Tantric Texts Series 07 Shri Chakrasambhara Buddhist Tantra Arthur Avalon 1919

TANTRIK TEXTS
SHRICHAKRASAMBHARA
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TANTRIK TEXTS.
UNDER GENERAL EDITORSHIP OF ARTHUR AVALON.
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T ANTRIK TEXTS
UNDER GENERAL EDITORSHIP

OF
ARTHUR AVALON
VOL. VII
SHRICHAKRASAMBHARA TANTRA
A BUDDHIST TANTRA
EDITED BY
KAZI DAWA-SAMDUP
LUZAC & CO., LONDON

THACKER, SPINK & CO., CALCUTTA
r9x9
rRINTED BY
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CALCUTTA

FOREWORD.
.
... I~·was !11Y intention in starting this Series of Tantrik
~ ..
T~ts ;to include therein specimens from all the various
sc~ooJ of .Agama, Vaishnava, Shaiva, Shakta and
Bauadha. For, whatever may be the difference as
regards doctrinal and ritual details, there are marked
similarities in spirit, general outlook, and method
between all the Agamas; and though, as I have often
said, the use of the phrase " the Tantra " is vague and
incorrect, an examination of the Tantras of the Agamas
of differing schools do enable us to extract therefrom
certain common features which, when found in any work,
enables us to describe it as being of a " Tantrik "
character. The inclusion therefore of Tantras of varying
schools in this Series will establish this point. So a
coming volume will contain a Tantrik Prakarana of the
Kashmir School called Kamakalavilasa. The Buddhh.
Demchog Tantra here printed is the first Buddhist
Tantra to be published, and the first to be translated into
any European tongue.
As in the case of the Indian Tantra, the Buddhist
Tantra has suffered neglect. In both cases one of the
reasons has been the great difficulties of the work.
Nevertheless, as in the case of the Indian Tantra,
a very imperfect knowledge and understanding of the
subject has not stood in the wa;,7 of adverse and absurd
judgments. Thus, when speaking of the doctrinal theories
of the great saint and poet Milarepa, it has been said,
a
[ iv ]
the italics being mine (" Tibet and the Tibetaf:ls ,.
' .
by the Rev. Graham Sandberg, 260): '' As is' invariably
the case in Buddhist philosophical statements, vt;:ere•.we
to quote here (as we do later) these enunciations,·~ey
would be found to contain no real recondite wisdom,
nor even any scheme of metaphysics and moraUty which
could be _dignified with the title of an ethical system.
They are, mostly, mere pretentious phrases which have
little consistency, and the profundity is only apparent
and will not bear analysis. There is nothing ennobling to
the individual, or calculated to make the world better ;
or even, in the Buddhist sense, less steeped in misery,
in the doctrines of sublime vacuity and indifference to
all earthly claims with which Buddhism, whether Indian
or Tibetan, occupies itself. It is essentially the religion
of phraseological terms and onomato-poetical positions.
Even the universal philanthropy preached becomes
degenerate when it would condescend to practical indi-
vidual exercise." Though perhaps this is an extreme
statement, many other Western authors expatiate on the
"meaningless" " charlatanism" and "degeneracy" of
Northern Buddhism. When will they learn, in this as
in other cases, not to discredit common humanity by
supposing that any large body of men have devoted
themselves throughout the ages to "meaningless"
doctrines and practices I If they are meaningless to them,
it is because they do not know the meaning. And what
is yet known of the Buddhist Tantra ? Very little
indeed. Religious prepossessions will naturally assign to
the critic's own religion (if he have one) a superior worth;
for if he did not believe it superior to all others, he would
not presumably follow it. Racial prejudice often grudges
to the Asiatic the possession of any real merit, much less
[ V ]
superiority over Western theories of life. Nevertheless

the true spirit of scholarship will endeavour to be just,
and if any doctrine or practice is not understood, it is
better and safer to admit this ignorance than to allege
meaningless and absurdity-a charge which often implies
nothing more than irritation in the face of what is not
understood. We are, many of us, too disposed to hold that
what we cannot understand has no meaning at all. That
is because we over:flatter both our abilities and know-
ledge. It is surely the acme of absurdity to deny that
Northern Buddhism has any scheme of metaphysic, when
it has developed some of the most subtle and logically
welded themes which the world has ever known ; or to
deny that it has an ethical system, seeing that Buddhism
as also Brahmanism have produced the most radical
analysis of the basis of all morality and have advocated
every form of it which any other religion has affirmed to
be of worth. It is a commonplace however, which is
nevertheless to be remembered, that in all religions
there is a mass-religion suitable to the less developed
minds of the majority of the community and the religion
of the highly educated, the spiritually developed, and the
sages. Even present-day Christianity, which prides
itself on havmg no esoteric teaching, shows those differ-
ences which we might naturally expect when minds
differ in both capacity and knowledge. There is thus
a high philosophic Tantricism and that of the crowd
with its cruder beliefs. Whilst ,the adherents of the
former are blamed for " their sublime vacuity and
indifference to earthly claims," the majority are called
to book for making religion a means to secure material
gain-as if man all the world over did not seek and
pray for earthly benefits. So whilst the mass believe•in
[ vi ]
the objectivity of the multitudinous Devatas, the

initiate is aware that they exist only in the mind, and
by means of the mind, which gives them the life which
they possess. But though their existence is that of the
mind, that is not to say that they are nothing. And so
the Brihadaranyaka Upanishad says that those who
adore the Devas, thinking that they are different from
themselves, such men the Devas make their beast of
burden. In the philosophic presentment and its accom-
panying ritual, the idea of the Void (Shfmyata) dominates.
After the Chela has gained a clear vision of the Devatas
occupying the different parts of the Mandala of worship,
he arrives at a point in which the Devatas gradually
melt the one into the other, and are all absorbed in the
principal Devata which occupies the centre of the
Mandah,, and this in its turn gradually effaces itself and
is absorbed in the Bindu (Thigle) between the eyebrows
{Ajna-chakra) where is the Point of Light which itself
disappears in the Void. Similar principles govern the
worship of the Indian Shri-chakra. Both are instances
of the Tantrik method by which the S1idhaka is made to
practically realise that he is one with all that is, and that
all is at base Shunyata or Paramatma, as the case may be.
It is not enough to theoretically affirm that identity,
Proof must be given of it; and the only real proof any-
where is direct (Pratyaksha) experience. So to take
another instance: the mass ot Buddhistic believers may
think that union with the Dakinis consists in gaining the
favour of female-spirits. Esoterically however the adept
projects his creative will into the Matrix of the· Mother-
Energies which are the Matris and _Dakinis and there
engenders active forms and powers which are indeed
hitnself as such, since all that is without is within.
[ vii ]
And so also the Buddhas project the Bodhisattvas who
create in their turn. But beside all this mysticism which,
whether rightly founded or not (a matter with which I am
not concerned). is, as a system, philosophically profound,
there are to be found amongst Buddhist and Indian
Tantrikas inferior practitioners given over to an evil
magic which is yet by no means always " charlatanism "
as most Orientalists aver, and to abuses in connection
with what in India is known as the Chakra ritual. The
ignorant lay-folk in these and other countries envisage
spiritual truths so grossly that they come to be called
superstition. All evil and ignorance is so much by its
nature on the surface and affords so apt a subject for
adverse judgment that it is readily seized upon, and the
more so that it is convenient material for religious polemic.
Nevertheless I repeat that we must do credit both to
our intelligence and sense of justice by endeavouring
to understand any religion in its highest and truest
aspect. The Tantras, whether Buddhist or Indian, contain
both a profound doctrine and a wonderfully conceived
praxis. And so it was said of Marpa, the founder of the
Kar-gyu-pa sect, that" his Dorje (Vajra) revelled in the
profoundest of Tantras."
The translator of this work is a Sikkhimese, Kazi
Dawa-samdup (zla-va-bsam-hgrub) who, when I first made
his acquaintance, was chief interpreter attached to the staff
of H. E. Louchen Shatra, the Tibetan Plenipotentiary to
the Government of India. Befor~ that, he was Translator
and Interpreter to the Government of India in Bu:xa-Duar
and Rajshahi, and (as he is now) the head of the State
school at Gangtok in Independent Sikkim. He was also
attached to the political officer's staff on the visit of His
Holiness the Da,lai Lama to India. Kazi Dawa-samdup is a
[ viii ]
Tibetan scholar, whose version of some portion of Milarepa's

Hymns have been adopted by the Government of India as
a text-book for the high proficiency examination in Tibetan.
He has also got a good knowledge of English and some
knowledge of Sanskrit which has been very useful in
the discussions we have had as to the rendering to be
given to particular passages or words. For it is to be
remembered that the Tantrik doctrines were introduced
into Tibet from India, and many Tantras which are in
Tibetan w.ere formerly in Sanskrit. The Mantras in the
text translated are in Sanskrit, though Tibetan script is
employed. These Mantras are generally incorrectly
written, and it is often difficult to state them correctly.
I have not in general attempted to do so. I have kept to
the spelling and accents of the texts. As regards some of
the longer and more important Mantras, I have suggested
a correct reading. As regards this, I acknowledge with
thanks the assistance of Mahamahopadhyaya Satish
Chandra Vidyabhushana, Principal of the Sanskrit College,
Calcutta, and himself a Tibetan scholar.
I have not had more than one part of this Text
translated for two main reasons. The first Part will
give the ordinary English reader an idea of the general
character of the ritual work, which is sufficient for my
present purposes. In the next place, the translator and
myself lost through their death the advantage of the very
learned assistance of the Guru of the former and of the
Enche Geshe.
The translator not being an initiate in this particular
Tantra was unwilling, for the present, to continue the
translation of the other Parts without the assistance of
its learned votaries. Summaries have therefore been
given of the Parts subsequent to the first which has been
[ ix ]
fully translated. This will probably serve the purpose

of the ordinary English reader. Tibetan scholars have;
here the text to translate if they can. The translatori
has given full explanatory notes to the text, and has 1
written a useful Introduction on the Vajrayana and
Mantrayana, to which this Demchog Tantra belongs, the
valuable manuscripts of which, with others, I acquired
some five years ago, shortly after which the preparation
of this volume was begun.
The term Vajra (rDo-rjc) has as one of its meanings
"diamond," and so we get the quaint translation by
those who do not understand the subject " Diamond
Sow" for the Goddess Vajra-varahi (rDo-rje-Phagmo);
and so also we find Vajrachitta translated as (though in
this case more congruously) " Pensec de Diamant, "
"diamond thought." Vajra also means thunderbolt.
Want of knowledge and a predilection for facile and
gross meanings leads to absurd results, of which the
Orientalist (whose lack of information is alone respon-
sible for them) complains. I have already pointed out
in the summary I have elsewhere given (" Origin of
the Vajrayana Devatas ") of the fifth Chapter of the
Golden Rosary of the history of the Lotus-.born (Padma
thangyig-serteng), that just as the diamond is hard
and practically indestructible and the thunderbolt
is powerful and irresistible, so Vajra is used for That which
is steady, lasting, indestructible, powerful and irresist-
ible, and is used in connection with its expressions in
the phenomenal world. Thus in the Tantrik ritual we
find Vajra-bhumi (Vajra,-earth), Vajra-pushpa (Vajra-
:flower) and so forth. These are not "diamond" earth
or :flowers, but limited phenomenal expressions of the
ultimate Vajra offered in worship to that Vajra. Again,
[ X ]
the chief priest in the Tantrik rites is called Dorje-Lopon.

We read of Vajra-jnana and Vajra-chitta as in the
phrase from the Subhasita Sangraha (II. 59) "Smaranam
citta vajrasya sarat sarataram param." Here Vajra
indicates firm, steady mind, free from Kalpana. The
spot at Bodhgaya where Buddha attained enlightenment
is called Vajrasana.
Vajradhara (rDo-rje-hChang) embodies in Himself all
the five Dhyani Buddhas and is called the sixth Buddha
or Drug-pa-dorji-chang (Drug-pa-rDo-rje hChhang) who
is the Dhyani Buddha of the thirteenth highest Vajra
state or Bhiimi in Sambhoga-ka.ya (bcfl-siim-rDorje-
hDzin-pahi-sa). The five Dhyani Buddhas are Vajra-
sattva (East), Ratnasambhava (South), Amitabha (West),
Amog-hasiddhi (North), Vairochana (Centre). Over all
there is Vajradhara. He is of a blue colour and has two
hands, which are crossed on his breast. The right hand
holds a rDo-rje (Vajra) and the left a bell. Vajra-sattva
(rDo-rje-Sems-dpah) is the Eastern Dhyani Buddha,
of whom Milarepa is believed to have been an
incarnation. He is white. The right hand is on
the heart and holds a Dorje (Vajra) pointing upwards,
and the left on the lower body and holds a bell; the right
and left hands holding a Vajra and Bell. He is invoked
for the absolution of sins. Vajrapani (Phyagna-rDorje)
is one of the three Bodhisattvas, or beings near
Buddhahood, who are at certain BhUmis on the
way thereto, who represent the three principles of a
Buddha; viz., Jampal-yang, or Manjusri (hJam-dPal-
dVyangs), of an orange colour, representing Wisdom,
holding in the right hand a sword emblematic of Prajna
(Shes-rabs), and in the left a lotus with a book on it,
signi-fying learning and pure rebirth; Avalokiteshvara
[ xi ]
(Chen-rezi) of a white colour, with four hands (two
joined in prayer, the others holding a crystal rosary and
eight-petalled lotus), representing the Mercy of a Buddha;
and Vajrapani, of a blue colour and fierce type (Krodha
Bhairava), representing the Might or Power of a Buddha,
holding a Vajra in his right hand. His left hand makes
a menacing Mudra. He stands with legs wide apart and
is surrounded by flames instead of a rainbow halo.
Vajrayana, (Dorge-thegpa) or Vajra-vehicle, is so
called because of its powerful disciplines and ritual
methods for the attainment of that thirteenth state
(Bhumi), which is Vajradhara (rDorje-hChang). Buddha
Vajra-sattva (rDo-rje Sems-dpah) is the eastern Dhyani
Buddha. Vajra is thus the primordial pure Vajra
Consciousness. Vajra too is all Tathagatas, that is those
who have aforetime become illuminate. The image of
Vajra-sattva is represented sitting with the legs crossed,
holding the Vajra (rDo-rje) in his right hand and in his
left a Bell. The Bell is Shes-rab (Prajna) or Wisdom,
which is Shunyata the Void, and the Vajra is Thabs
(Upaya) or Method, which is Karuna or Compassion.
This indicates that by means of the high and indes-
tructible (Vajra) method, which is Compassion for all
sentient beings, one attains the final end (Dharmakaya
or Chos-Sku), which is the imperishable unchanging state
of the " Two in one " wisdom (Zung-hjug-yeshes), which
is the Bhumi or state called Vajradhara (rDo-rje-hChang).
\Vhat then is Shunyata (sTongpa-nyid)? The word
sTong-pa means empty, and sTongpa-nyid is Emptiness
or the Void. This means "nothing " ; but not " nothing "
in the sense of what is commonly called Nihilism. It is
absurd to suppose that the Buddhist seeks, and is on the
way to, this. It is "nothing" in the relative sense...:...that ,
( xii ]
is nothing to us, because it has none of the qualities of
things which we know, such as form, colour, taste, smell,
weight, and temperature. These are of the material plane.
The state here described is beyond the phenomenal world
and cannot be described in the imagery of that world.
Of it, as of the Indian Paramatma, it can be only said
"it is not this," "it is not this" (neti, neti). In fact, the
Indian Tantra also employs the term Shiinya to denote
the Brahman. (See, for instance, Tantrik Texts, Vol. II,
and '' The Serpent Power," which I hope to have ready
shortly after the appearance of this.) The empty space
in the Bindu is designated the quiescent Parabrahman,
just as the form of the Bindu itself is the creatively
active ishvara.
This leads me to say a few words on the Buddhist
doctrine of Anatma. Without claiming to have studied
the Buddhist doctrines in the same degree that I have
done some of those of Brahmanism, what I know of them
leads me to the conclusion that the alleged difference
between the Advaita Hindus and Buddhists (at any rate of
the school here represented) on the subject of Atma is, to a
considerable extent (though there are also differences),
a question of words. It has been said by a Western
Buddhist scholar that the Hindu belief in Atma is belief
in an immortal, unchanging Ego, a subtle form in the
body and not of it, being a separate entity ; whilst a
personality or Pudgala according to the Buddhists is an
aggregate of Khandhas, material and immaterial, in the
way of body, mind and tendencies, in which there is no
abiding Atma. The states of mind lead to rebirth or
liberation. Man is in no sense an abiding entity. At
death the general result of the mental workings cause a
. new consciousness to arise in accordance with the Vasani
[ xiii ]
or general tendency, which fresh name and form (Nama-
riipa) is " the same and yet not the same " ; a being which
is the resultant of the previous one. It is, however, a
mistake to suppose that Indian Monism (Advaitavada)
posits an unchanging immortal Ego. It speaks of three
bodies-supreme, subtle, and gross. The latter is the
physical, the second the psychical body of mind, viz.,
Buddhi (including Ahangkara), Manas, the senses
(Indriya), the five Pranas, or, according to Sangkhya, the
five Tanmatras known as the" 17." The third or spiritual
body is that of i?liss (Ananda) which is the eternal,
changeless Atma. \"The subtle body is the soul which may
be said to be an entity in the gross body. Ahangkara,
which is one of its elements, is the Ego-making function of
the mind. This subtle body survives at death and trans-
migrates. But it is not changeless, nor immortal. On the
contrary, it being a product of Prakriti, is changing. Nor
is it as such immortal, for it ceases to be on liberation
when the individual Ego also ceases to be. What is
changeless and eternal is the Atma. This Atma is not a
thing, an object, an Ego, or person, but relatively to
worldly experience a state of consciousness. Relatively to
this experience it is called " Being-Consciousness-Bliss,"
but in truth nothing can be said as to what It is in Itself.
This is only known by being It. For, to truly know a
thing is to be that thing. By knowing, that is realizing
in oneself Brahman, one becomes Brahman. It is this
ultimate State which in the Indian Shiikta Tantra is
called Shrmya, and by the Vajrayana Buddhists, Shiinyata ·
(sTong-pa-nyid). The former call it the Absolute
Real, though the Buddhists appear to be satisfied to say no
more than it is Shiinyata. It may be contrasted with
appearance (sNang-va-dang) or name and form (Nruna.rupa).,
[ xiv J
Shrmyata (Shes-rabs) is associated with Karunii (Thabs).
The latter is the Power, Means (Upaya) or Method
by which anything is done as compared with Shes-rabs, the
wisdom (Prajna), which guides and utilises it. Shes-rabs
(Prajna) utilises Thabs (Upaya) in order that Nirvana
may be attained. The Mahayana Buddhist does not
seek liberation (or salvation, as the Christian would call
it, though the latter term belongs to a different order of
ideas} for himself alone. His object is that all beings
may share that lot: a truly noble doctrine. In and for
purposes of worship, Wisdom is regarded as female and
~ower or Method as~ iiale. They are pictured· as being
in sexual union, the Male standing and the Female clinging
to him with either one or both lower limbs circling his back.
This denotes that Wisdom and Method are ever in union.
This also teaches the Sadhaka to avoid the extremes
of passive Nirvana and eternal active Sangsara or
phenomenal universe. The two are one. This doctrine
is "Not two knowledge" (gNyismed-yeshes), that is,
Monism or Advaitavada. The Perfect Mind (Byang-
chub-sems) is the purified mind of the Buddha. The five
aspects of the Buddha Consciousness are exoterically the
:five Dhyani Buddhas and esoterically the five Wisdoms
{Yeshes or Jnana:) which are described in the notes to
pp. 4-5 of the translation. The causal chain leading to the
appearance in mind of the phenomenal universe are the
Nidanas, according to which, as in Brahmanism, the world
springs from the desire generated by the Vasana which
is the seed of it and of the will to worldly life. Des-
truction of this desire leads back to Nirvana which is not
annihilation in the sense of nothingness, but a supremely
blissful state of Changeless Being. Hence the Devata
.here worshipped is called Demchog (bDe-mChog), which
[ xv ]
means Great or Highest Bliss (Mahasukha or Parama-

nanda). The Buddhist, like all Mankind, seeks as his end
unchanging and indestructible happiness. " Annihila-
tion ,, means annihilation of the world-experience of forms,
which, as forms, are bound up with suffering. Liberation
is sought from suffering, that is form.
Maya is in Tibetan Gyiima (sGyuma), which means
a magical and illusory show, such as that of a magician
or conjurer. So Shangkaracharyya calls the Lord a
Mayavin or Magician, the world being a show of His
Magic Power. Knowledge is also real (Paramarthika)
and empirical (Vyavaharika).
The similarities between this doctrine and Mayavada
Vedanta are obvious. This was long ago perceived when
the Padma Pura.na spoke of Shangkaracharyya's system
called Mayavada as "a bad doctrine and a covert
form of Buddhism,, (Mayavadam asachchhastram
prachchhanam bauddham). It is however equally
obvious that there are also differences between the two
doctrines. It was Shangkara's object to refute the
Buddhists and Atheists (Nastika), in the sense in which
that term is used in Sanskrit, namely, persons who did
not accept the Scriptural authority of Veda. Probably it
would be correct to say that Shangkara adjusted his
exposition of Vedanta to meet the original Mayavada of
the Buddhists and so promulgated a new presentment of
Maya without abandoning what be believed to be essential
principles of Brahmanism. In fact he was a worshipper
of the Supreme Mother or Shakti whose Shri Yantra may
be seen in his Maths. The Shakta Tantra is also a form of
hdvaitavada presented in a way suitable for its purpose,
namely, the practical end of worship. Therein Maya is a
Power {Shakti) of the Supreme Consciousness. . In
[ xvi J
Northern Buddhism, as in Brahmanism, the Bodhisattvas
and Devatas are accompanied by their energies (nii-ma) in
female form; the Deva being called Yab and his Shakti Yum.
On the ritual side also there are many similarities bet-
ween this form of Buddhist Tantra and the Indian Shakta
Tantra, such as the use of images, Mandalas, Bija, Mantra,
Mudra, Upachara, Abhisheka, Dhyana, Symbolism, the
worship of Xvaranadevatas and so forth. The reader
will find some very interesting methods of meditation
both in the text of Part I and in the Synopsis of Part VII
which describes the concentration on Points of Light by
which the sense organs are co11,trolled in the face of
distractions and the temptation to lust and other pas-
sions caused by objects of enjoyment. The movement of
some forms of the Mantra-Shakti is described at pp. 52-53
of Part I. Where ritual details vary, the spirit, pur-
pose and psychological method are similar. To my mind,
one of the most distinctive marks of the Tantrik system is
its profound application of psychology to worship, and
the manner in which it not only formally teaches through
symbols, but actually creates, through its ritual methods,
the states of mind which are set forth as the end of its
teachings. As the translator and editor of this text
acutely observes, the Buddhist Tantra does not so much
say, "Here is the answer or theory. Train your mind to
believe so " ; but " Here are the problem and the means.
Work out the answer for yourself." Any ritual which
accomplishes this (whatever be its form) has true value. It
can, however, only achieve this by profound observation
of the workings of the human mind and by the framing
of ritual forms which are in conformity therewith. Tlie
.subject is both deep and extensive, and I cannot deal with
it here. The reader may find some explanations, which
[ xvii )
may be of use to him on this point in my ,. Shakti and
Shakta." Here., however, I may give an example of my
meaning. The Tantra is called Shri-chakra-sambhara,
.
and deals. with the worship of the Deity (bDe-mchog). It
is thus a Demchog Tantra. Shr.i is an auspicious prefix.
Chakra means here Mandala (hKhorlo}, that is a
material or mental image of the Deity in His abode with
its guardians, and surrounding Devatas, and so forth.
The Tantra has been $iven the Sanskrit name Shri Chakra
Sambhara. The last word, however, is spelt differently in
the Text. Sometimes it is spelt Sambhara, sometimes
Sambara, and again Sambara. Sambhara, Sambhara and
Sambara and Sambhri (root) have in Sanskrit the sense
of " collection," that is of the materials, means and
requisites for any purpose: and here mean, in this sense,
all that is collected together in the Mandala of Worship,
the lshtadevata, His abode, surrounding or A.varana
Devatas, guardian Spirits, and so forth. The e'quivalent
Tibetan word is sDompa, which means a collection, and
added figure or sum, and also a vow in restraint of certain
acts. In this latter sense, it is outer, inner, and hidden.
The obscuring or defiling passions (Kiesha) of Lust,
Anger, and Delusion (Moha) are in the outer vow re-
strained, together with Egoism (Ahangkara:) by Jnana
(Yeshes). By the inner vow, belief in a self and outer
material objects are restrained in the Chakra of the
Devatas. By the hidden vow the Nadis, Vayus, and
the Siikshma Bija of the body are restrained in the
Chakra of the heart. And, lastly, ,all consciousness and
ideas are restrained in the pure state (gNyiig-ma), which
is the Void (sTongpa-nyid). The Tibetan word (bDe-
mchog) means Highest Bliss (Mahnsukha), which is the
state of the Devata here worshipped, and who is also
b
( xviii J
.thus called Demchog. Vajra-yogini (rDo-rje rNal-
hbyorma) or Vajra-varahi (rDo-rje Ppagmo), the so-called
"Diamond Sow," is His consort. He is Method (Thabs)
or Compassion, and She is the Wisdom (Shes-rabs) which
is the Void or Shunyata. The same Devata is addressed
by both names. She is called Vajra-yogini, as consort of
Vajradhara, and Vajra-varahi when She is the chief
Devata of the Vara.hi Mandala.
On the subject of the Three Bodies of Buddha to
which reference is here and in all Tantras made, I would
refer to the Opuscule "Les trois corps du Bouddha"
which its author M. Masson-Oursel was good enough
to send me on its publication the year prior to the war
(Extrait du Journal Asiatique, Mai-Juin 1913). The word
which we translate as " body, " but which must not be
here understood in the gross sense of that term, is in
Sanskrit Kaya, in Tibetan Sku, and in Chinese Chen.
The first or Dharma-kaya (translated by M. S. Levi as
"essential body") is beyond form (Arflpa), mind and
speech, the eternal omnipresent law of all Becoming,
holding within itself in undifferentiated mass all particular
Dharmas and in creation manifesting as them. This is
what is referred to as the Dharmadhatu or Dharma-
substance from which Matrix all the Blessed Ones, the
Tathagatas, issue. This is the body of the Buddha in
Nirvana and the base of the two others which are its (rela-
tively) passing aspects to the dual consciousness of form.
The Sambhoga-kaya is the body of bliss or enjoyment with
form (rupa-van) and therefore visible to the Bodhisattvas
in Heaven consisting of the five Ska,ndhas-Rupa, Vedana,
Samjna, Samskara, Vijnana-and is an intermediate mani-
festation of the Dharmadhatu. The third or more
"material" body of the Buddhas is Nirmana-kaya or that
l xix )
which is " made ., and incarnate on earth as a human
personage. The Dharma-kaya is an indivisible unity
beyond all duality. The Sambhoga-kaya without dividing
and particularising itself is the Body of Glory manifest
only to the Bodhisattvas who more nearly approach
the state of a perfect Buddha. In Nirmana-kaya the
essence of Buddha is exteriorised into multiple individual
appearances visible to men, such as the forms in which the
Buddhas have appeared on earth. We have thus to do
here with what in Western language may be described
as a doctrine of emanation or transformation or Tul-pa
(sPriilpa). Similarly in the Indian Tantrik doctrine of
.Abhasa, the Supreme whilst resting one and the same
in Its own true nature (Svar11pa) produces in Its creative
aspect a. principle {Tattva) from itself which again evolves
another and so on, each cause remaining what it was
whilst producing an effect.
I append here a short summary of the general
principles of Buddhist doctrine as given in the " Path
of Good Wishes" of the Buddha Samanta Bhadra called
Thogmahi Sans-rGyas Kiintu-bZangpo or sMon Lam-stops-
po-che translated by Kazi Dawa-samdup. The "Good
Wishes" are in italics. The brackets enclose explanations
in roman character.

THE GOOD-WISHES.
" Then the all-good Buddha, Kiintu-bZangpo,
uttered these good wishes whereby the sentient beings of
the Sangsara cannot but be saved.
I.
Ho [Listen] I Alt which is visible and invisible

(sNang-srid), whether Sangsiira or Nirvana, is at base
(gZhi) one (that is Shrmyata) with two paths (Avidya and
Vidya) and two ends [Sangsara and Nirvana. This ulti-
mate base is in Advaita Brahmanism the Parabrahman also
called Shfmya. By its Shaktis Vidya and Avidya
liberation (Moksha) and bondage (World) is attained].
These (paths and ends) are the wondrous play of Ignorance
(Avidya) and Knowledge (Vidya). By the power of these
good wishes of Kuntu-bZangpo, may all attain Buddhahood
in the Dharma-dhatu [Chos-dVyings ; that is the ultimate
Dharma-kaya in Nirvana which is Shiinyata or Void. All
have an inherent right and capacity to Enlightenment.
Bu,t all beings do not attain it simultaneously. Therefore
Sangsara is Eternal].
2.
The Foundation of all [Kiin-gZhi. Kiin=all; gZhi=.

basis or underlying principle, which according to Atiyoga
(rDzogs-chhen) is simple or uncompounded. All visible
objects are compounds] is uncreated (Rang-byung or

( xxi ]
•1come out of self ") and independent, uncompounded
(hDus ma-byas) and beyond Mind and Speech. OJ It
neither the word Nirvtina nor Sangsara may be said [these
are terms of the dualistic world, Nirvana (Myang-hdas)
being contrasted with, and having meaning only in
reference to, Sangsara (hKhorva). They are both ideas
formed by the mind of certain states. But Shfmyata,
the Void, is beyond the finite mind with all its imaginings.
The state of Shrmyata is free of all defined notions
which have no meaning in this absolute state.
Similarly whilst in Advaita Brahmanism the Parabrahman
is, relative to the Sangsara, Being-Consciousness-Bliss or
Sachchidananda, what It is in Itself is unknowable
except by and to Itself]. To realise It i's to be a Buddha,
and not to realise it is to stray into Sangsaric being.
May all sentient beings in the three Regions (Lokas)
realise this indescribable Basis of alt.
3.
I Kuntu-Zangpo knowing the Basis which is without
cause to be self-produced, did not sully it by the thought
that It was without or within. It is not obscured by the
darkness of unconsciousness. No faulty notion of self
darkens it [Rang-snang. The first word means self and
"Snang" is notion or appearance. That is the notion
of self. The apparent self is the cause of all error].
For those who are in the state of true knowledge [Rang-
rig. Rang= self and " Rig " is knowledge, that is knowledge
that the sense of self is unreal and phenomenal only, and
that the ultimate is ShunyatD.] there is no fear, were even
all the three regio-ns to be destroyed. They are not attached
to the objects of sense enjoyment. To the selj-subsisti'ng
~xperience beyond ideas [rTog-med. rTogpa is . in
. [xxii]
Sanskrit Kalpana, and rTog-med means without that or

Nirvishesha Jnana, beyond all limited knowing, for ideas
are limitations] there is no material form [dNgos-pohi-
gZugs; that which can do something or fulfil some pur-
pose or Don-byed-nus-pa-dNgospo. That is, things with
form {rf1pa). Form is the work of the finitizing principle
of Maya] or the five poisons [that is Lust, Anger, Infatua-
tion, Pride, Jealousy, which are sinful attachments to
form]. Then from clear unobstructed mind [Rigpa or
pure Butldhi. Sems, Blo, and Rigpa all mean mind, but
the last is, though Sangsaric, purified mind (Sems) and
therefore something lower than Prajnu (Shes-rabs) or
Yeshes (Juana), into which by training it may be and is
here exalted. The arts and sciences are also called
Rigpa, because they are the proper field of high intellect.
By the action of Avidya and Moha, mind is obstructed.
Here Rigpa is that pure state of mind which may be
trained into the Yeshes, the embodiments of which are
the Dhyani Buddhas] come five Wisdoms (Yeshes, see notes
pp. 4-5, post) though they are in essence one, from which
are produced the five Buddhas (Vairochana and the rest
which either Kiintu-Zangpo or rDorje-hChhang of the Kar-
gyudpas embodies). From the going forth of the Wisdom
of the five Buddhas the forty peaceful Buddhas are
produced. [The term " Buddha " is here used to describe
the whole class. These are the five Dhyani Buddhas and
their Spouses, the eight Bodhisattvas called Nyevahi-Sras-
chen-brGyad, namely, Manjusri, Avalokiteshvara, Vajra-
pini, Akashagarbha, Kshitigarbha, Maitreya, Sa.manta
Bhadra, and Dib-pa-nam sel, which, with their Consorts,
make 16, and the six Buddhas who work on behalf of the
beings of the Lokas. These 32 occupy the Heart-chakra.
There are ten other Devatas of the Throat-chakra. These
( xxili J
42 peaceful (zhi) and 58 wrathful (khro) make in all an
100 Devatas. Forty are here mentioned and sixty in the
next verse in round numbers instead of 42 and 58. Such
round numbers are also used to guard the mysteries.]
5.
From the shi'ning forth of the Power (rTsal) of the five
Buddhas come the 60 blood-drinking (that is wrathful)
Devatiis. [60 should be 58, made up as follows, viz., the
ten Herukas, aspects of the Buddhas and their Shaktis,
Buddha-Heruka, Vajra-Heruka, Ratna-Heruka, Padma-
Heruka, Karma-Heruka; four door-keepers; eight
Devatas in the eight directions-Keurima (E.), Cheurima
(S.), Pramoha (W.), Petali (N.), Puskasi (S. E.), Kasmari
(S. W.), Chandika (N. W.), Smeshali (N. E.); the eight
animal-headed Devatiis called Phramcnmas (see Arthur
Avalon's" Essay on the Vajrayana Devatas "); four other
door-keepers with heads of Tigress, Sow, Lioness, and
Snake ; and 24 Yoginis in four sets of six, each performing
peaceful, grand or nourishing, fascinating, and stern or
destructive powers. The Blood-drinking Devatas are
situate in the Brain Mandala.] In Me there has been no
error in straying away from k'nowledge of the Foundation.
As I am the Buddha, may all sentient beings tn the
three Regions by the power of this My good wish gain the
great wisdom (Yeshes chenpo) through the self-produced
Mind (Rang-byung-Rigpa).
6.
There will be no end of my Avataras (sPriilpa), who
will appear in inconceivable millions of numbers and
shapes, and who will adopt various methods suitable for the
control of every kind of being. By the power of My gface
[ xxiv )
and good wishes, may all sentient beings of the three Regions
(Lokas) escape from the six Sangsaric worlds (that is, of Deva,
Asura, Men, Preta, Tiryak, and Naraka).
7.
Beings who aforetime erred, did so because they knew
not the Foundation. They were overpowered by the
unconscious dark state. This was the cause of ignorance and
error. Immersed in ignorance and obscured by delusion
[which produces the Maya of selfness. From the notion
of I " comes that of "other" ; then mine" and
II II
" thine" and all errors and sins], the knower (Mind) was
a/eared and confused. Then came the idea I" and
II
11
Other " and hatred. As these gained force a continuous
chain of Sangsaric evolution was produced. Through that
the five poisons of the obscuring passions of lust, anger,
covetousness, delusion, jealou,sy increased, and an endless
stream of evil Karma issued forth. Therefore, as the root
source of error in sentient beings is ·unconscious (Dran-med,}
ignorance, may all by the power of the f:.OOd wishes of Me,
the Buddha, attain the clear pure mind [Rigpa; the un-
disturbed true level of mind which is that of Dhyana.
When this is had, enlightenment comes] inherent in every
being. [Pure mind is inherent in all and may be attained
by all. It is said that the essence of the Sugatas or
Buddhas pervades all beings, as butter in milk. As milk
when churned, yields up butter, so each mind being
developed, Nirvana arises.]
8.
The root-ignorance [Lhan-skyes-Marig or Sahaja
Avidya, the general ignorance of the true state, which is
called Kiin-brTags-Marig when so intensified as to
[ XXV ]
produce the notion of " other," "mine" and so forth

(Parikalpita Avidya)] is the abyssal ground of the knower's
unconsciousness (Dran-med Marig). The other ignorance
(Kiin-brTags-Marig) is that which regards self and others
to be different and separate. These two forms of ignorance
are the root cause of error in all sentient beings. By
the power of these good wishes of Me, the Buddha,
may the gloom of unconsciousness (ignorance of the
true) which obscures all beings in the Sangsara, be
dispelled. May they be cleared of their error which
regards beings as separate from one another, and may their
inherent pure mind (Rigpa-rang-ngo-shes-par-shog) be
realised. [That is, may Vidya arise. May it come
to know itself. The phenomenal or Vyavaharika self
is admitted, but it is the product of Maya. This is
the doctrine of Anatma, for it has no independent
permanent being (rTag-gcig-rang-dvang-can) for the
attainment of the true or essential state shows this.]
9.
The thought which regards beings a•s separate (gNyis-
hDzin bLo-ni, literally "as two") begets a hesitating doubting
state (the-Tshom-za). A subtle feeling of attachment arises
which on being allowed to gain force gradually resolves itself
into strong attachment and a craving for food, clothing,
dwellings, wealth, and friends-the five objects of enjoy-
ment-lovers, wives, and husbands. These are the chief
errors of worldly people. There is no ernd to the action
flowing from the ideas of dualism {which regards things
as external reality, and the Mind which perceives
them as inner reality. If Sangsara be left to itself, it
goes on producing Sangsara for ever. To attain release
therefrom, effort guided by wisdom is necessary. This
[ xxvi ]
release is the Buddhist Shrmyata and. the Brahmanic
Moksha]. The fruit of these cravings is birth as a Preta
(what English Orientalists call "tantalized ghosts"), who
is torment'ed by pangs of hunger and thirst [that is, the
ordinary normal being gives way to desires and covetous.-
ness, the punishment whereof is in Pretal Loka. If the
Karmic act be influenced by anger, then Hell (Naraka)
is man's portion. Acts done under the influence of
stupidity, such as killing for sport, or "for the fun of
it," in ignorance of the Karmic results, procures for
the actor birth in the brute world]. By these, My
good wishes, may all those be~ngs, who suffer from their
desires, strive not to studt"ously avoid them, nor (weakly)
to give way to them, but to let the knower [Shespa = Mind
that is Sems, bLo, Rigpa : terms which essentially
denote the same thing. Shespa conveys the idea of
mind engrossed in perception of external objects subject
to feeling and so forth] take its own course and attain
its own (exalted) position. [Shespa-rang-so-blod-pa-yis,
literally "detaching the teeth-hold of the knower,"
that is, detaching the knowing mind from its objects,
thus letting it attain its own level free of them. This
is a profound counsel. Merely to run away will effect
no cure. The same temptation will recur. To surrender
is to lose the fight for the supreme end. Let the mind
take up a position of detachment from the objects which
attract, and let it detachedly examine them, and the
cause of their power over it, and so attain dominance.]
May it realise the discriminating wisdom [Kiin-rTog-ye~hes,
that is, is So-sor-rTog-pahi-Yeshes of the Demchog Tantra
described in notes pp. 4, 5 of the Text post. This is Jnii.na
(Yeshes)-(whereas Kiin-brTags--Marig-pa is Avidya)-
which knows that all ideas (of separate objects) are illusory].
( xxvii J
IO.
:r From the idea of something external, there arises a

subtle feeling of dread [As Brahmanism says, fear arises
from duality. He who becomes Brahman by realising
unity is fearless] moves the knower at first fai11tly. As
this feeling gains strength, it resolves itself into a vague
sense of enmity, and the thought " it will kill me " arises.
When this hatred produces its evil Karma, burning in Hell
becomes intense. By the power of the wishes of Me, the
Buddha, may all the sentient beings of the six Lokas, when
they feel great anger arising in their mind, learn neither
to avoid it studiously, nor to give way to it (weakly), but to
leave it to itself a'nd let the mind attain its own (exalted)
position. [It is not possible at once to totally eradicate
an evil passion, or to a void all acts which might conduce
to it.] Jl,fayit attain the clear wisdom [gSalvahi-Yeshes.
That is the mirror-like wisdom Melong-lTabuhi-Yeshes,
described in notes top. 5 of the Text post].
II.
From pride which puffs up the l'vfind is produced a

feeling of contempt for others, together with overweening
self-conceit. This leads to disputes and quarrels. When
these have Karmic fruit, there is birth in the Deva u:orld.
[The state of a Deva though higher than that of a man
is not of the highest. The cause of birth in Devaloka
is pride combined with good action, which, without pride,
would have produced better result, yet with pride confers
only the lesser boon of Deva-life. A Deva has a long life
of pleasure, but, like human beings, is liable to death and
fall when his stock of merit is exhausted. Towards the
term of a Deva's life his beauty fades, his gardens wither,
his fountains run dry. Upon his wish-granting Kalpataru
[ xxviil ]
.a blight falls. His companions and the Devis can-
not approach him because of the stench his body com-
mences to emit. Being endowed with Deva eyesight, he
sees where he will be reborn in a lower world. He is
conscious that his stock of merits is spent, and no fresh
stock acquired. He is conscious of the evil result of the
life of thoughtless pleasure heaped over against him,
leading him to rebirth on a less happy plane. He is
weighed down with remorse. He foretastes the miseries
of his fate in the comparison he makes of the pleasures
of the Deva-life he is leaving behind and the miseries of
the life to come. This is the fate and misery (hPho-
lTung) which prevails in Devaloka. Pride has taken
them there, because the Devas think themselves the
highest and best. Pride is their obscuring passion
(Kiesha). As like seeks like, pride seeks the plane where
pride prevails, that is Devaloka.] From there they fall,
suffering Helt after death. By the power of these My good
· wishes, may all such as are given to pride know how to
detach the-refrom the knower [Shes-pa =Sems, bLo, Rigpa:
different names of mind ; the latter being in its highest
state clear and freed of all obscurity. The highest state
naked of imaginings and void is called the Great Perfection
(rDzogs-pa-chenpo). Here Rigpa is not part of the
Skandha, but may be said to be the innermost essence of
VijnAna (rNam-shes) ] : thus letting the feeling alone and the
Mind (Rigpa) attain its own (exalted) position. May it
realise the truth that all is one, that each is (in essence) alike.
[For all being is pervaded by the Sugata Dhatu or
Essence of the Buddhas (bDe-gShegs-sNyingpo); just as
in Brahmanism Brahman is the All-pervader. Here the
· realisation is that of one of the five wisdoms called Nyam-
, nyid~Yeshes described in notes top. 5 of the Text pbst.]
( xxix ]
12.
From the propensity [Bag-chags, that is, predispo-
sition arising from habit. Thus the Bag-chags of dreams
at night is what has been done in the day] to regard
oneself and others as different arises the desire to praise
oneself and depreciate others: an act which leads to suffering.
When the wish to vie and fight with others is strengthened,
there is birth in the Asuraloka, wherein beings are ever
engaged in wounding and killing each other. This hurls
them into Hell. By the power of these good wishes of Me,
the Buddha, may all such beings cease to look upon each
other as enemies. Let the feeling of enmity alone by itself
and let the /mower attain its own (exalted) position.
May it realise the unobstructed power of Divine Service
[hPhrin-las pronounced Tinlas. When a Samsaric being
(Pudgala) becomes, by virtue of his merits, a Saint, then
he devotes himself to the service of sentient beings.
Bodhisattvas and Buddhas are ever thus engaged. The
acts they perform for the benefit of others are of four
kinds, the peaceful (Shanti), the grand or nourishing
(Pushti), the fascinating or overpowering (Vashikaran-
am), and the stern or destructive (Maranam and the like).
These are Tinlas-their Mission]. Lack of intelligence and
memory (Dran-med, a state of unconsciousness), indiffer-
ence, distraction, being overpowered by sleep and f orgetjul-
ness, swoon, and sloth, are all forms of stupidity leading to
birth in the brute world (Tiryakloka). By the power of
these good wishes of Me, the Buddha, may the overpowering
gloom of stupidity be dispelled and lit up by the rays of
clear consciousness. May such attain the pure wisdom
[rTog-med-Yeshes, unrestricted by the finite forms of
thought]. AU sentient beings of the three worlds (Loka) are
in their essence alike to Me, the Buddha. Unconsciousness
[ XXX ]
(want of true knowledge or Avidya) is the Cause of

these errors. At present they are engaged in useless actions
(Don-med-las, that is, such actions as do not tend to self-
development and emancipation). The six acts aforesaid
(acts done in the six Lokas which lead to rebirth in them)
are but dreams and delusions. I am the most ancient Bu,ddha
[that is, of the most remote past known to man; not the
first in status or time. Both Nirvana and Sangsara being
eternal there is no first Buddha in point of time] that
My incarnations may control the beings of the six Regions.
By the power of the good wishes of Me, Samanta Bhadra
(Ki.intu-bZangpo), may all sentient beings, without excep-
tion, attain Buddhahood in the Dharma-kdya [Chos-dVyings
which is the Void (Shfmyata) and Compassion (Kamna)].
This great subject being for want of exploration one of
difficulty, its treatment is not likely to escape all
error. But those who are free of wrong notions as to the
meaning of Shfmya, of Anatma (in Buddhism), and of
Atma (in Advaita Brahmanism), and have some knowledge
of the Tantric ritual in both systems, will I think discern
essential similarities between the two. To quote the
words of a review of a recent work on Buddhism : " With
each fresh acquirement of knowledge as to Buddhism,
it seems more difficult to separate it from the Hinduism
out of which it emerged, and into which it relapsed."
ARTHUR AVALON.
Ranchi:
27th September, I918.

INTRODUCTION.
THE term Thegpas or Yana, to give it the Sanskrit
equivalent, means Vehicle, and presents the same idea
as sect, school, and method. There are broadly two
chief Yanas commonly spoken of, namely, Hinayana, and
Mahayana. The Southern Buddhists of Ceylon and
Burma belong to the former, and those: of Tibet, China,
and Japan to the latter. The term Hinayana, which is
not of a complimentary character, is not given to them-
selves by the Southern Buddhists but by the Mahayanists,
followers of the Greater Vehicle. The Southern school
is called Lesser Vehicle because its followers seek Nirvana
and Arhatship each for himself, whilst the Mahayanists
strive for the enlightenment of the whole universe.
What is it to be saved oneself if others are still lost and
suffering? Vajrayana, or Mantrayana as it is also called,
is a development and particular branch of the Mahayana.
Vajrayana is a form of Tantrik Northern Buddhism. The
Mantrayanic Buddhist doctrine speaks of nine Yanas,
each Yana being divided into four parts, namely, the
view (lTa-va; in Skt. Drishti), the meditation (sGompa;
in Skt. Dhyana), the practice (sPyodpa; in Skt. Charya),
and the fruit (LBras-bu; in Skt. Phala).
The first three Vehicles constitute the original divisions
as they existed in the time of the first three convocations
which were held after the Pad-nirvana of Our Lord the
Buddha in India. These three Vehicles are (r) Shravaka-
yana (Nyan-thos-kyi-thegpa) ; (2) Pratyeka-Buddha-yana
{Rang-rgyal-gyi-thegpa) ; (3) Bodbisattva-yana (Byang-
chub sems-dpahi thegpa). Subsequently these three
[ xxxil ]
Vehicles were with the advent of Padma-Sambhava
developed in Thibet into nine. He was the founder of
the Mantraynna school in Thibet and of the Great
Perfection school (rDzogs-chen).
The development or" fruit" of the first three is the
Vajrayn.na and Mantrayana which is divided into six
parts or stages : (4) Kriyi-tantra-yana (Byavahi-rGyud-
kyi-thegpa) ; (5) Charya or Upaya-tantra-yilna
(Spytld-pahi-rGyud-kyi-thegpa) ; (6) Yoga-tantra-yana
(rNal-hbyor-rGyud-kyi-thegpa). The latter is again sub-
divided into three : (7) Maha-yoga-tantra-yll.na
. (Mahn.-yoga or Ma-rgyiid-kyi-thegpa) ; (8) Anuttara-yoga-
tantra-yll.na (Anu-yoga or Blamed-rgyiid-kyi-thegpa) ;
and (9) Ati-yoga-tantra-yana (Ati-yoga hi-thegs-pa).
Ati-yoga is considered the highest of all. This is
the pure Advaita-tantra or monistic school in which all
is realised as the Eternal Buddha. The Tibetan word
here rendered by the Sanskrit term Advaita is gNyis-
med == One, that is Shiinyata. The four accepted schools
in Buddhist Philosophy are : (r) Bye-brag-smrava : in
Sanskrit Vaibhashika; (2) mDo-sDe-pa or Sautrantika;
(3} Sems-tSampa-a term which means " only mind "-or
Vijnanavada ; (4) dVuma-pa or Madhyantlka. Accord-
ing to the first all tltlngs (Dhanna), both outer and inner,
that is, matter and mind, are real; a position accepted
by the second with some modification. In the third
school external objects are not real, but the mind alone is so.
According to the last school neither external objects nor
internal mind are real, in the sense that they appear to
be so. But the real, if it can be called such, for reality in a
sense is also aenied to it, is the Void or Shiinyata for which
. there is no word, since it is beyond mind and speech.
All ,schools admit the phenomenal "I" or personality
( xxxiii J
which clings to a being or aggregate so long as he is not
truly enlightened; but they all deny that this "I"
which they call Atma is real. The Tibetan definition
of the Atma, which they deny, is something which is one
(gCig) independent or free (rang-dvang-can), and perma-
nent and eternal (rtag). Shunyata is an inexpressible
mystery in and behind the incessant flow of the stream of
seeming, which can be described by no term borrowed from
the world of appearance, for none of these terms has a
meaning except in relation to its opposite. Thus "one"
is an idea belonging to the world of numbers ; freedom
and permanence are only understood with reference to
the phenomena of dependence and change. The Advaita
Buddhist Tantra is thus the doctrine of Shiinyata.
This means that the universe (hKhorva = Sangsara), and
Nirvana are not two but one or Shilnyata, just as the
mind and body in any individual are aspects of one
unity. So the Prajna-paramita-hridaya-garbha says:
"gZilgs-sTong-pa-ho, sTong-pa-nyid-gZugs-so ": that
is Form (Ru.pa) or Matter is the Void and the Void is
Form. The one is not other than the other. The work
here published belongs to Anu-yoga the highest but one
division of Anuttara-yoga which is known as the Mother-
Tantra (Ma-rgyud-lung), which, it is said, deals with the
three Mandalas (i.e., in ordinary worship the Devata, His
abode His court-followers) known as the Eternal Self-exist-
ing Mandala (Ye-ji-bzhinpahi-dkhyil-hkhor}, the Eternal
Self-created Mandala (Rang-bzhin-lhun-grub-kyi-dKhyil-
hKhor) and the Great Bliss Mandala which is that of
the Bodhisattva. The Maha-yoga-tantra is known as
the male or Father Tantra (Phargytid). 4'he highest
or Atiyoga Tantra is the "not two" or non-dual
Tantra (gNyes-med-rgyild). My informant a Khaiµba
[ xxxiv ]
Lama Tshewang-Runchen gave me from a Thibetan

Manuscript (which he said he had studied thoroughly),
a short summary of these Yanas showing the various
views entertained at these several stages regarding
Anitma, Momentary Cognition, Appearance and Reality,
the Void (ShunyaUi), and the four dogmatical extremes
u is, is not; the appearance is true; the Void (Shtinyatn.)
is true." As, however, the definitions given were not

approved by the learned Enche Geshe-Chon-md.zad La who
has helped me in this work (but who unfortunately died
last April), I forbear to give them.
The Sanskrit tenn Sambhiira is the equivalent of
sDompa, that is, "a collection" meaning the Mandala of
the Devata and all therein. It has also the meaning '' vow
of restraint " as explained in the foreword of the general
Editor. The state of the Devata embracing, as part of
Himself, His Mandala is that of the Highest Bliss (bDe-
mChog). bDe-mChog means " Bliss highest "; in Sanskrit
Paramlinanda or Mahi!lsukha. The present work is a
Tantra of· both the dKar-rgyud-pa and the Saskya-pa
sects. By this is meant that there are several rites of
Dem-Chog in which the number of faces, hands of the
chief Devatll and surrounding Devata vary; as also the
text. One sect may therefore follow this Tantra in one
form, and another in another. The yellow-hat sects of
the state monastery of Tashi-Lhiinpo have also got this
Tantra, and my late Guru, a highly advanced Lama of the
Dukpa-dKargyud sect, wrote to me to say that the Mandala
with 62 Devatas (very difficult of practice) exists also in
Bhutan. The former has two divisions, the Karma-dKar-
gyiid whose chief seat is sTod-lung-Tshoorphug, about
two days' journey to the north of Lhasa. Its Avatilra
. Hierarch is the highly venerated rGyalva-Karma-pa.
[ XXXV, ]
This school has several adherents in Sikkhim and Khams

as well as in other parts of Thibet. The second division is
the dBrugpa dKargyud sect, which counts several very
rich monasteries in Khams, the Remis monastery in
Ladakh, and is the state religion of the whole of Bhutan.
In Thibet itself there are the Ra.lung, Sangachelling and
several other smaller monasteries near the Tsari and the
Poba districts. The Saskya Sect still has its centre at
Saskya in Thibet over which its Hierarchs ruled shortly
before the date of the fifth Dalai Lama.
The line of the bDe-mchog-Tantra Gurus (Saskyan
branch), is here given from the Pag-Sam-Jon-
zang (History of Buddhism in Thibet) by Sumpa-
mKhan-po-Yeshes dPal-hbyor. The Gurupangkti
is as follows :-(1) rDo-rje-hChang or Vajra-
dhara a celestial guru of the Akanishta Heaven
(Hog-min). (2) Phyag-na-rDo-rje or Vajrapa.ni another
celestial guru. (3) mDah-bShum or Suraha an Indian
Saint. (4) Klu-sgrub or Nagarjuna. (S) Shri Shvavari
or dPal-lDom. (6) Looyipa, an Indian Sage. • (7) SLob-
dpon-rDo-rje-dril-bu-pa. He is also said to be another
source of the Demchog Tantra having obtained teaching
directly from Shri Chakra Sambhara (dPal-hKhorlo-
sdompa) Himself and thus was invested with a fresh
power. (8) Rug-stsal-zhabs or Kacchapada. (9) Jalan•
dhara. (ro) Nagpo-sPyodpa or Krishnacharyapada.
(II) Guhya. (12) rNam-rgyal-Zhabs or Vijayapada. (13)
Tailopa. (14) Naropa. (15) A Newar Phwn-mthing the
greater (hJigs-meds-grags). (16), Ngag-dVang-Grags-pa
or Ngag-dVang-phyug. (17) Ngag-gi-dVang-phyug.
(18) gLag-Skya-Shes-rab-brtregs. (19) The Saskya
Hierarch hGro-mGon-hPhagspa-K iin-dGah-sNing-po
shortly called hPhagspa or Su-chen (b.circ 1233 A..D.).
[ xxxvi J
to whom reference is later made. The remaining Gurus
can only be obtained from Saskya.
From a note at the end of the MS. it would appear
that it was written out at the dictation of a venerable
Pandit Lama (Phagspa =Arya), whose name is
not given; but the places and dates are stated where
each Chapter or Part was completed. In the " Blue
Records'' of Thibet (Teb-ther-sNgonpo)-a history of
Buddhism and its different schools-one of the Hierarchs
of Sa,skya the abovementioned Guru hGro-mgon-hPhags-
pa by name, attained great celebrity as a Saint and learned
man. He had several eminent disciples. The " Blue
Records" say that he became the Guru of the Sechen
(Tartar) Emperor of China. The MS. says that the
first part was written at Svayambhunath (Shing-ktin) in
Nepal at the request of a prince called Ji-big-Demur.
This may be the name of either a Newar or more
probably Tartar Prince, for Demur may be Temur or
Taimur which is part of the name Tamerlane to whose
line the Sechen Emperor of China belonged. It is
possible that the Hierarch who visited both China
and Nepal may have been attended by a Prince
of the Imperial Chinese Tartar family on a pilgrimage
to the holy Buddhist Temples of Nepal-then under the
rule of Newar Buddhist Kings, and caused a Thibetan
translation to be made from a previously existing text in
Sanskrit. In such case the very valuable MSS. which
Mr. Avalon, the general Editor, has acquired should be
660 to 665 years old. For this was the Hierarch to whom
the Chinese Sechen Emperor made over the whole of
Tbibet and the date of his accession to the sovereignty
over Thibet is given as being some time about 1253 A. D.,
·in. Thibetan ahnanacs.
[ xxxvii ]
The original MSS. is in the old "headless" style
{dVu-med) of Thibetan writing. It is noteworthy as
denoting the importance of the personage on whose
behalf the work was written out, that in this volume
of ninety leaves of seven different parts, each bears the
name of the copyist and the date and place at which
they were written. Two or three writers were thus
employed, each of them highly trained.
The whole series consisting of some 240 folios all
bear upon the same subject,-namely, Demchog, in its
different stages and parts. But the other books are not
in the same hand, nor of the same age, though they form
a very valuable collection. Unfortunately it is not quite
complete, though sufficiently so to enable the Sadhanil
prescribed to be carried out successfully.
The collection consists of eleven parts, viz.:-
(1) A set of dances according to the bDe-mchog-
Tantra called " Dance Book of the Best of
Gifts " (Mchog-dbyin-rDo-rjehi gardpe), con-
sisting of four folios.
(2) Another Vajramala dance (rDo-rje-hphreng-
vahi-Kti.n-bsKyod-kyi-gar), three folios.
(3) The Sadhana of Sambhara or Demchog entitled
" Method of attaining the highest simul-
taneously born bliss " (bDe-mchog-lhen-
skyes-kyi-bgrub-thabs) of seven folios.
(3) " The Method of meditation on Demchog "
(bDe-mchog-lhan-kye-bGom-thabs) of five
folios.
(4) " The feast or worship of Vajra-yogini "
(zDorje-rNal-hByor-mahi-tsogs-hkhor) of
six folios. (173rd folio to front page
178th.)
[ xxxviii ]
(5) Homa of Shri Vajrayogini (dPal-rDo-rje-

rNal-hByor-mahi-sByin-sreg-gi-choga).
Front page of z78th folio-last two lines-to
the back page of I8Ist folio. (4 folios.)
(6) "Notes on the method of making the waters
of initiation enter oneself " (dVang-chog-
bdag-hjug-la-lT6s-pahi-tho-yig). (Of 82
folios from 372nd folio to the 453rd folio.)
(7) Meditation on the twenty-one Taras-10 folios
= 259th to the 269th folios.
(8) " The King of Shri-Sambhara-chakra Tantra"
named the Ca-ma-Gala-grita-ornament of
sepulchral things,.. (dPal-hkhor-lo-sdom-
pahi - rgyud - kyi - gyalpo - dur - Khrod-Kyi-
rgyan dPal Heruka), in twelve folios.
"Sepulchral things" has a two-fold signifi-
cation. Exoterically reference is made to
the bone ornaments carried by the Heruka
obtained from the skulls and bones in the
cemeteries. Esoterically it is denoted that
meditation on the Heruka (Demchog)
extinguishes existence in the Sangsara. The
end of worldly life is the cemetery or death.
But from the cemetery which is Sadhan~ is
born enlightenment. (This is in a very
different hand, and of much older date. It
gives the name of the Indian Pandit
Gayadhara, and the Thibetan translator-
Shag-Yeshes-and contains very finely
written footnotes under each line of text.)
(9) "The Rosary of worship of Demcbog" (bDe-
mchog-chod-Phreng), in twenty-one folios.
(This also is in the same hand as the Part 8
[ xxxix ]
-and the name of the compiler or contri-
butor of this part is given as BLo-gros-rGyal-
mtshan-and the place is "Khai-phing-
hoo," ' the great king's palace,' possibly
somewhere in China because this is neither a
Thibetan nor Nepalese name. Date: Water-
Dog year, 25th of the month of rGyal.
10th Part.-The Homa-ritual (burnt offerings) or
sacrificial fire, of dPal-hKhor-lo-sdompa,
explained at length (mNgon-rtogs) in
nine folios. There are four kinds of
Romas-the peaceful (Zhiva), the grand
(rgyaspa). dVang-va (the overpowering or
fascinating-Vashikarana) and the fierce,
stern or destructive (Marana). It is
said to be done by one Pandita (sLob:.
dpon-Rinchen-rDorje).
(rr) The work here published "Vajra-yogini,"
Shri Mahamaya and Tara (dPal-hKhor-
lo-bDe-mchog, rDo-rJe-rNal-bYor dPal-
sGyuma-Chen-mo-sGrolma) in nearly go
folios. This last is divided into seven parts,
all of which have been here printed in the
printing character with heads (dVuchen).
The first part which closes at the 27th folio I
have translated in full so as to give the
reader a general idea of the nature of the
work and the methods of meditation. Of the
other parts a short Synojsis has been given
following on the translation of the First Part.
Gangtok, Sikkhim:
KAZI DAWASAMDUP.
1st May, _19r8.
SHRI SAMBHARA CHAKRA.
Vajra-yogini, Shr·i Mahiim1lyll and Tu.rii.

(dPal-hKhor-lo-bDc-mChog; rDo-rJe-rNal-hByor. dPal-
sGyuma-Chen-mo sGrolma.)
THIS is a clear exposition of the ritual of the Mandala 1
of Shri Chakra of Great Bliss. 11
Obeisance to the Guru and Shri Heruka. 3 Having
bowed with reverence to the Guru, the essence of all the
Buddhas and to Shri Heruka I now expound the Sadhana'
of Shri Chakra l\fahasukha.
He whose mind is firm in Bodhisattva resolve; 6
who has obtained the highest initiation, 6 who understands
· the Mantras and is foremost among Yogis will of a surety
obtain the highest boons, both temporal and spiritual,
if he follows the course prescribed, namely, the imagina-
tive 7 and meditative 8 ; if he practises to make his mind
tranquil ; if he offcrs rice cakes 9 and other food offerings;
and ~£ in short he assiduously applies himself to all the
four branches 10 of a Yogi's duty.
(I) dKyil-dKhor. (2) Shri-Chakra-Mahasukha; the Devata whose
state is that of great bliss (Mahasukha). (3) A Vajrayana Devata.
(4) Ritual: practice whereby Siddhi (success, here spiritual attainment)
may be obtained. (S) That is whose mind is firm in righteousness.
(6) Literally "Conferring of power" (dVaug). (7) By this is meant the
mental process whereby the imagination is exercised to produce certain
pictures and ideas. (8) That process whereby the mind ceases to imagine
and passes into the tranquil state. In the first the mind projects and in
the second withdraws its own projections. (9) gTorma. (10) Namely,
pertaining to Samadbi, the Path (or conduct), Offerings (of rice ca,lces)
partaking of f~od.
I
[ 2 ]
The devotee when about to go to sleep should firstly,,

imagine his body to be that of Buddha Vajra-Sattva
and then at length merge into the tranquil state of the
Void. 1 Arising from that state he should think that
the double drums 2 are resounding from the midst of the
heavens proclaiming the Mantras of the twenty-four
Heroes. 3 Arising from his sleep in this state of divine
(1) Shfinyata (sTong-pa-nyid or emptiness) or the ultimate formless
(Arupa) Reality as contrasted with appearance (sNang-va) or
form (Rupa). This is not, as has been ignorantly supposed, absolutely
nothing, and therefore the term nihilism is out of place. It is
relatively nothing ; that is to us since it has none of the qualities of the
things we know, such as form, colour, taste, smell, weight, temperature.
There is nothing to which it can be likened and therefore no words
can define it. It is beyond the circle of phenomenal existence and there-
fore the state is marked l>y neither Avidya, Sangskara, Vijnana,
Namarupa or property of any kind. As the Prajnaparamita-hridaya-
garbha says of it (like the Paramatma}, it can only be said, "not this,''
"not this" (neti, neti). Shunyata is united with every form of experience
as its background. (2) Damaru-small drums of the shape of an hour.:
glass such as that held by Shiva. (3) dPahvo (Vira) that is the twenty-
four male Dcvatas of the twenty-four Tirtha&. The ordinary use of the
term Hero in Thibet as elsewhere refers to the martial hero. But it
has an application to Sadhana also. Here the reference is to
certain Divinities. A Yogi who has attained Siddhi through
Slidhana with meat, wine, and women, may be called a Vira or
Heruka; such as the mad Heruka of Kongbu, Kongsmyon
Heruka, otherwise called Lhabtsi.in-nam-mkhah-hiigs-med, the pioneer
rNyingma Lama Saint, who entered Sikkhim some 300 years ago by
the Kangs-chen Pass and whose school is now the Chief of the State
Monasteries in Sikkhim, viz., Pemiongchi; and hBrug-sMyon Heruka,
otherwise called hBrug-smyon-Kundgah-legs-pa who entered Bhutan
at a still earlier date. The Yogini or Heroine is rNal-hByonna and
sometimes dPah-mo. By these terms is generally understood in
Thibet the divine Dakini, Vajra-varahi, or some manifestation of Her.
In Sikkhim, according to pre-Buddhistic Bon beliefs, still there pre-
vailing, the Seer of the wild men of the highlands is called dPah-vo
and Nal-hByorma (pronounced Naljorma), a woman who claims to be
a JJlCdium for 1~ spirits and those of dead persons plaguing people
with their evil influence.
[ 3 ]
body 1 he should regard all things around him as con-
stitµting the Mandala of himself as Vajrasattva.1
If beneficial to his devotions, he may perform the
ablutions as he had done while receiving initiation.
Then seating himself with ease facing the South let him
sanctify his body by tasting the drop of Amrita. 3
Then he should begin by repeating the Refuge
formula 4 and the Good \Vishes formula. 5 Then let
him meditate on himself as Demchog 6 and his Consort. 7
Imagining his own body to be that of the Devata is
the bliss pertaining to the body. Saying " Shri He-
ru-ka Aham," 8 he should meditate on each syllable of the
Mantra as follows:-
" Shri " is _non-dual experience ; 9 " He " is the cause
and the void or Dhatfi; 10 "Ru" is uncompounded; 11
"Ka" is not abiding anywhere. 12 Tl1inking oneself
(I) Lhahi-Sku, that is Deva-deha. The body is divine in fact, and
known to be such when consciously identified with Divinity. (2) He
thinks of himself as Buddha Vajrasattva (rDorje sems-dpah) and of all
objectivity as the Mandala (v.post) of the latter. (3) Rilbu, The
Amrita, is a drop of wine (the extra-ritual use of which is forbidden)
taken on the tips of the ring finger. (4) Buddbam sbaranam gachchhami,
Dharmam sharanam gachchhami, Sangham sharanam gachchhami
(I take refuge in Buddha, the Law and the Assembly). (5) May all
sentient beings have happiness and be endowed with the cause thereof.
l\lay all sentient beings be free of pain and its causes. :May all sentient
beings ever enjoy happiness unalloyed with pain. May they feel
supremely equable (i.e., free both of Raga and Dvesha). (6) :Mahasukha,
the state of the Devata of this Tantra. (7) Vajra-Varahi or Yogini. (8)
"I am the revered and glorious Heruka." (9) gNyismed-yeshes;
which literally means " not two-knowledge ; " monistic or advaita
experience ; yeshes being Jnana. (10) Hetu and Shunyata, i.e., rgyu-
sogs-sTong-pa-nyid. (II) tshogs-dang-bralva, separation from com-
binations. It is not a compound. It is homogeneous as is pure
Kevala, or Shuddha Jnana. (12) Gang-duhang-mi-gnaspa. It cannot
be said to be in any place for it is all-pervading (Sarva-vyapin)
and dependent on nothing {niralamba).
[ 4 ]
to be the Self 1 which embodies all these, whatsoever a

man says is Mantra. 2
Let him imagine in the centre of his own heart the
letter" A" evolved from the experience which knows that
forms are unreal. 3 On it let him think of the clear Lunar
disc which symbolises world-experience, 4 and upon that
the Mantra" Hum," which symbolises mind 6 devoid of
objective content. 6 Of this " Hum " the letter " U "
stands for the knowledge which accomplishes all
works; 7 the body of the letter " H " for that knowledge
which distinguishes; 8 the top of the letter '' H '' for the
(I) bDag-nyid. The first word is... I : " the second points at
something-the very I or self. He thinks " I am the non-dual
experience, single (homogeneous), all-pervading, the Dhatu. (2) That
is, his speech is pure and holy as is his whole body. (3)
Mi-rtog-pahi-yeshes : literally " thinking-not " knowledge : that is
Jnana which is that Wisdom which knows that all forms have no
real existence as such in themselves, that is which knows that the .
true nature of forms is Shunyata. The definition is Mi-rtog-
yeshes, bDen-pas-ma-grub-pahi-khyad-pa.r-du-byas-pahi-gzugs-rTogs-
pahi or shortly Dehi-ngo-vo-ham-ye-nas-gNas-lugs-shcs-pa-la-zer.
The mind which regards forms as real things (which they arc
not) is called hJig-rTcn-pahi-yeshes or "Worldly Wisdom."
(4) hjig-rtcnpahi yeshes; world-knowledge of objects ; Vishaya J nana.
(S) Sems: chitta. (6) Mind (sems) as distinguished from objective
contents or thoughts. (7) There are~" wisdoms," "knowledge," or
aspects of consciousness (Y cshes =j nana) which arc here defined from
the seventeenth century Tibetan work by Buston Rinpoche, called
Buston..Chos-hbyung. The first here described is Amogha-Siddhi or
Bya-ba-grubpahi Y cshes, (pronounced Ja-wa-dub-pai-yeshes,) literally
"having done act successfully." Amogha-Siddhi is irresistible power
of doing everything; omnipotence. The first is defined by Buston
Rinpoche as" The wisdom which accomplishes all works (Bya-va-grub-
pahi-yeshes), is that which fulfils all the needs and interests of sentient
beings by manifesting itself in various forms and under varying condi-
tions (sNa-tshogs-su-sprul-nas-sems-can-gyi-don-bsgrub-pas-bya-grub-
yeshes-so). (8) Sosor-rtog-pahi yeshes, (pronounced sosor-togpai-yeshes)
literally" different knowing;" that knowledge which is defined by
[ 5 ]
equalising knowledge; 1 the crescent (Chandra) for the
mirror-like knowledge ; 2 and the Bindu (Thigle) above
that for the changeless knowledge. 3 Meditation on these
different parts of the Mantra symbolising the mind is the
Buston Rinpoche as the " Distinguishing Wisdom" (Sosor-rtog-yeshcs)
is the knowledge of all objects with their differences: (that is the know-
ledge which knows all which is abstract or concrete with their different
names and so forth). (So-sor-rtog-pahi-yeshes, shes-bya-thams-cad-
thogs-med-du so-so ki.in-rtogs yeshes-so.} (I} mNyam-pa-nyid-kyi-
yeshes: (pronounced Nyampa-nyid-kyi yeshes,) literally "equal-
intensifying of knowledge." Whereas in the last form of experience
there is the recognition of difference ; here is seen the sameness
(Samya) of all-Samata Jnana. This is defined by Buston Rinpoche as
" The equalising wisdom " (mNyampa-nyid-kyi-yeshes) and is the result
of meditation on the sameness of the nature of all beings, oneself and
others, producing attainment of the highest Nirvana. {Rgyu-bdag-
gzhan-mNyam~par-sGom-pahi-hbras bu, mi-gnas-pahi-Myang-hDas-la-
bzhugs pas-na, mNyam-nyid-yeshes-so.} (2) Melong-lta-buhi-yeshes:
(pronounced Melong-tabui-yeshes,) literally "mirror-like knowledge,"
defined by Buston Rinpoche as " The Dharmadhatu "being perfectly
pure and uncognising, like the mirror, is called mirror-like (Chos-kyi-
dvyings-rnampar-dag-pa-dang melong-ltar-gsal-la-mi rtog-pas-na-
melong-lta-buhi-yeshes-so). The mirror is itself pure; reflects but is
not itself affected. (3) Dharma-dhatu-Jnana: or Chhos-kyi-dvyings-
kyi-yeshes, pronounced Cho-kyi-ing-kyi yeshes. The explanation of
this term (obtain;:id from Geshe-La, the most learned Lama now living in
Sikkhim namedKusho Cho-mzad La, of Enche (dVen-bchasMonastery)
is, "That which is not liable to change or transition is Dharmadhatu."
Dharmadhatu-Jnana is said to be "The wisdom which knows that the
things which are coloured differently and the like are really not so,
but they are all of one nature and taste." The Tibetan word, Thigle
or Bindu in Sanskrit. (See Arthur Avalon's "Shakti and Shakta"
and " Studies in the Mantra Shastra "} means a spot or point or drop
such as a spot on a leopard's skin, a drop of semen, a cypher and the
metaphysical " point " which is the M~tra expression of the Indian
. .
Ishvara and the Highest Truth in the Tibetan rNyingma doctrine called
the "Great Perfection" (rDzogs-pa-chenpo). So Dharmakaya or
Chos-sku is defined as that which is devoid of all natural and accidental
impurities. Hiim is in Sanskrit characters "f ;°'- is the first
knowledge; 1 is the second ;-is the third; ._, is the fourth;' and
[ 6 1
method by which the latter is qualified for pure
experience and enjoys the bliss which arises from
contemplation on the bliss! of the divine mind. 2
From the Mantra "Hum" rays of blue, green, red,
and yellow light shoot forth through the four heads of the
Devata 3 and gradually fill the whole universe. Then
think in the following order :-
,. May all sentient beings enjoy happiness and be
endowed with the cause thereof "-" May they be freed
of all pain and of the causes thereof "-" May they never
be separated from the highest happiness"-" May
they be free both of attachment as well as hatred, and
may they have all their eight worldly wishes 4 pruned
and levelled." 6 Think fully on these wishes in their
order the one after the other.
Then snapping the thumb and middle finger of the left
hands and pointing the latter in the ten directions 6
let him think it to be such directions and repeat the
Mantra" Sukhe bha.vantu" (Be happy). By this means
he dedicates all the merits that he acquires to the benefit
of others. This is the meditation on the four abodes. 7
Again think that rays of various coloured light
beam forth from the Mantra " Hum " filling the whole
body and shining thereout in all space, cleansing the sins
and ignorance and the propensities born of habit of all
sentient beings, changing them all into myriad forms of
0 is the fifth. (I) Gawa-(dgahva). (2) Thugs. (3) That is bDe-mchog.

(4) Name, fame, wealth, etc. (5) That is they are not to be extirpated
but cut down and levelled, moderated and if possible brought down to
their minimum force. (6) The eight points of the compass, Zenith and
Nadir. (7) That is the four states of Dhyana comprising thirteen lokas :
fout: in the first stage and three in each of the others, from Brahma-
klyika to Brihatphala.
[ 7 ]
Khorlo-De-mChog. 1 Then having withdrawn• in-
wards all the rays of light and absorbed them into one's
own self, meditate again as follows :-
Let the worshipper think the Rupa-skandha3 to
be Vairochana;' his Vedana-skandha5 to be Vajra-
suryya; 8 his Samjna-skandha7 to be Padma-natesh-
vara; 8 his Sangskara-skandha9 to be Raja-Vajra
and his Vijnana-skandha10 to be Buddha Vajra-sattva.11
Meditate thus upon all the principles constituting the
self as having become each a Tathagata : the whole consti-
tuting the revered and glorious Heruka. (Then meditate
on the five senses as five male Devatas.)
Heruka's eyes are Vajra-delusion (Moha}; ears
Vajra-anger; mouth Vajra-greed; nose Vajra-miserliness;
body Vajra-jealousy; 12 and all the senses (A.yatana)
Vajra-ishvara. 13 (The five constituent elements of the
body should then be meditated upon as five female
Devatas.) The Earth element 14 is Tung-bar-byed-ma; 15
the water element16 is Sod-par-jed-ma; 17 the fire
element18 Gug-par-jed-ma ; 19 the air element 20
(I) hKhorlo-bDemchog. Shri-chakra-mahasukha. (2) This is an

inst mce of the imaginative and meditative method above
described. (3) Bodily aggregate. (4) rNampar-sNang-m<lzad
(5) Aggregate of sensation. (6) rDo-rje-Nyima. (7) Aggregate of
feeling. (8) Padma-gargyi-dVang-phyug "Padma Lord of Dances."
(9) Aggregate of tendencies. (10) Aggregate of cognition.
(II) rDo-rJe-sems-dpah. Just as the five Yeshes are personified as
the five Dhya.ni Buddhas in the case of Adi Buddhas, so in this
mandala (the whole body being such) there are five Devatils,
(12) That is the eyes and so forth are considered to be Vajra
delusion, gTimug-dorje ; wrath, zhe-sdang-rdorje; miserliness
(Serna-dorji), covetousness (Dots-chags-dorji), jealousy (Phrag-dag-
dorji). (13) Dorji-Wang-chug. (14) Prithivi. (15) "She who causes
'fall." (16) Apas. (17) gSod-par-byed-ma "She who kills."
(18) Agni. (19) hGug-par-byed-ma " She who summons." (20) .Va.yu.
[ 8 ]
Pad.ma gargyi-wang-chug 1 and the ether element I is

Padmai-dra-wa-Chan. 3 As one desires a precious object
by means of which only one can acquire merits the
purification and mental transmutation of all the aggre-
gates the elements, and the functions of the various
organs of the senses into Devata furnish such an
object.
Again with the beams of light shooting forth from
the " Hum " in the heart, let the worshipper invoke his
Vajra-guru' surrounded by the line of Gurus in the
upper Heavens before him. Below them is the prin-
cipal Devatil (Khorlo-Demchog) surrounded by the sixty-
two Devatas of the Khorlo-Demchog Mandala (Chakra-
sambhira). Then having imagined that the above Divi-
nities are seated on the fronting Heavens let the
worshipper think that he is himself multiplied innumer-
ably. Each of his counterparts should repeat salutation
to the Gurus (namogurubhyah) and salutation to the
Mandala of Shri-chakra-sambhara (Namah Shri-chakra-
sambhiira-mandalebhyah) in honour of the Guru and
the Devatas respectively and let each bow down to
them.
Then let him offer the offerings in their order.
They are Arghya, Padya, Pushpa, Dhupa, Aloka,
Gandha, Naivedya, and Shabda; 6 saying the following
Mantra " Om Sarva-Tathagata-Shri-chakra-Sambhara-
(I) "Padma-gargyi-dvang-phyug-ma. The Lady of Dances."

(2) Akisha. (3) Pa.dmahi-dra-va-can "She who has the net of
Lotuses." (4) rDo-rje-ch6s. (5) Water, flowers, incense,
lights, perfume, food, music. See A. Avalon's "Principles of
Tantra."
[ 9 ]
.Mandala-Chakra-Sarva-Vira-Y ogini. '' 1 This should be
repeated before each of the offerings which are as
follows:-
Arghyam pratishthayai svaha 2 Padyam pratish-
thayai svaha; Vajra-pushpam 3 Ah Hnm; Vajra-
Dhupa' Ah Hum; VajraAloka Ah Hum; VajraGandha,
Ah Hum; Vajra Naivedyam, Ah Hum; Vajra Shabda 6
Ah Hum.
Then after the last Mantra 6 having offered music 7
let the wor;:;hipper think of every possible object worthy
of offering which is not any one's private property.
Let his mind create for itself every imaginable article of
worship and worship with them.
Then making the Mudra of the heavenly treasury,
he should say:-
" Obeisance by the grace of the Dharma-Dhatu, 3
the Budd.has, Bodhisattvas, Mantras and the power of
Mudra; by the grace of my own faith and Samad.hi and
by the power of all my good wishes; let every kind of
offering for worship existing in this world, not held in
possession by any one, which is as inconceivably grand and
magnificent as the cloud of offering that was offered by
the Bodhisattva Samanta Bhadra (Kuntu-Zangpo) appear
before my Guru and the Buddhas of the Mandala Chakra
and let them be on the grandest scale."
\I) Quaere Yoginibhyah. (2) The text has "pratitcha ye," which is
a mistake for "pratishthayai," that is that which is truly and firmly
established or the Devata. (3) The flowers and other things are mental
offerings. The mind also resolves, " May they be Vajra," that is the
embodiment of the great irresistible enduring Vajra. (4) The text
has Pushpe Dhupe, etc., ending with Shabda. The nominative form
would appear to be correct. (5) Bells, drums, cymbals, conches, etc.
(6) See p. 8, note ante.
[ IO ]
Having uttered this wish he should snap with his

fingers and thumb. Again making the Mudra on the
heart, he should repeat this Mantra:-
Om sarvavid pura pura sura sflra iivarta avarta
ho nama samanta buddha nam abhismaraye
spharana immam gagana kham dharmadhatu
akashya samantama sarva tathagata apari
shadhale mandale mama pranite punya jnana
balena sarva tathagata balendha bandhasa
sthana balena ea le svaha. 1
"Orn, all-knowing one, fulfil (my desire), fulfil (my
desire) ; come forward, come forward; be
round, and round (the Mandala) ; Salutation
to Thee ; I remember the Samanta Buddha ;
Let this upper space be clear (of obstacles) ;
Let Dharmadhatu the unchanging be every-
where; May the Tathagata be in the petalled
Mandala which is opposite to, and made by,
me. Svaha to all Tathagatas who are holy,
knowledge and power, who are the fuel of
strength (strong as fire issuing from fuel), who
are the Power of this Mandala, and who are
all mighty."
Snap the fingers and thumb again, and worship
with the above Mantra. Then let the worshipper say :-
(r) I seek absolution for the sins which I have
committed, or attempted to commit, or in
(1) The Mantra in the text is in corrupt Sanskrit the meaning of
which is not clear. The following is perhaps the correct rendering.
Orn sarvavit pura pura sara sara avartasva avartasva ho namah
samanta-buddhana.ma abhismare spharanagagana imam kham (astu}
dharm,adhatuh akshayah sainantatah (astu) sarva-tathagat~ apare
sa.dale mandale, mama pranite; punya-jnana-balaya sarvatathagata.
valendhanaya bandhasamsthii.nab'c;l.laya baliyase svaha.
[ II ]
which I have taken pleasure when com-

mitted (by others) by body, speech, mind;
proceeding from motives of lust, anger,
sloth, stupidity during all the states of my
previous existences time without beginning.
I seek absolution for each and every sin so
committed in the presence of my Guru
and the Devatas of this holy Mandala :
(2) I will not commit them again (and then he
should further say):-
(3) I (naming himself) do hereby seek refuge in
the Buddha, Dharma and Sangha from this
moment until I attain the glorious state of
ShrI-Chakra-Mahasukha (dPal-khorlo-bDe-
mChog):
(4) I vow to continue in tlte practice and observ-
ance of the rules and conditions imposed
by ShrI-Chakra-Sambhara:
(5) I will feel satisfaction and take delight in the
merits acquired. by laymen, noble Shrava-
kas, Pratyeka Buddhas, Bodhisattvas and
by all the highest perfect Buddhas:
(6) I will free those persons who yet remain unfreed:
(7) I will give courage to those who are dispirited:
(8) I will l1elp those who have not attained com-
plete Nirvana to gain the same :
(9) I will entreat those Buddhas of the ten direc-
tions who do not set the wheel of truth
(Chos-kyi-khorlo) in motion to do so :
(ro) I will pray and entreat such of the Tatha-
gatas who intend passing away into
Nirvana not to pass away into Nirvana :1
(I) So that they may remain to aid others who are not yet liberated
from suffering. ·
[ I2 ]
(n) I will remain sincerely and earnestly in the

two-fold path of Shri-chakra-Sambhara.
And by the merits of my practice of these
resolutions may I and all sentient beings
speedily attain the state of Shri-chakra-
Sambhara.
The worshipper should repeat this clearly and
distinctly three times, remembering at each time the deep
meaning of the words which he is repeating. Then he
should think that the Divine Beings whom he has invoked
are addressing him in reply, thus:-
" Oh, son of noble dcscent,1 well have you adopted
your abode. If you abide therein of a surety you will
attain the highest stage.
Then again worship the Devatas with the brief form
of worship already given.
The worshipper should repeat the invocation Mantra
Vajra-muh 2 and say in his mind" Pn1y come." These
constitute the thirteen means of acquiring merits. Then
from the Bija Mantra Hum which lies in the heart
emanate ten female Devatas (Dakin1) who are the keepers
of the doors. There are eight of them in the eight
points of the compass and Khanda and Roha are above
(zenith) and below (nadir). They are on the east, south,
west, north, and then south-east, south-west, north-east,
and north-west. Then repeat a syllable (Pada) of the
Mantra of the four-faced Devata and as each Pada is
repeated make a snapping noise with the finger and
thumb of the left hand. By these means let him think
that lie has expelled all mischievous Spirits. Then on a
(I) Rigs-kyi-bu. Sanskrit Kula putra. (2) Of the Mandala.

l 13 ]
flood of light issuing from the "Hflm" in the heart
proceed by stages to make the Vajra-bhflmi (ground) ;
next the wall, ceiling, ceiling curtain with fringes, and
net-work of arrows 1 and outside all a fence of divine
flames. He should commence this work from within and
proceed outward in their order.
Then form the fingers of the left hand into the
threatening Mudra 2 and point it at the ten directions,
making the snapping noise abovementioned, repeating
solemnly the following Mantras thrice :
(Foundation) Orn medini-vajra bhava vajra-ban-
dhana hum hum phat. 3 (Wall) Om Vajra-prakara
Hum Varn Hfun. 4 (Ceiling) Orn Vajra-panjara Hnm Yam
Hnm. 5 (Cloth) Orn Vajra vita.na Hum Kham Hum.&
(Network) Orn Vajra-sharaja.Ia Tram Sham Tram.7 (Ere-
fence) Orn Vajra-jvalanalarka Hnm Ram Hnm.s
Having concentrated the mind on the above
protective circles, create from the " Hum " in the
heart Vajra-daggers 9 with Vajra-hilts, and Vajra-clubs.
Placing these in the left and right hands of the
innumerable attendants resembling himself let him centre
his mind on the innumerable attendants filling the skies
who summon the Spirits, including those powerful ones
who guard the four directions of the world-system.
(r) There is nC'tting work at the top of the sides of the building in
the Mandala. (2) TarjanI Mu<lr,'i: the thumb on the bentmiddlcfmger
and the index finger raised. (3) Orn carth-Vajra worldly Vajra-
bondage hum hum Phat (destroy). (4) Om Vajra-fencc Hum Vam Hum.
(5) 0111 Vajra dome or ceiling Hum Yam Hum. (6) Om Vajra
ceiling cloth Hum, Kham, Ham. (7) Orn Vajra net work of
arrows Tram (protect), Sham (bliss), Tram. (8) Orn vajra
fire-fence Hum Ram Hum. The word jvalanalarka is not clear
but fire-fence is the meaning. (9) The Phurpa.
[ 14 ]
Those who are white 1 take the refuge and enter the path
of righteousness. 2 Think of those who are black as
being transfixed with a dagger 3 through the crown of
their head.
Then orally recite:-
Orn gha gha ghataya ghataya sarva-dukham (in text
dukhtan) Phat 4-Kilaya kilaya sarvapapam hi:-tm phat 6
-Vajra-kilaya vajra-dhara (in text dharod) adya 8
jnapayati 7 (in text adjnapayati)-Sarva-vijnana-(in text
bbignan)-kaya-vakya (in text vakka) chitta 8 (in text
citta)-kilaya hum phat.9
At the same time imagine that they are pounded
into dust by strokes from the Vajra-Hammer.
Then again repeat the Mantra :-Orn vajra-mud-
gara vajra-kilaya akotaya hf1m phat. 10
Concentrate the mind on the absolution of the sins
of the mischievous Spirits and imagine that their Vijnana-
principles have been transferred to the Realm of Buddha
Akshobhya. Then the attendants take up their position
at the outer fence of Vajras. Imagine that they guard
the devotee so long as he does not attain Buddhahood.
This is the method by means of which one guards against
the possibility of being interrupted whilst seeking to acquire
wisdom through meditation on the magical protective
(I) Righteously inclined. (2) Bodhisattvik mind. (3) The

Phurpa. (4) Orn: may the dispersal of the dense mass of darkness
o:f delusion of Avidya (gha ... ghanapatalavidyamohandhakaravig-
h§.takam) be brought about ; may all misery be destroyed.
(5) Bind bind (Avidya}: may all sin be destroyed. (6) The text
has vajra-dharod-ad. (7) Bind firm ; hold firm ; now proclaims
sed. qu. (8) Text has bhignan-kaya-vakka-chitta. (9) Bind all
,consciousness, body, speech and mind: may all (enemies) be dispersed.
(lo) Om vajra-clubs hold (under you) firmly, break in pieces Hiim Pbat~
[ I5 ]
fences. This is acquiring of causal merits.I Then
regarding all outward and inward objects to be illusory
like dreams say :-
Orn svabhava-shuddha sarva-dharma-svabhlva-
shuddho'ham. 2
Again, meditating on Maya (sGyiima, that is the world)
as being Shunyata (the Void) inconceivable by thought, say
-Orn : shunyata-jnana-vajra-svabhavatmako'ham.a
This is the acquiring of spiritual merits. The
two-fold merit is acquired thus :-
Imagine arising from Shunyata the Mantra Yam,
from which issues the Mandala of Air of the shape of a
bent bow (semi-circular) with banners at each end;
the Mantra Ram, evolving the Mandala of Fire red in
colour and triangular in shape with a flaming gem; the
Mantra Varn, from which issues the Mandala of Water
round of form and white in colour with a pot ; the Mantra
Lam, from which evolves the Mandala of Earth square
in shape and yellow in colour, with three pointed Vajra
(Dorji) at the four angles. Then from the Mantra Sum
imagine Mount Meru the King of Mountains ; the four
fences of which are of crystal on the East, gold in the
North, ruby in the West, and emerald on the South. It is
quadrangular in shape with three tiers of squares thereon
and eight turrets. Imagine all these to be placed, the
(I) Merits are of two kinds either (a) Causal (Dhatu) rgyu-bsod•
nams-kyi tshogs; (b) Resultant (Phala) hbras-bu-ycshes-kyi-tshogs.
The first are those which accrue f:rom virtuous acts ; and the
second is Jnana. That is wisdom (Prajna) acquired with energy
(Virya) and through meditation. (2) Om, I am the pure which is the
true nature of all things. (3) I am of the nature of the Void and Vajra
knowledge. Miya in Tibetan is sGyiima, a term applied to the illusive
magical show of magicians and conjurers. The phenomenal world
is compared (as Shangkara does) to such an illusory exhlbition.
[ 16 ]
one above the other in their order, and on the top of all a
multi-coloured, four-headed Vajra, blue on the East,
green on the North, red on the West, yellow on the South,
and in the Centre dark-blue. On this dark blue ground
again place the Mantra Pam from whl~h emanates an
eight-petalled lotus. In the centre of the lotus again
imagine a ring formed by the sixteen Sanskrit vowels,
twice repeated, going from right to the left, thus:-
a, ii, i, i, u, ft, ri, ri, lri, lri, e, ai, o, au, am, ah.
Consider these thirty-two letters as constituting the
essence of the thirty-two signs of physical perfection : 1
and that from meditation thereon there arises the lunar
disc 2 upon which imagine the letters :-
Ka, Kha, Ga, Gha, Nga ; Cha, Chha, Ja, Jha, Nya;
Ta, Tha, Da, Dha, Na (hard) ; Ta, Tha, Da, Dha, Na
(soft) ; Pa, Pha, Ba, Bha, Ma ; Ya, Ra, La, Va ; Sa Sha,
Sha, (hard), Ha, Ksha; Ya, Ra, La, Va, Dha, Ha. 3
These, when set on the lunar disc going from left to
right and duplicated, make the Essence of the eighty
exemplary graces 4 the contemplation of which produces
the solar disc symbolising the Equality of \Visdom.
Imagine, between these two revolving discs, the Mantra
" Hum " white in colour and know it to be the essence of
Discriminating Wisdom. On the surface of the solar disc
again imagine the Mantras Orn, A, Hum the essence of the
ordinary physical body, speech, and mind.
(I) As regards hair, eyes, teeth, tongue, voice, skin, shoulders,.

body, etc. The membrum virile should be sunk into the body that
is not apparent. (2) Typical of the mirror-like aspect of the divine
wisdom. (3) In all 40 letters, which arc given in Tibetan characters-
in the text though they are meant to refer to the Sanskrit alphabet.
(4) Bodily symmetries and beauties, graceful walk and so forth.
[ 17 ]
Above all these, meditate upon a Lotus Disc, the
pure emblem of the female organ of the Female Deity,1
and above that on the Lunar Disc, emblem of the male seed
of the Male Deity. 1 Over these again meditate upon the
Mantra Hf1m as the true emblem of the Clear Light of
one's own mind. 2 Having meditated upon each of these
as being placed the one above the other, imagine that
each of the Discs, beginning with the lowest, merges into
the next one above it, and all at length into the Mantra
Hflm. Then imagine that the Mantra Hflm itself gradu-
ally disappears, Ukara into the body of H or Hakara, the
top [of the latter (Matra) into the Nada, and the latter
into the Bindu. 3
Then concentrate on the fine, light-red waving flame
of the Nada, thinking of it as emitting a sound, 4 humming
the Mantra of the twenty-four Heroes (Viras). Think
of it as vibrating very quickly and as giving forth
sound. Next imagine that this vibrating wave of !-ound
pierce the Solar Disc. Finally the Mantra Hiim merges
into, and is mingled with, the Solar Disc. 5 This
is the Consciousness which accomplishes everything
(1; The Deities created by the mind, the Male according to the
Tantrik Buddhists being the Symbol of Power and the Female of
the mind which guides and uses it. (2) Sems-kyi-rang-bZhin-hod-
gSalvahi-ngo-vo. The real clear light which is the nature of the
Mind. Its nature is clear light ; the clear state of uncognizing
super-consciousness undistractcd by thoughts which is likened to
,:,
that of deep sleep. Hum is the emblem of mind. l3) '{· First o-.
disappears in i ; the latter i n - ;-this again in ._, and the
last in o. (4) In the Indian Tantra, Nada is subtle" sound" (Shakti)
which in its more ~ssive form as Maya produces the universe. (5) The
subtle point of this waving current of force, which is Nada, pierces the
Solar Disc. That which waves or bends and quickly moves is the sound
(sGra pronounced Da).
2
[ I8 ]
(Amogha-Siddhi- Jnana) .1 All these considered as one,
ncluding the objects of worship, 2 and their receptacles, 3
and forming one Mandala is the Consciousness which
is Eternal and Immutable (Dharma Dhatu-Jnana). 4
Concentrate on the above until it 6 is vividly present
to the mind's eye. Then proceed as follows :-Within
the magical protective fences, created as above by
Mantras imagine a grand temple (Vihara}, quadrangular,
with four entrances, built of various precious metals, on
the summit of Mount Meru 6 on each of the four sides.
Imagine the wal1s to be five-fold 7 and of five different
colours in the following order, black, white, yellow, red,
and green. These walls are surmounted by a yellow
metal cornice ornamented with moons, to which are sus-
pended bells with half and full loops of jangling metal
(I-J Bya-va-grub-pahi-ye-shcs (pronounced J awa-1Jubpai Yeshe) see

ante p. 4, Note 7. Exotcrically it is the Dhy5.ni Buddha of tl1e North,
called Las-rab-mdjes-pahi-zhing khams, meaning the Realm of the
most beautiful and best works : and esoterically it is the Almighty
Attribute or function of the Perfect Buddha-the Wisdom which
succeeds in accomplishing acts. (2) The Mandala and the
Devat;is which constitute the Mandala. (3) The Devatas are the
objects of worship, and the places they occupy are the receptacles.
(4) Dharma-dhatu-jnana is the Sanskrit rendering of the Tibetan
"Chos-kyi-dvyings-kyi-yesbrs," the changeless Jnana. At core nothing
has absolute independent reality or permanence. They have only
a relative truth. (S) That is, the "Chos-kyi-dVyings-kyi-Yeshes"-
The Dharma-dhatu-jnana. (6) Because the Mind has to be
exercised in imagining the great, the high, and the exalted;
Mount Meru, being the highest thing imaginable, is selected as an
object of meditation, as the site of the Vihara of the God-head or
Deity the devotee is going to create and worship with his mind.
(7) The four side-walls, each being five-fold, e.g., a black wall, built
of some precious material like jet for instance, then conch, then
gold', then ruby, and emerald: the ceilings are treated separately.
[ 19 ]
bells waving in the wind. There are domed-roof towers
supported by red corbels, ornamented with the figures
of Devis bearing offerings for worship. Each of
the four entrances have pillared porticos, the pillars
being surmounted by four-tiered cornices. These again
are topped by the \Vheel of Dhanna, figures of antelopes, 1
umbrellas, banners, as also yak-tail fans with jewelled
handles. Imagine 2 a beautiful arrangement of flowers,
and gems and decorations and bannerets. The corbels
supporting the cornice on the inner side are coloured blue
on the east, green on the north, red on the west, and
yellow on the south. The fourfold central wheel is sur-
mounted by a dome in the form of a Stflpa (Chorten) 3
with four tiers at the base. Then imagine that outside
the Vihara there are the eight Great Cremation Grounds
of the dead as follows :
On the East Tumdrak ; 4 on the North Tsang-
tsing-Khrigspa; 5 on the West \Vur-Wur-Barva; 6 on
the South Jig-su-rungva; 7 on the South-East Nags-
tshalphun sum-tshogs-pa; 8 on the South-\Vest Miinpa-
mizadpa; 9 on the North-West Kili-Kili-da-dok-pa; 10
on the North-East Ha-Ha-Godpa. 11
In each of the burning grounds respectively meditate
upon the following Devatas :
(I) The ancient Viharas seem to have borne these symbols of the
peaceful character of these edifices. (2) On the top of the gates
and of the Vihara. (3) There are four circles one within the other.
Over this supported by columns is a stupa-shaped roof, that is, dome.
(4) gTum-drag, i.e.," gruesome;"" awful." (5) Tsang-tsing-hKhrigspa;
"dense thicket or jungle." (6) Wur-Wur-hBarva; "burning with the
Wur Wur sound." (7) hJigs-surungva; "the terrible." (8) The per-
fectly endowed forest. '9) " The ever gloomy" or" Interminable
gloom." (10) Kili-Kili-sgra-sgrog-pa l "Resounding with the cries Kili
Kill," that is the shrill note~ of eagles and other birds of prey.. (II)
Ha-Ha rGodpa; "resounding with the wild laughter Ha Ha ."
[ 20 ]
1. Yellow Indra, mounted on an elephant, holding

a thunderbolt. 2. Yellow Yaksha, mounted on a horse
and holding a mace. 3. White Varuna, mounted on a
Makara 1 and holding a noose. 4. Blue Y ama, mounted
on a buffalo holding a lance. 5. Red Agni, mounted on
a goat, four-handed, whose two right hands make the
gesture of giving boons, and hold a three-headed mace,
and whose two left hands hold a rosary and a vessel con-
taining drops (rilbu: that is of wine). 6. Black Rakshasa,
mounted on a resuscitated dead body, holding a sword
and a skull. 7. Green Marut, mounted on a deer,
holding a banner. 8. White Vang-Dan, 2 mounted on a
bull, holding a three-pointed thunderbolt.
All these are beautifully garmented and bedecked
with jewels. They are each accompanied on their left
by their consorts of the same colour as themselves, and
all bow towards the Victorious One (Chom-dan-da). 3
Again, think of these cemeteries as respectively
adorned with the eight kinds of Gig::intic Trees, one kind
in each as follows :
Shirisa, Ashvattha, Ankola,'Tsuta, 4 Karanja, Latapa-
rakati,' Partipata, and Bhata. 6 These are eight great
trees which adorn the burning grounds. There are eight
(I) A mythical animal in part like an alligator, the vehicle of
Varuna the Water God and of Ganga. (2) dVang-lDan = (Mighty,
Powerful) Sanskrit, Nagaraja. They are of two kinds, viz. :-(a) The
ordinary Tiras-chan-Naga animal-serpent or Snakes; and (b) The
Divya-Naga=Serpent-Spirits which arc represented as being half
human and half snake, the portion above the waist being human, and
when females much more beautiful than human women. The body of,
and the portion below, the waist is said to be that of a snake. And
these Nagarajas (King among Nagas) are decorated with 3, 5, 7 or 9
hooded heads of serpents which appear as a hood over their human
head. (3) bCom-lDan-hDas or the " victorious one," who having con•
queted the host of Mara has passed away from misery. Here Shri~
Cbakra-Sambhara. (4) Qu, (5) Qu. Parijata, Vata.. Cf. eight Kula.vriksha.
[ 21 ]
Female Devis, headed by Drag-Tum-mo, 1 who as door-

keepers guard these places. Then there are the eight
Serpent-spirit-kings, 2 to wit the eight who are Norgyay, 3
Jogpo, 4 Top-kyi-Gyu, 5 Padma, 6 Hulunta, 7 Rigs-Dan, 8
Dung-Kyong, 9 and Maha-padma. 10
Then there are eight Clouds; namely, Dra-drag-pa,11
Mugs-pa, 12 Mun-pa, 13 l{untu-Khyilva, 14 Gang-pa, 15
Babpa, 16 Dragpo, 17 and Khrigspa. 18 These are the eight
clouds. Again there are the eight Rivers, the eight
Fires, and the large Stiipas, in each of the great cremation
grounds. Then there are in each cemetery and according to
each sect of (worshippers) Avataras, 19 Viras, Y oginis,
Siddhas, Vidyadharas, Pretas, Rakshasas, Yakshas, 20
Ghouls, Elementals, 21 the male and female "sky-goers " 22
and Jackals. Thinking that each of the cemeteries is
full of these, then imagine that these eight burning grounds
enclose the Vihara.
Next imagine within the latter a circle within which
again picture an eight-petalled lotus. Let the worshipper
think of himself in the centre of the Lotus as being
(I) Drag-gTum-mo, "The greatly angry " (or The Angry and
Haughty One). (2) Naga (Tibetan= Klu [pronounced Loo].
{3) "Increasing wealth"= Nor-rgyas. (4) "The Carpenter "= hJog-
po. (5) " The cause of might "= Stobs-kyi-rgyu. (6) Lotus (Padma-
nagaraja). (7) Hulunta=Huludu =a Nagaraja. (8) Rigs-ldan = Of
noble birth. (9) Dung-sKyong=Shangkha-pala Nagaraja. (10)
Great Lotus=Maha Padma. (n) sGra-grag-pa, The noisy
(Thunder clouds). (12) rMugs-pa=the misty (Mists). (13) Kuntu-
hKhyilva=the dark or gloomy (fogs). (14) The wreathing (clouds}.
(IS) The filling ; those which envelope the whole sky or landscape.
(16) hBab-pa=the descending (Rain cl9uds). (17) The fierce (Fast
drifting clouds which move before the storms). (18) hKhrigspa-
The enshrouding. (19) That is each of the sects such as Karma-
kargyuts, Dugpa-Kargyut, Nying-mapa, etc., have their own
Siddhas, etc., and these are in each of the cemeteries. (20) Giving
the Sanskrit equivalents for the Tibetan in text. (21) hByung-po.
(22) mKhah-hgro-dang-mKhah-hgro-mas. •
[ 22 ]
the Chief Devata, Khorlo-Demchog (Chakra-Mahasukha)

with four faces symbolising the four Purified Elements, 1
the four Boundless Wishes, 2 the four Emancipations?
and the four Acts. 4
The face in front is blue, that on the left green, that
at the back red, and that on the right yellow. To
symbolise that he does not change from the Dharma-
dhatu-jnana,6 the body is of a blue colour. To show
that all the three Lokas 6 are under His vision and that
He knows the Three Times 7 each Face has three eyes.
To show that He knows the process of the evolution and
involution of the twelve Nidanas 8 (categories bound
together by the chain of mutual dependence,) and that
(I) hByung-va.-bzhi (pronounced jung-va), that is, earth (sa) ;
water (choo); fire (me); air (rlung). (2) Tshad-med-bzhi or dNying-rje
(compassion) ; dGah-va (affection) ; and Byams-pa (Love) bTang-
sNyoms (equal regard or impartiality). (3) rNampar-tharpa-bzhi.
These arc: (a) <.lNgos-po-sTong-pa-nyid (Bhava-shun~'atii}; (1.J} dNgi.is-
po-med-pa-sTongpa-nyid (Abhava-shunyatu): (c) Don-clam-sTongpa-
nyid (Paramartba-shunyata) ; (d) gZhan-gyi-dl'~ gi.:i;-pohi-sTongpa-nyid
(the voidnc,-.s of others that is all objectivity}. Emancipation is the
realization of these four truths. (4) hPhrin-h,,-bzhi. Th,tt i,; the
peaceful (Zhi-va) the grand upholding (zGras-pa) the Jascinating and
producing (dVang-va) and the fierce, stern and de,;trnctin: (dragpo). (S)
See ante, pp. 4, 5. (6) The three Lokas arc Kamaloka or sensual world,
Rupaloka where there is form without sensual craving, and Ariipaloka
the formless spiritual world. There arc six of the first, viz. :-Dcva,
Asura, Human, Preta, Tiraschan, Naraka: seventeen of the second or
Brahmalokas, and four of the Ariipalokas. (7) Past, present and
future. (8) The twelve Nidanas: the chain of causation, i.e., causes
of existence: (r) Avidya, (2) Samskara, (3) Vijnana, (4) Namarupa,
(5) The six Ayatanas, (6) Sparsha, (7) Vedana, (8) Trishna,
(9) Upadana, (xo) Bhava, (n) Jiiti, (12) Jara Marana; that is,
· (I) Ignorance, (2) Impression, (3) Cognition, (4) Name and form,
(5) The six senses, (6) Touch, (7) Sensation, (8) Desire or Attach-
ment or Craving, (9) Enjoyment, (xo) Existence (II) Birth,
(I2) Old Age and Death. The first five are the Avidya, Sangskara,
· Bijdcll>.i.. Ahangkara, Manas and five senses of Hindu philosophy.
[ 23 ]
He knows the twelve Projections 1 thoroughly, He is
represented as with twelve hands.
To show that the Perfect Mind 2 is both the Voids
and Compassion 4 he holds in tl~e upper hands a Dorje
and a Bell. 5 To show that Power 6 and '\Visdom 7
(1) Phowa or projections. This is a very secret science, known to
adepts in the Demchog-Tantra, in itself one of the most advanced
doctrines. Such adepts, it is said, may be found in the Monastery of
Punakha and in Tsari and Kha.ms in Thibct. One form of it is
taught publicly to those who desire to practice it. It enables a
person to project his Consciousness (Vijnana-skan<lha) just before his
death into some other form. (2) Byang-chub-kyi-sems. The mind
is the source of both good and evil thoughts, so the Text says not
merely mind (sems) hut well-trained or perfocb•d mind (Byang-chub-
scms). This is Bodhi or the purified mind. Hence the term
Byang-chub-sems dPah for a Bodhisattva or one aspiring and next to
Buddhahood. (3) sTong-pa-nyid or Shiinyata. Sec p. 2, Note (I), ante.
(4) sNying-rje-Karuna. The goal of the l\Iahayana Buddhist is ex-
pressed in the wish " May I attain Buddha.hood in Dharmakaya
and for the good of others may I empty the very last pits of Sangsara
(worldly existence) by the acquisition of indestructible compassion."
Again it is said " Not erring in existence (Sangsara) nor remaining
inactive in the tranquil state (zhiva = the passive state of Nirvana);
May I be able to emancipate sentient beings as infinite as the
Heavens." The Mahiiy,lna Buddhist seeks not mere tranquillity,
but working for the benefit of all so as 1.o attain the state which
is both Void (Shunyata) and Compassion (Kamna). (5) That is,
these arc symbols of Shrmyata (for Vajra is ultimately this) and
Kamna. (6) Thabs; the Power to do and the Means (Upaya) or
method by which anything is done as compared with Shrs-rab the
wisdom (Prajna) which guides and utilises it. According to
Tantrik Buddhism the first is a male and the second a female
principle. This is mere symbolism for worship. Such and other
statements are not mere Dogmas but a means of training the mind to
reach Shunyata which in its essence i's Compassion or Love for all.
The Buddhist Tantra does not so much say " Here is the answer or
theory, train your mind to believe so," but" Here are the problem and
the means, work out the answer for yourself." (7) Shes-rab = Prajna.
She utilises the former in order that Nirvana may be obtained.
=
Toabs is associated as phenomenal objects. (sNangva Ro.pa.) bliss
[ 24 ]
are ever in union the first or uppermost two hands embrace
His Spouse. 1 The next two hands hold the raw elephant-
hide1 emblem of ignorance, over the upper part of the
. body. 2 The third (right) hand holds a drum (Damaru),
to signify that He proclaims the most joyous tidings.
The fourth (right) hand brandishes a battle-axe, to
signify that he cuts off births and deaths, root and trunk.
The fifth (right) hand holds a dagger 3 to show that He
cuts off pride and the six sins. 4 The sixth (right) hand
holds a trident, to signify that He destroys the sins per-
taining to the three Lokas. 6
To show that Perfect M~.nd 6 is endowed with
supreme bliss, the third left hand holds a staff (surmounted
: by a Dorji). To signify that He does away with all
ideas which regard things as material or immaterial, 7
the fourth left hand holds a skull filled with hlood. To
(bDeva), clearness (gSalva), pure intellect (Rigpa), Shunyata. The
two are inseparable. The above are systematic stages of progress. The
essence of this Buddhistic doctrine is Thabs or the great Compassion and
J,Shunyata are ever associated with it as the supremely Pure Experience
which is beyond all worlds. {I) The hands embrace the spouse to
show that Thabs and Shes-rabs are ever in union. See Notes, ante.
(2) In the Tibetan Tantras, the Ishtadevata (Yidam) is the Ideal at
which the worshipper aims. His form, colour, hands, implements,
etc., are particular means of attainment. The key to these symbols
is provided in the explanation given. As He tears the elephant
of ignorance asunder, He holds the raw elephant-hide aloft with His
two next hands to clothe the upper part of his body. (3) Gri-gug, a
knife, dagger and scraper combined. (4) (a) Pride= Nga-rgyal. (b)
Dis-belief= Ma-dad. {c) Want of serious devotion= Don-du-gNyer-
va-med-nyid. (d) Distraction=rNamg-gYengs. (e) Inattention =
Nang-sdud. (/) Boredom= skyo-vas-nyan-pa. (5) That is the root
sins, Anger, Sloth and Lust. (6) Byang-chub-kyi-sems-bde-va-chenpo-
dang-ldan-pa, that is, Bodhi-chit. (7) dNgos-po-dang-dNgos-po-med-
pahi-rnam-par-rtog-pa-bcad-pa = As He destroys the notion of sub-
stance and no-substance. By contemplation on the Heruka,
Samya,g-jna.na is attained.
[ 25 ]
-show that knowledge holds the nature of sentient beings,
the fifth left hand holds a Vajra-noose. To show. that
He has shaken off all Samsaric delusions, 1 the sixth left
hand holds the head of the four-faced Brahma. To
-signify that out of His great Compassion He still lives in
-the world of sentient beings, He treads with the out-
.stretched right leg the prostrate body of an emaciated red
figure of time 2 holding a curved dagger and skull, who
represents the extreme of Nirvana, being a state of utter
passing away.a
To show that to His great Consciousness there is
neither subject nor object, 4 His bent left leg treads the
form of a Black Destroyer 5 lying stretched (face down-
wards) holding in His two right hands a drum (Damaru)
and curved dagger, and in His two le£t hands a staff
(Khatvanga) and a skull symbolising the extreme of
eternal Sangsara. 6 To signify that merits have been
acquired in the fullest measure, He (the Heruka) ties His
hair in a knot on the crown of His head, which is adorned
with a gem which grants all desires. 7 To denote that
the Bodhisattvik mind attains higher and higher degree,
the left side of His knotted hair is surmounted by the
(1) gTimug (Stupidity); Moha-Skt. (2) Dfts-mtshan-ma; literally
having the sign of time, a Devi representing time. She lives and
is therefore coloured red ; she is emaciated, for she does not produce.
The posture and the figures symbolise the extremes of various doctrines.
Here the Devi is the type of belief in the extreme of passive
Nirvana, and the Black Destroyer the type of belief in an eternal action
Sangsara. (3) That is of all phenomenality, or the belief that Nirvana
is the sole eternal reality-a belief to be also, as an extreme, avoided.
(4) To show that to His great wisdom (Shes-rab-chenpo=Maha-Prajna)
there is no Pudgala (gang-zag) and Dharma (chos) subject and object,
or enjoyer and enjoyment. (5) hJig-byed, translated by Csoma
-de Koros as Vidhvangsaka. (6) See Note 2, ante. (7) Yid-bZhin-
norbu, i.e., Chintamani denoting that He grants all wishes of
those who ask Him.
[ 26 ]
first-day phase of the moon. 1 To show that His various
acts serve the purpose of all sentient beings, the top of
His head is adorned with a multi-coloured Vajra (Dorji)
having four points. 2 To signify that the five kinds of
wisdom are in Him perfectly developed, each of the heads
is adorned with a crown of five dry skulls. 3 To denote
that the fifty letters have been purified, He wears a
garland of fifty freshly severed heads. 4 To signify that
Mara and aJl heresy are overcome, His faces frown and
His teeth are set. His earrings stand for fortitude,
necklace for charity, bracelets for chastity, girdle for
energy, and the wheel of bone on the crown of His head
for Dhyana. ·
Ashes from the cremation ground (rubbed on His
body) and worshipping objects borne outside 6 denote
Wisdom. 6 Thus He is adorned with the six bone orna-·
ments symbolising the six Paramitas. 7
Being heroic in His destruction of Mara and having
cast aside all belief in the reality of matter and mind, 8
He wears round His middle a Tiger's skin loosened, 9·
(I) The first day after new moon. (2) These point to East,
South, West and North which are coloured white, yellow, red,
and green respectively. (3) The bones of the head, with the skin
taken off, quite clean and dry. (4) The letters of the Sanskrit
alphabet are fifty in number and the heads stand as the gross
manifestations of them. See Arthur Avalon's "Shakti and Shakta " :
Chapters on Origin of Mantra and V arnamala. (S) The text reads Thal-
chengyi-rgya-dang-mchod-ph yir-thogs-shes-rabs-ste. Tbe seal of the
Cremation ground Ashes, and worshipping objects borne outside (repre-
sent) Prajna (Shes-rab). (6) Prajna=Shes-rab. (7) Charity, Chastity,
Fortitude, Energy, Tranquillity, Wisdom. (8) gZung-hDzin is put aside.
gZung-hDzin-spangs-pas ... to denote that He has forsaken the holding
of certain things to be permanent and such notions or beliefs.
(9) The tiger skin denotes gZung-hDzin and His wearing it
· locise denotes casting off .. gZung=outward object. hDzin = inner
· perceiving subject.
[ 27 ]
showing that the virtue of His three principles ' are fully
developed and that He graciously follows after and saves
erring beings overpowered and maddened by obscuring
passions. His body has symmetry and grace, His visage
is heroic, stern and severe, He is full of energy and awe-
inspiring, and yet He is compassionate and His features of
a peaceful cast. 2 These are the nine different aspects or
grades of His splendour and magnificence.
He embraces Vajra Vara.hi who clings to Him 3 and
who is red 4 of colour 5 because She is devoted to the
service of all sentient beings. She has only one face to de-
note that all things have but one taste 6 in the "That. " 7
To signify that She comprehends both Truths, apparent
(I) Skii =Body= (Kaya). gSungs = Speech (Vak). Thugs=
Mind=(Chitta). (2) This Devata (Demchog) is depicted as being of
a semi-wrathful type: neither terrible like the Krodha-Bhairavas
nor yet wholly peaceful. He is serious, energetic and stern.
(3) He is standing. She is in sexual union clinging to Him
with the legs passed round the Devata's back, as represented in
the Tangkas. (4) She is red because red is the colour of love. She
loves all beings in the Sangsara and would save them. Therefore
She is coloured red and clings to the Male who is emblematic of the
Method (Thabs) to save, e.g., Sadhanii and Dh}iina. (5) She is
represented Red-the colour of Love-to show that She is Love
and actuated by Love to the service of all sentient beings.
(6) Ro= rasa. That is, all are at base one considered as the " That "
the bliss of which has been compared by Kamalasila to the virgin's
bliss in love. (7) Chos-thams-cad-de-bzhin-nyid-du-ro-gcig-pas
zhal-gcig-pas. In the "That" everything. The" That" (De-bzhin-
nyid or De-Khona-nyid, or Ji-bzin-nyid) is thus explained. The
ether or Akasha (nam-mKhah) is that which offers no resistance to
motion and therefore induces no feeling of touch. So that which
can only be described by saying " hot that " " not that " when
every picture of everything is presented to the mind and is yet
Itself indescribable is called the " That. " Has it form, touch,
smell or any other thing? No; and so on with the rest. Then there
is nothing? No. There is something which to us is nothing
since it cannot be named. It is the ultimate Mysterious "That. 0
[ 28 ]
and real, 1 She has two hands. With the left holding a
human skull full of blood, She embraces the Male, denoting
that She confers Supreme Bliss. The right hand holds a
curved dagger with a Vajra hilt symbolising that Wisdom-
Consciousness which cuts away every thought 2 and
destroys all sinful obscuring passions and Maras, She
thrusts this dagger menacingly in all the ten directions.
To show that She has untied the knot which holds all things
as they appear, Her hair is loose and flowing. To denote
Her freedom from the obscuring veil of evil passion She is
naked. She is three-eyed, garlanded with fifty, and crowned
with five dried skulls. She wears five bone ornaments. 3
To show that She is inseparat~ from Method, 4 She
encircles the body of the Bhagavan with Her limbs and
embraces Him. Appearance, 6 Method 6 and Great Com-
passion 7 are the Male Deity whilst the Void, 8 Prajna,9
Tranquillity 10 and Great Bliss 11 are the Female Deity. 12
(1) bDen-pa-gNyis-the two truths. They are Drang-don
apparent or vyavaharika truth and Nges-don or real or paramarthika
truth. The first is the world-experience of the phenomenal world.
The second is noumenal truth or Shunyata, the wisdom which knows
in actual experience that all things exist only in the mind but have
no independent reality either as mental or external objects.
(2) rTog-pa-thams-cad-bCad-pahi-yeshes, the Jnana which cuts
away all rTog-pa that is Kalpana, Vitarka. In Dhyana ( or
Meditation on the Supreme) the simplest notions "yes" or" no,"
" is " or " is not " not to speak of such qualifications as " is good, "
" is bad, " etc., are obstructions to and interceptions of the Dhyana.
AU such thoughts are rTogpa, that is Kalpana, something by which
the mind is arrested and prevented from flowing on. Her Sadhaka
is freed from all these. (3) She has not the ashes which are the Sixth.
(4) Vide ante, p. 23, Note 6. (5) Snang-va-that is, the phenomenal
universe. (6) Thabs. See ante, p. 23. (7) sNying-rje-.chenpo= (Maha-
. Karuna) Lhag-mthong=A super conscious state in Dhyana. (8)
.Shiinyata""' sTongpa. (9) Shes-rab = Prajna. (10) Tranquillity=
Zhi•gnas. (II) bDeva • Bliss. (12) She thus represents Sbiinyata or
•the Great Void.
[ 29 ]
To show that these two must be in union,1 They are
dep~cted as in sexual union touching at all points of
contact. To denote that the fire of Supreme Wisdom 1
burns up all obstacles and (the influence of) malignant ·
Spirits within or without (the two Devatas) should be
meditated upon as in union in the midst of a halo of
flames emitted by the_ Supreme \Visdom. 3
Passing to the four petals of the Lotus, blue Khan-
doma 4 is on the Eastern petal, green Lama 5 on the
Northern petal, red Khanda-Rohe 6 on the Western petal,
yellow Zugs-chen-ma 7 on the Southern petal.
Each of these has one head but four hands.
The two right hands of each hold a drum (Damaru)
and a curved dagger. The two left hands of each hold a
skull filled with blood and a staff. They are quite naked
with their right legs outstretched. On the four interven-
ing points (of the compass) that is, South-East, North-East,
North-West, and South-West are four urns made of precious
metals and filled with the water of wisdom. 8 On the top of
these there are the five nectars in skull-bowls, thus making
(I) In the XVIIth Chapter on Prajna-pii.ramita of the Dvags-po•

thar-rgyan by Dvags-Lha-sGampo rJ e-btsiin, M:ila's foremost disciple
it is said that Prajna separated from Method binds to Nirvana and
method without Prajna to Sangsara. (2) Ycshes-Chenpohi-mes.
(3) Ycshes-kyi,me. The aura which is surrounding these energising
Deities manifests as flames. She clings to Him with the left
hand which holds the Cup of Blood. (4) That is, mKhah-hGro-ma
(Dakini). •' She who moves through the sky." (5) Not a Tibetan priest
but a female Devata so named. (6) This is as in text: probably
the corruption of some Sanskrit name. (7) gZugs-chen-ma meaning
"she having body "=Riipini. (8) Yeshcs-kyi-chu: literally, "water
of wisdom " but it is generally meant to signify the wine which is
the nectar of wisdom, i.e., Jnanamrita. In the Indian Tantra Wine
is kn~wn as Causal Water (Karanava.ri),
[ 30 ]
the Chakra of great bliss. Outside these are fences, pillars,

beams, rafters, and ceilings, made up of curved daggers
each having the half of a Dorje as their hilt. Outside
these is the blue M~119}1@ of the Mind 1 with eight
points. 2
In the eastern point thereof lies :.P1::1lira-Mala~ 3
where abide Khanda-Kapali and Rab-Tummo. 4 In the
northern point thereof lies Jalandhara where abide Mahaka-
makala and Tumpahi-mig-clien-ma:-.S In the western
point thereof lies Ugye!! where abide Kamakala and Wod-
dan-ma.6 In the ·southern point thereof lies Arputa
where abide Chewa-nampar-ts~gma 7 and Na-chen-
ma,8 In the south-east point thereof lies Godavari
where dwell Sura-vairi and Tanpai-lo-chen-ma. 9 In
the south-west point thereof lies RaITI~l::iyari where
abide O-pa-me 10 and Mihii-thung-ma. 11 In the north-
western point thereof lies Devikota where abide Dorje-
wot 12 and Lankai-Wang-Chf1gma. 1 a In the north-
eastern point thereof lies M~Jayll, where abide Dorje-
yi-ku 14 and Shing-dib-ma. 15 The bl~e____ M.~n~~f
~ 16 is in the sky and enjoying there. They (the Devatas
of the Mandala) purify the spaces above the surface of the
(I) Thugs-Sanskrit= Chitta. (2) rTsibs: literally, ribs or

spokes. (3) Puliramalaya-These are twenty-four Trrtha-Sthanas.
(4) Rab-gTummo: meaning" The furious or very angry." (5)
gTumpahi-mig-can-ma-She with fierce eyes. (6) Hod-IDan-ma:
meaning "The effulgent" =Prabhavati, (7) mCheva-rNampar•
bTsegma : meaning " She who has her teeth ever set on end."
(8) sNa-chen-ma: meaning "She with a large nose." (9) bTan-
pahi-blo-can-ma-" She with the firm mind." (Io) Hod-dPag-med-
" Boundless light." (II) That is, the " Dwarfish lady." {12) rDo-rje-
up H6d-Vajra-prabhii ; vajra light or brilliance. 1,13) Lan•Kahi-
dVang-Phyiig-ma=Lankeshvari. (14) rDorje•hi-sKu= Vajraka.ya.
(IS) Shing-grib-ma •" Shadow of the trees." (16) Thugs-kyi-
kyil•khor.
[ 31 ]
Earth.1 This Mandala is surrounded by a fence of Vajras
and pillars, beams, rafters and ceiling made of Vajras.
This constitutes the very self of the incomprehensible
secret of the Mind. 2
Outside the above there is the. red Mandala of Speech ·
with eight points. At the eastern point is Ramar_u_Ra where
abide Angflri and Airavati. At the northern point lies Otre
where abide Dorje-Ralpachen 3 and the Great Destruc-
tress.4 In the western apex lies Trisha-kun 5 where abide
Pa-wo-chenpo 6 and Lungi-shug-chen-ma. 7 At the
southern point lies !_~sal"1: where abide Dorje-hung-zad 8
and Chang-thung-ma. 9 In the south-east lies ~{itlip~.
where abide ~aJ1t~~ 10 and Sh~ma_cleyi. 11 In the
south-west lies Lampaka where abide Dorje-zangpo 12 and
Shintu-zangmo. 13 In the north-east lies Kantsi where live
Jig-jed-chempo 14 and Ta-na-ma. 15 In the north-east
lies Himalaya where abide Mig-mi-Zang 16 and Khagana.
(1) Probably the Mind is trained to think of the Devatas

as being in the sky because the sky being unobstructed by
other objects offers no impediment to the forming of a complete
mental picture. By being in the sky they purify it. (2) The
Vihara, its occupants and surroundings denote the mysterious
forces which are the Devata and Chitta. The Sadhaka begins
by endowing the mind principle of the Devata with virtues
and functions so that he does not meditate upon an on-thinking form
alone. (3) He who has the Vajra-matted hair= Vajra-jata.
(4) hJigs-byed-chen-mo-Dcstructress. (5) Trishakune (one of
the twenty-four Tirthasthanas or places of pilgrimage). (6) dPah-
VJ-chenpo: Mahavira: great hero. (7) rLung-gi-shugs-can-ma-
., She of the force of the Wind." (8) Vajra-hong-kara. (9) Chhang-
hThung-ma-" She who drinks wine." (10) Rabtu-bZangpo---
Siibbadra. (II) Qu. ?h_yama-J]evi. (12) rDorje-bZangpo-Vajrabhadra.
(13) Shintu-bZangmo-" She who is very good." (14) hJig-Jed•
.Cbenpo-" The great Destroyer." (15) rTa-rNa-ma-" She with
the horse's ears." (16) Mig-mi-bZang (Virupaksha) :-the sl~nting
eye attributed to the Shivamurti.
[ 32 ]
These which constitute the red wheel of speech dwell
upon the surface of the Earth and purify it. It is surround-
. ed by a fence of Lotuses, and by pillars, beams, rafte~s and
ceiling of Lotuses. It is the very Self 1 of the incompre-
hensible secrets of Speech. 2
Outside the Mandala there lies again the ~hite eight-
petalled Mandala of the body (Kaya). At the eastern
point Pretapuri dwell Top-po-che_3 _"and Khorlohi-shugs-
chenma. 4 At the northern point Grihadeva dwell
Rinchendorji 6 and Khanda Roha, at the western point
Sourakhta dwell Tamdin 6 and Shondini. At the
southern point Suvarna-dvipa 7 dwell Namkhai-Nyingpo s
and Khorloi-go-chama. 9
At the south-eastern point Nagara dwell Shri
Heruka 10 and Shintu-pah-mo. 11 At the south-western
point Sindhu dwell Padma-gargyi-wangchuk 12 and Tops-
chen-ma.13 At the north-western point Maro dwell
(I) Ngo-vo-that is, the true self. (2) Vak (gSiing) ; having
thus dealt with the Mandalas of Mind (Chitta) and Speech (Vak)
the text proceeds to the description of the Mandala of the
Body (Kaya). (3) sTobs-po-che-Mahabala ; the mighty. There
are twenty-four Tirthasthanas (gnas-yi.il) in J ambudvipa which
are sacred to the Hindus and Tantrik;_ Bauddhas. As regards
the latter, see Arthur Avalon's ,._,Origin of the Vajrayana
Devatas." (4) hKhorlohi-shugs-chenma-" She who has the force of
the Chakra. (5) Rinchen-rDorje-Ratnavajra=gem-vajra. (6) rTa-
mGrin-Hayagriva; horse's neck. Though the paintings denote
him with a horse's head, yet the name refers to the neck denoting
connection with "Vak" (speech). (7) In text Suvcrna. (8) Nam-
Khahi-sNyinghpo-Akasha-garbha. (9) hKhorlohi-go-chama-She
who has the armour of Chakra. (10) dPal-Heruka. (II) Shintu-
dPah-mo-She who is very heroic or the great heroine.
(12) Padma-gargyi-dVang-phyug-Padma Nateshvara; Pad.ma Lord
•of dances. (13) sTops-cben-ma=Maha.bali; She of great might.
( 33 ]
Nampar-nang-dzad1 and Khorlo-gyurma8 • At the north-
eastern point Kuluta dwell Dorje-Sempah3 and Tson-
dii-chen-mo4.
This Mandala is white in colour. These enjoy beneath
the earth and purify the nether-world.· This Mandala is
surrounded by a fence of Chakras5 • It is the very self
of the incomprehensible mystery of the Body6 • All the
male Heroes7 have each one head and four hands.
The right and left upper hands hold a Dorje and a bell
respectively and hold their Spouses in embrace8 • The
lower right hand holds a drum (Damaru) and the left
hand a staff surmounted by a Dorje (Khatvanga) 9 •
Some Lamas say that this hand holds a skull-bowl
whilst the staff is held in the inner bend of the elbow.
In dress, ornaments and posture they resemble Dorje
Phagmo10• Outward of this is the circle or conclave of the
(I) rNampar-sNang-mlnad-Vairochana. (2) hKhorlo-sGyurma
-The wielder of the Chakra. (3) sDorje-sems-dPah-= Vajrasattva.
(4) brTson-hGrus-chen-mo=Mahaviryi.i: She of great energy. (S)
Discus: hKhorlo. The offensive weapon used by the Sikhs
in battle and the ancient Mahabharata heroes. (6) Sku-hi-
gSangva-bSamgyis-Mikhyabs-pahi-ngo-vo-ho. This is the real in-
comprehensible mystery of the Body of the Bhagavan or Shri
Heruka made up of an aggregate of other Devatas or the
purified and deified constituent principles which have been enumerated.
(7) <lPah-bo= Viras. (8) Kha-sByor-chenpohi-tsbiil-gyi-bzhugs-
pa-ho ; that is, they are in the condition of the great coupling,
i.e., coitus. (9) Shiva's Khatvanga is, according to Indian
iconography, surmounted by a skull. Here the Khatvanga is
surmounted by a trident. The Khatvanga is variously surmounted
· by a trident (Dorje) skull or gem according to the Devata-Thus
the Dakini Varahi has a Khatvanga , surmounted by a Dorje on a
triple head ; the lowest being a fresh bleeding head, the next one in
decay and the topmost a dry skull ; the Dakini Singhamukhi's
Khatvanga bears a trident (Triso.la} and so does that of Guru Padma-
sambhava. (10) rDorje-Phagmo= Vajravarahi. They are each in
contact at all points-that is, in the act of coition.
3
[ 34 ]
sacred devotion1 • The northern entrance is guarded by
the crow-headed guardian2, the southern by the owl-headed
guardian8, the eastern by the sow-headed guardian',
and the western by the dog-headed guardian5 • In the
southern entrance dwells Shinje-tanma6 the right half of
whose body is blue and the left half yellow. In the south-
west dwells Shin-je-pho-nya-ma7 the right half of whose
body is yellow and the left red, in the north-west Shin-je-
cheva-ma8 is on guard. The right side of her body is red
and the left green. The guardian on the north-east is
Shin-je-jom-ma9 whose body is green on the right and
blue on the left. All these resemble the Chief Devata
Vajra-yogini as regards the number of faces and hands an<i
the different implements which they hold. All the Viras
and Yoginis10 have features of the wrathful type. They
are themselves filled with great bliss. Their brows are
crowned with a garland of Dorje11 from which shoot
forth miraculous rays. In particular the guardians of
(I) The Deities created by the Mind arc of two classes,

viz. :-Jniini (Yeshes-pa) and Bhakta (Damtshig-pa). The latter
are those first imagined and they invite the Jnani-devatiis,
wait upon, serve, and worship Thrm. At length the Jnanis are
absorbed in the Bhaktas ; the latter in the Mantras ; these into
the Bija · and finally all disappear in Sho.nyata. It is the
conclave of the Bhakta Devatas which is here meant. (2)
Kha-gDong== Kaka-mukhi; Kakasye, etc., is the Mantra of this
door-keeper and so with the rest. (3) Hug-gDong= Uluka-mukhi ;
UlO.ka.sye etc. (4) Phag-gDong== Vara.ha-mukhi; Shllkara-sye,
etc. (5) Khyi-gDong=Kukkura-mukhi; Shvanasye, etc., (6) gShin-
rje-brTanma=She who is the Pillar of Yama. (7) gSin-rje-pbo-iia•
ma- Female messenger of Yamariija (skt= Yamadilti). (8) gSin-rje-
mchevama. (9) gSin-rje-hJoms-rna. The mantras are set out in
another fascicule of the Tantra. (10) rNal-hByor-ma. (II)
Vajra-mllli: rDo-rje--Phrengva. Not fierce but terrible on account
of the awful glory and beauty so that men can· scarcely look upon
,them.
[ 35 J
the doors are seated on Pretas1 and are very fierce and
blazing of mien. Thus meditate upon them. Various
drugs, rich and nutritious aliments and nectar fill the
angles and corners in the space between the Devatas.
There are also eight urns of gems the necks of which
are adorned with knots and bows of celestial silk and
surmounted by wish-granting trees2 laden with flowers
and fruit. There are pillars, beams, rafters and ceilings
ornamented with vari-coloured, four-pointed Vajras.
The worshipper should meditate upon all this Mandala
consisting of the dwellings and their inmates quite clearly
and distinctly and without any vagueness and dimness.
They should be meditated upon as being the Dual-
Unity which is, as appearance, form and in itself the
formless Void or Shunyata. 3 •
With a view to avoid differences in the
regard with which mind-created and self-existing
Devatas are held one should think thus 4 • These
(I) Pretas: unhappy spirits or ghoc;ts. Each Deity has

one Preta. (2) <lPag-bsam-shing : Kalpatarn. (3) Literally appear-
ances (sNang-va-dang) and Sbiinyata (sTongpa) united of (zungdu-
hjugpahi) the selfness (bdag-nyid)-having-in-do, meditate
(can-du-bSgom-par-byaho.) That is :-m<;_ditate (upon it) as being
the very self of the united being of Aloka (appearance) and
Shllnyata. That is Form (Riipa) and the formless Void (Shiinyatii)
united in One : what in other schemes is called the phenomenal
and the real or spiritual. Shangkaracharyya if (as western critics
allege) he lived after the development ~f Buddhist philosophy
may have borrowed from it substituti:ig Atma for Shiinyata which
it resembles but asserting that this Atma was eternal substance.
(4) The meaning of this is :-We are- generally in the habit of
underrating the products of our own mind as being not divine,
which however ought not to be so. One should regard these products
of one's own mind-the sixty-two Dcvatas who constitute the
Mandalas-as being the very Devatas, incarnated for the benefit of
the Jambu-dvipa. Or, in other words, as an artist regards· the
[ 36 )
Beings1 which are made to appear by means of Mantra;.:
which constitute the Mandala of one's mind are in truth
the Devatas who inhabit the twenty-four sacred places
in Jambu-dvipa. And these same Devatas are the
(Nirmana-kaya2) manifest forms of the perfect
Sambhogakaya2 Beings who inhabit the pure Wogmin3•
And these again are in no wise different from the
Dharmakaya2• In this way one should dispel the
'notion that they are in any way inferior on account of
their being mind-evolved images which may be regarded
with indifference; and one should know that these sixty-two
Mandala Devatas, which appear in one's mind, to be none
• other than the manifest (Nirmana-kaya) Devatas existent
in Jambu-dvipa who in tum are no other than the Sambho-
ga-kaya Devatas existing in Wogmin who again are not
product of his mind and brush or pencil with adoration and

fondness, so should the Sa.dhaka adore the Devatas produced by his
mind and regard them as the real manifestation of the Deities of
the Jambu-dvipa. And these again as not only wielding influence
in the Jambu-dvipa, but throughout the whole universe, being the
concentrated rays or manifestations of the Sambhogakaya and who
reside in the Akanishta Heavens. This Sambhoga-kaya in its turn is
not any other thing than the Dharmakaya. Ordinary people regard
the Devatas as objectively existing and venerate them because of this
supposed objectivity. Here the Sa.dhaka is led to guard himself
against such notions. They are of the mind and as such one with the
Devatas of the W ogmin. (I) Pho-nyas == Messengers. (2) Chos-kyi-sku.
The bodies here referred to are as follows :-(a) Dharmakaya (The
body of Dharma or ultimate reality). That which is free from
inherent obscuration and accidental obscuration is said to be
Dharmakaya. (b) The embodiment of all that is wise, merciful and
loving in the Dharmakliya-as clouds on the surface of the heavens
or a rainbow on the surface of clouds-is said to be Sambhoga-
kaya • Longs-sku. (c) The sti,11 more concentrated ray from the
Sambhoga-kaya which is shot forth to affect any particular person,
place or time is the Nirmanakaya (Sprfil-sku). (3) A state (Aka·
. nishta Loka) from which there is no falling l:iack into Sangsara.
[ 37 ]
separate from the Dharmakaya1 . In this way one should
dispel the notion that they are in any respect inferior to
mind-evolved images upon which one looks with indiffer-
ence; and should know these sixty-two Mandala Devatn.s
which appear in one's mind to be none other than the Mani-
fest (Nirmanakaya) Divinities existent in Jambu-dvipa
who in turn are no other than the Sambhogakaya Devatn.s
existing in Wogmin 2 who again are not separate from the
Dharmakaya. So should one accustom the mind to regard
the Divinities as superior beings3 • This entire Mandala'
is subject of meditation by a highly developed mind. Each
(r) Chos-kyi-sku. (2) v. ante p. 36 n 3., Hog-min-Akanishta Heavens.

(3) When we create images of Devata with our mind we are apt to
regard them with indifference because they are mind-evolved. But this
is not right. They are equal in all respects to the actually existing
images Devatas in Hogmin. If we merely think to oursdves " I am
creating with my mind" no more advancement is made than by solving
any merdy intellectual problem. But the Sadhaka's occupation is not
merely mental. He should train his mind to regard these exercises
with exalted regard, veneration and devotion looking upon the
Devatas ac; real, holy and divine. They are none the less so
because mind-produced, for the mind ultimately is That and its ideas
forms of That. (4) The Mandala may be drawn as follows :-
Draw a circle within which is the Principal Devata Shn-
chakra-Samhhara. Give it eight petals in the N, E, S and W, which are
Lama, mKhah-hGro-ma, Riipini, Khanda-Rohe. Outside these eight
petals draw right other larger ones. This is the inner Mandala of
Chitta in which are Maha Kamkala and others. Outside this, draw
again eight larger petals to form the red middle Mandala fenced
with lotuses called Vak Mandala, containing in each petal Otre,
Sthana, and Devatas rDorje-Ralpachan and other Sthanas and
Devatas. Outside this again draw eigpt larger petals which is the
Kaya Mandala fenced by Chakras containing Griha Deva, Rinchen-
rDorj e and others. Outside this last is the fourth circle (Phag-gDongma,
called the Damtshig-hKhorlo) containing in its eight divisions the
gate-keeper and warders who guard the good faith and worshipping
female Devatas Hug-gDong-ma and others. Then draw the
. outermost circle of flames enclosing and guarding all. •
[ 38 J
Mandala and its petal with its particular Devatli must be
meditated upon with special veneration and faith. In the
Mii.la-Tantra1 it is said that The three classes of Devatas
when well known confer boons on the devotee. This is the
mode of acquiring practical knowledge. Then with a view
to dispel doubts about the Devatlis and the Path2 identify
the thirty-seven Devatas created by, and meditated upon
by, the mind with the thirty-seven branches of the Dharma3
which leads to Buddhahood and these again must be
thought of as being within the worshipper himself in
the form of the thirty-seven Dcvatas. This practice
is for men of the highest intellect. Men of middling
and lower intelligence should identify the recollection
of the body to be Khando-ma'; ihc recollection of the
(I) rTs-a-vahi-rGyud-The fourteenth of the fifteen parts
of the last volume of the Tantra section of the Kah-gyur. (2)
The Sadhaka may doubt whether the Dcvatas arc real and
efficacious for the purpose invoked: whether they exist
independ~ntly of the Sadhaka's belief, in wl:>ich caH' what about
non-ego or Shunyata. ? So with a view to dispel such doubts
the Slidhaka is enjoined to identify the Devatlis with the saving
Dharma; so that he may realise the truth that enlightenment
and liberation are to be obtained from himself and by himself
through his own effort and not from any external help or favour.
The thirty-seven Devatas are previously enumerated, the chief
being dPal Heruka (Shri Chakra-Sambhara). The two principal
Devata.s are Sambhara and Vlirahi ; the attendants Khahda Rohe,
etc., are four : the Deities of the Sthanas are twenty-four, each couple
being taken as one : the door-keepers are four ; and four others are
Sbinje Tanma, Shinje-phonyama, Shinje Chewamo, Shinje-jom-ma. (3)
The thirty-seven branches of the Dharma in Pali are :-(a) Cattaro
Satipatthang 4 I (b) Cattaro Sammappadhana 4 ; (c) Cattaro Iddhipada
4 : (d) Panca Indrayani 5 ; (e) Panca Balani 5 ; (/) Satta-
Bhojanga 7 ; (g) Atthanga-Magga 8 m 37. (4) Khah-hGro-ma: Dakini,
i.e., to be represented by the Devata. To recollect that one's body
: {Rayasmriti upasthlna) is made up of several elements, ingredients,
'J?8.l"ts, functions, etc. This recollection regarding the body is to be
, identified with mKhah-hGro-ma. ·
[ 39 ]
nature of things1 to be Khanda-rohe; the recollection
of ._the mind to be Ziichen-ma2 ; the miraculous feet
of good and strong motive to be Khanda-Kapali 8 and
Rab-tum-ma4, the miraculous feet of energy to be Maha-
Kam-kala and Tum-pai-Mig-chen-ma5 ; the miraculous
feet of investigation6 to be Kam-kala and \Vo-dan-ma7 ;
the miraculous feet of the mind to be Cheva-nampar-
tsigpa8 and Na-chen-ma9 ; the faculty of faith to be
Suravairi and Tanpai-lo-chen-ma10 ; the organ of endeavour
to be Wo-pa-me 11 and Mihu-thung-ma12 ; the organ of
memory to be Dorje-\Vod13 and Lankayi-wang-chugma14;
the faculty of deep meditation to be Dorjehi-sKu 15 ;
the faculty of wisdom to be Anguri and Eravati; the
power of faith to be Dorje Ralpachan 16 and the Great
Destructress ; the power of strength and endeavour to be
Pawo-chenpo17 and Lungi-Shu-chan-ma18 ; the strength
of memory to be Dorje-Hung-zad19 and Chang-thungma ;
strength_o{ deep meditation to be Rab-tu-Zangpo 20 and
Shyama Devi 21 ; and the strength of wisdom to be Dorji-
zangmo22.
-------------- - - - - - - - - - - - - - - - - - - - - -
(r) Chos-Dharma. (2) gZugs-canma (Rupini or-Riipavati.) (3)

Khanda-kapali-The "miracle" which can be accomplished by
good motive and perseverance by the mind as a whole. (4) Rab-
gTum-ma. (5) gTurnpai-mig-canma v ante. (6) dPyod-pa-VichAra.
(7) Hod-lDan-ma. (8) mCheva-rNampar-gTsigspa. (9) " He who
shows his teeth fiercely". sNa-chen-rna-big nosed. (IO)
bTan-pahi-bLo-canma-She of firm intellect. (II) Amitabha. (12)
The dwarfish lady. (I3) rDorjihi-H;od-Light of Dorje or Vajra,
(14) Langka-hi-dVang-phyugma=Lankeshvari. (IS) rDorjehi-sku-
Vajrakaya. (r6) rDorje-ralpaehan-having mane of Dorje. (I7) dPah-
vo-chenpo-Mahaviryya. (r8) rLungi-sugs-can-ma-She who has the
might of the wind. (I9) rDorge-hum-mdZad=Vajra-hung-kara.
(20) Rab-tu-bZangpo-(Subhadra). (2I) In text-Shyam.a Devi.
(22) rDorje-bZangmo-the good Dorje and the very good° Lady.
[ 40 ]
The seven Bodhyangas are (the aspects of the Perfect

Experience), namely, Pure Wisdom as Ecstasy1 represen-
ted by Jig-jed-chenpo2 and Ta-na ma 3, Pure Wisdom as
Energy 4 represented by Migmi-zang 5 and Khagana, 6
Pure Wisdom as Love7 represented by Tob-po-che8
and Khor-loi-shug chen-ma 9, Pure Wisdom as Action10
represented by Rinchen-Dorje11 and Khanda-Roha6 ,
Pure Wisdom as Dharma 12 represented by Tamdin 13
and Shondini, 14 Pure Wisdom as Clear Memory15
represented by Nam-khayi-Nyning-po 16 and Khorlohi-go-
chama 17 , Pure Wisdom as Detachment 18 represented
by Heruka and Shintu-Pahmo19 • •
The eight branches of the Noble Path are: Right-
view 20 represented by Padma-gargyi-Wang-chug 21 and
Tob chen-ma22 ; Rightmindedness or Right resolve 23
by Nampar-Nang-zad 24 and-Khorlo-Gyurma 25 ; Right
speech 26 represented by Dorje-Sem-pa 27 and Tson-du-
chenmo 28 ; Right Action 29 represented by Khva-dong-
(1) Ting-nge-hdzin-yang-dag-byang-chub-kyi yan-lag = Samadhi-
Sambodhyanga. (2) hJigs-byed-chenpo. (3) rTa-snama. (4) brTson-
-Griisyang-dag-byang-chub-kyi-yanlag = Viryya-Sambodhyanga. (5)
Virupaksha. (6) In Text-Khanda-Roha. (7) dGah-va-yang-dag-byang-
chub-kyi-yanlag. = Priti-sambodhyanga. (8) sTobs-po-che. (9)
bKorlohi-sugs-can-ma. (ro) Sintu-sbyangspa-yang-dag-byang chub-
kyi-yanlag-Prasrabdhi-sambodhyanga. (II) Rinchen-rDorje. (I2)
Dharma, Chos--rab-tu-rnarn-par-hbyed-pa-yang-dag-byang - chub-kyi-
yan-lag = Dharma-pravichaya-Sambodhyanga. (13) Hayagriva: rTa-
mgrin. ( 14) In Text. (15) Dran-pa-yang-dag-pa-byang-chub-kyi-yan-
lag-Smriti-sambodhyanga. (16)Nam-mKhahi-snyingpo.( 17) hKhorlohi-
go-chama. (18) bTang-snyoms-yang-dag-byang chub-kyi-yan-lag= Upe-
ksha-Sambodhyanga. (19) Shintii-dpah-mo. (20) Samyag-drishti or
Right belief= Yang-dag-pahi-ITa-va. (21) Padma-gargyi-dVang-phyug.
(22) sTob-chen-ma. (23) Samyak-samkalpa or Right aim.= Yang-
dag-pahi-rTog-pa. (24) rNampar-sNang-mZad. (25) hKhorlos-sGyurma.
(26) Samyag-vak; Yang-dag-pahi-ngag. (27) rDorje-sems-dpab.
(28) brTs6n-hGriis-chen-mo. (29) Samyak-Karmanta = Yang-dag
,:, pahi,-las-kyi-mtllah.
[ 41 ]
ma1 ; Right Living2 represented by Wug-dong-ma3 ;
Right Endeavour4 represented by Khyi-dong-ma 6 ;
Right Mindfulness6 represented by Phag-dong-ma7 ;
and Right Meditation 8 represented by Pal-Heruka9
and Dorje Phagmo10.
The production of unborn meritorious acts is repre-
sented by Yamadhadi. The careful guarding of meri-
torious principles, when produced, is represented by
Shin-jehi-Pho-nya-mo11 ; avoidance of irreligious principles
which have been produced is represented by Shin-jehi-
cheva-ma12; prevention of the birth of unborn religious
acts is represented by Shin-je-Jom-ma13•
Having uttered these let the Sadhaka remember all
these Devatas are but symbols representing the various
things which occur on the Path such as the helpful
impulses and the stages attained by their means.
Should doubts arise as to the divinity of these
Devatas, one should say " the Dakini is only the
recollection of the body" and remember that the
Deities constitute the Path. One should meditate on
the pure and sacred outer Mandala of the Nirmana-
kaya14 as the first step on the Path. Thus
(1) Khva-gDong-maI : her mantra Kakasye, etc. (2) Samyag-

jivanam; including right means of livelihood: Yang-dag-pahi-hTsho-va.
(3) Hug-gDong-ma ; her mantra Huluka-sye. (4) Samyag-vyii.para or
cheshtii= Yang-dag pahi-rTsol-va. (5) Khyi-gDong-ma; her mantra
Shvanasye or Shvanamukkhi. (6) Samyak-smriti= Yangdag-pahi-
dranpa. (7) Phag-gDong ma ; her mantra Shiikarasyc. (8) Samyag-
dhyanam: Yang-dag-pahi-Ting-Nge-hdzin. (9) dPal-Heruka. (10) rDorje-
Phagmo or Vajravariihi. (u) gShin-rJehipho-nya-mo. (12) gShin-
rJ ehi-mCheva-ma. (13) gShin-Je-hJoms-ma. (14) Sprul-pahi-
sku= One of the three bodies of Buddha namely, P-liJmrui:.k@,ya
the essential formless Bodhi which is true experience free of
all error : Sambh9~·Jtaya the reflected body of glory of the same ;
[ 42 ]
all who reside in such Mandala must be clearly brought
before the mind. This mental movement, together with
the lower and upper Vayu 1 in motion, cause the Ham 2
sound at the crown of the head to hum, and the A-shaped 3
vital principle' to pass through the Snkshma-nadi 5 where
both the Vayus meet in the heart and unite in one.
From the gradual combination of residence and resi-
dents 6 into one, vividly impressed upon the mind, there
evolves the many-coloured Vajra 7 at the crown of the head.
Meditate upon the heels as the Vajra foundation, the ribs
as Vajra-fence, the skin as dome, ceiling cloth and curtains
of Vajra and on the downy hair in-the body as a net-work 8
of arrows. Think of the hair of the head and on the nails
as a fence of divine magical fire protecting the whole.
Think of the heels as being air, the trijunction 9 as fire, the
stomach as water, the heart as earth, and the vertebral
column as Mount Meru 10. Think upon the head as being
the upper portion (of Mount Meru). Imagine the body, one
fathom in length and the same in breadth, to be the square-
shaped Vihara 11 of which the four doors are the four airs of
the four elements issuing from the heart ; the eyes to be
the ornaments of the Vihara; the legs its pillars.
----------------~------~ ·-
Nirmana-kaya the transformed body of the human Buddhas. The

first is the essegtial, the second the reflect~d. and the thir.d the
prac~ aspects -;;f the one Wisdom. See Foreword. (r) The Apana
Vayu the seat of which is below the abdomen and the Prana
Vayu which is above it in the region of the chest and throat.
(2) The Mantra (3) The Akara. (4) lTe-vahi-A-tshul. (S) dViima.
(6) rTen-dang-rTenpahi-dKyil-hKhor= the Mandala. (7) Sna-
Tshogs-rdo-rjc. (8) Mdah-hi-dra-va. (9) Possibly the junction
(gsurn-mdo) of Ida, Pinggala and Sushumni below the navel
centre or the Miiladhara. (10) In Sanskrit the spine is called
Merudanda, i.e., Meru axis. (II) Temple-gZhal-yas-khang. The Text
gives· the head as the upper part of Meru.
[ 43 ]
Meditate upon the whole Mandala consisting of the
residence and the" Hflm" which dwells in the heart as the
Divine Heruka and His Consort as above explained.
Meditate upon His twelve hands as follows 1 :-The
uppermost right hand-Mam, Khah-gro-ma. 2 The next
uppermost right hand-Lam, Lama. The uppermost left
hand-Pam, Khanda-rohe. The next uppermost left
hand-Tam, Zug-chan-ma. 3
The other eight hands as eight long Hnms.
Of these, the four right hands are the crow-faced, the
owl-faced, the dog-faced and the sow-faced Dakinis. The
four left hands are (the female Devatas) Shin-je-Tan-ma'
Pho-nyama 6 , Cheva-ma 6 , Jorn-ma 7 ; and in the
twenty-four sacred places, including the crown of the head
imagine the twenty-four letters, Pu, Ja, U, A, Go, Ra, De,
Ma, Ka, O, Tr1, Ko, Ka, La, Ka, He, Pre, Gr1, So, Su, Na,
Si, Ma, Ku, 8 to be the twenty-four Viras 9_a,nd__ Yqginis
--. •
10
(1) Here t.he trut.:! signillcation of the Shri Heruka's twelve

hands is explained. (2) Khah-hgro-ma= Dakini. (3) gZugs-chan-
ma= Riipini. (4) gShin-r J e-brTan-ma, meaning the anvil or firm
post of Yama. (5) Meaning messenger of Yama (Yamaduti). (6)
mCheva-ma meaning fangs of Yama (Yama-danta). (7) hJoms-
ma meaning Destructress. (8) These stand for the names of the twenty-
four Sthanas given later. (9) dPah-vo. (The Heroes.) (10) rNal-hjormas.
Viras and Yoginis arc exalted Maha-Siddhas worthy of special vene-
ration. Tluy have attained Siddhi through the four Vajra-sadhanas.
The body is purified of gross material substance. Language is purified
of all useless utterances and becomes efficacious Mantra. The thought
is purged of the notions begotten of the contact of the internal senses
and external objects displayed as likes, and dislikes. Mind is tran-
quillised and filled with exalted clearness and wisdom. Thus is obtained
the undecaying body, speech, mind and knowledge, Vajra-kaya, Vajra-
vak, Vajra-chitta, Vajra-jnana (sku-rDorje, gSungs-rDorje, Thugs-
rDorje, Ycshes-rDorje.) These arc the four Vajras of the four Chakras.
The Chakras are the beings and the Vajras are the results of the ?iddhi
obtained by them.
[ 44 J
. Thus (1) in Puliramalaya1 (the crown of the head)
reside Khanda-Kapali and Rabtu-Tummo11 . (2) In Jalan-
dhara, the centre of the crown-reside Mahakamkala3 and
Tumpahi-mig-chan-ma 4• (3) in Udyana, the right ear, reside
Kamkala6 and Wod-Danma6 • (4) InArputa, the nape of the
neck, reside Cheva-Nampar-tsig-pa7 and Na-chen-ma8•
These are the sacred places 9 • (5) In Godavari, the left
ear, reside Suravairi and Tan-pahi-lochan-ma10. (6) In
Rameshvari, the spot between the eye-brows11 , reside Wod-
pag-me111 and Miwa-Thfmg-ma13 . (7) In Devikota, the two
eyesreside Dorje-yi-wod14 and Lang-kai-Wang-chugrna15.
(8). In Maiava, the two shoulders reside Dorji-yi-sku16 and
Shing-dib-ma17 • These are the secondary 18 sacred places.
These belong to the blue Mandala of the mind which
occupies the Heaven.
(9) In Kamarupa, the two arm-pits, reside Amkuri and
Erapati. (10) In Otre, the two breasts, reside Dorje-Ralpa-
chen19 and Jigjed-chcn-mo 20 . These four are the Realms 21.
(l) (In the Text) on the head=Spyivo-the crown of the
head. (2) Rabtu-gTum-mo. (3) Sic: Kam-kala. (4) gTumpahi-
mig-chan-ma. Her Mantra seems to be Om-Tsanda-akshi-ye-Hum-
Hiim Phat. (5) Sic : Kam-kala. (6) Hod-IDanma = Prabhavatr. (7)
mCheva-rNampar-gtsigs-spa=Grinning fangs. The Mantra seems
1.o be: Om-Tra-sa-ya Tra-sa-ya Hiim-hiim-phat. (8) sNa-chen-ma=Big-
nosed or She with big nose. Her Mantra: Om-Ksho-bha-ya, Ksho-
bha-ya, Hum hum phat. (9) Sthanas=gnas. (10) brTtan pahi-bLo
chan-ma= Vira-mati. (II) What the Hindus call the Ajna Chakra.
(12) Hod-dpag-med whose Mantra is Om-Rhoum Rhoum, etc. (13) The
dwarfish lady= Orn kharba-ri-ye, etc. (14) rDorje-hi-hod = Vajra-
Prabha. The Mantra: Om-Rha, Rha Hum Hiim, Phat. {15) Lang-
kahi-dVang-chug-ma = Lankeshvari. The Mantra in Text is: Om-
Lankeshvarr ye, etc. (16) rDorje-hi-sku. Mantra : Orn Phem, Phem, etc.
(17) Shing-grib-ma. Mantra: Orn Druma-Tshaye Hum- Hum-Phat. (I8)
Nye-vahi-gnas= Literally, "nearer." (19) rDorje-Ralpachan: Having
mane of Vajra. The Mantra of this Devata is: Om-da-ha-da-ha-hum-
hiim-phat. (20) hJigs-byed-chen-mo= The great Destructress. Mantra:
Orn Maha-Bhai-ra-vi-ye Hum-Hum-Phat. (21) Zhing-field= reahn.
( 45 ]
(II) In Trisha-kune, the naval, reside Pah-ho-chenpo1
and Lungi-shug-chan-ma2 • (r2) In Kosala, the nose-tip,
reside Dorje-hum-zad3 and Chang-thung-ma4• These
form the nearer realms of sacred places, second in import-
ance. (r3) In Kalinga, fhe _m.Quth, reside Rabtu-Zangpo5
and Shyama DevL (14) In Lampaka, the neck, reside
Dorje-Zangpo 6 and Shintu-Zangmo 7 • These are the
warm regions 8 • (15) In Kantsi, the heart, reside Jig-
Jed-chen-po9 and Ta-na-ma10• (16) In Himalaya, the
private abdominal regions which form the warm regions
of the second grade, dwell Mig-mi-zang 11 and
Khagana.
These belong to the red Mandala of speech.
(17) In Pretapuri, the sexual organs, dwell Tob-po-che 12
and Khorlohi-shug-chan-ma 13• (18) In Grihadcva, the
(r) dPah-ho - chcn-po = Maha - vira (Great hero). His

Mantra: Om-Patsa-Patsa, etc. (2) rLungi-shugs-chan-ma.=" She who
has the strength of the wind " whose Mantra is : Vayu-bege-hum, etc.
(3) rDorjc-Hum -mdZad= Vajra-hnm-kara. His Mantra: Om-Baksha-
Baksha-basaru-dira-antra-mala-balambi-ni-yc-hum-hum-phat. (4)
Chang-hThung-ma = She who drinks wine. Om-sura-bakshi-ye-Hiim-
Hum-Phat. (5) Rabtu-bZangpo= Very-good. His Mantra: Q!!!-g!ihan,a-
grihana~sapta-patala-gata.IT1a-bhujanga sarvam-va-tapjaya-t(l;pia_ya. (6J
rDorje-bZangpo = Vajra-Bhadra: The righteous or good Vajra. The
Mantra is: Om-A-Katdya-Katdya. (7) Shintu-bZangmo. Whose mantra
is= Om-su-bhadre. (8) The body is likened to Jambudvipa wherein a,re
warm and cold places. Here the neck is said to be a warm region.
(9) hJigs-byed-chenpo ""The great Destroyer. Mantra is = Om-Rhini-
Rhini-Hum-Hum-Phat. (10) rTa-sNa-ma= The horse-nosed lady,
The Mantra Om-Jnyom-Jnyom-Hum-Hum-Phat. (II) Migmi-
bZang = Virupaksha. (12) sTobs-po-che = Very mighty (Mahabala).
His Mantra seems to be: Om-Kshmam Hum-phat. (13) hKhorlohi-
sbugs-chan-ma= She having the force of the wheel. •
anus, dwell Rinchen-dorje1 and Khanda Rohe. These are
the junctions2. (19} In Suvarnadvipa, the two calves of
the legs, dwell Nam-khahi-Nyingpo3 and Khorlohi
Gochama4 • These are the nearer (or secondary) junctions5 .
(20) In Sourakhta, the two thighs, dwell Tam-dim6 and
Shondini. These are the junctions7. (21) In Nagara, the
sixteen fingers 8 , reside Heruka and Shintu-Pah-mo9 .
(22) In Sindhu, the ankles, dwell Padma-gargyi-Wang-
chug10, and Tob-chen-ma11• These are the cremation
grounds12. (23) In Maro, the four thumbs13, dwell Vairo-
chana14 and Korlohi-gyurma16 . (24) In Kuluta, the two
knees, dwell Vajra-Sattva16 and Tson-Dubs-chen-mo17 •
These are the nearer cremation grounds of the second
order. These occupy the whole Mandala of the body
beneath the surface of the earth. The nature of these
Devatas have been above described.
Having thus vividly brought the outer and inner
Deities before the mind, repeat the Mantr~_ 0!_11, and think
that the outer and inner Chakras, the Nirmanakayas, the
Sambhogakayas, which make the four Chakras, and those
(mentioned hereunder) arc vividly pr0scnt and insepaiably
(1) Rinchcn-rDorjc "'' Ratna-vajra,

Precious Vajra. (2) hDu-va. (3)
Nam-mKhahi-sNingpo = Akasha-garbha. (4) hKhorlohi-gochama = She
wearing the armour of the wheel. Om-cakra varmini-ye-Hnm-Hum-
Phat. (5) Nycvahi hDu-va. (6) rTamgrin = Hayagriva. (7) hDu-va.
(8) Sormo-bcu-drug. That is, fingers and toes excluding thumbs and
big toes. (9) Shintu-dPah-mo. The great heroine. (ro) Padma-
gargyi-dVang-phy'ug = Padma Natakeshvara, Lord of Dancers. (rr)
sTob-chen-ma=Maha.bala or Lady of great strength. Her Mantra
is: Orn Maha.bale Hum Hum Phat. (12) Dur-khrod. (13) That is, two
thumbs and big toes. (14) rNampar-sNang-mdZad= Vairochana. (IS)
hKorlohi-sGyurma=She who turns the wheel or rules. (Om-cakra
Vartini ye-Hum-Hum-Phat.) (16) The heroic Vajra mind=rDor-rje-
semsdPah. (Om-Dhili Dhi-Ii-ye.) (17) bTson-hGrus-chen-mo =She of
great perseverance. The Mantra is: Om-Maha.-vrrye-Hum-Hiim-Phat.
[ 47 ]
one. Similarly when repeating the Mantra "A" one
should meditate upon the four-fold Mandala of speech
(Vruc); and when repeating Hum one should think of the
four-fold Mandala of the mind (Chitta).
Then repeating Sarva-vira-yogini one should think of
the twenty-five heroes (Vira) and of the thirty-seven Yogi-
nis. Repeat " Kaya " (Body) thinking of the Body of all.
Repeat " Vak " (Speech) thinking of the Speech of all.
Repeat" Chitta" (Mind) thinking of the Mind of all, and
that these are inseparable the one from the other. After
thus meditating well say-" Om:-vaJra-svabhijy_g._ a.t.rn.ako-
ham1," thinking at the same time that all the above are of
th;- nature of Vajra 2 • Then repeat-Orn vajra-shuddha-
sarva-dharma-vajra shuddhoham 3-and think " every
thing is of the nature of the pure, indestructible
(Vajra-like) Shunyata and that is Myself'." Repeat this
three times (with thought clearly fixe<!}_:....-
This is the first branch 6 , when one meditates on the
sacred word 6 , by which one obtains the Sambhoga-kaya
through the physical body owing to its development by
the grace and power of the Mantra 7 • Lord Naropa has
said that the imagined Devata an<l Mandala should be
absorbed into the Devotee's self, that one may thus clearly
understand their true nature. But 8 in the Tantras it is
· - - - - - - - - -------- ·-·----
(I) "I am of the tntc nature of Vajra." (2) That is Body, Speech
an<l Mind arc manifestations of Va.jra. (J) I am pure Vajra; that pure
Vajra which all things arc. ({) Thams-cad-kyang sTong-pa-nyi<l-r<lo-
rje-hi-Rang-bZhin-du-rNam-par-Dag-pahi-Ngovo-bDag-yin sNyampa-
lan-gSum-du-Bya-ho. Everything is in the nature of the Pure
Void which is the rPal nature of the Sadhaka himself. (5) That is
the first process in the course of this devotional exercise. (6) By
the Japa of which the body is divinised. (7) At first one is only
aware of the physical body. This by Sadhana is transformed
into Sambhogakaya. (8) Indicating some difference of technical
detail,
said "Having mastered the two armours 1 think parti-
cularly of the Divine Chakra. Having mastered the combi-
nation of Mantras and symbols, quickly enter into the
Chakra of devotion 2• Thus it is said and in the Guru
Lohipa's works also the same is said. By that it is meant
that in those portions called Sthanas3 , meditation is made
on lunar thrones' upon which the white letters "0m-Ha5 "
are placed.
On the head is the Mantra "Nama-hi6 " the letters of
which are yellow and represent Vairochana. On the crown
of the head are the red letters " Sa Ha Hu" representing
Padma-Gargyi-\Vang-chuk 7• On. the two shoulders are the
black letters Pou-khat-he 8 representing the black Heruka.
In the two eyes are the orange letters Hum, Hum, Ho
which represent Dorje-Nyima. In all the limbs are
the green letters Phat-Ham which represent the green
Hayagriva.
The above constitute the armour of the Vira the male
Deity.
(I) The clear vivid mental pictures of the various letters

in the various parts of the body, representing the male and
female Devatas, are the armours which render the Sadhaka
unassailable. (2) Damtshig-hKorlo : Bhakti-chakra which is
essentially the Sa<lhaka's own personality meditated upon as Devata
as ·contrasted with the Yeshcs-hKhorlo, the Chakra of knowledge
meditated upon as being without. The Devotee imagines his own
body to be the Mandala included in the chief Devata. This
is the Bhakti-chakra. Next he imagines a Jnana-chakra without
himself of Devatas who are worshipped with obeisance and offerings
by the Bhakti-chakra and finally the former is absorbed into the
latter. (3) The sacred places which are the heart, etc. (4) The white
basis on which the Devata or Mantra rests. The colour of the seat of
the Devata indicates whether it is solar or lunar, the former being
an orange-coloured disk. (5) -= Vajrasattva. (6) In Text Nama-hi.
quee,e. namah (7) Padma-gargyi-dVang-phyug. (8) Bija Mantras.
[ 49 ]
In the navel are the red letters Om-Vam which repre-
sent Vajra-Varahi. 1 In the heart are the blue letters Ham•
Yom which stand for Shin-je-ma. 2 In the mouth are the
white Hrim-Mom representing Mong-jed-ma. 3 In the
head are the yellow Hrim Hrim standing for Kyod-jed-
ma.' On the crown of the head are the green "Hum
Hum " standing for Tag-jed-ma. 5 In all the limbs are the
smoky coloured " Phat Phat " standing for Chandika..
Then think that the Male and the Female arc insepar-
ably one and not two, and know that meditation on the
letters of the Mantras as different Devata.s is merely for the
sake of clearly defining the armour 6 which consists of
different Devata.s. This is the second branch (of the
process of meditation). Then making with the hands on
the forehead the sign of the flaming gem7 and turning
the hands round8 say "Phem " 9, imagining that the
Hum in the heart emits rays whereby worship10 is done
of the whole self-existing conclave of Devata.s consisting
of the Budclhas surrounded by the Bodhisattvas who
(I) rDorje-Phagmo. Here the annour of the female Devata
commences. (2) gShin-rJe-ma.= Yami. (3) rMongs-byed-ma=The
stupefier. (4) bsKyod-byed-ma = She who causes movements.
(5) Skrag-byed-ma= She who frightens. (6) It is called Armour because
meditation on the Bijas of the Dcvatas on the different parts of the
body protects it from the attacks of Mara. The feeling of exaltation
with which it is endowed by such exercise fortifies it against the
temptation to abuse the body or to employ it in wicked and
unworthy actions. (7) That is the jewel Chi.ntamani men-
tioned in the Tantras. (8) This is called the Mani Mudra (Norbuhi-
phyag-rgya). Put the thumbs and fir:;t two fingers together and tum
them in a circle going left to right over the head. (9) A Bija mantra.
(10) The Sadhaka imagines the " Hiim "in the heart. The Hum emits
Rays. These are the objects with which worship is done. These rays
are Rays of adoration. They vibrate and cause answering vibrations
of compassion and love to vibrate back to the Sadhaka from the Jnana-
chakra Devatas, , ·
4
[ 50 ]
are brought to mind as being in the Heavens which are
in front of the worshipper.
Then say " Ja, Hum, Bam, 1 Ho •~ and think that all
the Devatiis are absorbed into oneself. Repeat Orn yoga-
shuddha-sarva-dharma-yoga-shuddhoham. (I am pure
through that Yoga which purifies all things.)
•
In saying this mantra the worshipper should think
that the Devatas and himself are inseparably (indivisibly)
one and not two. This is the third Branch (of the
meditative process).
Again after invoking the sixty•t.wo Devatas constitut-
ing the Mandala surrounded by Buddhas, Bodhisattvas,
Krodha-devas and Krodha-devis, 2 all surrounded by hosts
of countless worshipping Devis, worship them as before
and pray that all the Tathagatas 3 may grant you power.
Imagine then that the Devatas utter this verse:-
" Just as the Buddha was born
All the Devatas bathed him with holy water."
So with holy celestial water
Do I also confer Power on thee.
Think then that the Devata says the mantra
"Orn sarva-tathagata abishekha-samaye4 Shri Hum."
(Orn let there be all auspiciousness at the time of the
sprinkling given by all Tathagatas, Hum.)
(I) Come, be present, stay, Ho (interjection). (2) Terrific

male and female Devatas (Khrovo-dang-Khromo). (3) Those who had
"gone before." That is the Buddhas of which varying numbers are
given and who preceded the Buddha Sakya Muni. He who has gone
the same way, e.g., as the previous Buddhas have gone, and future
Buddhas will go. (4) In text it runs. Om-sarva-Tatha-gata-abhi-
kshe-ke,ta-samaya-Sbri-Hnm.
( 51 ]
Repeating the above let him think . that the
Tathagatas have conferred the power, amidst auspicious
songs and hymns. Imagine that worship is offered and
all evil Spirits are exorcised. Then think that the holy
and divine water fills the whole body and cleanses it of
all impurities and that then the remainder of the
water ·surges up to the crown of the head, where it
becomes the five chief blissful Devatas1 of the five
orders; 2 and then that all the divinities of devotion
are embodied in Buddha Vajrasattva; in the Mandala
of the mind Akshobhya; in the Mandala of speech
Amitabha; in the Mandala of the body Vairochana. 2
This is the fourth Branch (of the process) wherein the
seals of the chiefs of the orders are set impressively. 3
This is how the meditation is done in detail.
Having clearly defined the above Devatas in detail
the Devotee should repeat the refuge formula and
the good-wishes formula. 4 Having meditated upon the
three j oys5 and the full conclave of the protecting
Mandala let him think that his Guru, or at least his two
hands, are held over his head and that the Guru embodies
(I) That is Vajra (Vajra sattva: rDorje-Sems-dPah). Ratna
(Ratnasambhava: Rinchen-hByun-gNas). Padma (Amitabha: sNang-
va-mThah-yas). Karma: Don-yod-Grub-pa (Amogha-sirltlhi). Dharma
{Vairochana; rNampar-sNang-mdZad.) (2) These five Dhyani Buddhas
personify each one of the Yeshes {Jnana) of a Perfect Buddha-thus
Vajra, the mirror-like wisdom: Ratna, the equalising wisdom: Pa<lma,
the distinguishing wisdom : Karma, the wisdom which accomplishes
all works : and Dharma, the Dharmadhatu. (3) That is where the
Chiefs are clearly defined in imagination. (4) I take refuge in the
Buddha-Dharma and the Sangha (the best of all assemblies) until I
obtain trained perfection. May all the good that I do enable me to
obtain Buddhahood for the benefit of sentient beings. (5) Meditation
on the ordinary body as the spiritual body of the Devata; on the
speech as Mantra ; on the mind as the compassionate mind of \he
Devata.
[ 52 ]
in himself all the virtues of the three gems {Triratna).1
Then exerting to his utmost his faith let him think
that the Guru's body has been absorbed in his own
whereby the person of the devotee becomes the same as
that of the Guru. This is the middle course of medita-
tion (neither too brief nor too detailed).
The shortest method is that in which the worship-
per without meditating on the protective Chakra at once
sets to meditate upon the inner Mandala only ; and,
without binding himself with the armour above
described, recites the Mantras which confer blessings
upon the Mandalas.
This is the method wherein one meditates upon
oneself as Buddha. 2 Then worship the Buddha with
the prescribed Mantras, external ritual, nectar,3
pleasures4 and mental products 6 and, chanting the two
verses of eight feet, 6 fix the mind on the apparent yet
unsubstantial7 forms of the Devatas of the Mandala
and put oneself into the quiescent ::;tate.
Then, according to the four kinds of effects desired 8,
one imagines that the Mantras assume the under
(1) Buddha, his word, and the assembly. (2) Worship the
self as Buddha. (3) Wine which is oflered is nectar. (4) All that pleases
and gratifies the senses, etc., scents for the nose, form for the eye,
praise for the mind, etc. (S) Meru, the four continents, and eight
continents. All which is mentioned, amounting to thirty-seven,
is imagined as offerings to the self as Buddha. (6) Given in another
book the bDe-mchog mChod-hPhreng. (7) dKyil-hKhor-gyi:
sKu-snang-la-rang bzhin med-pa-la-yid-gtad-de-sems-mayeng-par
gzhag-go. The bodies of the Devatas of the Mandala, though visible,
have no reality (or natural existence= rang-bzhins) in themselves,
Fix the mind on that fact and put the mind in the quiescent
state. (8) That is, Peaceful (Zhiva. Shanti= Health, long life and
good fortune), Grand (rgyaspa = Pushti = followers, name, fame and
wealth), Fascinating (dvangva-vashi-karana=love and influence),
and Destructive {dragpo•mil'ana-power to destroy or hurt).
[ 53 ]
mentioned colours and shapes as they issue from the
seed-mantra (Bija) in the hearts of the Devatas. (r) For
peaceful results the Mantras issue in a dazzling white
string shooting forth with the speed of arrows. 1 (2) For
grand results the Mantras, assuming a bright yellow-
colour and the shape of bunches of feathers, go forth
and along with a whirling motion. 2 (3) For fascinat-
ing effects the Mantras appear in colour to be red and
in shape linked together like a chain. 8 (4) For des-
tructive effects the Mantras are black in colour and in a
line like a spinning thread darting with a quick motion. 4
In each case the colours must be like that of the
Devatas themselves and bright and glorious.
The r<;>sary of Mantra-letters 5 is produced from the
seed-mantras (Bija) of the male and female Deities
issuing from their mouths and re-entering the male
and female organs of the male and female Devatas, thus
passing up in a circle to the Bijas in their hearts.
(I) In the first imagine oneself to be the Devata with the Bija-
Mantra vividly seen in the heart. This is not seen flat like a
written letter but upright like a flame. The Bija gradually shines
brighter and shoots out rays of white Mantras in a fine line so
swiftly as to be like an arrow. These also are each separate upright
figures. The rays shot forth from the Sadhaka's Mantra-chakra,
excite the Jn:ina Devata's l\fantra-chakra which also throws back ·
similar white rays which, shining on the Sadhaka, purify him and
being thus freed of evil Karmic results endow him with health, life
• and good fortune. (2) Similar observations apply here, only the rays
arc yellow, form bunches and produce a different result. (3) In Vashi•
karana the rays are red and in links like a chain. For in Vashi-karana
one imagines oneself as binding up the beings whom one wishes to
fascinate and overpower. (4) The ray,;; ., re black and shoot with a spin..i
ning motion. In all the cases the coiours are not the ordinary ones but
as the text says celestial, that is, something extraordinarily bright
and luminous. (5) That is, the Mantras previously described.
[ 54 )
The Mantras are:-
(1) Orn Shri-vajra-He-He-Rf1-Ru-Kam-Hum-Hum-
Phat. (2) Dakini-Jala-Sambhara1 Svaha. (3) Orn
Vajra-Vairocani-Ye-Hum-Hum-Phat Svaha. (4) Orn Hri-
Ha-Ha-Hum-Hflm-Phat. (S) Orn Sarva-Buddha-Dakini-
Ye; Vajra-Varnani-Ye-Hum-Hum-Phat-Svaha.
These are the chief Mantras of the male and
female Devatas and their secondary Mantras. Thirty
thousand essential Mantras of both the chief male and
female Devatas, five thousand five hundred for each of
the twelve Yoginis, and twenty thousand for each of the
Devatas of the three Chakras should be recited.
This renders one competent and capable to engage
in the various duties 2 of this Mandala. This is the
productive3 stage wherein Mantras are recited (and the
mind is engaged in meditation on certain objects).
Should one then wish to meditate in the advanced
stage let him contemplate as follows:-
Imagine in one's navel a white eight-petalled
lotus. In the centre of this white lotus is a lunar
disc. Upon this disc there are the forms of Vajra-sattva4
and His Spouse 6 in close embrace, 6 the Mantra Hnm
being in their hearts.
(1) Quaere. In text Sam-Vara. (2) The general meaning is that
the Sadhaka may henceforth without the assistance of his
Guru perfonn the rites, periodical Piijas, and perhaps confer the
initiation to others or receive Chelas. (3) bsKyed-rim or bskyed-,
pahi-rimpa : the stage where the mind produces pictures of
Devatas, Mantras and actions, and concentrates itself upon these.
'Productive' refers to the producing of the pictures, etc., etc.,
which are the " objects." This term is used relatively to the
other and final process of meditation, which is called rDzogs-
rim (dJog-rim), perfecting or completing stage, which consists in
resolving all the mental pictures of objects into Shunyata. (the void).
(4)' rDorje-Semspal1. (5) rDorje-sNyems-ma. (6) To indicate-
{ 55 ]
Then imagine that rays of light issue from the
"Hiim" in all directions, vividly defining in the mind
both the chief Devata and the surrounding space as the
vessel, and the other Devatas and Beings occupying it
as the vessel's content. Fix the attention on this mental
picture. Then imagine that the rays of light emitted
from the " Hum " excite all these into activity. The
process is like that of a magnet exciting movement of
particles of iron dust (filings). Then as the rays are
· gradually drawn back imagine that all the external space
and its contents are drawn inwards and absorbed into
the form of the principal external Deity (Heruka and
His consort). This process is likened to the absorption
of mercury by cow-dung. Next of the two principal
Devatas the female is absorbed in the male and the two
into one face and two hands. This process is likened
to that of a tortoise contracting its limbs. 1
Then the consort of the external Heruka is
absorbed in the male and this into Vajra-sattva in the
navel. The consort of this Deity, too, sinks into the
male. Then gradually the male figure itself sinks back
into the " Hfun " in the heart and the " Hum "
gradually resolves itself into the Bindu. 2 This process
is likened to that of meteoric lights dissolving into
each other. Then finally even the Bindu itself gradually
becomes fainter and fainter until it fades away and
disappears altogether; a process which is likened to
salt dissolving in water. Such are the five principal
processes of meditation illustrated by what are called
the five radical similies.
their inseparable union. (r) A well known Indian simile applied to
Mulaprakriti and the extension of its Vikriti. (2) Thigle: the point
such as the Anusva.ra breathing. ·
[ 56 ]
In the uncurtailed or unabridged process the mental

pictures1 are like dresses, light rays, waves of water;
but in themselves and according to their own true
nature they are like dancers, the sun and ocean. 2
The final process of absorption and absence of all
thoughts is likened to that of a bubble sinking back
into water, or a rainbow melting away into the skies.
So the process is illustrated in various manners
by various similies.
Final1y the keeping of the mind in a state of
tranquillity devoid of objects is called the process of
concentration on Vajra-:;attva. 3
Again4 imagine a four-petalled lotus in the navel, the
petals of which, going leftward from the East, arc earth
and air; on the North water and air; on the ·west fire
and air and on the South air and air ; represented
by the yellow La, white Va, red Ra, and green Ya6
respectively. In the centre think of a blue-point as stand-
ing for the et her. 6 Having visualised 7 these clearly, next
imagine that when you are breathing outward a ray of light
as thick as a medium-sized thread issues outwards from La
through the left nostril going to a distance of sixteen finger
(I) sNang-va ... that which appears= that which is visible.

(2) That is, the dancers put on and off the dress. The sun emits and
withdraws its rays of light. The oct:!an throws up waves which again
sink into it. (3) Dorje-Sems-dPah. De-ltar-mi-rtog-pahi-ngang-la-
mnya.m pa.r-bzhag pa-ni-rDorie-Semsdpah-bsDu-vaho. The putting of
the mind in quiescence is the concentration or contraction on Vajra-
sattva because the me:ntal image of Vaira-sattva is made to dissolve
into Sht1nyata or the Void. (4) Here follows concentration on
Mantras and the Bindu (the shape of which is a point). (5) Here
are the Bija Mantras of earth, water, fire and air. (6) Literally
".~r of the skies.'' (7) Literally •• having brought these clearly and
vividly.before the mind's eye."
( 57 ]
breadths!, and again when re-entering sinking into the
La thus making a pair of breaths. 2 Then with constant
meditation the imagined ray of Light assumes a misty
appearance. 3 When this happens sink the La into the
Va. 4 Then imagine that a white ray issues from the
Va, and proceed as aforementioned until one sees the
image or reflection. 5 \,Vhen this happens sink the Va into
the Ra and meditate as abovementioned changing the
colour of the ray from white to red which issues and re-
enters Ra until the ray is seen as a firefly. 6 When this
happens sink the Ra into the Ya. Then follow the same
process with a green ray of light until one sees a burning
altar lamp. 7 \Vhen this is seen sink the Ya into the
blue point in the centre. Then drop meditation on the
rays, their issue and re-entrance, and concentrate
the mind on the blue point itself and meditate
upon these two-fold airs until the sign of a cloudless
·sky is seen. This is the wisdom of the path of vision. 8
This is concentration on letters (Mantras). Thinking
that all these letters are really the point (Bindu) and
meditating as aforementioned is called concentration on
the Point. It is necessary to concentrate the mind on
(I) Anguli; ·sormo. (2) Literally "airs." (3) Assumes a misty

appearance or " sees the sign of smoke " is the literal meaning of
the text. The imagined line of yellow light begins to appear smoky
-0r misty; (4) That is earth into water, the Bhuta next above it:
(5) sMig-rGyu is the Tibetan word meaning an optical illusion,
visionary mirage, also reflection. The reflection must be of the
white ray of light issuing from Va. The reflection or mirage-like
appearance of a bright white ring would be a sign of having
reached a certain point in the meditation where one has to change.
(6) Literally" sees the sign of firefly." (7) Literally" until one sees the
-sign of a burning ghee-lamp," that is such a lamp as is used for
an altar lamp. (8) mThong-vahi-Jam = Drishti-marga.
[ 58 ]
Dorjesempa at the conclusion of every mental exercise of
the productive meditation. 1
The two latter processes may be practised according to
one's own faith. 2 Thus it has been said. This is called
the final or perfect stage where the Yogi practises the
putting of the mind into the quiescent state.
Then meditate on one's self as embodying the united
Deities Shri Heruka and His consort suddenly issuing from
the midst of the Void (Shunyata). In Their heart is the
"Hftm" from which rays of light issue and resolve them-
selves into the Deities of the outer and inner Mandalas.
Having fixed these vividly in you.r mind then imagine that
your own teeth and nails are Khanda-Kapali, that the hairs
of the head and the body are Mahakamkala ;3 that the skin
and the sweat thereon is Kamkala ; that the flesh is Cheva-
N ampar-tsigspa ;4 that the arteries and tendons are Sura-
vaeri ;5 that the bones are W od-pa-me ;6 that the kidneys
are Dorje-yi-wod ;7 that the heart is Dorje-yi-sku ;8 that
the eyes are Amkuri; that the bile is Dorje-yi-ralpachen ;9
that the lungs are Pawo-chempo ;10 that the intestines are
Dorje-hum-zad; 11 that the great gut is Dorje-zangpo ;12 that
(r) Productive meditation or the " Creative Stage" (bsKyed-rims)

literally.- It means the state in which the mind produces or
creates pictures of the Devatas, etc., etc. (2) ' According to one's•
faith' or ' as one believes.' This is ambiguous. It may mean,
• as earnestly as possible,' or it may mean, ' according to the special
teaching inculcated by one's special line of Gurus' l probably the
former. (3) In text Maha-Kamkala and Kam-Kala. (4) mCheva-
rNampar-gTsigspa (He who shows his fangs with a terrible grin).
(5) Sic. (6) Hod-dPag-Med ; Amitabha. (7) rDorje-hi-Hod; " lustre
of Vajra." (8) rDorje-hi-sku-" body of Vajra.'' (9) rDorje-hi-
Ralpachen " Having Vajra-mane." (ro) dPah-vo-Chenpo. "The
great Hero" Mahavira. (II) rDorje-Hum-mtlZad.-Vajra Hungkara.
(12)• rDorje-bZangpo-Vajrabha.dra.
[ 59 ]
the bladders are Jig-jed-chenpo ;1 that the secret parts
between the thighs are Mig-mi-zang ;2 that the phlegm is
Tob-po-che ;3 that the mucus is Vajraratna ;4 that the
blood is Hayagriva ;5 that the perspiration is Dorje-
rinchen ;6 that the fat is Vajra Heruka ;7 that the liver
is Padma-gargyi-Wang-chyug ;8 that the spittle is Vairo-
chana ;9 that the rheum 10 is Vajra-sattva. 11 Having
so imagined then proceed as follows. 12
Meditate on the teeth and nails as being adorned with
the Mantra "Orn Kara-Kara Hflm Hiim Phat" whereby
all which compose them 13 become identified with the
Viras and the dependents thereon are the twenty-four
Yoginis. The Miila-mantra of the Male Deity becomes on
repetition, the Heruka adorned with the six bone ornaments
which are symbols for the six Kulas. 14 On repeating Orn
Ha and so forth they become the six ornaments including
the wheel and so forth. These are for the six Viras. 15 The
Mula-mantra of the Yoginis 16 becomes the necklace
adorned Vajra-Varahi. 17 The principal mantras1B of the
(r) hJigs-byed-chenpo" the great Destroyer." (2) Mig-mi-bZang-
Virupaksha (slanting eyed). (3) sTob-po-chc=Mahabala. (4) Rinchen-
rDo-rje=Va,jra-Ratna. (5) rTa-mGrin Tamdin. (6) (Akashagarbha-
Nam-mKhah-hi sNyingpo). (7) rDorje Hcruka. (8) Padma-Gargyi•
dVang-phyug=Padma-nateshvara. (9) rNampar-SNang-mdZad.
(ro) Nasal excretion. (Snabs-the running humour from the nose.)
(II) rDorje-Sems-dPah. (12) Here follow Mantras for different parts of
the body. (13) That is those above enumerated which constitute
the person's personality. (14) Here Lokas-(Rigs-drug=six kinds
of beings, meaning here the six lokas of the universe or the five
Dhyani Buddhas with Vajradhara as the sixth.) (15) That
is Heroes (dPah-vo). (16) Heroines (dPahmo also called rNalhbyor-
ma.) (17) rDorje-Phagmo. (18) Mantras are of four kinds, namely,
Sabon or Bija; sTsa-sNgags or Mnla-mantras; Snyingpo or Hridaya;
that is seed, root and (primary) principal. There are also
secondary principal (Nye-sNying). Of these the first arc generally single
syllables or letters ; the second long ; the third conveniently saort and
[ 60 ]
male Deity form the garland of human heads ; and the
secondary mantras 1 form the ear ornaments. The heart
mantras 1 of the female Deity form the Elephant and
Tiger skins. From the Mantras" Orn Varn" and so forth,
springs a waist girdle formed by ~he six Yoginis. The
Mflla-mantra of the chief female Deity and of the thirty
Heroines form the weapons and other emblems and the
four skulls2 in the four intervening directions (S-E, S-W,
N-E, N-W). Let the female Deity's secondary mantra3
form the tiara for Her head, and let it be thought of as being
in fact the (surrounding) Deities. The long vajra-mounted
staff is the borly 4 of the Deity. The sound of the drum
(Damaru) is His wisdom. 5 During the day it is Bhagavan
Vajra-dhara6 and at night it is the Yogin'i. 7 Call these
dearly to mind and then repen.t the armours of the Viras
and Yoginis as well as their mantras of worship. Then
imagine that the Devatas sink each into His or Her own
respective place. By this protection is gained for oneself.
Having so done then repeat the Sumbhani 8 Mantra
above given and make secure all the directions. Then
used in Japa in the Sadhana of a Devata whose Mantra it is. The fourth
is generally short and is the Mantra of the surrounding (avarana)
Devatas which arc around the chief Dcvata. (I) Sec ante, p. 59, note, 18.
{2) or Kapala. (3) The secondary essential Mantras of the female Devata
form the tiara of skulls for Her head. They are the surrounding Devatas
(female) and the Mantras themselves personified. (4) Lhahi-sku, that
is the person of the Divinity. (5) Prajna (in text Shes-rab). (6)
lCom-lDan-rDorje-hchhang. (7) The Sadhaka should imagine himself
to be the male Devata by day and as the female Devata by night. It
may also mean that the competent Guru may expound male Devata
texts by day and female Devata texts by night. (8) The Mantra is
"Orn Sumbhani Sumbha Hum Hum Phat." From this the Eastern
and zenith door-keepers are produced, namely, Kaka-sye and
Khanda. Rohe; from " Om-grihana grihana Hum Hum Phat "
[ 61 ]
meditate on oneself and every visible object as constituting
the Deity and His Mandala and on every audible sound to
be Mantra and lastly upon every thought of the mind as a
miraculous display of the great Divine \Visdom. 1 Then
repeat " Hf1m " and the cight-syllabled Mantra of the Male
Devata. Then having said " Hflm" and sanctified all
with Mantra, every object of enjoyment 2 should be enjoyed
without either undue relish and attachment or disgust.
Every visible object is to be regarded as a Deity whose real
nature is Sh-rmyata. Then both are always united. And
in recollection of the union 3 one should preach, read,
recite, and listen to religious discourses and books; and
make water-ablutions, 4 Stupas, Chaityas, ceremonies for
the consecration of such, and Homas.
In short every one should be incessantly engaged in
doing what is of spiritual benefit for oneself and others, and
which will of a surety help one in the path. This is the
comes Ulluka-sye keeper of the northern gate ; from " Om Grihana-

paya-grihana-paya Hum Hiim Phat" isslW3 the western door-keeper
Sh.vana-sye and the guardian of the Nadir Khanda-rohc. From " 01n
anaya-ho-Bhagavan-Vajru.-raja-Hum-Hum !'hat" bsues the warden of
the southern gate-Sukara-»ye ; and sc, on for all the ten directions,
(I) Sems-Kyi-rTog-pahi-hDu-hPhro-thams-cad-yeshPs-chenpo---hi-cho-
hPhriil-du-b!>Goms-nas. The divine wisdom (yeshes-chenpo) is embodied
in the chief Devata. invoked here and is the Dhannakaya wisdom.
(2) Probably the food and other offerings on the altar. (3) Thams-
cad-du-sNang-va-Lhahi- rNampa - dang-Rang- bZhin - sTong-pa - dang,
gNyis-Ka hang-zung-hJug-tu-shes-pahi-Ngang-las; that is whilst
conscious of the union of forms and Shunyat:l the Sadhaka should, etc.
(4) Every pious Lama makes a gift of water to the ghosts (Pretas) every
morning as these suffer from hunger and thirst, particularly the latter.
A Lama pronouncing mantra on the water so given makes it available
for, and enjoyable to, them. Otherwi:,e the water which seems to us
pure would appear to them as dirty, muddy, with blood, pus, and
rotting organisms in it and therefore they could not use it.
[ 62 ]
Yoga of the conduct Path. 1 Then having recited the
Sumbhani Mantra on the offerings 2 which ·have been laid
on the altar and censed them with spiritual incense 3 and
having transformed them into the Void (Shfmyata) by the
Svabhava Mantra, imagine that from the midst of the Void
springs forth the Mantra " Yam " from which comes air ;4
and " Ram " from which comes fire ; and upon these
is a skull as extensive as the firmament springing from
the letter " A" .6 Inside this skull again imagine another
A from which issues a lunar disc. Upon this latter (disc)
place (working from left to right) the letters Go for beef in
the centre, Ku in the East for dog-flesh, Da in the South
for horse-flesh, Ha in the West fot Elephant-flesh, and
Na in the North for human-flesh. 6 On these again
imagine the letters Bi, Mu, Shu, Ma, Ra (placed in the
same order as above beginning with " Bi" in the
centre), which stand for excreta, urine, semen and
human-flesh and blood respectively. 7 Then upon these
imagine the Mantras "Hf1m, Bhrftm Am, Dzrim
Kham" which respectively represent the Dharmadhatu8
(I) Yoga of the Charya Path=Spyod-lam-gyi-rNal-hByor:

Spyodlam = Chiirya-ma.rga or Path of conduct or practice or
enjoyment: rNal-hByor =Yoga = or finding of resting place or Finding
Rest or Peace. (2) Such as rice, cakes, fruit, wine and meat.
(3) By means of the Mantras. " Om Sumbhani" is recited whilst
the real fumigation is being done with incense (Dhiipa) and the
Svabhava Mantra transforms the material offerings into Shunyata.
(4) "Yam" is the Bija of air (Vayu). (5) The rounded sphere of
universal space appears and is filled with the first sound A which
stands for speech which manifests knowledge. (6) These are the five
uneatable meats ; " essence of human flesh " (sha-chen-gyi-dangs-
ma) the best e:.sence of great flesh ()iaha-ma.ngsa) that is human flesh.
(7) These stand for the Sanskrit words for excreta, etc. (8) Chos-kyi-
dVyinga.
[ 63 ]
Mirror-like1, Equalising 2 , Distinguishing3 and All-
powerful4 aspects of the Divine \Visdom. 5
Then on the top of these imagine a dazzling white
" Orn " in an inverted position and upon that again
another "A" from which comes a Lunar Disc. On this
there is a " Hflm" which transforms into a four-headed
Va j ra of four different colours bearing in the centre a H flm.
This Hum emits rays downwards which excite and set the
air in motion which causes fire to blaze up, thus making
the above ingredients melt and boil. The steam from this
rises upward causing the "Orn" and the Lunar Disc and
the vari-coloured Vajra to drip nectar and emit rays of
light. These rays and steam fill the ten directions with
glorious rays of light which attract the Tathagatas and
cause them to send down from their hearts, skulls 6 filled with
the nectar of knowledge. These skulls along with the
varied-coloured Vajra the" Orn" and the Lunar Disc are
absorbed in the rice-cake which then assumes a glorious
colour, emits a delicious fragrance and is of a delicious taste
besides possessing other untold virtues. It then becomes an
immense ocean of nectar. Having imagined all these, repeat
the Mantra" Orn, A, Hum, Ha, Ho, Hri "several times and
bless the offerings with them. Then bring vividly to view
in the heavens fronting you all the sixty-two Devatas7 with
their mansions of residence as afore-described ; and imagine
that the Chief Devata emits rays from the Hum in His heart
which fall upon (and thus light up) the eight cemeteries.
(1) Melong-lta-bu. (2) mNyam-pa-nyid. (3 Sosor-rTog-pa.
(4) Bya-va-Grub-pahi Ycshes. (5) Sec ante,'pp. 4,5, notes. (6) Tantrik
offerings (particularly wine) are made in :,kulls which denote and
remind one of the transiency of forms and symbolise the Dhanna-
kiiya which, like the skull, is the basis on which the rest (flesh, skin,
hair, etc. are and from which they proceed. (7) They are the 25 Viras,
and the 37 Dakinis or Yoginis.
These eight then resolve themselves into eight perfect
Mandalas consisting of mansions and their residents. Then
all the Devatas become the same as the Chief Devata. 1
They emit rays of light from their mouths and drink
of the nectar through the tubes of these rays. Having
imagined all this, join the hands with open palms and repeat
the following Mantras:-" Orn Vajra, Araliho Dza, Hiim
Varn, Ho, Orn, A, Hnm, Ho, Vajra-Dakini Samaya-stvam
Drikshya. 2
These must be repeated as many times as there are
Devatas (i.e., 62 times) or according to the number of
Chakras (eight). Also make ofierings, reciting the Mantras
of the twenty-four Viras, and worship with every imaginable
object created by the mind whether external or internal.
Then praise the Devatas by repeating twice over the verses
of eight fcet 3 and pray for whatever you wish. Finally
repeat the Mantras of a hundred letters and pray for
forgiveness of all errors and sins. Then say Vajra-Mfi and
entreat the worshipped Devatas4 to go, and then absorb
the worshipping Devatas into your own sclf. 5 Give
offerings to the Laukika Devatas6 by repeating the general
(1) This means that all the De\'atas become one in nature--
they are Wisdom Yeshes-pa. (2) Sic in text. (3) This shloka of
praise is not in this text, but is given in another. (4) The Devatas
invokct1 for worship (Yeshes-pa). (5) The Devata whom the
worshipper has imagint'd him.;;df tu Lt' is the Bhakta or Dam-tschig-pa.
Toe Sadhaka imagines his own body to be a conclave of Devatas
called Bhakta Dcvatas who keep and guard the rules and faith ; in
short the faith of the Sadhaka personified as Dcvata. From their heads,
fore-heads and throats they emit rays which create similar Devatas in
the heavens fronting them. These are the worshipped Devatas
(Jnina or Yeshes Devata). These are entreated to pass away into the
region of External Shunyata ; whilst the foqner are drawn into the Inner
$hl.lnyata of the mind. (6) hJig-rtenpa : that is of the world such as
Brahml, Lokap1las and all others who have not attained the Akanishta
.Realms. But such D~".atils as Vajra-Varahi and His Consort, Tatl, etc.r ·
are 1.okottan=beyond Sangsua, and in the Ak11nishta. Hea.v~n,f
[ 65 ]
Mantra of the Dakini. This is the Yoga relating to the
rice-cake offerings. 1
Then again bless the foods. In the same way, as
already done in the case of the rice-cake, imagine the
self to be the Heruka in whose navel burns the fire of
vital heat. This fire fills the whole body. In the midst
of this fire set all the Deities of the Mandala around the
Guru as the Presiding Deity. Imagine that there are in
the stomach the Deities who reside in the great crema-
tion grounds and all the sentient beings of the three
worlds. Then having worshipped the Deity of the
hands by manual worship 2 imagine that the two hands
are the Homa spoon, the mouth the triangular fire-hearth
for Homa, and the food to be the ingredients of the
Homa sacrifice; and then partake of the food with notice
of the taste and flavour but without undue relish. Then
the remains should be given to the Spirits3 with the
mantra " Om-u-tsik-ta-ba-lim-ta-bakshyasi svaha. This
is the Yoga pertaining to the partaking of food.
The conclave of Devatas invoked in the Cariya-
marga4 in which they 5 are produced from the Mantras
and the Realms; those constituting the Bhakta-chakra ;6
and those in the outer Mandala; the apparent truth
----------------- -- - -~--------- ------------- -
(1) gTorma. (2) Sprinkling holy water and wine. (3) hByung-
po=Half-mischievous, half-helpful beings, that exist in the Air, and who
have command over the elements to some extent. These can be coaxed
to help, or excited to injure. (The word hByungva means-' becoming,•
as well as ' elements '-as we say hByungva-bzhi-the four elements--
and so the four Bliutas. • Thus hByungpo means Bhatas or spirits.
4) Path of conduct or practice above described. (5) Literally " Messen-
gers " (Pho-nya) or Angels. The Sanskrit term Devata baa been
, employed. (6) Dam-tshig-hKhorlo : See ante, p. 64, note 5.

[ 66 ]
aspect (world of objects) ; the physical body with its

gestures-all these constitute the Nirmanakaya. 1
The conclave of Devatiis produced by the mind
during the productive (or creative) stage ; 2 the Deities a
who exist along with oneself; the three Chakras; the
body transformed into a conclave of Devatas; and
the united aspect (of form and Shfmyata in union);
along with the mantras-all these constitute the
Sambhogakaya.
Then in the final or perfecting stage, the real truth
as to the three kinds of Devatas; the Chakra of great
Bliss; the wisdom ;4 the void ;5 the mind together
with ecstasy ;6 all these constitute the Dharmakaya.
As these produce realization of the Dharmakaya,
this process of summarising the various elements of
devotion under the three headings of the three Kayas is
regarded as the process of utilising the three bodies (Kaya)
on the Path. 7 By this method and constant application
to the four Yogas 8 with their branches given above, one
may attain (perfection) in the three Kayas.
One gradually attains the power of successfully
carrying out the four kinds of acts9 as also the eight
great Siddhis. 10
(I) Manifest incarnate body: See ante, Introduction. (2) bsKyed-rims:

See ante, p. 58, note 1. (3) 1iterally "Messengers" (Pho-nya) or Angels.
The Sanskrit term Devata has been employed. (4) bDe chen-Gyi-
hkhorlo and Yeshes. (5) Shiinyata. (6) Samadhi. (7) Where at
length all preceding mental exercises merge into the state of tran-
quillity. (8) The four Yogas :-(a) Equalising or tranquillising the
Mind; (b) The Yoga of the Path of Conduct l (c) gTorma l and (d)
Of Food. (9) That is the peaceful (zhiva), the grand (rGyas-pa), the
f'-5cinating (dVang), and the stern (Dragpo). (10) Anim.a, Mahim.i, etc.
l 67 J
From the two-fold stages of Meditation1 are pro-
duced two kinds of Samadhi2-that which is produced
by· mental effort, and that which is devoid of mental
effort. Then by constant practice in the last, one becomes
firmly established therein and gains that knowledge which
transcends all worldly knowledge. 8 By practising Sadhanil
of Samanta-Bhadra 'for the sake of others one gradually
advances and attains twelve degrees in the stages of
Bodhisattva. These secondary causes assist towards
attainment of the Divine body and the forms of know-
ledge6 (in their entirety) which enables one to fulfil every
act beneficial to oneself and others. One becomes
endowed with great Compassion and acquires every form
of miraculous power. Finally one attains the divine
state of Vajradhara6 who exists as long as the Sangsara7
endures. ·•
The state of vividly impressing the Mandala (on one's
mind) consists in (picturing) the residence or mansions and
the occupants thereof. 8 That being so I have first
described the Mandala of the residence and the DevatAs
who reside therein.
(1) Creative or speculative (bsKyed-rim-dang-rdZogs-rim) and

perfect or final (rDzogs-rim). In the first the Sadhaka creates
mental pictures of the Mandala and the Devatas and in the second
they are absorbed. (2) Ecstasy (Ting-nge-hDzin or Samadhi). The
two kinds here spoken of are-artificial (spros-bcas), and natural (spros-
med). (3) Alaukika Jnana or Lokottara-Jnana {mJig-rten-las-hdas-
pahi-ye-shes). (4) Kuntu-bzangpo; by mastering His doctrine and
putting it into practice. (5) Yeshes or Jrrana. (6) Dorje-chang (rDorje-
hChang or Vajradhara). (7) The transmigrating world of births and
deaths (Sangsara) which had no beginning and will have no end
(hkhorva-la-thog-mthah-med). Therefore He is eternal. If it ever
came to an end then there would be no need of rDorje-hChang as sueh.
All would be one and the same. (8) Sthana and Devata.
[ 68 ]
With a view however to make quite clear the real
meaning of the objects (here Devata.s) meditated upon-
and to render oneself familiar with the steps of medita-
tion one ought to refer to every work bearing on the
subject written by the Precious Lord. 1
The book has been completed by the venerable one2
at the oft repeated request of Ji-big-Demur3 who is blest
by the possession of the right and best Knowledge which
truly enlightens; who is further endowed with the beauty
of the desire to obtain the highest aim.' May the merit
of my contribution tend to enable every sentient being
speedily to attain the highest stab~ of the Divine Teacherli
beyond whom higher there is none.
PART II.
This contains the prescribed form of Sadhana of the
Demchog Mandala, and is the same (except for a few
particulars) and a repetition of Part I, extending
from the 28th to the 45th folio.
(1) rJe-bTsi.in-Rinpoche. This must be the Famous Sakya

Panchen rJe-bTsun-Rinpoche born 1233 A.D. (2) hPhagspa
means Noble or Venerable or Reverend. The author of this
work may possibly be Sakya hGro-mGon-hPags-pa, a great
Hierarch of Sakya during whose time the whole of Thibet was given
to him by the Chinese Emperor in 1251 A.D. (3) hJi-big-Demur ;
evidently a Newar Prince (or a Tartar Prince) as_ seen from the
book. The Newars were Buddhists, earlier than the Tibetans. But
the name is not a Tibetan one but foreign. But probably
Ji-big-Demur is a Newar Prince from the fact that the work
is written at Svayambhu Nath in Nepal, called by the Sikkhimese
hPagspa-Shingkun. (4) That of obtaining Buddhahood for the benefit
of the world. (S) rDorje-hChang or Vajradhara.
[ 6g ]
PART III.
Contains only two folios under the Title " Looyipa's
prayer in seven branches passed down" through ·-
Naropa (Naropa-las rgyiid-pahi--Looyipahi-Yan-Lag-
bDUnpa)."
In the first verse obeisance is made to the Guru, in
the second to Dharmadhatu Mahiijnana (Yeshes-
chenpo), to Vara.hi, to the VIras and Y oginis, to the
Lords of the Sangsara and to Nirvana. In the third
offerings are made of every imaginable obje-:t,
infinite as the expanse of the heavens; in the fourth
absolution is sought of sins committed by body,
speech or mind. The fifth verse contains the Refuge
Formula and refuge is sought in the Ishtadevata.
In the sixth resolution is made to observe the Yidam
laws of the Mandala. The seventh speaks of the
joy felt in the acquirement of merit and of the
emulation of the wishes and the acts of the noblest
amongst men and Devatas, Bodhisattvas and
Buddhas. It ends with the prayer that Sidd.hi may
be attained and happiness found.
At the close it is written that this is the truth. Mother
above whom there is none. The Tantra of Chakra-
Sambhara (hKhorlo-sDompa), as practised according
to Looyipa handed down through Naropa. The
prayer was reduced to metrical form by bLo-
gros-rGyal-mTshan-dPal-bzangpo (pronounced-
Lodoigyaltsan Pal-zangpo)~ a disciple of the great
Sakya Pandit. The composer or compiler is a
Sramanera (dGetsiil), and Vajradhara (rDorje-
hd.Zinpa), who presides at the rites. This bears the
date-" Water Mouse, 1st month-8th day " ;· and
[ 70 1
the place is called Limju-tsi on the Northern route.
The writer does not give his name, but the hand
appears the same as that of the writer whose name
is elsewhere given as Achara.
PART IV.
Contains the high praise of the Mandala of Shri Chakra
Sambhara (dPal-hKhorlo-bDe.-mchoggi d.kyil-hkhor-
gyi-bstod-pahi-rabtu-byedpa-zhes-bya-va).
Obeisance to the feet of the Sacred Gurus evolved
from the glorious tw~-fold merit Shunyata
and Karunii (compassion) inseparably em-
bodied in the Great Bliss of incomprehensible
mystery. Obeisance to the Heruka !
This part consists of 48 verses or stanzas in metrical praise
of the Deities. It extends from the front page of
the 48th folio io the second line of the back page of
the 52nd folio. The first thirty-five verses are
addressed to the Deities thus :-In a number of
stanzas (each of four lines), the first is addressed to
Heruka, the second to Phagmo (Vat ahi) and Demchog,
the third to Phagmo or Vara.hi, the fourth to mKhah-
hGroma, the fifth to Lama, the sixth to Dum-skyes-
ma or Kapa.Ii, the seventh to gZugs-chan-ma (Skt.
Rupini), the eighth to bDemchog-hKhorlo (Maha-
Sukha-Chakra), and so on. During Sadhana the
Sadhaka has to repeat this and bow down by which
means he identifies different parts of his own body
with different Devatas, certain functions of his body
with other Devatas and so forth.
The note at the end of this part says that the author
(bPhags-pa) composed this at the request of one
[ 71 ]
sTonpa Shesrab in the Iron Sheep year (full 20 years
after the previous part in the Nag-pa month =3rd
Tib. month =April or Mciy, and the day is given as
the 24th midday). The place is given as the Great
Palace of Chengto (possibly Chengtu in China?).
The writer is Achara.
PART V.
Begins, :-Om-Svasti-Siddham.
This part deals with the dVang rites (Abhisbeka), which
means the rites of conferring power on the Sadhaka
to undertake the Sadhana. This only proceeds for
two folios, vfz., 53rd and 54th folios, and describes in
brief metre the rite. This MS. does not give any
date or place but only the author's name which is
hPhags-pa.
PARTVI.
bDe-mChog-Ltis-dKyil, Maha Sukkha-Kaya Mandala.
The title of this part runs in the text :-dPal-hKhorlo-
bDemchog-gi-ltiskyi-dkyil hkhordu-bDag-nyid-hjug-
Cing-dVang bLang-Vahi-Choga-Zhes-bya.-va: that
is, " This is called the rite of taking Abhisheka,
(dVang or power), by entering into the Mandala of
Sri-Chakra-Sambhara (or Mahasukha)."
This part extends from the 56th folio, back page, to the
77th folio, back page-twenty-two folios in all. It
begins :-" Obeisance to the Guru, and to Shri
Heruka. To gain the fruits by the power of the
initiation to acquire which the highest of initiation
has been granted by the best of Gurus, to whom having
bowed down the method of making (use of) initiation
as the path is herein explained."
( 72 )
Having obtained initiation into the Bodily Mandala of
the Highest Bliss (Chakra Mahasukha), and accus-
tomed oneself to meditation thereon till one has
attained firmness of mind, one should set about to
acquire Bodhi Chit by means of Samadhi. In a
quiet place, set up the object of worship (either a
pictu~e or an image), the outer and inner offerings
used in worship, and three rice-cakes, two holy
water pots, a bell and a rDorje. Having got together
these objects necessary for the rite, then seek a friend
or assistant who has been accustomed to putting
himself into the quiescent state of Yoga and then
proceed.
First give to the local spirits and elementals who may
be gathered there, the Torma (rice-cakes), with the
general Mantras used in offering to the Dakiu'is, so that
they may be appeased. Exorcise those spirits who
are not authorised to be present during the mystic
rites, entreat those who arc so authorised to be
present to befriend the performance and to remain
in the state of communion (Yoga=rNal-hByor).
Then repeat the mantra of the hundred letters (syl-
lables) to cleanse one's own nature. Meditate,
repeat the mantras and imagine one's self to be the
Devata and worship one's self. Then fumigate the
(objects of) offering by repeating the Sumbhani
mantra and purify them by the Sva-bhava mantra ;
then from the midst of these, imagine an A from
which issues a skull, from inside of which there
come the seven objects of offerings in worship such
as Arghya, Padya, Pushpa. These are offered with
the appropriate mantras, imagining them to be of the
best and purest imaginable (ingredient$) and on the
[ 73 ]
grandest scale of profusion (literally, as illimitable
as the expanse of the heavens). Then imagine,
in the space fronting the Sad.haka, Mount Meru,
on the top of which, within the charmed circle,
there are the eight great cemeteries and in the centre
a Vihara (grand hall), four-sided with four entrances,
adorned and embellished with every kind of orna-
ment. The inside of this Vihara is divided into five
concentric circles (one within the other), the inner-
most of which is occupied by hKhorlo-bDe-mChog
inseparably united with Vajra-Varahi surrounded
by the Devatas, numbering sixty-two in all, who
constitute the Mandala. The next outer circle is
the Mahasukha (great Bliss circle-bDechen), the
third that of the mind, then that of speech (Vak),
and lastly that of the body (Kaya-Chakra). The
outer lower storey or foundation is occupied by the
door-keepers. Then seal the whole by the members
of the various kiilas (classes), as was done when
imagining one's own self to be the Devata. \Vorship
again as before with outer and inner offerings
Then the two holy water jars (which should be ir1
perfect accordance with the prescribed forms) shoulcl
next be fumigated and sanctified as above. One is in
the inner circle of the altar, and the other on the
outer and lower platform of the altar for use during
the rite. 'The inner pot is called rNam-rGyal Bum-pa
(the Vijaya jar). The outer one for use is called the
Las-thams-cad-pahi-bumpa-the holy water jar for
all purposes (Sarvakarma). The Vijaya jar is to
be thought of as containing the entire Mandala of
Devatas, and the Las-boom (the Karma pot) to
contain only the Deities of the Mahasukha-Chakra.
[ 74 ]
Both are imagined to contain the vowels and
consonants. The Vijaya (rNam-rGyal =Namgyal
bumpa) contains the 62 DevaUis. Having imagined
these vividly, let the Sadhaka worship these as before
till he comes to the hymn of praise (stotra). Recite
mantras, imagine threads of moving light to be
issuing from the hfart and attached to the Vijaya jar
exciting the Devatas, from whom in turn issue
streams of Amrita. (The mantras are the same as
those given before.) Then having poured the water
into the conch vessel, imagine that all the Devatas
are merged therein.
(3rd.-Folio 58th).-This is the rite pertaining to the holy
water jars. Then imagine one's self to be absorbed
into the outer Heruka. With two hands take the
dVang (Power-abhisheka) from the Guru who is
the same with the Supreme (Devata). Think that
you perform those functions which the Guru has to
perform. The assistant's functions are to be per-
formed by a two-handed Heruka produced from
the heart. The Chela's (disciple's) functions are
to be performed by one's self. Then the Chela
offers the flowers and other offerings and joins his
palms together, and the Guru says--" All objects
(Dharma) are like reflections in a mirror. They arc
clear, pure and not confused. They cannot be
seized and cannot be expressed. They are born
purely from the cause (Hetu), and Karma. Thus
is the ' That ' (De-nyid) actually produced. May
all you Chelas see the Mandala of That Truth in the
vivid and clear forms without any obscurations."
This is • repeated thrice, then the mantra.
· "A ~am-bhira bfun _, is repeated and the veil is tied :
[ 75 J
over the face of the Chela and a flower is put into his
hands sprinkled with water from the Las-boom
(the outer Karma jar), and a drop of Amrita (wine)
is put on his tongue-blessed with the mantra " Om-
A-Hiim." He is asked " 0 Son I what do you
delight in?" In answer he says-" 0, you of Noble
Destiny (Skal-bZang), I desire Great Bliss." '·~ What
would that do to you?" to "'.hich he replies: " It
is the Sacred Word of the highest Buddhas." Then
the Guru places the rDorje on the head of the Chela
with certain mantras and says: "All the Tathagatas
confer their blessings on you henceforth. This holy
secret of the Tath~gatas you must not divulge to
those who have not entered the Mandala of the
Tathagatas, nor to those who are unbelievers."
60th folio begins.-Then the recipient must imagine
that he is being led out of the circle by the door-
keepers (the Female Devata.s). This is the outer
form of entering. Then come the prayers and the
injunctions by the Guru and the vows of the Chela
which are twenty in number.
62nd folio.-Then the Guru repeats the exorcism
mantra, burning incense and scattering mustard
seeds. Then follows the washing of sins with water
from the Las-boom with appropriate mantras.
63rd folio.-Folio 64th of the Original MS.
The Abhisheka (or initiation) rites extend to the 77th
folio of the Original MS. It ends with the injunction
not to confer the Abhisheka ri.tes on those who are
not ripe enough for it. It is said to be the highest
and most glorious (possession) of the venerable line
of the Sakya Hierarchs. It is compiled by hPhags-
Pa (Skt.-Arya) at the repeated request of Du-Khal-
Dur-Mis. It is the teachings of the Indian Gum
rDorje-Drilbupa. (he who held the rDorje and the
Bell). It is dated Water-Fowl Year, 4th month,
27th day, and at Shingkiin. The writer is again
Achara.
PART VII.
78th folio of Original Text, 86th page of Printed Text, con-
tains dPal-hKhorlo-sDom-pahi-rimpa-lN ga-hi-man-
ngag-ces-bya-va:
This is called the five stages of the practical teachings of
the Shr"i Sambhara-Chakra. Obeisance to dPal-rDo-
rje-mKhah-hGro Shri-Vajra-Dakini. Having bowed
down to the feet of the Guru, by whose gracious
kindness one obtains the Advaita-jnana (gNyis-
med-yeshes), I proceed to describe here the different
stages or gradual processes (rim-pa) thereof. A
properly accomplished Guru ha.ving initiated the
disciple into the mysteries of the outer and inner
circles of hKhorlo-sDompa (Chakra Sambhara), and
having caused him to be thoroughly developed by
means of the blessings of this Mandala, the latter
should set himself to the meditation on forms,
wherein he must attain steadfastness to some extent ;
then should he wish to enter upon the final medi-
tatioru---the rDzogs-rim-the stage of Perfection
by meditating on the formless, he must seat himself in
an easy posture cross-legged, and begin by medi-
tating on forms as prescribed herein. Imagine the
Hum in one's heart to be emitting rays and to gather
• · • all external objects into one's own body. Even the
Female (the Mother) is to be gathered into one's
L 77 J
heart (the Male Devatas) ~hrough the nostrils.
During this worship the Male Devatii is the form with
only two hands. Think of one's own Guru as being
seated on the crown of one's head. Exert faith
and humility as much as possible and pray that the
best and purest kind of Samiidhi may be produced
in one's mind.
Ha, i.ng bowed down to the feet of the Guru by whose
mercy is gained the light of the Advaita (non-dual
or literally "not-two") Yeshes (J nana) speedily, the
author explains the process of meditation (gNyis-med
sGompa-hi-rimpa).
Having been duly initiated into the outer and inner
Mandalas, which constitute the very self of Chakra
Sambhfira by a competent (perfect) Guru, and having
been further developed by its (the Mandala's) own
grace or blessing, one speedily sets forth to obtain the
special teachings, and to learn their practical results.
Assuming that he has attained to the stage of firm
concentration of the mind and that he wishes to
proceed further in the perfect or final stage
(meditation on the formless) he should proceed
thus :-Either in the morning (or any other time) let
him take an easy position, cross-legged, and go through
as a preliminary step the previously described stage
of meditation on Forms (bsKyed-rims). Let him
imagine that the Hflm inside his heart sheds out rays
of light on all outer space and the objects therein.
They are all gathered within the body. The Female
Devata, too, is drawn in through the nostrils into
one's own heart. Having thought of oneself as the
two-handed (Heruka}, imagine the Guru on one's
head. Put forth intense faith in him, and pray
•• I beseech thee, cause pure Samadhi to grow in my
mind." Then imagine on the letter " A " a lunar
disc, red and white, about the size of the half of a pea
inside one's heart. Upon the lunar disc imagine a
light-point (a zero or Bindu) about the size of a
mustard seed which is the concentrated form of one's
Mind. Fix the mind on that and regulate the breath
gently (literally, "make it a gentle pair"). When one
is well practised, the mind is held and does not run
astray but remains fixed. Then one attains the bliss-
ful and clear (bDe-gSal) Samadhi. When one attains
stability or firmness in that (Samad.hi), then transfer
the imagination to another ·of the sense organs (Tib.
dVangpo=Skt. Indriyas). Go through the pre-
liminary steps described above. For the actual
method : imagine within the two pupils of the Eyes,
that there' are two very fine bright white points, one
in each eye. Close the eyes and jmagine in your
mind that the points are there. \Vhen the mind
gets accustomed to that, then look on various
objects. Whilst all the while keeping the points
before the mind, let it stray upon other objects. On
being well practised the point is constantly and
vividly present to the mind's eye. No matter on
whatever object the eye may fall, Samadhi is
produced. Having attained stability in that, draw
in the Point within the heart, and imagine that the
latter gains greater brilliancy and clearness, and
keep the mind tranquil (literally at a level: mNyam-
bzhag) ; this will produce Samadhi of the most
excellent kind, or the state of Tranquillity. (That is
when the mind concentrates upon an object of
sight and endeavours to understand what that
( 79 ]
object is, it discovers the empty character of such
apparition. The dawning of this truth fills· the
Sadhaka with a feeling of certainty and of in-
expressible joy and peace. It is realised that all
visible objects are the Void (Shiinyata). One gets
more and more used to regarding things from the
true standpoint, and this true experience is not
impeded or disturbed by thought of fresh objects.
The deeper the insight into the unreality of things
as mere expressions of the Void behind and in them
the more profound is the peace which ripens into
full Samadhi.)
After this transfer the imagination to the Ears. The
preliminary steps are as described before. For the
actual meditation :-Imagine two blue Points or Dots
upon two lunar discs the size of a half-pea inside each
ear and meditate upon them, in a place free from
noise. When you have succeeded in fixing the mind
upon them, listen to sounds, at the same time keeping
the mind fixed upon the two Points and not letting it
stray away from them. On being practised in that,
one attains vividness of the mind-picture and
Samadhi follows on hearing sound. When one has
gained stability in this, withdraw the Points inside the
heart and imagine that the Points have gained blazing
brilliancy and vividness. From this the excellent
Samadhi or Tranquillity (state of mental level) is
produced. (When tl1e mind is deeply concentrated
on sound and its nature as the Void (Shiinyata) is
realised the same thing happens as in the exercise
of the sense of sight upon objects. One discovers
the empty nature of sound. When that is seen sweet-
ness, harshness, melody, harmony, discord, all lpse
[ bo ]
their meaning. For what is all this but Shu.nyata,.

the full apprehension of which fills the Sadhaka with
rapture. This is Samadhi produced by means of the
gates of hearing.) Then transfer the imagination to
the Nose. The preliminaries same as above :-Ima-
gine a yellow Point on a lunar disc in the cavity of
each nostril in a place free from any odour, and
concentrate your mind on that. When the mind
is fixed, smell various odours, keeping the mind
fixed on the yellow Points, not letting the mind
stray away. When one gets used to that, on
perception of odours there is produced Samadhi.
(The same process as regards the sense of smell
and the object of it or odour which are analysed
into and realised as Shfmyat.a.. Sarnadhi is thus pro-
duced by means of the gate of the sense of smell.)
When firmness is gained in this, draw the Points
in to the heart. By this, brilliancy and vividness
of the Point is produced, and practice in this produces
Samadhi. Next transfer the imagination to the
Tongue. Preliminaries the same as above :-Imagine
a red Point on a lunar disc at the root of the tongue,
and meditate on it ,vithout tasting any flavour.
Concentrate your mind on it, do not let it stray.
Then, when the mind is fixed on the Point,
taste various flavours, keeping your mind concen-
trated on the Point. Then draw it inside the
heart. When the Point attains brilliancy and
vividness, Samadhi is produced through the sense
of taste. Then transfer your imagination to the
Body. Preliminaries the same as above. Either at
the root of the secret parts (that is, the junction of the
penis and the scrotum), or on your forehead, imagine
[ 81 ]
a green Point on a lunar disc, and fix your mind

on it without touching anything. When your mind
has attained some degree of fixity on that spot (Bija),
try concentration, touching various things and
keeping the mind from straying. When vividness
of the Point is obtained, practise until it is quite
firm, then draw the Point in the place of touch into
the Point within the heart, and meditate upon
that, until great brilliance and vividness is obtained,
which will produce Tranquillity or excellent
Samadhi. Then after that, transfer the imagination
to the Mind, which moves everywhere. Prelimi-
naries same as above. Actual process :-Imagine a
very small pink Point on the top of that already
imagined as being within the heart. Try the medi-
tation in a very quiet place at first. When you
have succeeded in concentrating your mind, try the
meditation in company where you are sure that
some evil passions will be excited, such as lust
or the like. Then imagine that the chief passion-
Moha (infatuation)-which accompanies all other
evil passions is concentrated in it. Think that it is
absorbed into a blue Point. Fix the mind on that.
On getting accustomed in that (practice), passions
will not arise; or should they do so, they are
controlled by the mind. When one has attained
firmness in that, sink the blue Point into the pink
Point, and that into the white and red Point below it.
Then the last sinks into the moon-disc ; which in its
turn is dissolved or disappears in the sky like a cloud
(which has disappeared). Then there remains only
Emptiness (Shunyata or sTongpa), in which the
mind is to be kept at a level. This will produce th~
[ 82 ]
profound tranquil state Samadhi called Zhi-gNas

(literally, Resting-in-peace). Then rising from the
state of Tranquillity (Samadhi), again imagine the
lunar discs and the Points to be present or springing-
forth simultaneously : and that one's ownself, too,
is at once transformed into the Heruka. Regard
external objects as being only visible and appa-
rently true, but having no independent and
absolute reality in themselves. Meditating thus till
each stage has shown its sign of perfection or
proficiency, one at last attains proficiency or
perfection in the whole, as a result of which one
obtains profound Tranquillity (Zhi-gNas), which
is realisation of the Shunyata, which is bliss and
clarity. Continuation in these practices produces
the knowledge of the path (mThong-Lam), from which
is produced Buddha-hood. This is the stage of con-
ferring grace and blessing (bdag-byin-brlabs-pahi)
on oneself, accompanied by Bija (Sabon) (that is by
means of meditation on the various sense organs).
This extends to the end of the 89th folio. In the
90th folio the composer says "These five stages
of meditation" are very clearly defined.
" Though done by the venerable Guru, being found
too brief, being requested by one who wishes to
have it more clearly explained, I have contributed
this, in which (if there be any shortcomings)
forgive."
"Let the merit of ,this work tend to confer the blessings
which comes of practising these for myself and for
all sentient beings. Let all avoid the extremes of
worldly existence and selfish quiescence attaining
[ 83 ]
success in the two ends. Let all become the Heruka
Himself.''
"Being desired by Prince hJi-big-Demur and at the
special request of Dugal Durmis (Tugal Turmi ?) (I)
Sharamana Mantradhara named Arya (hPhags-pa)
have done this at the noble Monastery of Shakya on
the 25th of the 1st Summer month of the Earth-
Tiger year."
The writer's name is given as Yeshes-Senge, a priest of
gN as-rNying.
K. D.

•
sMon-lam-sTobs-po-che.
11 The Powerful Good Wish."
EDITED BY
D~WASAMDUP KAZI,

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G. B. P. n.-827-500-9:7-11-1918.
TANTRIK TEXTS
EDITED BY
ARTHUR AVALON.
VOL. XI.
-----+--
DEM-CHOG TANTRA
dPal•hKhorlo-bDe-mChog (Pal Khorlo-Dem•Chog); rDo•rJe•rNal•

hBYor-ma (DorJe-NalJorma); dPal-sGyuma-Chen-mo
(Pal-GYuma-Chemo); sGrol-ma (Dolma),
Shrl-Chakra-Sam bhaPa
VaJra-vog1n1 1 Shrl Maha-Maya and Tara,
EDITED BY
KAZI DAUSAMDUP.
DARJEELING 1
DARJEELING BRANCH PRE.SS,
1918,
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Tantric Texts Series 07 Shri Chakrasambhara Buddhist Tantra Arthur Avalon 1919

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Tantric Texts Series 07 Shri Chakrasambhara Buddhist Tantra Arthur Avalon 1919

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TANTRIK TEXTS

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OTHER WORKS BY ARTHUR AVALON.

Printed by Thacker, Spink & Co., Calcutta.

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UNDER GENERAL EDITORSHIP

LUZAC & CO., LONDON

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superiority over Western theories of life. Nevertheless

the objectivity of the multitudinous Devatas, the

Tibetan scholar, whose version of some portion of Milarepa's

fully translated. This will probably serve the purpose

the chief priest in the Tantrik rites is called Dorje-Lopon.

means Great or Highest Bliss (Mahasukha or Parama-

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Ho [Listen] I Alt which is visible and invisible

The Foundation of all [Kiin-gZhi. Kiin=all; gZhi=.

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Sanskrit Kalpana, and rTog-med means without that or

produce the notion of " other," "mine" and so forth

:r From the idea of something external, there arises a

From pride which puffs up the l'vfind is produced a

(want of true knowledge or Avidya) is the Cause of

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Lama Tshewang-Runchen gave me from a Thibetan

is true." As, however, the definitions given were not

This school has several adherents in Sikkhim and Khams

(5) Homa of Shri Vajrayogini (dPal-rDo-rje-

Vajra-yogini, Shr·i Mahiim1lyll and Tu.rii.

The devotee when about to go to sleep should firstly,,

to be the Self 1 which embodies all these, whatsoever a

0 is the fifth. (I) Gawa-(dgahva). (2) Thugs. (3) That is bDe-mchog.

(I) hKhorlo-bDemchog. Shri-chakra-mahasukha. (2) This is an

Pad.ma gargyi-wang-chug 1 and the ether element I is

(I) "Padma-gargyi-dvang-phyug-ma. The Lady of Dances."

Having uttered this wish he should snap with his

which I have taken pleasure when com-

(n) I will remain sincerely and earnestly in the

(I) Rigs-kyi-bu. Sanskrit Kula putra. (2) Of the Mandala.

(I) Righteously inclined. (2) Bodhisattvik mind. (3) The

(I) As regards hair, eyes, teeth, tongue, voice, skin, shoulders,.

(I-J Bya-va-grub-pahi-ye-shcs (pronounced J awa-1Jubpai Yeshe) see

1. Yellow Indra, mounted on an elephant, holding

Female Devis, headed by Drag-Tum-mo, 1 who as door-

the Chief Devata, Khorlo-Demchog (Chakra-Mahasukha)

(I) In the XVIIth Chapter on Prajna-pii.ramita of the Dvags-po•

the Chakra of great bliss. Outside these are fences, pillars,

(I) Thugs-Sanskrit= Chitta. (2) rTsibs: literally, ribs or

(1) Probably the Mind is trained to think of the Devatas

(I) The Deities created by the Mind arc of two classes,

(I) Pretas: unhappy spirits or ghoc;ts. Each Deity has

product of his mind and brush or pencil with adoration and

(r) Chos-kyi-sku. (2) v. ante p. 36 n 3., Hog-min-Akanishta Heavens.

(r) Chos-Dharma. (2) gZugs-canma (Rupini or-Riipavati.) (3)

The seven Bodhyangas are (the aspects of the Perfect

(1) Khva-gDong-maI : her mantra Kakasye, etc. (2) Samyag-

Nirmana-kaya the transformed body of the human Buddhas. The

(1) Here t.he trut.:! signillcation of the Shri Heruka's twelve

(r) dPah-ho - chcn-po = Maha - vira (Great hero). His

(1) Rinchcn-rDorjc "'' Ratna-vajra,

(I) The clear vivid mental pictures of the various letters

(I) Come, be present, stay, Ho (interjection). (2) Terrific

In the uncurtailed or unabridged process the mental

(I) sNang-va ... that which appears= that which is visible.

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