, as before, one should understand there is a moon maṇḍala upon a variegated lotus. Regarding "likewise" and so forth, it refers to the locations in the four directions: east, south, west, and north. "The Akṣobhya maṇḍala and so forth" refers to Akṣobhya, Ratnasambhava, Amitābha, Amoghasiddhi, and the others. "The maṇḍalas" means that the five equal locations should be made circular. "Adorned with garlands of vajras, jewels, lotuses, and crossed vajras."
Regarding the phrase "thus it is said," these maṇḍalas should be adorned between two lines by being encircled, respectively, with garlands of vajras, garlands of jewels, garlands of lotuses, and garlands of crossed vajras. According to the systems of certain other masters, it is also mentioned that there should be what is called a "vajra fence" and so forth; however, as stated above, in the maṇḍalas of the Buddhas and others, one should not encircle them with garlands of wheels and the like. Some earlier masters explain that all five maṇḍalas should be adorned with a vajra fence because it is exceedingly beautiful. This is indeed logical; since this is the maṇḍala of the Vajradhātu, for that reason the system of that master is the most supreme and should be adopted.
Regarding the phrase "just as," the meaning is that just as the central maṇḍala of the Blessed One Vairocana, the lord of the central maṇḍala, is adorned with lotuses and moons, so too should the others be adorned with lotuses and moons. Regarding the phrase "in the squares," in the squares of the Tathāgata maṇḍala, between two maṇḍalas, there is a space of one and a half small units—that is, a measurement of one and a half small units. In the four directions of the central maṇḍala, one should construct eight pillars, each marked with a half-vajra at both ends, having a height and width equal to their own measurement.
Furthermore, by the meeting of the tips of the vajras one with another, the four corners of the intermediate directions are formed. Regarding the phrase "the maṇḍala" and so forth: outside the four maṇḍalas, at the back, one should omit and set aside half a small unit (ardha-pradeśa), and between the two previously established circular enclosures, a vajra garland should be drawn; this is the meaning. Regarding the phrase "at the intermediate directions" and so forth: at the intermediate directions of the inner maṇḍala—specifically between the maṇḍalas of Akṣobhya and Ratnasambhava, and likewise between the maṇḍalas of Ratnasambhava and Amitābha, between the maṇḍalas of Amitābha and Amoghasiddhi, and likewise between the maṇḍalas of Amoghasiddhi and Akṣobhya—at those four locations such as the southeast corner and so forth, one should draw circular enclosures corresponding to the dimensions of their respective positions. In the center of these, they are to be adorned with variegated lotuses and moons; this is the meaning. Regarding the phrase "therein" and so forth: in those four intermediate locations, the inner offering goddesses—namely Vajralāsyā, Mālā, Gītā, and Nṛtyā—should be placed. The phrase "the central maṇḍala of the Tattvasaṃgraha" refers to the central maṇḍala of the King of Tantras known as the Śrī Tattvasaṃgraha, meaning the inner palace of the Tathāgatas.
"The four outer goddesses, incense and so forth, are to be drawn in the outer intermediate directions," means that the four outer offering goddesses—Vajradhūpā, Puṣpā, Dīpā, and Gandhā—are to be drawn in the four intermediate directions, such as southeast and so forth, on the outer ledge. "The Bodhisattvas are to be arranged accordingly" means that the Bodhisattvas of the retinue, the Fortunate Aeon, are to be drawn; they are to be arranged within the previously explained sides, each in four deity positions. "In the gates, the gatekeepers are to be drawn" means that in the four gates, east and so forth, the four gatekeepers—Vajrāṅkuśī, Pāśī, Sphoṭā, and Ghaṇṭā—are to be drawn. Furthermore, regarding "the exterior" and so forth: in the center of the two circular outer ornaments of the previously explained four gates and four archways, a vajra garland—that is, a vajra fence—should be made clear and beautiful. If one asks what its measure is: "Half the measure of a large square," meaning it should be about two small squares or as much as is appropriate. "The garland of flames is also that measure" means that outside the vajra fence, a garland of blazing fire-light should be made equal in width. "The exterior is adorned with trees and so forth" means that on the exterior, in the places of the intermediate lines and so forth where the eight Brahmā-lines have been struck, such as the east, there are the pātala tree, the puṇḍarīka, the sāla tree, the śiṃśapā, and the udumbara.
It should be adorned with mango trees, aśvattha trees, nāgakesara trees, flowers, and so forth. Between the two trees, it should be adorned with lakes, ponds, and flowers such as utpala, padma, kumuda, and puṇḍarīka. Above that, it should be made beautiful, as if the sounds of swans, ruddy geese, kalaviṅka birds, and others are resounding. Regarding the phrase "half and half within that," the twenty-four small units (aṃśuka) constitute the inner maṇḍala. In the maṇḍalas of the Māyājāla and others, it is taught that the interior is to be divided; in that case, those twenty-four small units are each divided into half and half, making two parts. Likewise, for the third, fifth, seventeenth, twentieth, and twenty-third [units], these five are each divided into three parts of the lines, and three lines each should be made, but five lines each should not be made. This is because the outer lines are to be made with the five colors, whereas the inner lines are to be made as three. Having done so, between the four gates, the various sequences of the second, third, fourth, fifth, seventh, and so forth maṇḍala levels are to be performed. This is for the purpose of the Vajra Master himself, with a mind of extremely peaceful insight, to analyze and complete [the maṇḍala] according to the divisions of the tantras. Now, in order to summarize: "Ratnabhadra to Vīravajra," and so forth, is stated. If one asks for whose sake this was composed, it is for Ratnabhadra.
Because he who possesses the excellent name Ratnānta composed this in the proper manner. To whom was it composed? To Vīravajra; the name given at the time of empowerment was Vīravajra, and it was for the master Śraddhākaravarman. How was it composed? It is stated: "Having supplicated many times with faith and devotion." This means that with faith and interest in the conduct of Secret Mantra and the activities of the maṇḍala, and with devotion to the guru, he supplicated many times. For what purpose was it done? It is said, "out of compassion," meaning that out of compassion for his own disciples and for sentient beings, the master abandoned the "teacher's fist" (the withholding of knowledge). What was done? It is said, "the ritual of the lines was made clear," meaning that following the master Mañjuvajra of Maṇidvīpa, it was made clear and unerring. "May the holy ones forgive me for any faults" means: "May the holy ones—the masters such as Mañjuvajra and others—forgive me for this concise ritual of laying the lines composed for the sake of excellent disciples." In order to dedicate the merit, it is stated: "The supreme merit of having composed this," and so forth. From having performed the ritual of laying the lines explained above, whatever stainless, supreme merit is obtained, "may that become the accumulation for enlightenment." Enlightenment is the wisdom free from obscurations.
By means of this ritual, one brings [the practice] to completion. Through whatever merit is obtained by becoming such as that, may all sentient beings without exception who belong to the six realms of existence be personally established as the Lord of the Maṇḍala, Vairocana.
May the world achieve the state of a Vajradhara through the exposition here of this work: the manual for drawing the maṇḍala, which is extremely cherished and concealed, belonging to the peaceful Buddha who knows the ten suchnesses of qualities, according to the tradition of the supreme Guru, the Abbot of Oḍḍiyāna.
This concludes the commentary on the ritual for laying the lines, composed by the Vajrācārya Śraddhākaravarman, born in the land of Kashmir, at the request of the monk Rinchen Zangpo, born in the land of Tibet.
It was edited and finalized by the Indian Abbot Śraddhākaravarman and the chief editor-translator, the monk Rinchen Zangpo, according to the new linguistic reforms.
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.