BUDDHICA BRITANNICA

SERIES CONTINUA X

KRIYÓSA»GRAHA
Compendium of Buddhist Rituals
An abridged version

by

Tadeusz Skorupski

Published by
THE INSTITUTE OF BUDDHIST STUDIES
TRING, UK, 2002
 Contents

Page references are to this text

References 6
Introduction 8
Chapter One 25
Characteristics of a good teacher
Inviting a competent teacher
Preliminary Worship
Examination of the ground
Categories of soil appropriate for the four social classes
Destruction of adverse forces with a fierce homa
Production of a protective amulet
Protective homa
Chapter Two 32
Divination of the ground through a maiden medium
Divination of the ground by means of a lamp
Fierce homa
Propitiation of the earth goddess
Inauspicious omens in the ground
Auspicious omens in the ground
Worship of the earth goddess
Worship of one hundred and twenty-one deities
Homa rite
Striking the ground with an axe
Chapter Three 44
Ploughing and sowing barley
Propitiation of the goddess Jå∫gul¥
Kalaßa arrangements for the Vajradhåtu maˆ∂ala
Characteristics of the all-operative vase
Emblems of the deities of the Vajradhåtu maˆ∂ala
Material content of the vases
Worship of the vases
Arrangement of the vases
Protective meditation and recitations
Destructive activities with k¥la deities

2
 Preparation of threads for marking lines
Marking the directional lines
Omens associated with casting threads
Assessing the position of the våstunåga
Vidyås associated with the Zodiac
Homa rite
Chapter Four 59
Characteristics of bricks
Taking possession of the directions
Positive and discordant astral configurations
Characteristics of pråsådas
Dwellings for deities
Worship of deities
Chapter Five 66
I. Timber rites
II. Procuring stones
III. Placement of the doors and other wooden elements
Auspicious dates
Units of measure
Doors and columns
Windows
Basic woodwork of houses
Deposition of dhåraˆ¥s on roofs
Homa rite
Symbolism of house woodwork
Chapter Six 76
I. Teacher's entry
II. Three concentrations (samådhitraya/devatåyoga)
Purificatory ablution
Protective retinue
Self-consecration with the Vajradhåtu maˆ∂ala
Self-apotheosis (devatåhaµkåra)
Master consecration
Five abhisaµbodhis
Supreme royal maˆ∂ala
Supreme royal action
Concluding rites of the devatåyoga
III. Dramatic postures and dances
IV. Construction of the maˆ∂ala
Installing the earth goddess
Casting the maˆ∂ala threads
Installing coloured powders

3
 Spinning the threads
Bali rite
Installing the deities of the Vajradhåtu maˆ∂ala
Casting the threads
Erasing the outer maˆ∂ala
Maˆ∂ala lines as explained in tantras
Application of coloured powders
Deposition of the emblems of the Vajradhåtu maˆ∂ala
V. Tantra consecrations conferred on the disciple
Installing the powdered maˆ∂ala
Installing the disciple
Leading the disciple inside the maˆ∂ala
Four obeisances, confession of sins, vows
Water, diadem, vajra, bell, and name consecrations
Master consecration
Secret consecration
Knowledge of wisdom consecration
Fourth consecration
VI. Fire rites
Enriching homa
One-hundred-thousand homa
VII. Worship of the eight dreadful cemeteries
VIII. Piˆ∂ikås
Pedestals and multiple worship
Ko∑†haka arrangements for all beings
Deposition of jewels
Pedestals for the images
IX. Consecration of the vihåra building
X. Measurements and characteristics of images
XI. Consecration of canvases, books, and images
A. The ten rites (daßakriyå)
1. Yonißodhana
a. Canvases
b. Books
c. Images
2. Puµsavana
3. S¥måntopanayana
4. Jåtakarma
a. Generation of the pledge-beings
b. Bestowal of vision
c. Investiture and feeding
5. Nåmakarma
6. Upanayana

4
 7. CË∂åkaraˆa
8. Vratådeßa
9. Samåvartana
10. Påˆigrahaˆa
B. Leading the deities inside the maˆ∂ala
C. Bestowal of the tantric consecrations
D. Concluding rites
Chapter Seven 158
Arrangement of paintings
Deposition of the bali pedestal
Four types of gong
Ceremony of going forth
Chapter Eight 167
Characteristics of four stËpa types
Characteristics and consecration of banners
Restoration of images and other things
Dismantling the maˆ∂ala
Nocturnal celebration
Selected Index 182

5
 References

Sanskrit text of the Kriyåsaµgraha

Sanskrit A: Kriyåsaµgraha, A Sanskrit Manuscript from Nepal Containing a
Collection of Tantric Ritual by Kuladatta, reproduced by Sharada
Rani from the Collection of Professor Raghuvira, Íatapi†aka Series
236, New Delhi, 1977.
Sanskrit B: Manuscript preserved in the Bibliothèque Nationale, Paris. Sanscrit
31.
Inui A-C: A: M. Inui, “Kriyåsaµgraha no honzo yoga, bonbun tekusuto, jØ.”
In KØyasan Daigaku MikkyØ Bunka KenkyËjo KiyØ, 4, 1991, 184-
152.
B: M. Inui, “Kriyåsaµgraha no honzo yoga, bonbun tekusuto, chË.”
In KØyasan Daigaku MikkyØ Bunka KenkyËjo, 5, 1992, 160-133.
C: M. Inui, “Kriyåsaµgraha no honzon yoga, bonbun tekusuto, ge.”
In KØyasan Daigaku MikkyØ Bunka KenkyËjo, 7, 1994, 112-91.
Sakurai A-G: A: M. Sakurai, “Kriyåsaµgrahapañjikå no kanjØ-ron (1),
ByØkanchØ no bonbun kotei tekusuto oyobi kosatsu.” In Chizan
GakuhØ, 37, 1988, 13-46.
B: M. Sakurai, “Kriyåsaµgrahapañjikå no kanjØ-ron (2), Himitsu
kanjØ.” In Indogaku ShËkyØ Gakkai Ronshu, 15, 1988, 1-23.
C: M. Sakurai, “Kriyåsaµgrahapañjikå no kanjØ-ron (3), Hannya-
chi kanjØ.” In Indogaku ShËkyØ Gakkai Ronshu, 16, 1989, 19-41.
D: M. Sakurai, “Kriyåsaµgrahapañjikå no kanjØ-ron (4), Daiyon
kanjØ, bonbun kØtei tekusuto.” In MikkyØ Bunka, 181, 1993, 113-
106.
E: M. Sakurai, “Kriyåsaµgrahapañjikå ni tokareta kanjØ-zengyo no
shoshidai (1), Bonbun kØtei tekusuto.” In Miyasaka Yusho Hakase
Koki Kinen Ronbunshu, 1993, 261-275.
F: M. Sakurai, “Kriyåsaµgrahapañjikå ni tokareta kanjØ-zengyo no
shoshidai (2), Deshi junin (ßi∑yådhivåsanå) wayaku to chukai.” In
Chizan GakuhØ, 42, 1993,452-432; Buzan KyØgaku Taikai KiyØ,
21.

6
 G: M. Sakurai, Indo-mikkyØ girei kenkyË, KØki Indo-mikkyØ no
kanjØ shidai, KyØtØ, HØzØkan, 1996, 493-530.
Tanemura 1997: R. Tanemura, Kriyåsaµgraha of Kuladatta, Chapter VII, Tokyo,
The Sankibo Press, 1997.
The Tibetan text of the Kriyåsaµgraha
Tibetan A: Bya ba bsdus pa. The Tibetan Tripi†aka, Pekin edition Tokyo-
Kyoto, 1957, volume 74, 106.2.4-170.2.3.
Tibetan B: Bya ba bsdus pa. The Tibetan Tripi†aka, Taipei edition, Taipei,
1991, volume 29, 531.454.1-570.723.6.
Other references
Sarvadurgatiparißodhana-tantra, ed. & tr. by Tadeusz Skorupski, Delhi, Motilal
Banarsidass, 1983.
M. Bénisti, “Etude sur le stËpa dans l'Inde ancienne, Bulletin de l'Ecole Française
d'Extreme-Orient, 50, 1960, 89-105.
Gustav Roth, “Symbolism of the Buddhist StËpa, According to the Tibetan Version
of the Caityavibhåga-vinayodbhåva-sËtra, the Sanskrit Treatise
StËpalak∑aˆa-kårikåvivecana, and a Corresponding Passage in Kuladatta's
Kriyåsaµgraha”, in The StËpa, its Religious, Historical and Architec-tural
Significance, edited by A.L. Dallapiccola and S. Zingel-Avé Lalle-mant,
Wiesbaden, 1980, 183-209.
T. Skorupski, “An Analysis of the Kriyåsaµgraha,” in P. Harrison and G. Schopen,
eds., SËryacandråya, Essays in Honour of Akira Yuyama on the Occasion
of His 65th Birthday, Swisttal-Odendorf, 1998, 181-196.
R. Tanemura, “One Aspect of the Consecration Ceremony of Images in Buddhist
Tantrism: ‘The Ten Rites’ Prescribed in the Kriyåsaµgraha-pañjikå and
their Background,” Journal of the Japanese Association for South Asian
Studies, 13, 2001, 52-75.
A. Yuyama, “Some Philological Remarks on and around Kuladatta's Kriyåsaµ-
graha(-pañjikå), Annual Report of the International Research Institute for
Advanced Buddhology at Soka University for the Academic Year 2001,
Tokyo, The International Research Institute for Advanced Buddhology,
Soka University, 2002, 27-41.

7
 Introduction

Scope of the present publication

The present publication essentially represents an abridged version of the entire
Kriyåsaµgraha. The basic structure, the chapter divisions, the sequence of the
exposition within the chapters, and the laconic style, have been retained. Some
sections of the original text have been paraphrased, some summarised, some
translated, and some omitted altogether. Occasional explanatory comments have
been added. However, such comments are normally so worded that the reader will
recognise them as additions; otherwise interpolations are inserted between square
brackets. At all stages references are provided to both the Sanskrit and Tibetan
versions so that the reader can always refer to the original source to see what has
been done, or to check my understanding of the original text. The mate-rial left out
mainly consists of lists of mantras, descriptions of mudrås, several hymns of praise,
parts of the text dealing with the iconometry of the images, and a few other minor
passages. The lengths of all such omissions and exclusions are clearly indicated in
the footnotes.
There exist over thirty Sanskrit manuscripts of the Kriyåsaµgraha, and one
Tibetan translation. For the purposes of this publication, I have used two Sanskrit
manuscripts, and two Tibetan editions (for full details of which, see the list of
references). The first Sanskrit manuscript, reproduced by Sharada Rani, is a copy
made in 1965 on the basis of one of the oldest manuscripts preserved in Nepal, and
dating back to AD 1217. The second Sanskrit manuscript is preserved in Paris and is
dated Samvat 953, which corresponds to approximately AD 1883. In addition to
these two Sanskrit manuscripts, I have also made use of the edited sections of the
Kriyåsaµgraha which have been published by Japanese scholars: H. Inui's edition of
the devatåyoga section of Chapter Six; M. Sakurai's edition of the tantric
consecrations, which is also part of Chapter Six; and R. Tanemura's edition of
Chapter Seven. Their excellent publications were very helpful and greatly
appreciated.
The two Sanskrit manuscripts of the Kriyåsaµgraha used as the basis for this
publication contain many scribal errors, variant readings, and in some places they
completely disagree. They also contain passages, which are difficult to understand.
The Tibetan version is fairly close to these two Sanskrit sources, but it varies from
them considerably in certain places and so seems to be based on yet another Sanskrit
manuscript. There is also evidence that in some places the Tibetan translator did not
fully understand the Sanskrit text and improvised his renderings.

8
 While working on the Kriyåsaµgraha, I have read the two Sanskrit manu-scripts
and the two Tibetan editions concurrently. In addition to minor disagree-ments such
as variations in words or short phrases, in a number of passages the Sanskrit and
Tibetan provide a different understanding of what was once the original text. In some
places I was confronted with four different readings, some correct and some corrupt
or incomprehensible. Since I have worked with unedited and defective texts, I have
tried to arrive at the best possible meanings and readings, and then either produced
summaries or paraphrased equivalents; elsewhere I have elected to follow either the
Sanskrit or the Tibetan version. I have indicated some, but not all, variants in
footnotes. I did it so because some variant readings were incomprehensible, and
some did not contribute much to the overall understanding of the text. My primary
goal was to extract the basic information without being drawn into editing, in the
absence of access to more manuscripts. However, frequent references to the sources,
and a good deal of Sanskrit terminology, should I hope, mean that anyone reading
this work will be able to see clearly what has been done and how the text
corresponds to the sources.
Kriyåsaµgraha and its author
The Kriyåsaµgraha, “Compendium of Rituals,” contains a large and unique col-
lection of Buddhist rituals which were performed in India during the late phase of
Indian Buddhism. This particular phase of Buddhism is generally referred to as
esoteric or tantric Buddhism. Viewed as a whole, the Kriyåsaµgraha is indeed
permeated with tantric ideas and perceptions, but it is not limited to expositions of
tantric rituals alone. The majority of the rituals described are tantric in nature, but at
the same time a number of them are adapted from earlier periods of Buddhism, and
some are borrowed from the brahmanical tradition. The Kriyå-saµgraha does not
divide its rituals into any specific categories, but rather presents a coherent body of
rituals designed for particular purposes. As such the Kriyåsaµgraha has its own
dynamics, and it provides a vivid image of the living Buddhism of the period in
which it was composed. Its author does not talk explicitly about the community
behind these rituals, but the way he contextualises his exposition, and the range of
the examples he explains do convey in an implicit way a good deal of information
about the living community of his time. Taking into account the ritual categories and
the doctrinal perceptions embedded in the rituals contained in the Kriyåsaµgraha, it
is clear that its author affirms and moulds together all three forms of Indian
Buddhism into what one could call the Buddhism of his time without any need to
apply the restrictive terms esoteric or tantric. Thus, it seems appropriate to view the
Kriyåsaµgraha not exclusively as a tantric work, but rather as a reflection of a
specific phase of Indian Buddhism as a whole.
As the background historical information available to us is very limited, it is
difficult to establish with certainty the precise dates of the Kriyåsaµgraha's com-
position, the community and geographical region in which it was composed, and the
identity and dates of its author. It is, however, possible on the basis of its content and

9
the dates provided below, to allocate the Kriyåsaµgraha and its author to the latest
period of Indian Buddhism.
According to the colophon at the end of its Tibetan version, the translation of the
Kriyåsaµgraha into Tibetan was made by the mahåpaˆ∂ita K¥rticandra and the
Tibetan translator Íåkya'i dge slong Yar klungs pa Grags pa rgyal mtshan. The
translation was made in the capital of Nepal (Bal po'i mthil) in the vihåra called
Dhanvåråma, and it was completed on the eighth day of the bright quarter of the
Uttaraphalgun¥ in the year of the rabbit (yos). The translation work was partly
sponsored by someone called Mahåcakra Prajñåsiµha (Shes rab seng ge).
According to one isolated reference, the mahåpaˆ∂ita K¥rticandra was a Kashmiri
monk who did translation work in Nepal at SvayambhË in the above-mentioned
vihåra.1 Grags pa rgyal is a well known Tibetan translator, and although his dates
cannot be fixed precisely, it is certain that he lived during the late second half of the
thirteenth century and well into the fourteenth century. He was a disciple of
Prajñåsiµha (1251-1315), and a contemporary of Bu ston Rin chen grub (1290-
1364) whom he is said to have outlived.2 If his teacher Prajñå-siµha is the same
person as the benefactor mentioned above, then the translation would have been
undertaken before AD 1315. As for the rabbit year given in the Tibetan colophon,
the Japanese scholar Hitoshi Inui has calculated that it corre-sponds to either AD
1280 or AD 1292.3 On the basis of the above information, it can be said that the
Kriyåsaµgraha was in existence during the late thirteenth century.
As for the actual date and place of the Kriyåsaµgraha's composition, we do not
have enough evidence to establish these with certainty. Gustav Roth, in his article on
the symbolism of the stËpa, says that the Kriyåsaµgraha “belongs to the category of
Buddhist Kriyå-tantras of the eighth and ninth centuries AD.” Unfortunately, he does
not provide any evidence for his statement.4 Mary Shepherd Slusser, also without
providing any concrete evidence, says in her work on Nepal that the Kriyåsaµgraha
was “in use in India since around the eleventh century.”5 One of the oldest Sanskrit
manuscripts of the Kriyåsaµgraha, once preserved in the Kaishar Library in Nepal,

1
. J. Naudou, Les Bouddhistes Kaßm¥riens au Moyen Age, Paris, Presses Universitaires de
France, 1968, 205.
2
. J. Naudou, op. cit., 204. The Blue Annals, trans. G.N. Roerich, Delhi, 1976. II, 791-2.
3
. Hitoshi Inui, A, 183. But in the Tibetan dictionary, Tshig mdzod chen mo, the corre-
sponding AD years are given as 1279 and 1291. However, it seems to me that the
alternative dates should be either AD 1267 or 1279/80. Otherwise Grags pa rgyal mtshan
would have lived for almost, or more than, one hundred years.
4
. Gustav Roth, “Symbolism of the Buddhist StËpa,” in The StËpa, Its Religious, Histori-cal
and Architectural Significance, edited by Anna Libera Dallapiccola in collaboration with
Stephanie Zingel-Avé Lallemant, Wiesbaden, 1980, 195.
5
. M. Shepherd Slusser, Nepal Mandala, A Cultural Study of the Kathmandu Valley,
Princeton, Princeton University Press, 1982, I, 130.

10
is dated Saµvat 336, which corre-sponds to AD 1216.6 This is the only firm date that
is available to us, and con-firms the existence of the Kriyåsaµgraha at the beginning
of the thirteenth century. Whether the Kriyåsaµgraha was composed shortly before
AD 1216, or several decades, or even a century before that date, must remain a
matter of conjecture. However, in the light of the above information, and taking into
account its content, there is no doubt that the Kriyåsaµgraha belongs to the final
phase of Indian Buddhism.
On Kuladatta, the author of the Kriyåsaµgraha, we do not have any firm data
apart from the fact that he is consistently named as its author. In the colophon at the
end of Chapter Eight of the Kriyåsaµgraha, his titles and name are given as
Mahåpaˆ∂ita Ni˙sa∫ga Ócårya Ír¥ Kuladatta. From the content of his work, it is
clear that he was well versed in Buddhist doctrines and practices at all levels. He was
particularly well acquainted with the Yoga Tantra theories, meditation and ritual. He
favoured, in particular, the Sarvatathågatatattvasaµgraha, the root tantra of the Yoga
Tantra class. The doctrinal terminology and meditational techniques found in his
work are largely derived from this tantra. He also refers to the Subåhuparip®cchå
tantra. In addition to Buddhist doctrines and meditation, he was also well acquainted
with more mundane and somewhat superstitious practices derived from astrology,
divination, and popular beliefs. Since he says in his brief introduction that he wrote
this work at the request of his disciples, and since he frequently includes in his rituals
short prayers for his disciples, it would seem that he was a teacher, but it is not clear
whether he taught in some monastic university or in his own temple. Nor is it clear
whether he was an ordained monk or a married tantric master. Unlike many rituals
found in the tantras and other sources which were composed in an isolated context as
part of the practice and without any reference to the lay society, Kuladatta's rituals
involve the laity at all stages. He engages the lay community in playing an active
role as sponsors and participants in the rituals performed. The monastery that is
constructed in the Kriyåsaµgraha is not built exclusively for the benefit of its future
monastic community, but for the benefit of both monastic and lay communities. This
would suggest that Kuladatta lived and worked amidst a lively and dedicated lay
community. On the other hand, his constant involvement in divination and
superstitious beliefs suggests that the Indian Buddhism of his time was heavily
permeated with popular beliefs and worldly concerns, and that it compromised the
high Buddhist ideals in order to survive and function within the society.
Title, structure and content of the Kriyåsaµgraha
Kuladatta's work has two titles, one short and one longer. On the title pages of the
copies of the Sanskrit manuscripts available to me, and at the beginning of the
Tibetan versions, the title is given as Kriyåsaµgraha. On the other hand, in the
colophons at the end of individual chapters, both in the Sanskrit manuscripts and in

6
. Luciano Petech, Mediaeval History of Nepal, Roma, Istituto Italiano per il Medio ed
Estremo Oriente, 1984, 81.

11
the Tibetan versions, it is given as Kriyåsaµgraha-nåma-pañjikå. As the term pañjikå
means commentary, some scholars have raised a question as to which part of the
Kriyåsaµgraha might constitute the text, and which part the commen-tary. In the
opinion of some scholars, the Kriyåsaµgraha is not a commentary but an
independent work in its own right, and some postulate that it is a pañjikå on the
Kriyåsaµgraha-kårikå.7 At the beginning of every chapter, Kuladatta pro-vides a
kårikå-type contents list, and then proceeds to explain the rituals in more or less the
same order as the introductory list. It is this arrangement that has led some scholars
to assume that the introductory summaries constitute the kårikå sections, and that the
remaining sections of the chapters serve as commentaries. However, Kuladatta's
summaries do not always list all the rituals explained in the main body of each
chapter, and his exposition as a whole certainly does not read as a commentary, but
rather as a coherently and logically organised body of ritual instructions. Drawing
together the relevant information given by Kuladatta at the beginning and at the end
of the Kriyåsaµgraha, the author says that he composed his work at the request of
his disciples, that it was written on the basis of the sacred texts (mahågama-
samåmnåya) and after a thorough investigation of the tantras, and that his book
(grantha) is not composed in the elegant old language (pËrvaßabda). In the light of
this information alone, it seems obvious that he was not commenting on any
particular text, but composed his work on the basis of many texts, which he does not
actually name. The term pañjikå in the longer title is certainly somewhat enigmatic,
but it does not in itself definitely indicate that Kuladatta's work is a commentary.
The Kriyåsaµgraha is divided into eight chapters. In the Tibetan versions, there is
no evidence of any chapter headings. In the Sanskrit manuscripts, five chapters have
no headings, and three chapters (3, 4, and 6) seemingly have headings, but these are
in fact merely the names of some of the rituals listed in the summaries at the
beginning of those chapters. Thus, on the whole, the chapters have no headings,
although they are clearly numbered and separated from each other by short
colophons.
Kuladatta does not classify or treat the rituals according to their different types or
categories, but explains them in the sequence which corresponds to the stages in the
construction of monastic and other buildings, starting with the acqusition of a plot of
land, and concluding with the consecration of the monastic buildings and their
contents.
The Kriyåsaµgraha starts with the description of a good teacher. When some-one
wishes to sponsor the construction of a monastery, he needs to find a knowl-edgeable
teacher (åcårya) who is capable of performing the relevant rituals. After being
ceremoniously invited, the teacher carries out the initial acts of worship and
recitation of mantras in order to accumulate merit for the benefit of the construction
of monastic buildings. After that, he proceeds to examine the plot of land on which

7
. R. Tanemura 1997, 8-10.

12
the monastery is to be built. In this connection the text explains how to examine both
the surface and the content of the ground in order to establish whether it has good
qualities, and whether it contains impediments. The text details a series of good and
bad omens, and of good and bad qualities of soil. If the ground contains
impediments, all such impediments must be removed and ritually neutralised, and all
adverse forces and demons must be driven away from the site. In the next stage, the
teacher performs a number of rituals to purify the ground and to dispel all adverse
forces. This ritual purification and acquisition of the ground involves a quite
complex body of ritual activities.
The next major step is the acquisition of the building materials. The teacher,
together with the benefactor and the craftsmen, visits the forest and the mountains in
order to procure timber and stones. Once again, the text explains the good and bad
qualities of wood and stones, and the relevant good and bad omens. As the trees are
inhabited by tree deities, they cannot simply be cut down because this would bring
great harm to the community. It is thus necessary to propitiate and transfer the deities
of the trees selected for timber to other trees. When the timber and stones are brought
to the building site, the community marks the occasion by holding celebrations.
In the next stage, while the bricks are made and the timber shaped into columns
and other architectural components, the teacher performs a whole series of
corresponding rituals. After that, the selected plot of land becomes the main scene of
ritual activities. The ground is sanctified in a number of ways, protected with fierce
Buddhist deities, and imbued with the nature of buddhahood. As the monastic
structure is progressively erected, the teacher engages in his own building through
meditational visualisations and a variety of rituals. Once the main structure is
completed, the protective deities are ritually installed in their assigned places to
guard the monastery, and the monastic building is consecrated.
The next stage is that of the production and consecration of paintings, books, and
images. Images undergo a complex series of initiations and consecrations: these
ordinary clay images are in effect transformed into living deities, and then
ceremoniously led inside the monastery and installed on their allocated pedestals.
Men are ordained as monks, a monastic community is set up, and both monks and
laymen join together to celebrate the inauguration of the monastery and its religious
community.
The stages in which Kuladatta explains these rituals are more complex than this
and do not always follow exactly the order outlined above, but they do on the whole
correspond to the stages of monastery building. Kuladatta also talks about other
buildings, but for the sake of simplicity, I have presented a general scenario of the
construction of a monastery, which is indeed the principal subject matter of the
Kriyåsaµgraha.
Visionary perceptions
It has been said by some scholars that the Kriyåsaµgraha is a kind of manual on
making images and building monasteries. It is true that this work contains a fair

13
amount of information about the measurement and design of buildings and images
and, in particular, about certain architectural elements such as doors, windows or
columns. However, this kind of detail is not intended specifically for builders and
architects; it is mainly directed at the ritual master, to ensure that the monastic
buildings and images have auspicious qualities, and to prevent the making of
buildings and images with measurements and proportions which are astrologically or
otherwise defective and inauspicious, and bring harm to every-one involved in the
process of their production. Buildings facing towards the wrong directions, for
example, or images with incorrect proportions are said to bring all kinds of harmful
effects, which Kuladatta explains at length.
From the perspective of the ritual master, the main purpose of the rituals
performed is to transform the monastic ground, the monastic building, and its images
into a perfect abode inhabited by Buddhist deities. The ritual master transmutes the
site into the vajra-ground and dissolves into it the nature of empti-ness and
buddhahood. Similarly, the foundations of the monastery are permeated with the
Vajradhåtu maˆ∂ala, and special arrangements are devised for the gods of the
traidhåtuka, men, and, surprisingly, for the pretas. The guardian gods of the ten
directions, the planets as deities, and all the other deities are brought in and engaged
to invest their respective powers for the benefit of the monastery, and indeed for the
benefit of the whole world. The monastic building is transformed into a perfect
maˆ∂ala palace fully protected by a host of fierce deities distributed on all sides. The
images are blessed, impregnated with the seed-syllables of their corresponding
deities, infused with life, endowed with vision, sanctified with the tantric
consecrations, and then led inside the monas-tery, which is perceived as a maˆ∂ala
palace. Thus, the overall outcome is the creation of an idealised and harmonious
world liberated from the bonds of saµsåra, and vibrating with transcendent purity
and power.
In reality, what one can see with the naked eye is no more than the monastic
building with its paintings and images. So, is there any difference between the
superimposed transcendent and perfected world and the ordinary soil and buildings
as seen by the naked eye? Our text answers this question by para-phrasing the
famous statement of Någårjuˆa which says that there is ultimately not the slightest
difference between saµsåra and nirvåˆa: “That which is the self-nature of the
Tathågata, that self-nature is this world.” There is, however, the difference of
perception, namely the denunciation of evil and affirmation of spiritual perfection,
and that is the principal goal of the long ritual journey described in the
Kriyåsaµgraha, starting with the purification of the ground, and concluding with an
idealised and perfected world.
Doctrinal dimensions
From the perspective of Buddhist teachings, the Kriyåsaµgraha is rooted in tantra
doctrines and practices, in particular the Yoga Tantra teachings but, as was said
earlier, it is not exclusively a tantric work in a restricted sense, because it contains

14
elements from early Buddhism and from Mahåyåna Buddhism. It seems therefore
more appropriate to treat this work as reflecting the late form of Indian Buddhism as
an integrated whole. It is quite possible that the followers of the Indian Buddhism
reflected in the Kriyåsaµgraha simply referred to themselves as Buddhists and to
their religion as Buddhism.
In the course of the description of the different types of gong, the Kriyåsaµ-graha
refers to four schools of early Buddhism, namely the Sarvåstivåda, Mahå-så∫ghika,
Saµmmat¥ya, and Sthavira. All we learn from the relevant passage is that the
different colours marked on a gong betokened different schools: red for the
Sarvåstivåda, yellow for the Mahåså∫ghika, green for Saµmat¥ya, and blue for the
Sthavira. It thus seems certain that these schools distinguished themselves from each
other by wearing monastic robes of different colours.8 There is no information in the
text to indicate whether these schools were actually in existence and followed their
respective forms of early Buddhism, or whether they were Mahåyånists or tantric
adepts but retained their sectarian names and their respective transmissions of
monastic ordination. Since the Kriyåsaµgraha describes the construction of a
monastery and the rite of monastic ordination, and also talks about convoking the
monastic community, it affirms the validity and importance of monastic ordination
and life. The rite of ordination as described in Chapter Seven does not seem to be
related to any of the above early schools, or to any other school. Kuladatta does not
state it very clearly, but it is evident from the context that the pravrajyå ceremony
stands for full monastic ordination (upasampadå). The major point that he implicitly
makes is that this is the ancient pravrajyå. As far as the actual conferment of
monastic ordination is concerned, both pravrajyå and upasaµpadå have the same
validity and status. The differ-ences are essentially that the ancient pravrajyå does
not involve any imposition of the observance of the Vinaya rules, while the
upasampadå, introduced subsequently, does. The pravrajyå ceremony as described in
the Kriyåsaµgraha represents a kind of compromise between the ancient pravrajyå
and the later upasampadå in that it adds the ten rules incumbent on novices. Thus,
this would imply that at the time of Kuladatta, there were some groups of Buddhist
monks who used a modified and more lenient ordination ceremony which probably
did not impose the observance of all the Vinaya rules.
In addition to the four early schools, on three occasions the Kriyåsaµgraha also
mentions the dharmabhåˆakas. The term bhåˆaka, reciter, denotes a category of
Buddhist monks who were responsible for preserving Buddhist scrip-tures. They
memorised different parts of the Buddhist canon, which they recited from memory.9
Our text does not disclose the identity or sectarian affiliation of these
dharmabhåˆakas. We learn, however, that they participated in the performance of

8
. This list of colours corresponds closely to the list given by E. Lamotte, History of Indian
Buddhism, Louvain-La-Neuve, 1988, 536.
9
. For the early bhåˆakas, see K.R. Norman, Påli Literature, Wiesbaden, Otto Harras-sowitz,
1983, 8-9, 31-32, 74-76.

15
rituals, and that their rank was slightly lower than that of åcåryas. During the ritual
performance, the dharmabhåˆakas did not wear a head-dress, and their seats had no
back bolsters, but they were allowed to wear golden rings and to receive
remuneration for their participation.
The Kriyåsaµgraha affirms the four noble truths, the twelve links of depend-ent
origination, the nine and ten scriptural categories of the Buddha's teachings
(buddhavacana), and several other doctrinal elements which are linked with early
Buddhism. Although all these categories are not presented as teachings but as
attributes of the different parts of stËpas or monastic buildings, it is evident that the
early teachings were accepted as an integral part of the overall doctrinal spectrum of
the Kriyåsaµgraha.
The Kriyåsaµgraha also affirms the scriptures and teachings of Mahåyåna
Buddhism. In several different places one finds recommendations to read the
Prajñåpåramitå and other Mahåyåna scriptures, and the Mahåyåna doctrines and the
Bodhisattva vow are fully incorporated as part of the ritual procedures and the tantric
consecrations.
As for the tantras, the Kriyåsaµgraha affirms all four classes of the Buddhist
tantras, namely, Kriyå, Caryå, Yoga, and Anuttarayoga tantras. The doctrinal core of
the major rituals included in this work is that of the Yoga and Anuttara-yoga tantras.
The yoga type sådhana and the Vajradhåtu maˆ∂ala, which is a Yoga tantra maˆ∂ala,
constitute the essential ritual components throughout the entire Kriyåsaµgraha. Most
of the rituals are performed in the presence of, or through the deities of the
Vajradhåtu maˆ∂ala. As for the tantric consecrations, they incorporate all the minor
and major consecrations, including the use of the female partner in the secret, and the
knowledge of wisdom consecrations. Thus, the Kriyåsaµgraha as a whole contains
an integrated body of Buddhist teachings from all three forms of Indian Buddhism.
Some of these teachings are embedded in the actual ritual recitations, and some of
them are present in the form of auxiliary explanations.
In addition to doctrinally sound and orthodox Buddhist teachings, as has been
said, the Kriyåsaµgraha also contains elements derived from the Brahmanical
tradition, and from Indian astrology, divination, and popular beliefs.
The Brahmanical influence is particularly evident in the section which explains
the consecration of images and their installation inside the monastery. The images
receive very extensive treatment which incorporates the bestowal of the modified
versions of ten of the Hindu life-cycle rituals called saµskåras, from the time of
conception to the marriage ceremony, in which the goddess of Vajrasattva is brought
in and ritually married to all the deities. The marriage ceremony also includes the
circumambulation around the sacred fire. Another example is the fire god Agni
himself, who appears in various forms and under ten different names derived from
the Brahmanical sources.
The text consistently reminds the ritual master to execute his ritual activities on
auspicious days, and to establish auspicious positions of the planets in relation to the

16
monastic ground and building. To that extent, the ritual master makes use of
astrological calculations at various stages in the process of building the monastery in
order to work out auspicious combinations of the planets and the lunar mansions.
The majority of astrological calculations in the Kriyåsaµgraha involve the planets,
the lunar mansions, the twelve houses of the Zodiac, and some astral calculations.
The text also makes extensive use of divination, and provides long lists of good and
bad omens connected with the ground, the trees, and the images, among other things.
Taking all its aspects into account, it is evident that the Kriyåsaµgraha reflects the
entire spectrum of Indian Buddhism which was practised at the time of its
composition. It mirrors the Buddhist tradition which firmly professed the teachings
of Buddhism of all periods but was at the same time deeply involved in divination,
tantric feasts, and even superstition.
Rituals of the Kriyåsaµgraha
As already indicated, the rituals compiled in the Kriyåsaµgraha are treated not
according to their various categories but explained as part of the process of building
a monastery. The aim of this section is not to provide classifications of the rituals
contained in the Kriyåsaµgraha, but rather to give some background information on
the conceptual structures of the major rituals in order to facilitate the reading of the
main text and make its content more understandable.
The Yoga tantra-type sådhana and the Vajradhåtu maˆ∂ala lie at the heart of all
the rituals performed in the Kriyåsaµgraha, and they constitute the principal sources
of ritual power. The sådhana and the Vajradhåtu maˆ∂ala serve as the chief
expedients (upåya) through which the ritual master channels the trans-cendental
powers, and performs various activities which aim to achieve specified goals. It is
through the deities of the Vajradhåtu maˆ∂ala and all the other deities, in both
peaceful and wrathful forms, that he taps the mysterious powers inherent in the
universe and employs them to destroy evil in its personified and non-personified
forms, or to induce peace, happiness, and spiritual perfection.
The sådhana is a type of meditation introduced by the Buddhist tantras, and it
consists of the following major stages. In the first instance and prior to the actual
performance of the sådhana as meditation or as an external ritual, one creates the so-
called protective circle or retinue (rak∑åcakra). This is done in several steps. First,
one envisages oneself as a wrathful deity, which in the Kriyåsaµgraha is
Vajrajvålånalårka, a fierce Yoga tantra deity. During some activities described in the
Kriyåsaµgraha, the ritual master also assumes the identity of Trailokyavijaya or
Vajrayak∑a. After taking on the pride (ahaµkåra) of a wrathful deity, one purifies the
ground, dispels all evil forces and spirits (vighna), and delineates a protective
boundary around the place of meditation. The process of demarcating protective
boundaries consists in envisaging around oneself a set of powerful enclosures and
walls, and above oneself a tent of a unique design. Such protective enclosures are
mostly made of vajras, the most powerful tantric implement epitomising the

17
perfection of wisdom, and tantric Buddhism as a whole. In some ritual procedures,
protective amulets are made and placed under one's seat.
Once the protective boundaries have been erected, the actual sådhana begins.
There are three basic types of sådhana. In all three types, one envisages deities or
their symbols, but one arranges the deities in three different ways. One can envisage
either one or a group of deities abiding inside one's body, floating inside one or more
vases (kalaßa) filled with water, or arranged in a maˆ∂ala positioned in the space in
front of oneself or drawn on the ground. All these three types of sådhana are in
constant use in the Kriyåsaµgraha. Depending on the ritual pro-cedure and its
purpose, the ritual master envisages himself as Vajrasattva or some other peaceful or
wrathful deity, or he visualises and engages the entire Vajra-dhådu maˆ∂ala, which
he arranges either in vases, inside the maˆ∂ala, or in space in the sky. In the
Kriyåsaµgraha, this maˆ∂ala constantly travels between the sky and the monastic
ground. Whenever there are activities on the ground not directly related with it, the
maˆ∂ala is transferred into space, on other occasions, it is brought down to the
ground for the performance of specific activities.
There are two major stages in visualising the deities. In the first instance, one
envisages the so-called pledge-being (samayasattva). This deity is created in one's
mind in conformity with its iconic description as given in the tantra texts or in
meditational and ritual manuals. Fundamentally, this deity is an illusory creation,
which has no real power, although it is of value, because with it the mind trains itself
to function in a particular way, and because the created image represents an idealised
form. Next, one summons the so-called knowledge-being (samayasattva). This is
done by dispersing rays of light from the deity's seed syllable (b¥ja), pervading with
these rays the absolute sphere of reality, and then making them converge and so
bring in the knowledge-being. In the tantric context, the absolute sphere of reality is
referred to as emptiness (ßËnyatå) conceived as the realm of luminosity, perfection,
and power. It is from that realm that all the deities are summoned, although they do
not abide in it in personified forms, but as an impersonal repository of spiritual
power and perfection which can assume various forms in the meditator's visions.
Once the knowledge-being is brought in, it is welcomed, receives ritual worship and
then merged with the pledge-being into one indistinguishable union, like the
mingling of two drops of water. This merged deity is the real deity; it is endowed
with certain powers and attributes, and it has the ability to perform certain specific
activities. Some deities, such as Vajrasattva, have all possible powers and attributes,
others have limited powers and only some attributes. As a group, the deities arranged
in maˆ∂alas have all powers and attributes, and individually they are allocated
specific shares of those powers and attributes.
In the next stage, whether it is one deity or a group arranged in a maˆ∂ala, all
such deities are duly worshipped: they receive a specified number of offerings, and
their mantras and laudatory praises are recited. When one meditates on the deities as
part of one's spiritual training, one envisages the various offerings but does not offer
the real items. When one performs external rituals, all such offerings are arranged in

18
vessels placed on altars, and are actually offered to the deities in the course of the
ritual performance. The offerings can be presented to the deities as it were directly,
or they can be conveyed to them through a group of eight goddesses who personify
eight different offerings.
The basic set of offerings that is frequently offered to the deities in the Kriyå-
saµgraha consists of two kinds of water, one for the face and one for the feet, and
five articles of worship (pañcopacåra), namely flowers, incense, lamps, scent, and
food. In some rituals, music is added to the offerings listed above. These constitute
the so-called outer offerings, which epitomise the things of the external world. The
inner offerings consist of the articles offered for the gratification of the five sense
faculties, and they include form, sound, smell, taste, and touch.
Having received their appropriate forms of worship, the deities are requested to
perform their respective tasks for the benefit of the meditator, or for any other
desired purpose. The deities are asked for a variety of favours, such as to grant their
respective blessings, to bring prosperity, to enhance spiritual progress, to impart the
consecrations, even as will be seen, to plough the field and dissolve themselves into
the monastic ground in order to infuse it with their power. Although the Buddhist
deities are worshipped and asked to bestow their respec-tive blessings or to perform
certain tasks, they do not have freedom of choice as to whether to grant or refrain
from granting the favours requested. The tantric, and indeed all Buddhist rituals
function on the assumption that if they are executed without any error, they must
yield their expected results. In other words they are ritualised transactions devised to
produce an intended outcome. When errors are committed during the performance of
rituals, especially fierce rituals, the process can turn against the performer or the
benefactor and cause them harm. It is for this reason that the ritual master, upon the
completion of ritual sessions, requests the deities to forgive errors and to annul all
possible negative effects. Once the deities have executed their respective tasks, they
receive further forms of worship; then the knowledge-beings are requested to depart
to the sphere from which they were summoned, and the pledge-beings are dissolved
within the meditator's or the ritual master's body.
In connection with the above three types of sådhana, Kuladatta provides a
complete set of detailed instructions. He explains the design, content, and
arrangement of the vases (kalaßa), and the method of drawing the maˆ∂ala in
coloured powders. In the case of the maˆ∂ala, he explains how to make the threads
for casting the maˆ∂ala lines, how to cast the lines, and gives full details of the
powders used for colouring the maˆ∂ala.
The Kriyåsaµgraha contains an excellent exposition of the three samådhis, the
devatåyoga, the self-consecration, and the tantric consecrations. As such, all these
rituals are mainly performed in order to enhance their performer's, or recipi-ent's,
spiritual repository and resources on the way to gaining the state of enlightenment. In
the Mahåyåna, the three samådhis consist of three concentra-tions on emptiness
(ßËnyatå), signlessess (ånimitta), and wishlessness (apraˆi-hita), the three

19
fundamental portals of deliverance. In the Kriyåsaµgraha, the three samådhis are
explained according to the Yoga tantras, and their names are the concentration called
the primordial yoga (ådiyogasamådhi), the concentration called the royal maˆ∂ala
(maˆ∂alaråjasamådhi), and the concentration called the royal activities
(karmaråjasamådhi). The term ådiyoga represents another name for the five
abhisambodhis as described in the Sarvatathågatatattvasaµgraha, the principal of the
Yoga tantras. Kuladatta's exposition of this concentration repre-sents a combination
of his own instructions and a substantial quotation from the above tantra. The
fundamental purpose of the five abhisambodhis is a medita-tional enactment of the
state of enlightenment in the same way as it was expe-rienced by Íåkayamuni in the
Akani∑†ha abode prior to his enlightenment under the bodhi tree at Bodhgayå.
According to the Yoga tantras, Íåkyamuni became enlightened in the Akani∑†ha
abode, and then merely enacted the state of enlightenment at Bodhgayå. The purpose
of the second concentration is the meditational production of the deities, and the
purpose of the third concentration is the empowerment of the deities.
The devatåyoga as described in the Kriyåsaµgraha includes the above three
concentrations, the Yoga Tantra self-consecration, and the master consecration. The
overall purpose of the devatåyoga is to achieve mystic union and identity with the
deities of the Vajradhåtu maˆ∂ala. As already indicated, at the start and in the course
of performing the various rituals, the ritual master assumes the identity of particular
deities. He interacts with such deities both as their equal and as their devotee. In
addition to that, having performed the devatåyoga, the ritual master is made pure and
empowered to interact with the deities of the Vajradhåtu maˆ∂ala.
The Kriyåsaµgraha's exposition of the tantric consecrations provides a complete
and coherent body of instructions starting with the setting up of the maˆ∂ala and
concluding with the fourth consecration. The overall concept of the tantric
consecrations is derived from the ancient Indian rite of consecrating kings by
aspersion. However, the tantric consecrations involve more than just consecra-tion
with water. Viewed as a whole, they bestow on their recipient all the means for
attaining buddhahood. He is introduced into the deities of the maˆ∂ala, allo-cated to
one of the Buddha families, consecrated for the attainment of buddha-hood, and
receives a prophecy regarding his future buddhahood. In the words of the
Kriyasaµgraha, he becomes a son of the Buddhas. Kuladatta's exposition of the
tantric consecrations is clear and well structured, and it contains a wealth of data. In
the Kriyåsaµgraha, this series of consecrations is imparted to the performing
teacher's disciples, and to the images which are eventually installed inside the
monastery.
In addition to the major and essential tantric rites outlined above, the Kriyå-
saµgraha also explains and endorses the Bodhisattva vow of observance of the three
types of morality, and it also provides an exposition of the monastic ordi-nation.
Thus, it affirms all three forms of Buddhism, monastic ordination, the Bodhisattva
vow, and the tantric vows and consecrations.

20
 The Kriyåsaµgraha also provides a unique body of information on the fire rites
called homa. The basic structure of all homa rites is the same, but they differ with
regard to the design of the hearths, the articles used for burning, and the purposes for
which they are performed. The overall structure of these rites is as follows. The ritual
master draws a fireplace on the ground, piles up firewood, lights the fire, summons
the fire god Agni, and feeds him with various offerings in return for performing
certain tasks. The god Agni also acts as an intermediary through whom the ritual
master gratifies the Buddhist deities with various offerings, and seeks their favours
and powers. Generally, the tantric texts speak of four types of homa rites, namely
pacifying (k∑ånti), enriching (pu∑†i), subduing (vaßya), and fierce (abhicåra) homas.
The Kriyåsaµgraha refers to this fourfold classification, but of the above four
homas, describes in some detail only the pu∑†i homa, and gives an exposition of a
relatively unknown homa called the one-hundred-thousand homa (lak∑åhuta). In
addition to providing information on these two types of homa, the text also describes
ten homas performed with different forms of the god Agni. The Kriyåsaµgraha
makes extensive use of the homa rites at all stages of the process of constructing
monastic buildings.
Since some rituals performed during the building of monasteries and houses
involve digging and other activities connected with the soil, the Kriyåsaµgraha
provides a complete set of instructions on the worship of three goddesses related to
the earth. These are not always clearly distinguished, although it is evident from the
rituals addressed to them that they represent three aspects of the earth. The goddess
P®thiv¥ is perhaps the most ancient of the three, and epitomises the earth as a whole.
The goddess Jå∫gul¥ seems to be related to water and to snakes, and the third
goddess, Vasundharå, is the goddess of wealth because she holds the vase that
contains the earth's treasures. All three goddesses are propitiated so that they will
surrender the ground and use their positive powers for the benefit of the future
monastery.
An interesting group of rituals and astrological calculations is connected with the
serpent deities, in particular the mighty serpent deity sleeping in the ground on which
the monastery is to stand. He is called våstunåga (site or ground serpent) and is
accompanied by the eight great någa kings. The våstunåga is believed to rotate inside
the ground over the course of the year. Before digging is begun, his position in
relation to the sun's movement through the houses of the Zodiac is carefully worked
out. It is important to dig in the right spot in order to avoid harming this serpent
deity, and thus provoking his retaliation. Another ceremony involving the snake
deities is performed when the maˆ∂ala powders are disposed of. Upon the
completion of all the ritual activities, the Vajradhåtu maˆ∂ala is erased, the coloured
powders are collected in a vase, and then carried in procession and thrown into a
river. On this occasion, the powders are entrusted to the eight någa kings who
receive them and carry them away to their under-ground abode.
The Kriyåsaµgraha contains a complete set of instructions and ritual proce-dures
for consecrating paintings, books, and images. In the cases of images, the texts

21
details a complex series of rituals, which start with the purification of the material
for images, and conclude with the marriage ceremony and the tantric consecrations.
One ritual in the Kriyåsaµgraha explains the nature of the so-called tantric feasts
celebrated at night by yogins and yogin¥s. The existence of such feasts is well
attested in various sources, but to date their precise character and perfor-mance have
remained obscure. The celebration essentially consists of a ritualised form of group
sex. The description given in the Kriyåsaµgraha does not disclose all aspects of this
celebration, but its primary character and the stages of its performance are clear
enough to understand what actually took place.
The pantheon of the Kriyåsaµgraha
The ritual activities described in the Kriyåsaµgraha are carried out in con-junction
with a specified group of Buddhist deities, and a host of minor deities adopted from
the ancient Indian pantheon.
The Vajradhåtu maˆ∂ala serves as the primary source of ritual power, and it also
constitutes the visionary and idealised arrangement superimposed on the monastic
ground and the monastic structure as a whole. In the Sarvatathåga-tatattvasaµgraha,
the Vajradhåtu maˆ∂ala has thirty-seven deities: the five Tathågatas, the four
Påramitås, the sixteen Mahåbodhisattvas, the eight goddesses of offerings, and the
four guardians of the maˆ∂ala portals. The four Påramitås, namely Sattvavajr¥,
Ratnavajr¥, Dharmavajr¥, and Karmavajr¥, form the retinue of Vairocana. The sixteen
Mahåbodhisattvas, divided into four groups of four, form the retinues of the Vajra
(Ak∑obhya), Ratna (Ratnasaµbhava), Dharma (Ami-tåbha), and Karma
(Amoghasiddhi) families. The leaders of these four groups of the Mahåbodhisattvas
are Vajrasattva, Vajraratna, Vajradharma, and Vajrakarma. The eight goddesses of
offerings are divided into two groups, the four internal offerings (Vajralåsyå,
Vajramålå, Vajrag¥tå, and Vajran®tyå), and the four outer offerings (VajradhËpå,
Vajrapu∑på, Vajrålokå, and Vajragandhå). The four guardians of the maˆ∂ala portals
are called Vajrå∫kußa, Vajrapåßa, Vajraspho†a, and Vajråveßa.
In the Kriyåsaµgraha, the Vajradhåtu maˆ∂ala has fifty-three deities. How-ever,
on the whole it is not essentially different from the Vajradhåtu maˆ∂ala of the
Sarvatathågatatattvasaµgraha. It includes the following sets of deities: the five
Tathågatas, the four Buddha-goddesses (Sattvavajr¥ and other goddesses as above),
the sixteen Mahåbodhisattvas (Vajrasattva and others), the sixteen Bhadrakalpa
Bodhisattvas (Maitreya and others), the eight goddesses of offerings (the above
goddesses of the internal and external offerings), and the four guard-ians of the
maˆ∂ala gates. This maˆ∂ala includes the same deities as the Vajra-dhåtu maˆ∂ala
described in the Ni∑pannayogåval¥.
The next large group consists of forty female deities which are worshipped and
deposited inside the monastic ground and includes four groups of ten goddesses,
namely the ten BhËmis, the ten Påramitås, the ten Vaßitås, and the ten Dharaˆ¥s. In
the Kriyåsaµgraha, these goddesses are said to have the nature of forty vital
channels (nå∂¥). The ten BhËmis personify the ten stages leading to buddhahood, the

22
Påramitås personify the ten Mahåyåna perfections, the ten Vaßitås represent ten
different kinds of supremacy, and the ten Dhåraˆ¥s personify the most powerful
mantras and incantations. In the Ni∑pannayogåval¥, these goddesses are included in
the Dharmadhåtu Vag¥ßvara maˆ∂ala presided over by Mañjugho∑a, a form of
Mañjußr¥. The only difference is that in the Dharmadhåtu Vag¥ßvara maˆ∂ala, the
number of these goddesses in all four groups is increased to twelve.
As for the protective deities, the Kriyåsaµgraha engages a large group of thirty-
two wrathful deities. Within this group are included Vajrah˵kåra and the ten
Krodhas, a well known group of deities that constitute an independent set. For the
remaining twenty-one deities, textual origins and maˆ∂ala affiliations remain
obscure. In one ritual context, all thirty-two deities are treated as k¥la deities. On two
other occasions two groups of deities, one of eleven and one of twenty-nine, are
extracted from among the thirty-two, and treated as separate groups with their own
specific iconic forms. The group of eleven includes the above-mentioned ten
Krodhas led by Vajrah˵kåra. Apart from the Kr¥yasaµgraha, the second group of
twenty-nine wrathful deities does not seem to be attested in other sources in this
particular transmutation.
To the above groups of deities, one must add Mahåbala, Mahåkåla, Hår¥t¥ and
Råjåna. Mahåbala and Mahåkåla are also included in the above group of thirty-two.
However, this particular set of four deities is painted separately on the walls adjacent
to the main portal of the monastery.
Next there follows the host of deities derived from the ancient Indian pantheon.
Among these are included the protectors of the ten cardinal directions, the three
goddesses of the earth, the nine planetary deities, the eight någa kings, and the tree
and soil deities. The fire god Agni, in addition to being included among the
protectors of the ten directions, also appears in ten different forms during the
performance of different homa rites.
The Kriyåsaµgraha also includes twelve goddesses associated with the twelve
houses of the Zodiac, the deities of the eight wrathful cemeteries, the gods of the
Kåmadhåtu, the gods of the first three dhyånas of the RËpadhåtu, and sixteen minor
deities called messengers and servants.
The Kriyåßaµgraha's pantheon thus includes a considerable number of deities,
some of them new and hitherto unknown. As most of the iconic characteristics of the
above lists of deities are provided, the Kriyåsaµgraha constitutes an informa-tive
source for the study of Buddhist iconography.

Kuladatta's work is a mine of information not only on Buddhist rituals but also on
other subjects such as iconography, iconometry, architecture, divination, astro-logy,
trees, plants, and even food. One would need not merely to be acquainted with
Buddhist doctrines and rituals but also to have wide knowledge or pro-fessional
informants in these fields to be able to understand the Kriyåsaµgraha in its entirety.
In addition to presuming a fair amount of knowledge on the part of his reader,

23
Kuladatta does not explain things at length, but provides only the essential
information. One might even say that his expositions are based on the assumption
that the reader already knows what is going on or is watching the rituals as he
describes them.
While the greater part of the Kriyåsaµgraha is comprehensible, there are also
passages and a range of terminology that remain obscure. The sections explaining
astrological calculations are relatively clear and yet it is difficult to grasp their full
meaning because they lack a tangible reference such as a chart or something
comparable. The section dealing with the pedestals (piˆ∂ikå) is also complicated by
the fact that Kuladatta does not provide any background information, and does not
explain how the procedures included in that section fit together. It is obvious that the
function of pedestals is to serve as supports for images and offerings, and yet it is
difficult to see how certain procedures, such as multiple worship or the allocation of
places to the gods and men, relate to pedestals. Similarly, in a number of places
Kuladatta describes the various arrangements of the diagrams called ko∑†haka, but he
never makes clear their physical form. Thus, sometimes they seem to be charts or
diagrams on the ground, in other places, actual holes in the ground or even some
kind of boxes.
Nevertheless, despite all these and many other difficulties presented by this text,
the version that follows strives to reflect its content as faithfully and correctly as
possible.

24
 Chapter One10

Chapter One opens with the description of the personal qualities of the learned
teacher who should be invited to perform the appropriate rituals in connection with
the construction of monasteries and other architectural structures. Once he is found
and formally invited, the teacher proceeds to conduct the preliminary acts of worship
in order to accumulate merit and knowledge. Next, he examines the positive and
negative qualities of the plot of land to be used for the construction of the monastery,
and tests the quality of the soil and its appropriateness for the four social classes.
After that, come the initial destruction of the adverse forces embedded inside the
selected ground, the production of a protective amulet, and the performance of a
protective homa rite.
11
Characteristics of a good teacher
The benefactor (yajamåna), who wishes to build a monastery (vihåra) or erect other
structures, should identify and appraise the prospective teacher (åcårya) who is to
perform the relevant rituals.
A teacher, who has no compassion towards living beings, disrupts the duties of
other people (paradharma), hates living beings, behaves with arrogance and pride,
and points out the vices of other people, should be rejected. The guru for his part
should also reject a disciple who has such detrimental characteristics. He should
favour a disciple who is endowed with faith, wisdom and compassion, and who is
diligent and free from anger.
A good teacher is endowed with faith, wisdom and compassion. He is learned in
different branches of knowledge, such as grammar (vyåkaraˆa), poetry (kåvya),
hymnology (chandas), astrological treatises (jyoti∑aßåstra), conversation (kathå),
recitation (på†ha), different kinds of painting (lipi), and different dialects (bhå∑å). He
knows the characteristic qualities of gems, gold, men, women, elephants and horses.
He is acquainted with perfumes (gandha), songs (g¥ta), music (vådya), different
kinds of combat (yuddha), medicine (vaidyaka), magic (indrajåla), and alchemy
(dhåtuvåda). He is experienced in manicure (nakhaccheda) and other arts (ßilpa), and
knows the treatise on pleasure (kåmaßåstra). He is wise, patient, eloquent and
resolute. He suppresses defilements (kleßa) and remains devoted to the guru and

10
. Sanskrit A, 2.3-12.5; Sanskrit B, 1a1-4a.8; Tibetan A, 106.2.7-108.2.8.
11
. Sanskrit A, 2.3-3.5; Tibetan A, 106.2.7-4.2.

25
yogin¥, the pledges, the Three Jewels, and other relevant things. He is committed to
the ten perfections (påramitå), remains free from fear, contempt and shame. He is
skilful at drawing maˆ∂alas and knowledgeable in different kinds of rites. He
defends the guru's orders (åjñå), and guards against the viola-tion of the orders of his
guru and those of the Buddha. He is tolerant towards those who disrespect the
Dharma or have doubts about the Mahåyåna. He muses upon the good and bad
dharmas, has faith, and remains free from disrespect towards the received teachings,
aversion to women (str¥jugupså), and grave sins (mËlåpatti). It is this kind of teacher,
endowed with such excellent qualities and free from defects, that should be
approached.
Inviting a competent teacher
On an auspicious day, the benefactor visits the teacher's house, presents a dona-tion
(dak∑iˆå) according to his means, and then makes the following petition (adhye∑aˆå)
three times:
“O teacher, please remember me. I, a lay follower of such and such a name,
wish to erect a monastery (vihåra) and other structures. It is with this
objective in mind that I request your consent, you who know the Blessed
12
One's entire teaching (sugatavacana).”
Preliminary worship
The teacher should offer preliminary worship (pËrvasevå) in order to amass the stock
of merit and knowledge (sambhåra). The term “preliminary worship” entails two
specific things, namely the initial acts of worship carried out in order to amass merit
and knowledge, and the elimination of the adverse forces (vighna). It is said that the
person who knows the path of the omniscient ones does not gain success (siddhi)
without worship. The teacher recites one hundred thousand times the mantra of the
chief deity of the maˆ∂ala assembly (cakra) or of his chosen deity, and ten thousand
times the mantra of each member deity of the maˆ∂ala.
13
Examination of the ground
On an auspicious day, the teacher offers worship (pËjå), and then proceeds to carry
out the examination of the ground (bhËmipar¥k∑å). If the ground has unsuit-able trees
and other inauspicious indications, it should be abandoned. When the ground has the
following trees positioned in a set order towards the eastern and other directions,
then it should be abandoned: aßvattha, arjuna, plak∑a, palåßa, nyagrodha, ßålmal¥,
bakula, and udumbara; or thorny trees (kaˆ†akav®k∑a). The ground with such trees
induces separation from sons, women and wealth, gene-rates the fear of enemies, and
causes damage to property, servants, corn and other crops. It is said that when the
nyagrodha tree is to the north-east, the udumbara to the south, the aßvattha to the

12
. Sanskrit A, 3.6.
13
. Sanskrit A, 4.3-7.5; Tibetan A, 106.4.7-107.3.2.

26
west, and the plak∑a to the north, then they bring auspicious things. However, it is
also said that they should be positioned in the reversed order.
Grounds on which there are sticks, carts (ßaka†a), snakes, or are shaped like a
tortoise, a bow, a muraja drum, or a triangle, and grounds which are sloping, uneven
or have holes, cause the loss of cattle, wealth, and grain, or they bring eye diseases,
imprisonment, oppression, fire and robbers. They also induce fear of the king, the
loss of women and wealth, and bring poverty, sorrow, and harm.
Grounds that are situated to the south-east, south, south-west, west, and north-
west, on account of the danger of floods, bring destruction by fire, death, illness,
poverty and enemies. Grounds which resound with the noises of dogs, jackals, or
buffaloes, and which are scattered with broken vessels, are inauspicious. Grounds
which exude the smell of grease, oil, saline substances (k∑åra) and birds, grounds
which yield evil effects (ani∑†aphala), the sites of sacrifices (yajñasthåna), graveyards
(ßmaßåna), caityas, hermitages (åßrama), or temples (devatåyatana), and grounds
with lakes inhabited by snakes (någahrada), should be abandoned. Places which have
thorny trees, creepers, bushes and dry trees are also deemed inauspicious.
The places which are auspicious (ßubha) are naturally beautiful, open, and round
or square. They bring success (siddhi), increase intelligence (buddhi), wealth and
crops. Places, which are sloping (plava) on the eastern, northern or north-eastern
sides induce prosperity and happiness. It is said that in good places, the northern
section is moist, and has a pond (sarovara) with white and red flowers, clusters of
lotuses (padma), plenty of blue lotuses (utpala), pleasantly scented flowers, attractive
birds (pak∑i), fish (matsya) and turtles (kacchapa), and always green grass. Some say
that the eastern side has the åmra, jambu, and kadambaka trees, and that in the
grounds, there are javå and other flowering shrubs (vi†apa). Likewise, it is said that
the southern direction has the puµnåga, någakesara, pårijåtaka, campaka, aßoka, and
especially bakula trees, and that inside the grounds, there are the jåti and other trees
with a good fragrance, and trees with white flowers. To the west, there are the
14
pippala, aßvattha, udumbara, lakuca, and paˆasa trees. All such trees, being full of
sap, are auspicious, and shrubs with black flowers in the grounds are also auspicious.
Places which resound with the sounds of the lute, flute or drum are also excellent.
Categories of soil appropriate for the four social classes
Next are explained the categories of soil appropriate for the four social classes
15
(jåti). Grounds which are white in colour, imbued with the fragrance of curds
(dadhi), milk (k∑¥ra) and sap (dugdha), and sweet in taste, are suitable for the
bråhmaˆas. Grounds which are red in colour, imbued with the scent of the malli-kå,
kamala, utpala, campaka, någakesara and other similar flowers, and astrin-gent in
taste, are suitable for the k∑atriyas. Grounds which are yellow in colour, imbued with

14
. Sanskrit A, 6.2; Tibetan A, 107.1.7.
15
. Sanskrit A, 6.3; Tibetan A, 107.2.1.

27
the smell of intoxicating spirits (madya) and the scent of rutting elephants
(gajamada), and acid in taste, are suitable for the vaißyas. Grounds which are of dark
colour, odourless (nirgandha), and pungent in taste, are suitable for the ßËdras.
Having excavated a hole one cubit (hasta) deep, one should refill the hole with the
16
soil which has been just dug out. Depending on whether the soil level is lower than,
even with or above the level of the hole, the ground's quality is duly judged as
inferior, average or excellent. Alternatively, one excavates a square hole, two cubits
deep. In the middle of it, one makes a maˆ∂alaka, and to the east, west, north, and
south respectively, one places white, red, yellow, and blue flowers. Flowers which
do not fade indicate the suitability of the land for the social classes whose designated
colours correspond to the colours of the flowers deposited on the ground.
Then again, one takes vessels made of unbaked clay (åmakumbha), and posi-tions
them to the east and other directions of the same hole. On top of the ves-sels, one
places flat clay dishes (ßaråvaka) inside which one lights butter lamps of white and
other colours, and then one examines the flames. The order in which the white, red,
yellow and black flames begin to glow indicates the suitability of the ground for the
bråhmaˆa or the other social classes. Likewise, whether the ground has a
preponderance of kußa, ßara, uߥra or dËrvå grass, indicates its suitability for the
bråhmaˆa or the other social classes.
Some people postulate that the suitable locations for cities and other structures are
on the northern banks of great rivers, others maintain that the good locations are on
the southern banks.
When the ground acquired does not possess the recommended characteristics as
explained above, one purifies and perfects it in conformity with the prospective
social status (jåti), and then one takes possession of it.
Destruction of adverse forces with a fierce homa
In the centre of the ground on which the construction of the vihåra and other
17
structures is to be undertaken, one should delineate in soil and cow dung a square
maˆ∂alaka, the size of a cow's hide (gocarman). During the evening, the teacher
carries out ritual worship (pËjå), assumes the yoga of the three concentra-tions
(trisamådhi), and sits in meditation. After having worshipped the Three Jewels, he
delights in verse the world protectors (lokapåla) residing in the ten directions, and
pays homage to other deities. Placing the right knee on the ground and folding his
hands, he recites three times a petition, asking the devas, någas, gandharvas, yak∑as,
asuras and other spirits to surrender to him the place on which the vihåra is to be
built for the benefit of all living beings. He asks them to convey their permission
through dreams (svapna) or some other sign (nimitta).

16
. Sanskrit A, 6.6; Tibetan A, 107.2.3.
17
. Sanskrit A, 7.5; Tibetan A, 107.3.4.

28
 Next, the teacher rises and proceeds in the northern direction, and then, facing the
south, he arranges before him a clay dish (bhåˆ∂a), which is shaped like a half-moon
(ardhacandra), and is to serve as a fire-vessel (kuˆ∂a). He smears it with dark soil
(m®ttikå), ashes (bhasman) and other things that are available. He fills it with ashes
(a∫gåracËrˆa) from cremation grounds (ßmaßåna) and over them arranges blue
flowers. Assuming the pride of Trailokyavijaya, he scatters blue flowers on the south
side, and arranges a vessel (bhåjana) to serve as the conch (ßa∫kha) for offering
water. To the left he places mustard seeds (sar∑apa), pungent sesame oil (ka†utaila),
blood (as®j), poison (vi∑a), salt (lavaˆa), ashes from cremation pyres (citibhasman),
cotton filaments (karpåsåsthi), filed brass (kåµsa), red dye (låk∑å), powdered human
bones (naråsthi), nimba leaves, and other things; a mixture of marrow (vaså) and the
sap (rasa) of intoxicating leaves (unmattakadala); cuttings sliced from swellings that
grow on the roots (mËla-bhågaja) of the nimba, kovidåra, bhallåtaka, madana, and
trees of the thorny (kaˆ†aka) and bitter (tikta) kind; a mixture of poison, blood, and
sesame oil; firewood (samidh) with split ends; clarified butter (gh®ta), sesame (tila),
barley (yava), kußa grass, flowers, incense (dhËpa) and lamps (d¥pa). Taking dry
mada-na, nimba, kovidåra, bhallåtaka, and thorny and bitter kinds of wood, he lights
a fire with flame generated from brass or stone (ßilå), or brought from a cemetery, or
the house of an outcast. Within this blazing fire, he should envisage the fire god
Agni arising from the blue syllable H˵. The Krodha Agni is blue in colour and
wears blue garments and ornaments. He has a wrathful and terrifying appear-ance,
protruding fangs, red hair twisted upwards, and a frowning face with three squinting
eyes. In his right hands he holds a sword (kha∂ga) and a club (daˆ∂a), and in his left
hands a noose (påßa) and a pitcher (kamaˆ∂alu). He summons the corresponding
knowledge Agni (jñånågni), presents the welcoming water and other offerings, and
then dissolves him into the pledge Agni (samayågni).
Next, he pegs down all the adverse forces (vighna) with a k¥la while reciting the
18 19
relevant mantra. He causes their death with the mantra of Am®takuˆ∂ali, and he
20
devours all sins (påpa) with the mantra of Vajrayak∑a. Next, he pours into the fire
three portions of clarified butter. While reciting “Oµ krodhågnaye jahi krodhaya
H˵ Pha†,” he offers all the items for burning. After that, he offers to Agni the water
for the face and other offerings, and beholds in his heart the complete destruction of
the obstructive forces. Then once again, he summons the knowledg-being, presents
the appropriate offerings, and envisages the knowledge-being becoming merged the

18
. oµ kili kili vajra sarvavighnån kilaya kilaya h˵ pha†. Sanskrit A, 9.4-5; Tibetan A,
107.5.3.
19
. oµ am®takuˆ∂ali kha kha khåhi khåhi ti∑†ha ti∑†ha bandha bandha hana hana daha daha
paca paca garja garja vispho†aya vispho†aya sarvavighnavinåya-kånåm
mahågaˆapatij¥vitåntakaråya h˵ pha†.
20
. oµ vajrayak∑a sarvapåpaµ khådaya h˵ pha†. Sanskrit A, 9.6.

29
 21
pledge-being. Then reciting the relevant fierce mantra, he offers the items for
burning in the same way as before. Finally, he requests Agni to leave.
Next, he gets up and then goes to sleep on a clean piece of ground with his head
turned towards the south. He touches his face with the left hand and recites the
22
relevant mantra three, seven or twenty-one times. The good and bad omens
conveyed in his sleep should be duly examined. If the omens are inauspicious, he
should dispel them by performing the so-called twenty-one-thousand-homa (viµ-
ßatisåhasrikahoma), following the ritual procedure (vidhi) explained later. This
particular homa is said to be an abridged version of the one-hundred-thousand-homa
(lak∑ahoma), explained in Chapter Six.
23
Production of a protective amulet
Rising early in the morning from the ground that is free from the obstructive forces
(nirvighna), the teacher assumes the yoga of his chosen deity, and offers the five
items of worship (pañcopahåra), a bali, and other articles of worship. Next, he draws
an eight-spoked wheel (cakra) on birch bark (bhËrja) or on good quality cloth (pa†a),
and inscribes the centre, the spokes, and the inner and outer circumferences with the
following mantras:
Navel: the syllable Måµ and “Oµ mår¥ci asmin bhËbhåge sarvadu∑†avighna-
24
vinåyakånåm avakåßaµ kuru Svåhå.”
Inner circumference: “Oµ mår¥cyai vattåli vadåli varåli våråhamukhi sarva-
du∑†ånåm mukhaµ bandha bandha cak∑ur asya bhËbhågasya ßåntiµ kuru
Svåhå.”
Eastern spoke: “Oµ arkamasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
Southern spoke: “Oµ markamasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
Western spoke: “Oµ tejomasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
Northern spoke: “Oµ nairamasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
25
North-eastern spoke: “Oµ v¥ramasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
North-western spoke: “Oµ vanamasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
South-western spoke: “Oµ gulmamasi asya bhËbhågasya rak∑åµ kuru Svåhå.”
South-eastern spoke: “Oµ udayamasi asya bhËbhågasya rak∑åµ kuru ßåntiµ kuru
pu∑†iµ kuru vaßyaµ kuru Svåhå.”
Outer circumference: “Oµ mar¥cyai vattåle vadåle varåle våråhamukhi asmin
bhËbhåge sarvadu∑†avighnånåµ mukhaµ cak∑ur bandha asya bhËbhå-gasya
ßåntiµ pu∑†iµ rak∑åµ kuru Svåhå.”

21
. oµ å˙ vighnåntak®tasarvapåpadahanavajra sarvapåpaµ dahana h˵.
22
. oµ mucili svåhå. oµ mohani svåhå. oµ dattili svåhå. Sanskrit A, 10.4.
23
. Sanskrit A, 10.6; Tibetan A, 108.1.4.
24
. Sanskrit A, 11.1; Tibetan A, 108.1.5.
25
. Sanskrit B, 4.1: c¥varamasi.

30
He wraps the inscribed mantras with a piece of waxed cloth and places this on a very
long bamboo, or on the top of a banner. The obstructive forces (vighna) and the
vinåyakas will definitely go away from the place. It is now certainly ready to be
perfected for the construction of a vihåra and other buildings.
26
Protective homa
In order to protect the ground (bhËrak∑å), the teacher should generate the Varuˆa-
maˆ∂ala from the syllable Vaµ positioned within a blazing flame. On the top of it,
he envisages from the syllable Ruµ the peaceful and bright form of the fire god Agni
called Påvaka. The Påvaka Agni is white and encircled with ambrosial rays
(am®taraßmimålin). He has three eyes and his matted hair is crowned with a diadem
(ja†åmuku†a). He wears a white sacred thread (yajñopav¥ta), a garment (vastra), and
other attire. Of his four hands, one right hand holds a rosary (målin) and one makes
the gesture of fearlessness (abhaya), and his left hands hold a club (daˆ∂a) and a
pitcher (kamaˆ∂alu). Next, the teacher summons the knowledge-fire (jñånågni) and
performs the relevant activities. After that, he carries out the preliminary homa
27
(pËrvaµgama) with the va†a and bodhidruma wood, boiled rice (ßålyanna), parched
grain (låja), barley (yava), curds (dadhi), milk (dugdha), sandal (candana), flowers,
kußa and dËrvå grasses. Having done this, he performs the one-hundred-thousand
homa (såhasraikahoma) with the mantra “Oµ påvakågnaye Svåhå,” and with sesame
(tila) mixed with the three sweet things (trimadhu): sugar, honey and ghee.

26
. Sanskrit A, 12.1; Tibetan A, 109.2.3.
27
. The Tibetan version reads “just as before he should touch” (sngon bzhin du nyug par bya).

31
 Chapter Two28

After explaining in Chapter One the positive and negative characteristics on the
surface of the ground, the text now proceeds to detail the positive and negative
omens embedded inside the ground. The first two sections of this chapter explain
two different ways of identifying various impediments buried in the ground, one
through the medium of a young girl, and one through the use of a divinatory lamp.
After that, a fierce homa is performed to dispel adverse forces. Next, there follows
the worship of the minor protective deities called field-protectors. The earth goddess
is assured that all evil in the ground will be removed, and she is requested to
surrender the ground for the building of the monastery.
Next come lists of auspicious and inauspicious omens connected with the various
articles that may be buried in the ground. After that, the earth goddess is summoned
in once more, offered worship, and then transferred into the sky. This process of
transferring deities into space and then bringing them down to the ground will be
seen frequently in the next chapters. As the ritual master interacts with different
groups of deities, he keeps some of them in space while he engages other deities on
the ground. The earth goddess, since she is the queen of the earth, will be propitiated
quite frequently, because this must be done whenever any work is done on the
ground.
The next stage involves the worship of one hundred and twenty one deities, some
peaceful and some fierce. These deities are worshipped through their man-tras and
are distributed and positioned over the grounds according to special diagrams
(ko∑†haka). When the worship of these deities is completed, a second homa is
performed, but this time to bring happiness. Finally, all the deities are transferred
from the ground into space, and some further purificatory activities are performed on
the ground. From the ritual perspective, there is here a sort of dual process: all
obstructions are removed from the ground step by step, and at the same time the
ground is progressively sanctified in various ways.
Divination of the ground through a maiden medium
Having assumed the yoga of his deity (devatåyoga), the teacher first performs the
ritual activity of raising the deities (devatå-utthåpana) by executing the rite of

28
. Sanskrit A, 12.5-31.6; Sanskrit B, 4a.8-10a.6; Tibetan A, 108.2.8-112.1.3.

32
worshipping the earth (mah¥pËjå). Next, he should proceed to purify the soil
(medin¥). Assuming the yoga of his chosen deity (i∑†adevatå), he offers worship and
praises to a young girl (kumårikå) who faces the eastern direction at the time of
sunset: “O Bhagavat¥, declare the good and the evil (ßubhåßubha).” According to
which of the following syllables, A KA PA TA CA SA HA VA JA, is pronounced
first, he should infer and ascertain the truth without making any mistakes. On the
ground, he devises nine diagrams (ko∑†ha), one diagram at the centre, and eight
positioned towards the cardinal and intermediate directions of the compass.
The letter A indicates that underneath the ground to the east, over one cubit deep,
there is an impediment from the bones (ßalya) of a bråhmaˆa. If these bones are not
extracted (anuddharaˆa), then there is the danger of fire, and the death of relatives
(gotra) and women (yo∑id).
The syllable KA indicates that to the south-east, there is an impediment from the
bones of a k∑atriya. These bones bring all kinds of diseases (roga), fear of fire, loss
of wealth (arthahåni), and oppression by rulers.
The syllable PA indicates that to the south, there is an impediment from the bones
of a vaißya. Bones of this kind cause the internal and external fever (tåpa), and the
loss of wealth.
The syllable TA indicates that to the south-west, there is an impediment from the
bones of a ßËdra. These bones induce different kinds of illnesses, oppression, fear of
fire, and the death of the master of the house.
The syllable CA indicates that to the west, there is an impediment from the bones
of a priest (vipra). Bones of this type induce the destruction of houses by fire.
The syllable SA indicates that to the north-west, there is an impediment from the
bones of someone from the family lineage of the local chief (bhËpativaµßa). These
bones bring affliction (ßoka) and the misconduct of women (kåntå-dußcarita).
The syllable HA indicates that to the north, there is an impediment from the bones
of vaißya people. These bones induce a short life (alpåyus) in both men and women.
The syllable VA indicates that towards the north-east, there is an impediment
from the bones of ßËdra people, or from the bones of cats (mårjåra), or again from
iron (loha) or charcoal (a∫gåra). If these things are not extracted, there is the danger
of losing family and wealth.
The syllable JA indicates that at the centre of the ground, there is an impe-diment
from the bones of a twice-born (dvija). If these bones are not extracted, there is the
danger of oppression and punishment by the ruler, and the loss of wealth (dhana).
Thus, since the bones cause all kinds of harm, they must be extracted from the
ground (uddharaˆa).
After performing an act of worship in front of the maiden, the teacher throws
white mustard, nimba leaves and other items into a fire three times. While throwing
these items, he rotates the left hand towards the left and the right hand towards the
right. He also sprinkles water with his cupped hands, and recites the relevant

33
 29
mantra for the destruction of evil.
30
Divination of the ground by means of a lamp
Having lit a lamp (prad¥pa) with a wick made of arka cotton (arkatËlavarti) and filled
31
with sesame oil, the teacher proceeds to identify the bones inside the ground
(ßalyapar¥k∑å). He should know that in whichever direction the flame of the lamp
bends, in that direction there are certainly powerful bones. On the spot on which the
lamp becomes dimmed by dust, there too, there are some bones.
Fierce homa
After offering a bali, the teacher adorns the spot with flowers and respects it with
grain. In order to appease the bad misfortunes (du∑†a-upasarga), the teacher gets up,
turns his face from the south-east towards the north-west, and then ignites a fire with
the khadira wood. In the fire, he should envisage the fierce fire-god called
Marutånala. The Marutånala Agni rides on an antelope (m®ga), wears a sacred thread
(yajñopav¥ta), and his garment is stained with blood and ashes. He has three
revolving eyes, a long neck, and his hair is knotted on the top of his head. In his four
hands, he holds a three-pronged club (tridaˆ∂a), a string of beads (ak∑asËtra), a flag
(patåka), and a pot (kuˆ∂ikå). Next, he summons the knowledge-fire and performs a
32
homa for driving away the evil forces (du∑†occå-†anahoma). He uses the five
different kinds of mustard (sar∑apa), the mayËra-ßikhå wood, pungent sesame oil,
and other such items. The mantra for this homa is “Oµ marutågnaye Svåhå.” Upon
completing this rite, he goes to sleep.
Propitiation of the earth goddess
Then, on the next auspicious day, on the ground selected for a vihåra and other
buildings, the teacher performs the yoga of his chosen deity, and presents a bali and
other offerings to the k∑etrapålas and other deities. He makes a request before the
earth-goddess P®thiv¥ by reciting three times the following words:
“O goddess, surrender to the superior paths of practice and conduct (car-
yånaya), the spiritual stages (bhËmi) and the perfections (påramitå) of all the
protecting Buddhas. Just as the protector Íåkyasiµha has overcome the hosts
of Måra, so will I destroy the host of demons and construct a vihåra and other
33
buildings.”
The teacher examines the impediments inside the ground selected for the monas-tery
in order to purify it. Just as the defects located in different parts of the body cause
people pain, in the same way, the impediments located in the ground cause harm,

29
. oµ sarvapåpadahanavajra sarvapåpaµ daha svåhå.
30
. Sanskrit A, 14.4; Sanskrit B, 4b.9; Tibetan A, 108.4.6.
31
. Sanskrit: jyoti∑mat¥k®∑ˆåtilånåµ tailai˙; Tibetan: jyotißmati'i mar ku 'am til nag po.
32
. Sanskrit A, 15.3; Tibetan A, 108.5.4.
33
. Sanskrit A, 15.4-5; Tibetan A, 108.5.6-7.

34
and the people living in such places endure undesirable effects.
34
Inauspicious omens in the ground
Those people who live in houses containing harmful bones (ßalya) are not re-
spected, even if they are sages (sura) or twice-born (dvija). The bråhmaˆas, k∑a-
triyas, vaißyas and ßËdras become lustful, the people disrespect religion, act in evil
ways, abandon good customs (ma∫gala), homa rites and recitations, and insult
parents and gurus. There are also waves of poverty, many diseases and evil people.
The bones from the skulls (ߥr∑a) of cows bring the loss of cattle and wealth. In the
case of bones from the skulls of horses, the master of the house, although he is
wealthy, lives by weapons. The bones of cows in general cause different kinds of
suffering (du˙kha). Human hip bones bring the destruction of the family (kula) and
wealth, and human bones in general bring ills such as criminals, oppression,
instability in women, the killing of ascetics, and other upheavals. The bones of asses
(gardabha) and cats (mårjåra) induce the fear of husbands (svåmi) and bring ruin
35
(uccå†ana). The bones of dogs (kukkura) cause anxiety (udvega), and the breast-
bones of elephants (hasti) induce bad manners (duråcåratva) among women. The
bones of sheep (bhe∂aka) bring poverty and decrease intelligence. The bones of
horses (turaga) and goats (chågala) cause damage to bovines (gokula). The harm
derived from the bones of stags (m®ga), apes (®k∑a), and jackals (jambuka) causes the
master of the house to live in dependence on other people (paropaj¥va). The breast-
bones of tigers (dv¥pin) represent harm from tusks and foes.
Grain chaff (tu∑a) brings the loss of grain, dust (påµßu) causes people to stay away
from their homes (pravåsin), and ashes (bhasman) and charcoal bring conflagrations
(dåha). The bones of pigs (sËkara) bring diseases, and brass (pittala) and copper
(tåmra) the loss of wealth. The bones of stags, yak∑as and råk∑asas bring death. The
skulls of rats (mË∑a) bring the loss of wealth and sons. The bones of mongooses
(nakula) and lizards (godhå) cause harm to relatives, the bones of snakes (ahi)
decrease power and prosperity, and the bones of buffaloes (lulåya) induce short life.
Iron causes eye diseases, stones (upala) and bricks (i∑†akå) induce fear and mental
agitation, dry grass (t®ˆa) brings illnesses, and dry leaves (parˆa) bring slavery. Hair
(keßa) causes sorrow, human skulls (kapåla) induce separation from sons and
relatives, dry wood (kå∑†ha) brings poverty, tusks (danta) damage draught animals
(våhana), cat ribs bring separation from sons and women, and neck bones cause
death. Iron chains cause separation from wives and close kin, and the bones of
36
vampires (naråßa) bring many diseases. Broken clay pots (bhåˆ∂a) induce
separation from sons, and pebbles cause agitation and eye diseases. The bones of
sacrificed animals (paßukalpa) bring sorrow, the bones of small animals (paßuka)

34
. Sanskrit A, 15.6-19.4; Tibetan A, 108.5.8-109.4.7.
35
. Tibetan A, 109.1.7: khyim bya (kukku†a).
36
. Sanskrit A, 17.3; Tibetan A, 109:2.5.

35
induce hunger and thirst. Spinal bones (kaßeruka) induce hatred of pigs and humans,
as well as diseases (vyådhi). Lead (s¥saka) causes hip diseases, and the three kinds of
37
metal decrease happiness. Thigh bones bring misconduct among women, and
38
shank bones induce death.
39
Auspicious omens in the ground
Now are explained the positive influences of certain bones, shells and metals
(ßubhaßalya). The bones of frogs (maˆ∂Ëka) increase the Dharma and wealth. Gold
(suvarˆa) bestows wealth and sons, grain (dhånya) brings happiness, and pearl-
oysters (ßukti) bestow peace and happiness. The bones of tortoises (kËrma) bring
wisdom and prosperity, and conch shells (ßa∫kha) grant wishes and wealth. The
horns (ß®ga) of cows bestow wealth and grain. Quartz (kåca) bestows eminence,
camphor (muktåphala) gives glory, corals (vidruma) remove illnesses, and silver
(rËpya) brings tranquillity. Tortoises and frogs, whether alive or dead, bring
happiness.
If there are wells (kËpa) positioned towards the directions presided over by Ía-
kra, Agni, Yama, Nißåcara, Varuˆa, and Våyu, then there is, respectively, the danger
of fear induced by people, fear induced by enemies, quarrels, death of sons,
misconduct of women, and death of women. But if there is a well posi-tioned
towards the north, it brings prosperity, and if towards the north-east, it brings
tranquillity. When the selected ground is encircled by a river or has rivers on two
sides, it induces auspicious things (ßubha). When there is a river to the south, the
place induces inauspicious things. Forests with wild animals posi-tioned towards the
south and west bring good things. The places which stay cool in the hot season and
remain warm during the winter season induce good things for the people of all four
social classes.
40
Worship of the earth goddess
After a detailed examination of the place (supar¥k∑itavåstu), the teacher envisages
the earth-goddess P®thiv¥, offers her worship and makes a renewed request for the
surrender of the ground:
“O goddess, I pay you respects at all times. Please act with kind-ness
(prasåda). I shall build here a vihåra to serve as the residence (nivåsa)
of the Three Jewels.”
41
The mantra for taking possession of the ground is: “Oµ H˵ Jaµ Jri Svåhå.” The

37
. triloha: copper, brass, bell-metal.
38
. The description of the various impediments continues: Sanskrit A, 17.6-18.5; Tibetan A,
109.2.8-3.7.
39
. Sanskrit A, 18.5-19.4; Tibetan A, 109.3.7-4.6.
40
. Sanskrit A, 19.4; Sanskrit B, 7b.1; Tibetan A, 109.4.6.
41
. Sanskrit A, 19.5; Tibetan A, 109.4.7.

36
teacher offers her the water for the face, and after having presented the items of
worship, he should lift the goddess P®thiv¥ with his mind (manas) and posi-tion her
in the sky (gagana).
42
Worship of one hundred and twenty-one deities
This section explains the worship of one hundred and twenty-one deities. Forty
goddesses, in sets of ten, are positioned towards the four cardinal points, and eighty-
one deities are positioned in eighty-one diagrams (ko∑†haka) divided into five
groups. The group of forty goddesses includes the ten BhËmis, the ten Påra-mitås,
the ten Vaßitås, and the ten Dhåraˆ¥s. The host consisting of eighty-one deities
includes forty-nine deities from the Vajradhåtu maˆ∂ala (Vairocana, four Buddha
goddesses, sixteen Vajrasattvas, sixteen Bodhisattvas, eight goddesses of offerings,
and four door guardians), Vajråh˵kåra and the ten Krodhas, the nine planets, the
ten lokapålas, Prithiv¥, and Någa. All these deities are duly visualised and are
worshipped with their mantras.
The group of forty goddesses positioned towards the four cardinal points should
be envisaged as essentially having the nature of forty vital veins (nå∂¥-svabhåva).
On the outer section of the eastern side, beginning with the north-east and
proceeding in correct order, there are the ten veins represented by the ten BhËmis:
Pramuditå, Vimalå, Prabhåkar¥, Arci∑mat¥, Sudurjayå, Abhimukh¥, DËra∫gamå,
43
Acalå, Sådhumat¥, Dharmameghå. They all face towards the south. The colours of
44
their bodies are, respectively, red, white, red-gray, black, yellow, golden, blue,
crystal, white, and yellow. They have two hands. In their right hands they hold
vajras, and in their left hands they hold, in order, wish-granting jewel (cintåmaˆi),
white padma, solar disc on a vißvapadma, blue utpala, emerald (mårakata),
Prajñåpåramitå book on a padma, vißvavajra on a padma, red vajra on a lunar disc
supported by a padma, utpala marked with a sword (kha∂ga), and Prajñåpåramitå
book.
To the south, starting with the south-east, there are the ten veins having the nature
of the ten Påramitås: Dåna, Í¥la, K∑ånti, V¥rya, Dhyåna, Prajñå, Upåya, Praˆidhi,
45
Bala, and Jñåna Påramitå. They face towards the north. They are, re-spectively,
white, white, yellow, blue, blue, yellow, gray, black, red, and white. They have two
hands. In their right hands they hold wish-granting jewels (cintå-maˆi), and in their
left hands they hold, in order, corn ear (dhånyamañjar¥), aßoka bud, white padma,

42
. Sanskrit A, 19.6; Sanskrit B, 7b.2; Tibetan A, 109.4.8.
43
. Sanskrit A, 20.1-2; Tibetan A, 109.5.2-3.
44
. Sanskrit A, 20.6-21.1; Tibetan A, 109.5.8-110.1.4.
45
. Sanskrit A, 21.1-3; Tibetan A, 110.1.4-7.

37
 46
blue utpala, white padma, vajra on a yellow padma, sword on a blue utpala, gesture
of turning the Dharma-wheel, Prajñåpåramitå book, and bodhi-tree adorned with
jewels.
To the west, beginning with the south-west, there are positioned the ten veins
having the nature of the ten Vaßitås: Óyus, Citta, Pari∑kåra, Karma, Upapatti, Ùddhi,
Adhimukti, Praˆidhåna, Jñåna, Dharma Vaßitå. They face towards the east. They
47
are, respectively, red, white, yellow, green, variegated, black, gray, yellow, blue,
an white. In their right hands they hold padmas, and in their left hands they hold,
respectively, an image of Amitåbha on a padmaråga, red vajra, a wish-granting
banner (cintåmaˆidhvaja), vißvavajra, a variegated jasmine branch (jåtilatå), solar
and lunar discs on a padma, a cluster of the priya∫gu flowers, a blue utpala, a sword
on an utpala, and a vase on a padma.
To the north, beginning with the north-west, are the ten veins that have the nature
of the ten Dhåraˆ¥s: Vasumat¥, Ratnolkå, U∑ˆ¥∑avijayå, Mar¥ci, Parˆa-ßabar¥,
Anantamukhå, Jå∫gul¥, Cundå, Prajñåvardhan¥, Sarvabuddhakoßavat¥. They face
48
towards the south. They are, respectively, yellow, red, white, gray, blue, white,
green, white, gray, and yellow. In their right hands they hold vißvavajras, and in their
left hands they hold, in order, an ear of corn (dhånya-mañjar¥), a wish-granting
banner (cintåmaˆidhvaja), a vase of moon-gems (candrakåntikamaˆikalaßa), a needle
and thread (sËtrasËc¥), a peacock feather (mayËrapiccha), a spray of a poisonous
flower (vi∑apu∑pamañjar¥), a great treasure-vase (mahånidhikalaßa), a pitcher
(kamaˆ∂alu) fastened with a string of beads, a sword (kha∂ga) on a blue utpala, a
casket (pe†aka) of jewels placed on a padma.
The above forty goddesses (dev¥) sit in the sattvaparya∫ka posture on vißva-
padmas and lunar discs (indumaˆ∂ala). Their worship mantras are: “Oµ pramu-
ditåyai nama˙ Svåhå,” and so forth, ending with “Oµ sarvabuddhakoßavatiyai
49
nama˙ Svåhå.”
Next, the teacher envisages Mahåvairocana and the other eighty deities placed in
50
eighty-one diagrams (ko∑†ha). He worships them with dËrvå grass, jasmine
(kunda), unhusked grain (taˆ∂ula), parched grain (låja), safflower (kusumbha) and
other articles, while reciting their respective mantras.
Mahåvairocana is positioned in the central diagram. He is white, has four faces,
and makes the gesture of the supreme enlightenment (bodhyagr¥mudrå). The mantra

46
. Tibetan A, 110.1.6. From this point the Tibetan version gives the following order for the
emblems: Prajñåpåramitå book on padma, dharmacakramudrå, vajra on yellow padma,
sword on blue utpala, Prajñåpåramitå book, and bodhi-tree adorned with jewels.
47
. Sanskrit A, 21.3-5; Tibetan A, 110.1.7-2.3.
48
. Sanskrit A, 21.5-22.1; Tibetan A, 110.2.3-2.6.
49
. Sanskrit A, 22.2-23.4; Tibetan A, 110.2.6-110.3.5.
50
. Sanskrit A, 23.4; Tibetan A, 110.3.5.

38
is “Oµ vajradhåtave Svåhå.”
51
Next, there is the second set (pu†a) of eight diagrams for eight goddesses
arranged in two groups of four, namely the four goddesses of the four Buddha
families, and the first four goddesses of offerings. Towards the east and the other
cardinal points, there are the four Buddha-goddesses: Sattvavajr¥ (white, and holding
a vajra), Ratnavajr¥ (yellow, and holding a ratna), Dharmavajr¥ (red, and holding a
padma), Karmavajr¥ (variegated, and holding a vißvavajra). Towards the south-east
and the other intermediate quarters, there are the first four god-desses of offerings:
Vajralåsyå (white, and holding a vajra), Vajramålå (yellow, and holding a
ratnamålå), Vajrag¥tå (red, and holding a v¥ˆå), Vajran®tyå (varie-gated, and in a
dancing posture (n®tyåbhinaya). Their mantras are: “Oµ vajra-vajriˆe nama˙
Svåhå,” and so forth, ending with “Oµ vajran®tye nama˙ Svåhå.”
The third set of sixteen diagrams is for the sixteen Vajrasattvas arranged in four
52
groups of four. In the first four diagrams starting with the north-east, there are
Vajrasattva, Vajraråja, Vajraråga and Vajrasådhu. Starting with the south-east, there
are Vajraratna, Vajratejas, Vajraketu, and Vajrahåsa. Starting with the south-west,
there are Vajradharma, Vajrat¥k∑ˆa, Vajrahetu, and Vajrabhå∑a. Starting with the
north-west, there are Vajrakarma, Vajrarak∑a, Vajrayak∑a, and Vajrasandhi. All the
53
sixteen Vajrasattvas have one face, two hands and sit in the vajraparya∫ka posture.
Their mantras are: “Oµ vajrasattvåya nama˙ Svåhå,” and so forth, concluding with
54
“Oµ vajrasandhaye nama˙ Svåhå.”
The fourth set of twenty-four diagrams, arranged in groups of six, includes the
sixteen Bhadrakalpa Bodhisattvas, the remaining four goddesses of offerings, and
55
the four guardians of the maˆ∂ala gates. Beginning with the north-east, there are:
Vajragandhå (variegated, and holding a scent-conch, gandhaßa∫kha), Mai-treya
(yellow, and holding a någapu∑pa), Amoghadarßin (golden, and holding a lotus,
netråµbhoja) Vajrå∫kußa (white, and holding a hook), Sarvåpåyaµjaha (whitish, and
holding a hook), Sarvaßokatamonirghåtanamati (whitish, and holding a club). To the
south-east, there are: VajradhËpå (white, and holding a censor, dhËpaka†acchuka),
Gandhahasti ( dark blue, and holding a scent-conch), ÍËraµgama (white, and
holding a sword), Vajrapåßa (black, and holding a noose), Gaganagañja (whitish, and
holding the Dharma-treasure, saddharma-gañja), Jñånaketu (blue, and holding a
banner, dhvaja). To the south-west, there are: Vajrapu∑på (yellow, and holding a
flower-basket, pu∑pakaraˆ∂a), Am®ta-prabha (white, and holding a vase, kalaßa),

51
. Sanskrit A, 23.6; Sanskrit B, 7b.6; Tibetan A, 110.3.7.
52
. Sanskrit A, 24.3; Tibetan A, 110.4.3.
53
. Their iconic descriptions are given in Sanskrit A, 24.5-25.1; Tibetan A, 110.4.6-110.5.1.
For similar descriptions of their iconography, see The Buddhist Forum, Volume VI,
Tring, 2001, 115-19.
54
. Sanskrit A, 25.1-4.
55
. Sanskrit A, 25.4; Sanskrit B, 8a.6; Tibetan A, 110.5.3.

39
Candraprabha (whitish, and holding a lunar disc, candra), Vajraspho†a (red, and
holding a chain, ß®∫khala), Bhadrapåla (red, and holding a jewel, ratna), Jålin¥prabha
(red, and holding a net, jåla). To the north-west, there are: Vajrad¥på (blue, and
holding a wick, d¥paya∑†i), Vajra-garbha (blue, and holding a vajra), Ak∑ayamati
(white, and holding a vase, kalaßa), Vajråveßa (variegated, and holding a bell,
vajraghaˆ†å), Pratibhånakˆa (red, and snapping his fingers, cho†ikåbhinaya),
56
Samantabhadra (yellow, and holding a cluster of jewels, ratnamañjar¥). Their
mantras are similar to the examples of mantras given for the previous groups of
57
deities.
The fifth set of thirty-two diagrams, arranged in four groups of eight, includes
Vajrah˵kåra and the ten wrathful deities (krodha), the nine planets (graha), the ten
58
guardians of the ten directions, the earth goddess P®thiv¥, and a någa deity. Starting
with the north-east, the first group of deities includes: Maheßvara (white),
U∑ˆ¥∑acakravartin (whitish), Brahmå (golden), Indra (yellow), Óditya (red), Budha
(golden), Vajradaˆ∂a (blue), Vajrajvålånalårka (smoky). Starting with the south-east,
the second group of deities includes: Anala (red), Vajrapåtåla (black), Råhu (blue),
A∫gåra (red), Yama (black), Aparåjita (yellow), Vajrakåla (dark-coloured), Asura
(yellow). Starting with the south-west, the third group of deities includes: Nißåcara
(black), Adhonåga (white), P®thiv¥ (yellow), Vajro∑ˆ¥∑a (red), Varuˆa (white), Íukra
(whitish), Ketu (variegated), Íanaißcara (smoky). Starting with the north-west, the
fourth group of deities includes: Våyu (green), Mahåkåla (black), B®haspati
(yellow), Vaißravaˆa (golden), Soma (white), Am®takuˆ∂ali (pale blue),
Vajrah˵kåra (blue), Vajrabh¥∑aˆa (black).
First, the teacher worships Vajrah˵kåra, Vajradaˆ∂a, Aparåjita, Vajro∑ˆ¥∑a,
Am®takuˆ∂ali, Analårka, Vajrakåla, Mahåkåla, Vajrabh¥∑aˆa, Vajrapåtåla, and
U∑ˆ¥∑acakravartin. Then, he worships SËrya (= Óditya) and the other planets,
followed by Íakra and the remaining guardians of the ten directions.
59
Vajrah˵kåra should be envisaged trampling on Bhairava and Kålaråtr¥. He has
three eyes and wears a diadem of five skulls, a garland of severed heads
(muˆ∂amålin), and eight snakes. In his hands, he holds a vajra and a vajra-bell
(vajraghaˆ†å). His mantra is: “Oµ vajrah˵kåråya nama˙ Svåhå.”
Vajradaˆ∂a and the other Krodhas stand on solar discs in the ål¥∂ha posture. In
their left hands, positioned at the heart, they hold a noose (påßa) displayed in a
threatening manner. In their right hands, they hold the following attributes. [Since
the Sanskrit and Tibetan versions list the attributes without giving the names of their
corresponding deities, I presume that the order of the attributes is correct and

56
. Sanskrit A, 25.6-27.3; Tibetan A version, 110.5.7-111.1.7.
57
. Sanskrit A, 26.3-27.2; Tibetan A, 111.1.4-7.
58
. Sanskrit A, 27.2; Sanskrit B, 8b.7; Tibetan A, 111.1.8.
59
. Sanskrit A, 27.6-30.5; Tibetan A, 111.2.4.6-111.5.1.

40
corresponds to the list of these deities as given above, and to the order of the mantras
given immediately after the descriptions of their attributes. The corresponding names
are inserted accordingly.] Vajradaˆ∂a holds a vajra-hammer (vajramudgara);
Aparåjita, a club marked with a vajra (vajrå∫kita-daˆ∂a); Vajro∑ˆ¥∑a, a padma;
Am®takuˆ∂ali, a crossed vajra (vißvavajra); Ana-lårka, a hook (a∫kußa); Vajrakåla, a
mace (musala); Mahåkåla, a trident (trißËla); Vajrabh¥∑aˆa, a sword (kha∂ga);
Vajrapåtåla, a hatchet (paraßu); and U∑ˆ¥∑acakra-vartin, a wheel (cakra).
The names of the above ten wrathful deities as given in their mantras are as
follows: Vajradaˆ∂a, Vajråparåjita, Vajro∑ˆ¥∑a, Vajråm®takuˆ∂ali, Analårka, Va-
jrakåla, Vajramahåkåla, Vajrabh¥∑aˆa, Vajrapåtåla, and Vajro∑ˆ¥∑a. The mantras of
60
the ten wrathful deities are similar to the mantra of Vajrah˵kåra as given above.
The nine planets have the following iconic appearance.
61
SËrya (Sun) rides on a chariot with seven horses (saptåßvaratha). In his right
hand he holds a padma, and in the left hand a sun disc (sËryamaˆ∂ala) resting on a
lotus.
Soma (Moon) rests on a goose (haµsa). In his right hand he holds a vajra, and in
his left hand a moon (candra) positioned on a padma.
A∫gåra (Mars) rides a goat (chågala). In his right hand he holds a vajra, and with
his left hand he feeds himself with a man (månu∑a).
Budha (Mercury) rests on a padma, and holds an arrow (ßara) and a bow (cåpa).
B®haspati (Jupiter) rests on a frog (maˆ∂Ëka), and holds a string of beads
(ak∑asËtra) and a pitcher (kamaˆ∂alu).
Íukra (Venus) rests on a padma. He also holds a string of beads and a pitcher.
62
Íanaißcara (Saturn) rests on a turtle (kacchapa). In his right hand he holds a
vajra, and in his left hand a club (daˆ∂a).
Råhu stands with half of his body hidden in a cloud. He holds a sun (sËrya) and a
moon (candra).
Ketu is wrathful (krodha) and stands on a padma. He holds a sword (kha∂ga) and
a noose (påßa).
The names of the nine planets as given in their mantras are as follows: SËrya,
Í¥tåµßu, Raktå∫gakumåra, Budha, Bhogåsyada, Asurottama, K®∑ˆavarˆa, Am®ta-
63
priya, and Jyotiketu.
The guardians of the ten directions have the following iconic appearance. [The
text gives descriptions of twelve deities instead of ten.]

60
. Sanskrit A, 28.5-29.1; Tibetan A, 111.3.5-6.
61
. Sanskrit A, 29.1-6; Tibetan A, 111.3.6-4.3.
62
. Sanskrit A & B, Íanißcara.
63
. Sanskrit A, 29.4-6; Tibetan A, 111.4-5.

41
 64
Indra is mounted on the elephant Airåvaˆa. In his right hand, he holds a vajra,
and in his left hand a plough (lå∫gala).
Yama rides on a buffalo (mahi∑a). He holds a club (daˆ∂a) and a spear (ßËla).
Varuˆa rides on a makara. He holds a noose (påßa) made of seven snake hoods,
and a conch shell (ßa∫kha).
Kuvera rides on a man (nara). He holds a hook (a∫kußa) and a staff (gadå).
Agni rides on a goat (chågala), and holds a ladle (ßruva) and a pitcher (ka-
maˆ∂alu).
Råk∑asådhipa, the lord of the råk∑asas, rides on a corpse (ßava), and holds a sword
65
(kha∂ga) and a shield (phalaka).
Våyu rides on a stag (m®ga) and holds a wind-cloth (våtapa†a).
Áßåna rides on a bull (v®∑abha), and holds a trident (trißËla) and a skull (ka-påla).
66
Asura rests on a grass seat, and holds a sword (kha∂ga) and a shield (pha-laka).
Någa rests on a padma, and holds his hands joined in reverence (k®tåñjali).
P®thiv¥ rests on a padma, and holds the vase of immortality (am®takalaßa).
Brahmå rests on a goose (haµsa). He has four faces, and holds a pitcher
(kamaˆ∂alu) and a string of beads (ak∑asËtra).
The names of the above deities as given in their mantras are as follows: Khaˆ-
∂ala, Yama, Varuˆa, Kuvera, Agni, Råk∑asådhipati, Våyu, Áßåna, Asura, Någa,
67
P®thiv¥, Brahmå.
Homa rite
Next, taking the firewood (indhana) from the sarala, lakuca, bakula, campaka and
other similar kinds of trees of pleasant smell and astringent in taste, the teacher
kindles a fire with the flame received from a vaißya. On this occasion, the fire-god is
generated from the syllable Hr¥˙, and is called Kåmågni. He has one face with three
eyes, and his head is encircled with a cluster of arrows (kalåpa). In his four hands, he
holds a noose (påßa), a hook (a∫kußa), a club (daˆ∂a), and a pitcher (kamaˆ∂alu). He
is youthful, and naturally disposed to make many people happy. The teacher offers
him water for the face and other articles of worship, summons the knowledge-fire,
and merges it with the pledge-fire. After that, he performs a homa with the khadira,
vekaµka, aßoka, kåßmar¥, palåßa and other kinds of offertory wood (samidh), with
pleasantly scented flowers such as kamalas and utpalas, and with sesame and
different kinds of grain. The mantra for this homa is “Oµ kåmågnaye Svåhå.”
Striking the ground with an axe

64
.Sanskrit A, 29.6-30.5; Tibetan A, 111.4.3-5.1.
65
. Sanskrit A & B read phe†aka, and Tibetan phub.
66
. Sanskrit A tËlåsana, Tibetan 'bol stan.
67
. Sanskri A, 30.3-5; Tibetan A, 111.4.7-5.1.

42
The master lifts with his mind all the deities from the ground, and positions them in
68
the sky. Through the transformation of the syllable H˵, he envisages his assistant
as a vigorous and brave worker (karmakara), having the form of Vajrayak∑a, and
holding an axe (ku†håra) marked with a vajra. The teacher gratifies and blesses the
worker with the mantra of Vajrayak∑a. After that, facing the direction of Devendra
and Vitteßvara (Kuvera), he holds the worker with the left hand, and performs an act
of destruction (ghåta) by striking the ground four times inside the diagram
(ko∑†haka) of Sarvaßokatamonirghåtanamati. The mantra for this activity is: “Oµ
ghåtaya sarvapåpån nåßaya H˵ Pha†.” Next, the benefactor (yajamåna) takes that
soil (m®ttikå) and a pacifying bali placed on golden dish, and throws them outside
the south-eastern corner. After that, the soil (m®d) destroyed for the fifth time should
be scattered in the centre. Then, continuing the acts of destruction, the workers dig in
the cardinal and inter-mediate quarters. The ground should be purified up to the level
of the knees.

68
. Sanskrit A, 31.2; Tibetan A, 111.5.5.

43
 Chapter Three69

In this chapter, the teacher continues to carry out further examinations of the ground,
and progressively engages the Vajradhåtu maˆ∂ala in the process of sanctifying the
ground. The first rite is the ceremony of ploughing the ground and sowing barley in
order to establish whether the selected ground has good properties. Next, there
follows the propitiation of the goddess Jå∫gul¥, the deity related to water and snakes.
After that, the text explains the different arrange-ments of the vases for the deities of
the Vajradhåtu maˆ∂ala. In this connection, the text also explains the characteristics
of the principal vase called the all-opera-tive vase, the emblems of the maˆ∂ala
deities, and the worship of the vases.
Next is outlined the rite of destroying the adverse forces with a set of wrathful
k¥la deities. After explaining three different ways of striking with the k¥las, the text
details the method of making threads and marking the lines of the cardinal
directions. After that, there follows a complex exposition of how to calculate the
position of the serpent deity (våstunåga) sleeping beneath the ground of the
prospective monastery. This chapter concludes with a homa performed with the
Lohita Agni in order to bring prosperity.
Ploughing and sowing barley
Facing the north from the south on the ground which has been purified up to the
knees, the teacher should perform the yoga of his tutelary deity (adhidevatå). After
that, he envisages himself as Amoghasiddhi, the bull-driver (v®∑abha-våhaka) as
having the form of Vajrakarma, a pair of bulls (v®∑abha) as having the forms of
70
Vajrayak∑a and Vajrarak∑a, and a golden plough (hemahala) as having the form of
Vajrasandhi. The bull envisaged as Vajrayak∑a is referred to as the maternal uncle's
bull (måtulav®∑abha), and the one envisaged as Vajrarak∑a is referred to as the
sister's son's bull (bhågineyav®∑abha).
The teacher blesses the ploughing team with the mantras of Vajrakarma and the
other Bodhisattvas. After that, turning his face towards the north-east, he should
offer worship and execute the remaining relevant activities. Next, he should sow the
barley (yavåropaˆa), while ploughing the ground with the golden plough pulled by
the bulls.

69
. Sanskrit A, 32.1-66.5; Sanskrit B, 10a.6-21a.7; Tibetan A, 112.1.3-118.2.4.
70
. Sanskrit A, 32.4; Tibetan A, 112.1.6.

44
 Next, the teacher kindles a fire with the flame taken from a monastic kitchen,
using dry firewood from such trees as the nyagrodha, udumbara or campaka. In
order to induce in living beings the mental dispositions pervaded with kindness and
happiness, and to bring prosperity, strength and freedom from all diseases, he
envisages the fire-god Mahendra positioned inside a square maˆ∂ala of yellow
colour. The Mahendra Agni is yellow, has one face, three eyes, and four hands. His
hair is matted, and he wears a sacred thread and yellow garments. With one hand, he
makes the gesture of giving, and in the remaining three hands, he holds a club
(daˆ∂a), a rosary (ak∑a), and a pot (kuˆ∂ikå). The teacher envisages and summons
the knowledge-fire, presents the articles of worship, and recites praises. After that,
he offers a homa with the wood of the åmra, bilva and other trees, yellow flowers
(pu∑pa), curds (dadhi), treacle food (gu∂ånna), sesame (tila), parched grain (låja),
candied sugar (khaˆ∂a), grain (taˆ∂ula), and other similar articles. The mantra for
this homa is: “Oµ mahendrågnaye Svåhå.”
If the barley begins to sprout after a period of three, five or seven days, the ground
should accordingly be considered as excellent, average or inferior. Once the barley
71
becomes verdant, there should be performed the feast of the gods.
Propitiation of the goddess Jå∫gul¥
The teacher assumes the yoga of his favourite deity (svådhideva) and offers wor-ship
72
to the goddess Jå∫gul¥. At the spot in the north-eastern section, he digs a square
hole (garta), and beyond that a round hole. He smears these two holes with cow
dung, and then inserts a sappy branch (pallava) into the square hole and fills it with
the water from a vase.
He envisages the goddess Jå∫gul¥ emerging from the syllable Jåµ. She has three
faces, the front face yellow, the right one black, and the left one white. She wears a
jewel diadem (muku†a) fastened with seven snake hoods (phaˆa), and is robed in
variegated garments and snakes. Of her six hands, two right hands hold a vajra and
an arrow (ßara, Tib. padma),and two left hands hold a bow (cåpa) and a noose (påßa).
She stands on a lotus and a solar disc while embracing her partner (upåya) with her
two principal hands. The teacher summons the knowledge-being (jñånasattva), offers
water for the face and the other articles of worship, and recites supplications. He
presents flowers, incense, lamps, curds, treacle, five ambrosias (pañcåm®ta), five
jewels (pañcaratna), five kinds of scent (pañcagandha), five kinds of rice
(pañcavr¥hi), barley (yava), white sesame, and other items. In the vicinity he places a
vessel (kuˆ∂a) filled with milk and water, and inside this vessel, he envisages the
goddess Jå∫gul¥. He blesses her with the single-syllable mantra (ekåk∑aramantra).
The worship mantra for this activity is: “Oµ Ó˙ Hr¥˙ H˵ Svåhå.”

71
. Thus in the Tibetan versions (A, 112.2.6): lha rnams kyi longs spyod du bya. The Sanskrit
versions (A, 33.2) read: gavåµ saµcåraˆaµ kuryåt; “he should perform the leading of the
cows.”
72
. Sanskrit A, 33.3; Tibetan A, 112.2.6.

45
 When the square hole begins to overflow, the teacher makes a ditch and fills the
round hole. He inserts into it live fish (matsya) and watches to see whether the water
turns in a clockwise direction. After that, with his mind he lifts the goddess standing
inside the hole, and places her inside the water vessel. This water vessel serves as
Jå∫gul¥'s abode. Close to that place he hangs a white umbrella-banner (chatrapatåkå)
on a long bamboo stick. Finally, he offers worship with the dËrvå grass and a
jasmine garland (kundamålå).
Kalaßa arrangements for the Vajradhåtu maˆ∂ala
73
Next, during the course of the first watch of the night, the teacher assumes the yoga
of his favourite deity (adhidevatå) and makes a petition in the northern direction
through an assistant (sådhaka) endowed with the yoga of Vajrasattva, and holding a
vajra and a vajra-bell:
“All the Tathågatas are peaceful. This is the place of the Tathågatas. Since all
the omens are perfect, this place is designated for the lord's vihåra.”
74
After that, the teacher envisages his tongue as a vajra-tongue generated from the
syllable H˵, and supplicates the Buddhas and other deities:
“May I be remembered by all the Buddhas abiding in all the directions. I will
duly establish here a vihåra through a well-disposed attitude. May all the
Buddhas and other deities come here, and bestow upon me the required
attainments.”
The teacher eliminates all the adverse forces (vighna) and demons (måra) by
carrying out the procedure which is now to be explained. Following the proper order,
he makes a round maˆ∂ala, presents the five articles of worship (pañcopa-cårapËjå),
and then arranges the vases (kalaßa). The number and arrangement of the vases can
be in sets of fifty-three, eleven or five.
The set of fifty-three vases positioned in their appropriate directions provides
accommodation for all the member deities of the Vajradhådu maˆ∂ala. Adding the
all-operative vase (sarvakarmikakalaßa), this set comes to fifty-four vases.
The set of eleven vases distributed in groups of five or four accommodates the
same deities divided into eleven groups, each group counted as one:
Five deities: Mahåvairocana, Sattvavajr¥ and the other Buddha goddesses.
Five deities: Ak∑obhya and his retinue.
Five deities: Ratnasambhava and his retinue.
Five deities: Amitåbha and his retinue.
Five deities: Amoghasiddhi and his retinue.
Four goddesses: Låsyå and others.
Four goddesses: DhËpa and others.
Five deities: Vajrå∫ku∑a, Maitreya and others.

73
. Sanskrit A, 34.5; Tibetan A, 112.3.8.
74
. Sanskrit A, 35.1; Tibetan A, 112.4.2.

46
 Five deities: Vajrapåßa, Gandhahasti and others.
75
Five deities: Vajraspho†a, Am®taprabha and others.
Five deities: Vajråveßa, Vajragarbha and others.
76
Adding the all-operative vase, this set comes to twelve vases.
When a set of five vases is used, the deities are divided into the following five
groups, once again each group counted as one:
Nine deities: the five Tathågatas, Sattvavajr¥ and the other goddesses.
Eight goddesses: Låsyå and others.
Sixteen Vajrasattvas: Vajrasattva and others.
Sixteen Bodhisattvas: Maitreya and others.
Four wrathful deities (krodha): Vajrå∫kußa and others.
Adding the all-operative vase, this set numbers six vases.
Characteristics of the all-operative vase
77
The characteristics of the all-operative vase (sarvakarmikakalaßa) are as follows.
Its round belly spans fifty måtrikas. Its height up to the lip is twenty-one måtri-kas,
and the size of the everted lip is two måtrikas. The aperture at the mouth is thirteen
måtrikas, and below the neck the aperture is five and a half måtrikas. The neck is
eight fingers long in addition to its base (påda). It is painted white, and it is inscribed
with the appropriate emblems (cihna) positioned on lotuses and lunar discs.
Emblems of the deities of the Vajradhåtu maˆ∂ala
The emblems of the individual deities of the Vajradhåtu maˆ∂ala are as follows:
Mahåvairocana, white five-pronged (pañcasËcika-)vajra; Sattvavajr¥, blue
vajra; Ratnavajr¥, jewel (ratna) marked with a vajra; Dharmavajr¥, padma
marked with a vajra; Karmavajr¥, crossed vajra (vißvavajra).
Ak∑obhya, blue five-pronged vajra; Vajrasattva, white vajra; Vajraråja,
hook (a∫kußa) marked with a vajra; Vajraråga, arrow (ßara); Vajrasådhu,
vajra in hands.
Ratnasambhava, jewel (ratna) marked with a vajra; Vajraratna, jewel-
garland (ratnamålå) marked with a vajra; Vajratejas, solar disc (sËrya);
Vajrake†u, wish-granting banner (cintåmaˆidhvaja); Vajrahåsa, ivory rosary
(dantapa∫kti) marked with a vajra;
Amitåbha, padma marked with a vajra; Vajradharma, padma with a stalk;
Vajrat¥k∑ˆa, sword (kha∂ga) and book (pustaka); Vajrahetu, eight-spoked
wheel (a∑†åracakra); Vajrabhå∑a, dharma-conch (ßa∫kha).

75
. Sanskrit A reads Amitaprabha.
76
. Sanskrit A, 35.6; Tibetan A, 112.5.2.
77
. Sanskrit A, 36.2; Tibetan A, 112:5.5.

47
 Amoghasiddhi, crossed vajra; Vajrakarma, crossed vajra; Vajrarak∑a,
armour (saµnåha) made from vajras; Vajrayak∑a, pair of fangs (daµ-∑†ra)
marked with vajras; Vajrasandhi, five-pronged vajra inside vajra-fists.
Vajralåsyå, two vajras; Vajramålå, jewel-garland (ratnamålå); Vajrag¥tå,
lute (v¥ˆå); Vajran®tyå, two hands marked with a three-pronged vajra;
78
VajradhËpå, incense-spoon (dhËpaka†acchuka); Vajrapu∑på, flower; D¥på,
wick (d¥paya∑†i); Gandhå, yellow scent-conch (gandhaßa∫kha).
Maitreya, någa-flower (någapu∑pa); Amoghadarßin, lotus with an eye
(sanetråµbhoja); Sarvåpåyaµjaha, hook (a∫kußa); Sarvaßokatamo-
nirghåtanamati, club (daˆ∂a); Gandhahasti, conch (ßa∫kha); ÍËraµgama,
sword (kha∂ga); Gaganagañja, dharma-treasury (gañja) placed on a padma;
Jñånaketu, wish-granting banner; Am®taprabha, vase (kalaßa);
Candraprabha, lunar disc (candra); Bhadrapåla, blazing jewel (jvåla-ratna);
Jålin¥prabha, vajra-net (pañjara); Vajragarbha, blue utpala and vajra;
Ak∑ayamati, vase (kalaßa); Pratibhånakˆa, jewel-crest (ratnakˆa) placed on
a padma; Samantabhadra, jewel-bud (ratnamañjar¥).
Vajrå∫ku∑a, hook (a∫kußa); Vajrapåßa, noose (påßa); Vajraspho†a, fetter
(ß®∫khala); Vajråveßa, bell (ghaˆ†å) marked with a vajra.
Material content of the vases
The vases should be filled with the water from pilgrimage sites (t¥rtha), five kinds of
jewels (ratna), five kinds of medicine (o∑adhi), five kinds of grain (vr¥hi), and five
kinds of scent (gandha). Leafy branches should be inserted inside their spouts, and
their necks should be wrapped around with flower-garlands and pieces of cloth.
They should be adorned with banners of victory (dhvaja) and pieces of silk, gold-
spotted (tilaka), marked with two eyes (netra), and fastened with sacred threads
(yajñopav¥ta). They should also contain parched rice (låja), whole safflower seeds
(kusumbha), and flowers. They should be placed on seats made from the darbha
grass, and blessed with the mantra associated with the all-operative vase. They
should be protected with dËrvå grass, jasmine (kunda), cow dung (gomaya) which
has not fallen to the ground, and white pieces of cloth.
Worship of the vases
The teacher washes himself and sits down in meditation. Next, he promptly
envisages a jewel-vase through the transformation of the syllable Vaµ, and inside it,
79
he perceives a white triangle (dharmodayå) generated from the letter A. Next, he
envisages the deities through the transformations of their syllables and emblems
(b¥jacihna). He summons the knowledge-beings (jñånasattva) with the light-hooks
dispersed from their heart-syllables (h®db¥ja), offers the water for the feet and other
articles of worship, and then merges them with the pledge-beings (samayasattva). He

78
. Sanskrit reads pu∑pa; and Tibetan reads me tog gi snod.
79
. Sanskrit A, 38.5; Tibetan A, 113.2.7.

48
envisages the deities as being pervaded with great passion (mahåråga), the thought
of enlightenment (bodhicitta) as melting and becoming transformed into an elixir of
immortality (am®ta), and the knowledge and pledge beings as becoming merged and
dissolved into their emblems.
Next, he fastens the vajra with a cluster of five threads and a flower-garland, and
then places it on the vase which he holds with his left hand, together with the bell.
He recites seven times the mantra of the chief deity: “Oµ sarvatathå-
gatamahåyog¥ßvara H˵,” and three times the all-operative mantra: “Oµ vajra-
yak∑a H˵.” After that, he scatters three flowers recited over with the mantra of
Vajrayak∑a, and then recites the mantras of all the deities one hundred and eight
times.
Next, he worships the victorious vase and the other vases with flowers and other
items. Taking the all-operative vase, he sprinkles water, offers a bali, re-cites the
verses of praise, and rings the bell. The verses of praise are as follows:
“I pay homage and praise Vairocana, the victorious master of the Sugatas
surmounting the summit of the ailing existence (vyådhibhava), and the great
sovereign of the threefold world. I salute Vajrasattva, Vajraratna,
Vajradharma, and Vajrakarma.”
Taking some water from their vases, the teacher should pour it into the all-operative
vase.
If some teachers do not feel inclined to follow the Vajradhåtu maˆ∂ala, they can
engage their own chosen deities when they perform the rites (kriyå) of purifying the
ground (bhËßodhana) and establishing the deities (prati∑†hå) at the directional
extremities (paryanta).
80
Arrangement of the vases
Next comes the arrangement of the vases (kalaßasthåpana). The victorious vase and
all the remaining vases are properly arranged in clockwise order, starting with the
eastern gate of the maˆ∂ala and concluding with the vase of Ak∑obhya.
Beginning with the eastern gate, there are arranged the victorious vase of the chief
deity (cakreßa) of this group of deities, followed in correct order by the vases of
Vajrå∫kußa, Vajraråja, Vajraråga, Sarvåpåyaµjaha, Vajrasandhi, Sarvaßo-
katamonirghåtanamati, Vajralåsyå, Sattvavajr¥, VajradhËpå, Gandhahastin, ÍË-
raµgama, Vajratejas, and Vajraratna.
Beginning with the southern gate, there are arranged the thirteen vases of
Ratnasambhava, Vajrapåßa, Vajraketu, Vajrahåsa, Gaganagañja, Jñånaketu, Vajra-
målå, Ratnavajr¥, Vajrapu∑på, Am®taprabha, Candraprabha, Vajrat¥k∑ˆa, and
Vajradharma.

80
. Sanskrit A, 40.1; Tibetan A, 113.4.1.

49
 Beginning with the western gate, there are arranged the thirteen vases of Ami-
tåbha, Vajraspho†a, Vajrahetu, Vajrabhå∑a, Bhadrapåla, Jålin¥prabha, Vajrag¥tå,
81
Dharmavajr¥, Vajrad¥på, Vajragandhå, Ak∑ayamati, Vajrarak∑a, and Vajrakarma.
Beginning with the northern gate, there are arranged the fourteen vases of
Amoghasiddhi, Vajråveßa, Vajrayak∑a, Vajrasandhi, Pratibhånakˆa, Samanta-
bhadra, Vajran®tyå, Karmavajr¥, Vajragandhå, Maitreya, Amoghadarßin, Vajraråja,
Vajrasattva, and finally Ak∑obhya.
The all-operative vase should be placed among the vases in the north-eastern
corner, facing outwards. Having circumambulated the positioned vases once in
clockwise order, the teacher places them on the ground outside the cakravåla and the
light-garland (jvålåval¥) of the maˆ∂ala. During the arranging of the vases, he should
read the Prajñåpåramitå and other Mahåyåna sËtras. He should worship the maˆ∂ala
with dishes (gha†ikå) containing incense such as camphor (karpËra) or olibanum
(turu∑ka), and with lamps (prad¥pa) and other items of worship.
Protective meditation and recitations
Next, early in the morning, the teacher should wash in scented water, and sprin-kle
himself with the water from the all-operative vase. After that, he should me-ditate on
the protective circle (rak∑åcakra) and perform the ritual of protection with the
mantras and mudrås. Holding the vajra and the bell, he opens the maˆ-∂ala gates
while reciting “Oµ vajrodghå†aya samayaµ praveßaya H˵.” He per-forms the
82
three concentrations (samådhitraya) and offers a large bali, following the rite
explained in Chapter Six (p. 101). He mentally requests the deities residing in that
place to take positions in the sky, and envisages the elimination of the obstructive
forces located inside the ground for the vihåra.
83
Destructive activities with k¥la deities
Next, the teacher attends to the thirty-six diagrams (ko∑†ha). The four spots (pada) in
the centre of the ground serve as the place where the mantrin should take up his
position. On the outside of that towards the south-east and in other directions, there
are twelve diagrams of the following deities: Meghanåda, Kani-krodha, Prajñåntaka,
Mahodara, Trailokyaprasådhaka, Padmåntaka, Jaya, V¥ravi-krama, Am®takuˆ∂ali,
Vijaya, Mahåvijaya, and Yamåntaka. He arranges these diagrams in clockwise order
and offers up worship.
Proceeding still further outwards, there are twenty diagrams (ko∑†haka) to the
south-eastern and other directions in which he should position the following twenty
deities: Èakki, Antacara, Vajrapåßa, Palåla, Ratnaßikhara, N¥ladaˆ∂a, Dur-jaya,
Vajraspho†a, Bh¥ma, Pracaˆ∂a, Mahåbala, Padanik∑epa, Vajråveßa, Vajr円a-håsa,
Vajravidåraˆa, Acala, Vidråpaka, Vajrå∫kußa, Vajråßani, and Durnir¥k∑a.

81
. Sanskrit A reads Dharmavajrå.
82
. Sanskrit A, 41.5; Tibetan A, 113.5.7.
83
. Sanskrit A, 41.6; Sanskrit B, 13a.9; Tibetan A, 114.1.1.

50
 Having correctly arranged the deities, the teacher should offer them worship with
84
their mantras. Meghanåda, Mahodara, Jaya, and Vijaya should be wor-shipped
first: “Oµ Ó˙ meghanådåya H˵ Svåhå” and so forth.
Next, he should worship the remaining twenty-eight deities, starting with Aca-la,
and he should fix all these deities with their corresponding k¥lakas in their
appropriate diagrams.
The names of the twenty-eight wrathful deities, starting with Acala, as given in
their mantras are as follows: Acala, Vidråpaka, Vajrå∫kußa, Mahåvijaya, Ya-
måntaka, Vajråßani, Durnir¥k∑a, Èakkiråja, Antacara, Vajrapåßa, Kanikrodha, Pra-
jñåntaka, Palåla, Ratnaßikhara, N¥ladaˆ∂a, Durjaya, Vajraspho†a, Trailokya-
85
prasådhaka, Padmåntaka, Vajrabh¥ma, Pracaˆ∂a, Mahåbala, Padanik∑epa, Va-
jråveßa, V¥ravikrånta, Am®takuˆ∂ali, Vajr円ahåsa, and Vajravidåraˆa.
Having sat down in the middle of the ground, the teacher should envisage a solar
disc generated from the syllable Raµ, and on the top of it a crossed vajra generated
from the syllable H˵ and surmounted by the syllable H˵ blazing with rays of
light. The blazing rays of light expand the vajra and then, consoli-dating into one
cluster, they form a vajra-enclosure (vajrapråkåra), a tent (pañ-jara), a net of arrows
(ßarajåla), and a canopy (vitåna), and beneath them a ground made of blazing
crossed vajras. In the middle of this envisaged enclo-sure, he should assumes the
form of Vajrasattva. However, if things turn out adversely, he should assume the
fierce form of Trailokyavijaya, also known as Vajrah˵kåra, and he should remove
the obstacles from each direction. Trailo-kyavijaya tramples on Bhairava and
Kålaråtr¥, and is surrounded by a halo of blazing fire. He has three faces and six
arms, wears a tiger skin, and is adorned with snakes. He embraces his consort with
his two principal hands, and in the two remaining right hands, he holds a hook and a
86
noose, in the remaining left hands a skull and a kha†vå∫ga.
Next, the teacher transforms the assistant (sådhaka) in the northern quarter into the
forms of Meghanåda and the other wrathful deities, and then performs through him
the activity of striking the ground with their k¥las. He starts to strike with their
mantras and k¥las outside the four corners, beginning with the south-eastern
direction.
The lengths of the k¥lakas are eighteen, twelve, and eight fingers, or six, four, and
two fingers. They are made from tin (hemaja) or from khadira wood, and they are
sprinkled with the water from the all-operative vase, and blessed with the all-
operative mantra.

84
. Sanskrit A, 42.6-43.5; Tibetan A, 114.2.1-6.
85
. Tibetan A, 114.2.5: Vajrapracaˆ∂a.
86
. Sanskrit A, 44.1-6; Tibetan A, 114.3.1-8.

51
 Starting with the north-eastern direction, there are positioned in an orderly way
87
twenty-eight diagrams (rekhå) of the above set of twenty-eight deities, distri-buted
in groups of seven in the following way.
Beginning with the north-eastern direction, there are: Acala (blue), Vidråpaka
(yellow), Vajrå∫kußa (white), Mahåvijaya (whitish), Yamåntaka (blue), Vajråßani
(yellow), and Durnir¥k∑a (white). Their bodies are smeared with white mustard
(siddhårtha) and red sandal, and adorned with red flowers and sacred threads. Below
their waists, they have the form of one-pointed spikes (ßËla), and the upper halves of
their bodies have the iconic forms of Acala and the other deities.
Beginning with the south-eastern quarter, there are: Èakki (blue), Antacara
(whitish), Vajrapåßa (black), Kanikrodha (blue), Prajñåntaka (white), Palåla (green),
and Ratnaßikhara (yellow). Their bodily forms are envisaged in the same way as
those of the previous group.
Beginning with the south-western quarter, there are: N¥ladaˆ∂a (blue), Durjaya
(yellow), Vajraspho†a (red), Trailokyaprasådhaka (blue), Padmåntaka (red), Bh¥ma
(green), and Pracaˆ∂a (yellow). Their bodily forms are the same as those of the
Acala group.
Beginning with the north-western quarter, there are: Mahåbala (blue), Pada-
nik∑epa (bluish), Vajråveßa (variegated), V¥ravikrånta (white), Am®takuˆ∂ali (blue),
Vajr円ahåsa (white), and Vajravidåraˆa (green). Their bodily forms are the same as
those of the Acala group.
The teacher should envisage the above twenty-eight wrathful deities with their
right hands marked with vajra-hammers (mudgara) generated from the syllable H˵,
and their left hands having the form of one-pointed spikes (ßËla).
Next, he recites the mantra of Acala, “Oµ vajråcala mahåkrodha k¥laya
sarvavighån åjñåpayati vajradhara sarva-¥ßånånåµ kåyavåkcittaµ k¥laya H˵ H˵
Pha†,” and he strikes the head of Áßåna with the k¥la envisaged as Acala. In the same
way, he recites the mantras and strikes with the k¥las of the remaining wrathful
88
deities, and destroys the different categories of the adverse forces and evil spirits.
Next, the text explains two other alternative procedures of destroying the adverse
89
forces by striking with the k¥las. This concludes the procedure of destroying the
90
obstructive spirits with the k¥las (vighnak¥lanavidhi).
91
Preparation of threads for marking lines

87
. Sanskrit A: rekhåna, Sanskrit B: lekhåˆa, Tibetan: ri mo.
88
. Sanskrit A, 46.4-50.6; Tibetan A, 114.5.6-115.3.3.
89
. Sanskrit A, 50.6-52.3; Tibetan A, 115.3.3-4.4.
90
. Sanskrit A, 52.3; Sanskrit B, 16b.6; Tibetan A, 115.4.4.
91
. Sanskrit A, 52.3; Sanskrit B, 16b.6; Tibetan A, 115.4.4.

52
The teacher assumes the yoga of the maˆ∂ala's chief deity, envisages all the
Tathågatas positioned in the sky, and offers them worship. He takes five clusters of
threads of white, yellow, red, green and blue colour. The threads should have been
prepared by a young virgin, or provided by a brave man, and properly dyed. The
teacher blesses the threads with the seed syllables of the five Tathågatas, and
generates the knowledge-threads (jñånasËtra). After that, he supplicates Mahå-
vairocana with the following mantra: “Oµ Ó˙ ßåßvatavajrasËtraµ me prayaccha
92
H˵.” In a similar way, he supplicates the remaining four Tathågatas.
93
Next, he produces a pair of eyes which have the nature of the sun and the moon,
generated from the yellow syllable Ja˙. As he recites “Oµ d¥ptad®∑†i a∫kußa Ja˙,”
the eyes begin to glitter, and the eye-lashes begin to flame. He alerts and summons
Vairocana and others by making the eyes sparkle, and bestows on each of the five
threads their appropriate colours, which become per-vaded with the nature of the
five wisdoms (jñåna) blazing like a fire. The mirror-like wisdom and the other four
categories of wisdom, when they are bestowed on each of the five threads, are
transformed into twenty-five. Next, with the assistance of a ritual master, he rolls
each cluster of the five threads into a string. While rolling it, he recites as follows:
“Oµ anyonyånugatå˙ sarvadharmå˙ parasparånupravi∑†å˙ sarvadharmå˙
atyantånupravi∑†å˙ sarvadharmå˙ Oµ Ó˙ H˵.” He folds up the threads and places
them on a golden dish. He offers scent, flowers, incense and other articles of
worship, and protects them with the all-operative mantra. He installs the threads by
reciting one hundred and eight times “Oµ vajrasamayasËtram måtikrama H˵.”
Then, he again recites “Oµ sarva-saµßodhani H˵ Pha†,” sprinkles the water from
all the vases, and scatters flowers. Finally, he perceives the maˆ∂ala of his chosen
deity positioned in the firmament, presents water, and offers the items of worship.
94
Marking the directional lines
The Sanskrit text does not indicate the purpose of casting the lines explained in this
section. However, the Tibetan summary of the chapter's content suggests that these
95
lines demarcate the ground area of a house.
Next, the teacher envisages the assistant (sådhaka) in the northern quarter as a
performer of ritual activities (sarvakarmikarËpa). On his own and on his assis-tant's
eyes, he envisages a sun and a moon generated from the syllable Ja˙, and glowing
with yellow light. He grasps the thread with the left vajra-fist and holds it to his
navel, and the assistant should do the same. Pronouncing the syllable Ja˙ three times,
he alerts the assistant, and then, attracts him with the same syllable, and faces him.
Then, standing to the west, he faces the assistant stand-ing to the east, and again,

92
. Sanskrit A, 52.6.
93
. Sanskrit A, 53.1, Tibetan A, 115.5.1.
94
. Sanskrit A, 54.1; Tibetan A, 115.5.8.
95
. khang sa la thig legs par btab nas.

53
standing to the south, he faces him to the north, and they cast down the two brahma-
threads (brahmasËtra) in the intermediate space (antarik∑a). Grasping the thread with
the fingers of their right hands holding vajras, they snap their fingers and cast the
thread. While casting all the threads, they should recite “Oµ vajrasËtram måtikrama
96
H˵ H˵ Oµ Ó˙.” The reso-nating sound of the thread pervades the sky, and
alerts all the Tathågatas, who arrive and reside inside the thread. Since the thread
sound epitomises the occasion of benefiting living beings, and the presence of the
Buddhas, the teacher and the northern assistant should move in a clockwise manner.
Facing each other from the positions of the k¥las of Èakki and Vajravidåraˆa, they
cast the thread in the eastern direction (pËrvadiksËtra). Next, taking positions at the
k¥las of Vajråntacara and Vajr円ahåsa, they cast the base line on the eastern side
(pËrvamËlasËtra). Taking positions at the k¥las of Mahåbala and Ratnaßikhara, they
cast the eastern line, and from the positions of Padanik∑epa and Vajrapalåla, they
cast the base line on the western side. The northern line and the base line on the
northern side are cast from the k¥la positions of Vajra-pracaˆ∂a and Vajråcala, and
Vajrabh¥ma and Vajravidråpaka respectively. Finally, the two lines on the southern
side are cast from the k¥la positions of Vajra-durnir¥k∑a and N¥ladaˆ∂a, and
97
Vajråßani and Durjaya.
When they finish casting the threads, they should advance towards the south-
western quarter and face the north-eastern direction. First, the teacher offers a bali
and the appropriate items of worship (pËjå), and then reciting “Oµ Ó˙ H˵ vajra
Mu˙,” he should discharge the knowledge-threads, in accordance with their colours,
into the hearts of the Tathågatas positioned in the sky. Such is the se-quence of
98
casting threads (sËtrapåtanakrama).
99
Omens associated with casting threads
When there are no omens, there can be no success, and if the threads break, the guru
will die. Should the threads break because of weeping or shouting, or because they
are stepped on, or any similar cause, then the teacher will die. When there are sounds
of dogs, jackals, vultures or herons, the benefactor will die. If a cat steps over the
threads, then on that spot, there are embedded the bones of cats or elephants; the
omens are similar when dogs, goats, sheep, horses, elephants, and other animals step
100
over the threads.
If the teacher, the craftsman, the benefactor, or any other person among those
present scratches the head, then beneath the ground there are the bones of some
human being. If someone touches his eyebrows, then some three cubits beneath the

96
. Sanskrit A, 54.4.
97
. Sanskrit A, 55.2-56.2; Tibetan A, 116.2.1-3.1.
98
. Sanskrit A, 56.3; Sanskrit B, 18a.1; Tibetan A, 116.3.2.
99
. Sanskrit A, 56.4; Sanskrit B, 18a.1; Tibetan A, 116.3.3.
100
. Sanskrit A, 56.6-57.2; Tibetan A, 116.3.4-8.

54
ground there is gold or quartz (kåca); if the face, then three cubits below there is hair
101
or wood. If a bull suddenly appears and drops dung, then beneath that spot there is
gold of the same size; if the same is done by a child or a maiden, then there is silver.
When the croaking of frogs is heard, there is danger from water. When pleasing
sounds of parrots, geese, cuckoos, peacocks, pheasants, ducks or bulls are heard,
then the people will be happy. When there are the pleasing sounds of lions, elephants
or thunder clouds, then there will be abun-dant wealth, rich harvests and success.
The sounds of conch shells, auspicious songs, and children playing bring success.
The sight of smoke brings mental oppression, and the sight of bad or ill people
brings diseases. On the other hand, the sight of banners, umbrellas, food, fire and
other similar signs, brings happi-ness. The sight of bråhmaˆas, monks or good
people, indicates the prosperity of the Dharma. Such are the interpretations of the
102
various omens (nimittokta).
Upon the completion of casting the threads, the teacher, in order to increase
wealth and power, takes into his right hand the vajra together with a golden wish-
granting spoon (ßalålikå) and traces the directional lines (diksËtra), starting with the
north-east and proceeding in a clockwise direction. Similarly, in his left hand, he
holds the bell, and traces the base lines (mËlasËtra).
103
Assessing the position of the våstunåga
Next, the teacher examines the position of the någa of the place (våstunåga),
sleeping underneath the ground. First, he establishes the position in which the någa
sleeps. The rotating movement of the sleeping någa is calculated in relation to the
signs of the Zodiac. During the ninety days (diva) starting from the day of the entry
into the sign of Sagittarius (Dhanu) and up to the day prior to the entry into the sign
of Pisces (M¥na), the någa sleeps with his head (ßiras) positioned towards the south,
and his face (mukha) towards the west. Starting from the day of the entry into the
sign of Pisces and up to the day prior to the entry into the sign of Gemini (Mithuna),
he sleeps with his head positioned towards the south, and his face towards the north.
Starting from the day of the entry into the sign of Gemini and up to the day prior to
the entry into the sign of Virgo (Kanyå), he sleeps with his head positioned towards
the north, and his face towards the east. Starting from the day of the entry into the
sign of Virgo and up to the day prior to the entry into the sign of Sagittarius, he
sleeps with his head positioned towards the east, and his face towards the south. It is
said that in terms of the sequence of the lunar days (tithi), the progress of the någa is
one ko∑†ha per day.
Next, one should dig in the section below the serpent's breast (kro∂a). The text
explains how to establish the position of the någa's breast by calculating the ko∑†ha

101
. Sanskrit A, 57.3-58.4; Tibetan A, 116.4.2-5.1.
102
. Sanskrit A, 59.2; Sanskrit B, 18b.7; Tibetan A, 116.5.6.
103
. Sanskrit A, 59-4, Sanskrit B, 18b.8; Tibetan A, 116.5.8.

55
 104
beneath his head and behind his back. If one digs over the någa's head, then
fathers and sons will die; if in the section at the back, the benefactor will die, or he
will leave the country; if over the tail (puccha), then there will result the loss of
cattle and the like. In the case of the ground for a vihåra and other structures, one
first digs a hole in the section over the någa's breast. Then, once more, the text
explains how to establish the någa's position and movement inside the ground
105
selected for a vihåra.
The någa's bodily colour resembles the colour of a conch shell and the moon. His
head rests on the left hand, and his right hand holding a jewel (ratna) is placed on the
hip. His body below the waist is that of a snake (bhujaµga), and above the waist,
that of a human body (manu∑ya) adorned with seven hoods. He sleeps inside the
ground of vihåras and other places. The eight great någas are positioned on the
different parts of his body. The blue Kulika rests on the tip of his tail, the blue-gray
Karko†aka on the secret part, the blue Ía∫khapåla on the navel, the golden
Mahåpadma on the arm, the pale green Våsuki on the heart, the red Tak∑aka on the
throat, the white Padma on the ear, and the blue Ananta on the head. One should
gratify these någas with offerings of milky flavour (k∑¥rarasa).
One envisages the våstunåga as having the nature of Vairocana, and then, one
recites their mantras of worship: “Oµ varuˆåya Svåhå,” and so on. Their names as
given in their mantras are: Varuˆa, Kulika, Karko†aka, Ía∫khapåla, Mahå-padma,
Våsuki, Tak∑aka, Padma, Ananta.
106
Vidyås associated with the Zodiac
Lifting with his mind all the deities located beneath the ground (dharådha˙-
sthadevatå), and also the deities of the place (våstudevatå), the teacher positions
them in the sky, just as it was done on previous occasions. In order to eliminate
disturbances (vedha) and defects (do∑a), he should properly examine the junctions
(sandhi) on the ground (bhËbhåga) selected for the monastery. There are five kinds
of junction: junction (sandhi), secondary junction (upasandhi), work junction
(karmasandhi), joint junction (marmasandhi), and directional junction (diksandhi).
107
One should make sixty-four diagrams, and one should know that there are
eighteen junctions. There are two junctions in the centre (madhya). On both sides of
these two junctions, there are four secondary junctions, and on the outside of the
secondary junctions, there are four work junctions. Still farther out, there are four
joint junctions, and finally, on the outside of all of these junctions, there are four
directional junctions.

104
. Sanskrit A, 60.1-4; Tibetan A, 117.1.4-6.
105
. Sanskrit A, 60.5-62.3; Tibetan A, 117.2.1-2.4.
106
. Sanskrit A, 63.2; Sanskrit B, 20a.3; Tibetan A, 117.4.2.
107
. Sanskrit: pada, Tibetan: re mig.

56
 If one digs at the middle junctions, there results the loss of children and the like; if
at the secondary junctions, the country will become desolate; if at the work
junctions, some harm is induced; if at the joint junctions, the benefactor will die; if at
the directional junctions, there will be poverty and the loss of money. Therefore, one
must not dig on the junctions.
Next, one should offer worship to the twelve goddesses positioned in their
appropriate junctions.
The Vidyå called RËpiˆ¥ abides in the joint junction of the directional, joint, and
108
work junctions, which by nature constitute the house (råßi) of Taurus (V®∑a-bha)
in the eastern direction. She is white and stands on a padma and a lunar disc, and
makes the gestures of setting in motion the wheel of the Dharma. Her mantra is “Oµ
vajrarËpiˆiyai A Svåhå.”
The Vidyå Vajrabhåskar¥ abides in the middle junction of the secondary, middle,
and secondary junctions, which by nature constitute the house of Gemini (Mithuna).
She is red and the rest of her appearance is the same as that of the previous goddess.
One worships her with the following mantra: “Oµ vajra-bhåskariyai Ó Svåhå.”
The Vidyå Vajrah˵kår¥ abides in the joint junction of the work, joint, and
directional junctions, which constitute the house of Cancer (Karka†a). She is blue
and the rest is as above. One should worship her with this mantra: “Oµ vajra-
h˵kår¥yai I Svåhå.”
The Vidyå Vajravilåsin¥ abides in the joint junction of the directional, joint, and
work junctions, which constitute the house of Leo (Siµha) in the southern direction.
She is yellow and the rest is as above. The worship mantra is: “Oµ vajravilåsin¥yai Á
Svåhå.”
The Vidyå named Vajramohin¥ abides in the middle junction of the secondary,
middle, and secondary junctions, which constitute the house of Virgo (Kanyå). She
is yellowish and the rest is as above. Her worship mantra is: “Oµ vajra-mohiniyai U
Svåhå.”
The Vidyå named Vajrakhecar¥ abides in the joint junction of the work, joint, and
109
directional junctions, which have the nature of the house of Libra (Tulå). She is
sky-blue and the rest is as above. One worships her with this mantra: “Oµ
vajrakhecariyai Ú Svåhå.”
110
The Vidyå Vajråßan¥ abides in the joint junction of the directional, joint, and
111
work junctions, which have the nature of the house of Scorpio (V®ßcika) in the
west. She is red and the rest is as above. The worship mantra is: “Oµ vajrå-ßaniyai E
Svåhå.”

108
. Sanskrit A, 63.6; Tibetan A, 117.4.7.
109
. Sanskrit A, Tula, Sanskrit B, Tulya.
110
. Sanskrit A, Vajråsan¥.
111
. Sanskrit A, Viccharåßi.

57
 The Vidyå named Vajrarasan¥ abides in the middle junction of the secondary,
middle, and secondary junctions, which have the nature of the house of Sagitta-rius
(Dhanu). She is red and the rest is as above. The mantra is: “Oµ vajra-rasaniyai AI
Svåhå.”
The Vidyå named Vajratråsan¥ abides in the joint junction of the work, joint, and
directional junctions, which have the nature of the house of Capricorn (Ma-kara).
She is blue and the rest is as above. The mantra is: “Oµ vajratråsaniyai O Svåhå.”
The Vidyå named Vajrasparßan¥ abides in the joint junction of the directional,
joint, and work junctions, which have the nature of the house of Aquarius (Kum-
bha) in the northern direction. She is green and the rest is as above. The mantra is:
“Oµ vajrasparßaniyai AU Svåhå.”
The Vidyå named Vajracetan¥ resides in the middle of the secondary, middle, and
secondary junctions, which have the nature of the house of Pisces (Mina). The
colour of her body is that of the dËrvå grass, and the rest is as above. The mantra is:
“Oµ vajracetaniyai Oµ Svåhå.”
112
The Vidyå named Vajravikåsin¥ abides in the joint junction of the work, joint,
and directional junctions, which have the nature of the house of Aries (Me-∑a). She
is smoky and the rest is as above. The mantra is: “Oµ vajra-vikåsiniyai Ó˙ Svåhå.”
[After the above complex investigation and assessment of the våstunåga's precise
113
position in the ground, a hole is finally excavated.] The teacher envis-ages his
assistant holding an axe (ku†håra) in his hand and having the nature of Vajrakarma.
After presenting him with a betel and other things, he holds him with the left hand,
and turning his face towards the eastern and northern direc-tions, he should excavate
a hole (garta). [The text does not explain the purpose of excavating this hole.
According to a reliable source, this hole is excavated in order to inspect whether the
ground contains any impediments such as bones or pebbles, and also to claim the
possession of the ground.]
Homa rite
In order to increase wealth, power and knowledge, he summons the red fire-god
called Lohita Agni. This fire-god rests on a black antelope (aiˆeya), holding a hook
and a rosary in his right hands, and a noose and a pitcher in his left hands positioned
at the heart. He has three eyes, his hair is matted, and his body is adorned with a
sacred thread and red garments. After offering him the water for the face and other
offerings, the teacher performs a homa in the same way as on the previous occasions,
using the wood of the java and aßoka trees. The mantra is: “Oµ lohitågnaye åkar∑aya
Svåhå.”

112
. Sanskrit A, Vajravikåßin¥.
113
. Sanskrit A, 66.1; Sanskrit B, 21a.3; Tibetan A, 118:1.7.

58
 Chapter Four114

According to Kuladatta's opening summary, this chapter provides an exposition of

five ritual procedures: the characteristics of the bricks (i∑†akålak∑aˆa), taking
possession of the directions (diggrahaˆa), the evaluation of advantages and
disadvantages (åyavyaya), the characteristics of the different types of mansions
(pråsådalak∑aˆa), and the worship of the deities, the protectors of the directions, and
the earth deity (devadigpålavasudhåsampËjå). The overall purpose of these rituals as
a coherent group is not explained, but it can be deduced. In secular terms, it is simply
question of making bricks, drawing the plans of the intended building, and then
actually starting to build. From the perspective of ritual procedures, matters are more
complex, and the basic steps are as follows. In the first instance, the ritual master
blesses the brickmaker and the clay mass used to make the bricks. After that, he
ritually imbues the heap of brick clay with the required astrological qualities. He
envisages inside the clay the positions of the planets and the lunar mansions, and
works out the positive and negative conjunctions to assure that the prospective
structure is endowed with good qualities. In effect, the whole structure is envisaged
inside the clay mass before it is cast into individual bricks. After that, the ritual
master takes possession of the ground on which the relevant structure is to be
erected. This last procedure is easy to understand as it simply consists of marking out
the ground, but some of its aspects remain obscure.
Next, there are given the characteristics of the different types of mansions. The
information about the architectural elements is rather limited, and once again, the
focus is on explaining the types of mansions which are auspicious and induce good
luck. This section of the text also includes an interesting but enigmatic explanation
of how to deposit in the ground a set of diagrams which are intended to serve as the
dwellings of the deities. Once the foundations have been estab-lished and sanctified,
there follows the next step of laying the bricks. For the ritual master, this involves
the worship of the deities. Any physical work on the ground affects the deities. In
this context, the ritual master transfers the maˆ∂ala deities into space, and propitiates
the world protectors and the earth goddess. The chapter concludes with celebrations
to mark the completion of making the bricks and, it seems, the erection of the walls
of the buildings concerned.

114
. Sanskrit A, 66.5-76.6; Sanskrit B, 21a.7-24b.5; Tibetan A, 118.2.4-120.2.1.

59
Characteristics of bricks
Once the things are in place for the making of the bricks, the teacher should perform
a homa with the fire god called Pramohana Agni.
The ratio of the length (åyåma) to the width (vyåyåma) of the bricks is five to
three, and their height (ucca) is one third of the width.
The teacher, assisted by the benefactor (dånapati), should offer a bali and a
preliminary act of worship on the site (khala) where the bricks are to be made. The
teacher envisages the clay mass to be used for bricks (i∑†akåm®tpiˆ∂a) arising from
the syllable Bhr˵ in the form of a mass of radiant particles (raßmi-paramåˆu). He
sprinkles water from the ritual vase, offers the five articles of worship (pañcopacåra),
and carries out an act of purification with this stanza:
“That which is the self-nature (svabhåva) of the Tathågata, that self-nature is
this world (jagad). That which is the non-substantiality (ni˙svabhåva) of the
115
Tathågata, that non-substantiality is also this world.”
Next, the teacher envisages the prospective workman (karmakara) as having the
form of Vajrarak∑a, with a lotus (ambhoja) on the left palm, and lunar and solar discs
(candrasËrya) on the right palm. He honours the workman with flowers and scent,
and presents him with a fee (dak∑iˆå), after which the workman should begin to
make the bricks.
116
Taking possession of the directions
Next, the text explains the method of taking possession of the directions (dig-
grahaˆa). When the sun is in the house of Aries (Me∑a), the teacher sprinkles water
at the centre of the purified and evenly levelled ground, and performs the sådhana of
the directions (diß). In the centre of the ground and inside a circle of specified size,
he inserts a pointed khadira stake marked with a fierce diagram (rudrarekha). [This
arrangement serves as a device to mark the shadow thrown by the sun at different
periods of the day.] At sunrise, when the shadow on the ground is cast towards the
west, he marks the shadow on the western side, and this activity constitutes the
sådhana of the western direction. At midday, he executes the sådhana of the northern
direction by marking the shadow cast towards the north. Finally, at sunset, he
performs the sådhana of the eastern direction by marking the shadow cast towards
the east. [The text does not say anything about the southern direction.]
117
Positive and discordant astral configurations
[In this section, the text explains how to work out the advantages and disadvant-ages
associated with different points located along the lengths and widths of dwellings
(layana) envisaged inside the clay mass (piˆ∂a) used for making bricks. The

115
. Sanskrit A, 67.2; Tibetan A, 118.2.8.
116
. Sanskrit A, 67.1; Sanskrit B, 21b.3; Tibetan A, 118.3.2.
117
. Sanskrit A, 68.2-69.2; Tibetan A, 118.3.6-118.4.3.

60
locations of the positive and negative spots are worked out by means of the various
calculations achieved by multiplying or dividing the lengths and widths measured in
cubits (hasta) and in fingers (a∫gula).]
When the lengths and widths are multiplied by twenty-four, the resulting cal-
culation (ße∑a) indicates the position of wealth (vasu) and advantage (åya). The clay
mass, calculated in this way, should be endowed with the lunar mansions (nak∑atra).
The calculation resulting from the multiplication of the lunar man-sions indicates
their positions. The next calculation indicates the positions of the planets (graha)
endowed with wealth. The next calculation indicates disadvant-ages (vyaya). The
area around the planets is endowed with the positive qualities of the planets. Then
follow, inside the clay mass enhanced with auspicious qualities (maˆgala),
calculations indicating the so-called sky flavours (kharasa), life (j¥vita), and death
(m®tyu).
The above calculations are explained as follows. The number of cubits of length is
multiplied by the number of cubits of width. Similarly, the cubit length
(hastapËritåyama) in fingers is multiplied by the cubit width in fingers. The
multiplication of the cubit measurements by twenty-four yields the total number of
fingers [i.e., one cubit (hasta) equals twenty four fingers (a∫gula)]. Next, the total
number of the fingers derived from the above multiplication of cubits is divided by
eight. The result of this calculation locates the advantageous positions for the banner
(dhvaja) and other things. The clay mass, calculated in the above way, is then further
divided by twenty-seven. This calculation gives the positions of K®ttikå and the
remaining lunar mansions. When the sections of K®ttikå and the other lunar
mansions are divided by eight, the results of the calculations indicate the
disadvantages (vyaya). And again, when they are multi-plied by four and divided by
nine, the results of the calculations indicate the positions of the Sun (SËrya) and the
other planets. When the nak∑atra sections are multiplied by four and divided by
twelve, the results of the calculations indicate the ecliptic positions (lagna) of Aries
(Me∑a) and the other houses of the Zodiac. When the dimensions of clay mass are
multiplied by eight and divided by sixty, the results of the calculations indicate the
sections of life (j¥vita). When the life sections are divided by five, the results of the
calculations indicate the positions of the final dissolution (pralaya) by the earth
(p®thiv¥) and the other great elements, and stand for death (maraˆa).
On appropriate points on the cardinal and intermediate directions, the follow-ing
things should be arranged: towards the east, a banner (dhvaja) and a garu∂a
118
(pak∑iråja); towards the south-east, smoke (dhËma) and a cat (mårjåra); towards
the Yama's quarter, a lion (siµha); towards the south-west, a dog (ßvåna); towards
119 120
the west, a bull and a snake; towards the north-west, a donkey and a rat;

118
. Omited in the Tibetan versions.
119
. v®∑o dvijihva˙ / khyu mchog ni lce gnyis pa.
120
. kharo mË∑aka˙ / bong bu ni byi ba.

61
towards the north, an elephant (gaja); and towards the north-east, a crow and a
121
ram. The following pairs of the above animals are incompatible (virodhitva): bird
and snake, cat and rat, lion and elephant, ram and dog. In this way one eliminates the
incompatibilities between various points in the lengths and widths of dwellings
(layana) by calculating the numbers (saµkhyå) of cubits (hasta) and fingers (a∫guli).
122
Characteristics of pråsådas
[The term pråsåda means a mansion or a palace.]
The pråsåda's width (vyåyåma) is one-third of its length (åyama), or slightly more
than that (kiµcid månådhika). The threshold (dehal¥) is said to be one-third of the
layana's length. The bottom edge (paryanta) of the pillars (sthˈa), which is one span
in size (prådeßa), forms the lower plinth (adhaskaˆ†hikå), and the upper edge, of the
same size, the upper plinth (Ërddhvakaˆ†hikå). The gartåpËra has three, five, or
seven girdles (mekhala), or again it has either a water-edge (våriparyanta) or a stone-
edge (ßilåparyanta). This is said to be the way the design (?ålocya) should be made.
As for the position of the drainage (jalanirga-mana), when one wishes to increase
good fortune (kalyåˆa), population (jana), and wealth (dhana), in the north-western
quarter (Våyu's direction) one deposits a lamp (vajrad¥pa) and the ko∑†haka of
Mahåkåla, and one constructs the channel in the northern quarter. When one wishes
to secure long life (åyus), freedom from diseases (arogya), and happiness (sukha), in
the north-eastern quarter (Kapardin's direction) one deposits the ko∑†hakas of
Vajragandhå and U∑ˆ¥∑a, and one constructs the channel as in the previous case. To
ensure faultlessness (nirdo∑a), one should avoid the perforation (vedha) of channels
(nå∂¥), joints (sandhi) and doors (dvåra). The ved¥, dhåråpåta, bhujaµga,
mattavåraˆa, and ßikhara, are one-third or one-fourth of the layana's width
(vyåyåma), and the walls (bhatti) a half of its width.
Next, the text explains the specific characteristics of pråsådas which can have
123
either one, two, three, or four halls (ßålå).
When the one-hall pråsåda is positioned towards the west, it brings a decrease of
wealth (dhana). When it is positioned towards the north, the benefactor will die.
When it is positioned to the east, the family will not increase. When it is positioned
to the south and faces the north, then it increases population (jana), wealth (dhana),
and long life (åyus).
The two-hall pråsådas are called yamasËrya, g®hacËlin, kåca, daˆ∂åk∑a, våtåk∑a,
and siddhårtha. These six pråsådas are said to bring death (m®tyu), loss of wealth
(dhana), discord among people (jåtivirodha), punishment of the ruler (råjadaˆ∂a),
strife (kalaha), and trouble (udvega). The yamasËrya is positioned to the west and
north; the g®hacËlin to the east and north; the kåca to the south and north; the

121
. dhvå∫k∑o me∑a˙ / bya rog ni lug.
122
. pråsådalak∑aˆa. Sanskrit A, 69.4; Sanskrit B, 22a.8; Tibetan A, 118.5.3.
123
. Sanskrit A, 70.4; Sanskrit B, 22b.4; Tibetan A, 118.5.8.

62
daˆ∂åk∑a to the east and north; the våtåk∑a to the east and south; and the siddhårtha
to the south and west.
When the three-hall pråsådas face the Yama, Varuˆa, northern, or eastern
directions, then they are called, respectively, cËlin, pak∑aghna, hiraˆyanåbha, and
suk∑etra. The cËlin pråsåda damages property (vitta); the pak∑aghna causes death of
children (putranåßa) and animosity (vaira); the hiraˆyanåbha bestows happiness
(sukha), wealth (artha), and prosperity (sampatti); and the suk∑etra pråsåda
strengthens the Dharma, wealth (dhana), cattle (go), and animals (paßu).
The four-hall pråsådas are called rucaka, svasti, vardhamåna, nandyåvarta, and
124
sarvårthasiddhi.
The rucaka pråsåda has its main portal (mËladvåra) positioned towards the east,
north, or west. On the inside, outside, and in the middle of the gartåpËra, it is
furnished with three walls (bhitti). The upper (Ërddhva-)kaˆ†hikå is furnished with
two walls or one only. When it is furnished with one wall, then instead of the
(second) wall (bhittisthåne), it has a row of columns (stambha-pa∫kti). As for the
length (åyåma) of the edges and sides (pråntaparyanta), it is from thirty cubits (hasta)
up to one thousand cubits. The inside wall (madhya-bhitti) and the columns
(stambha) are within the three inner sections (tribhå-gåbhyantare) of the five sections
which make up the pråsåda's width (vyåyåma). The row of columns (stambhapa∫kti)
is installed between the lower and upper kaˆ†hikås. The rucaka pråsåda always
increases long life, population, wealth, and prosperity (lak∑m¥).
The svasti and the other pråsådas are also said to be auspicious and bring benefits
125
comparable to the rucaka pråsåda.
Dwellings for the deities
126
Next, there follows the dwelling arrangements for the deities (devålaya). For this
purpose eighty-one diagrams (ko∑†haka) are made, and arranged in a complex
manner.
Outside the periphery, there are thirty-two ko∑†hakas which form the walls
(bhittikå) of the first and second kaˆ†hikås. The width (vyåyåma) and the height
(ucca) of the first kaˆ†hikå are equal (sama), and those of the second one are
proportionally smaller (nyËna). Above that are made the walls of the third and fourth
kaˆ†hikås. The length (åyåma) of the lower kaˆ†hikås is divided into nine sections
(vibhåga), and five or six such sections (bhåga) constitute the width (vyåyåma) of
the two upper kaˆ†hikås. Then, having made nine ko∑†hakas, outside these are made
the walls using (further) ko∑†hakas. As for heights (ucca), that of the third kaˆ†hikå is
one-third of the height of the first kaˆ†hikå, and the height of the fourth kaˆ†hikå is

124
. Sanskrit A, 71.3; Sanskrit B, 23a.1; Tibetan A, 119.1.8.
125
. Sanskrit A, 72.2-73.1; Tibetan A, 119.2.5-119.3.3.
126
. Sanskrit A, 73.1; Tibetan A, 119.3.3.

63
twice as great (dviguˆa). The ved¥ is double the size of the wall (bhittikå). This
particular layout is called the foundational arrangement (pådasthåpana).
Once they have been purified, the holes (garta) are filled with fine earth (m®t-tikå)
and pressed down (åko†ita). Next, a gold and silver vessel (gha†ikå), placed on a gold
and silver lotus, should be positioned over a tortoise (kËrma). Then, over that,
starting with the south-eastern corner and proceeding clockwise, the following items
are deposited: sapphire (indran¥la), diamond (h¥raka), emerald (marakata), ruby
(padmaråga), topaz (pu∑paråga), five ambrosias (pañcåm®ta), five kinds of incense
(pañcagandha), and quicksilver (pårada). After that, depending on availability, the
apertures (vaktra) are covered with gold, silver or copper, while reciting the
protective mantra of Vajrayak∑a one hundred and eight times. On the four corners
are placed four vases of honey (madhukumbha), and over them are laid the bricks.
127
Worship of the deities
The teacher executes the three concentrations (samådhitraya) at the centre of the
purified ground, and offers a mentally produced act of worship (manomay¥pËjå) to
the resident gods (deva), the protectors of the cardinal directions (dikpåla), the någas,
the earth goddess Vasudhå, and the Buddhas and Bodhisattvas. He presents them
with the water for the face and other items of worship, and then positions them in the
sky. Next, he recites “Oµ BhË˙ Kham,” and transforms the ground into emptiness.
Then reciting “H˵ Laµ H˵,” he envisages it as having the nature of vajra-
128
particles (paramåˆu), and he blesses it with the following mantra: “Oµ medini
vajr¥bhava vajrabandha H˵.” After that, he envisages and summons the knowledge
P®thiv¥ holding a golden vase (kalaßa), offers her worship, makes a request to build a
vihåra, and then envisages her dissolving into the ground.
Next, on the ground, he envisages the four elements (wind, fire, water, earth) and
129
Mt Sumeru, respectively generated from the syllables Yaµ Raµ Vaµ Laµ Suµ.
Mt Sumeru is surmounted by the syllable H˵ from which there arises a crossed
vajra. Then from the variegated rays dispersed from the crossed vajra, there arise in
succession the vajra-earth (vajramay¥bhËmi) surmounted by a vajra-enclosure
(vajrapråkåra), a vajra-tent (vajrapañjara), and a canopy (vitåna). Then, on a balcony
made of crossed vajras (vißvavajravedikå), he envisages a wheel (cakra) which
becomes transformed into Vairocana, and then in turn, Vairocana becomes
transformed into the monastic space (vihåradik). He blesses (adhi∑†håna) the bricks
with the mantras of Vajrakarma, Vajrarak∑a and Vajrasandhi. Defective bricks
should be discarded, and the good bricks should be arranged on lotuses. He
envisages the bricks as consisting of refined atoms, sprinkles them with water, and
offers the five items of worship, five kinds of scent, vermilion (sindËra), priya∫gu

127
. Sanskrit A, 74.1; Tibetan A, 119.4.2.
128
. Sanskrit A, vajradharamåˆ∂a.
129
. Sanskrit A, 74.6; Tibetan A, 119.4.8.

64
flowers, white sesame (tila), sacred threads (yajñopav¥ta), and other items. The land
130
master (bhËpati), the head brickmaker (i∑†akåpati), and the other workers should
be rewarded with rings, garments, jewel-garlands and other things.
The bricks should be properly laid in clockwise order, starting from either the
north or the east, and then in the intermediate quarters, starting with the south-
131
east. The teacher bestows a sevenfold blessing (adhi∑†håna) with the samaya-
mudrå and the mantra of Vajrarak∑a: “Oµ vajrad®∂ho me bhava rak∑a sarvån
Svåhå.” Next, he blesses each corner (koˆa) with the vajra held in the right hand,
while reciting seven times the following mantra: “Oµ Bhr˵ sarvatathågatå˙
sarvabuddhålayam adhiti∑†hantu Svåhå.” He makes things firm with the one hundred
syllables (ßatåk∑ara) of Vajrasattva, sprinkles water, offers flowers and other articles
of worship, and finally, rings the bell.
On this occasion, there is a celebration consisting of such things as recitations of
sacred texts (saddharmapå†ha), singing of auspicious songs (ma∫galag¥ta), and the
playing of musical instruments (tËrya). The benefactor, full of energy (utsåha),
should perform the so-called stream-falling (jaladhåråpåtana), and in order to delight
(anurågaˆa) the vidyås, a homa should be performed with the Pramohana Agni. In
this homa, the Pramohana Agni stands over a variegated lotus, and he is charming
(ß®∫gåra), playful (l¥lå), and has lovely eyes (cåru-netra). His bodily colour is that of
saffron (ku∫kuma). He has four arms, and wears fine garments. With one hand he
makes the gesture of giving (varada), and in the remaining hands, he holds a rosary
(ak∑asËtra), a three-pointed club (tri-daˆ∂a), and a pot (kamaˆ∂alu). The homa is
performed with pleasantly scented wood (kå∑†ha), scented articles (dravya), sesame,
rice, and other seeds. The mantra is: “Oµ pramohanågnayai Svåhå.”

130
.Sanskrit A, 75.4; Tibetan A, 119.5.7.
131
. Sanskrit A, 75.6; Tibetan A, 119.5.8.

65
 Chapter Five132

The first two ritual procedures of this chapter explain the acquisition and the
categories of timber (dåru) and stones (ßilå). The rest of the chapter then focuses on
the general designs and the specific arrangements of the wooden elements of
mansions and houses. The text provides a certain amount of architectural infor-
mation, but on the whole, the focus is on the divinatory and ritual matters. The
overall aim is to ensure that the erected buildings are not only beautiful but also
abundantly auspicious and well-protected against all adverse forces.
I. Timber rites133
On the occasion when the lunar day (tithi), the planets (graha), and the lunar
mansions (nak∑atra) are auspicious, the decision should be taken with regard to the
length and width measurements of the wood for the central beam (ya∑†ikå), portals
(dvåra), thresholds (dehal¥), columns (stambha), and other elements of caityas,
vihåras and any other relevant buildings.
Next, the benefactor and the teacher, accompanied by carpenters (tak∑aka), go on
an expedition to the forest (vanayåtrå). As they approach the forest, the teacher
envisages the god Agni in his all-operative form (sarvakarmikarËpa), glances
towards the north-east, and steps into the forest with his right foot. The trees which
134
are selected should be healthy and less than two hundred years old. The text lists
135
over twenty different tree species which can be used (upayogya).
In the afternoon (vikåla), the teacher assumes the attitude of the all-operative yoga
and energy (samutsåha), and carries out the activity of protecting the car-penters and
craftsmen (ßilpin). Next, he presents the articles of worship to the guru, the Buddhas
and Bodhisattvas, the local lord (dikpati), and the forest and tree deities
(vanav®k∑adevatå). He also offers the directional bali (digbali).

132
. Sanskrit A, 76.6-97.5; Sanskrit B, 24b5-31b.3; Tibetan A, 120.2.1-124.1.3.
133
. dårukarma. Sanskrit A, 77.1; Tibetan A, 120.2.2.
134
. Sanskrit reads twenty years.
135
. dvikesara, målura, tittisåra, suradåru, khadira, gambhår¥, madhuka, aßoka, baku-la,
vaijayant¥, lakuca, campaka, candana, kiµßuka, palåßa, picchila (picchala), balada, (valada),
devadåru, sarala, ßåla, tåla, granthi, arjuna, jambu, bhaˆ∂¥la, rohiˆ¥. Sanskrit A, 77.4;
Sanskrit B, 24b.8; Tibetan A, 120.2.5.

66
 Next, the carpenters and other workers are given food and drink, they recite
136
praises in honour of their chosen deities, and then go to sleep with peaceful minds.
If their dreams are auspicious, then there is certainty of success, and if they are
inauspicious, then the all-operative mantra should be recited.
On the following day, the teacher assumes the yoga of Mahåvairocana, and offers
worship to the tree-sovereigns (v®k∑aråja) having the forms of deities (de-vatårËpa).
He should envisage inside the trees the tree-deities (v®k∑adevatå) and certain
137
protective deities (k∑etrapåla). [The trees are matched with the following twenty
deities. The names of some deities as given in their mantras are different and they are
inserted between brackets.]
The suradåru, dvikeßa, campaka and aßoka trees are matched with the v®k∑a-
devatå called Guhyakå (Guhyaka) and the k∑etrapåla Mahåbala (Mahåkåla); the
nemi, ßåla and sarala trees with Lokåmåt®kå and the k∑etrapåla Mahåmeru; the harita,
har¥tak¥ and va†a trees with Karˆamo†ikå and the k∑etrapåla Atibala; the cËta trees
with Ambikå and the k∑etrapåla Bala; the tåla trees with Ía∫karikå and the k∑etrapåla
Úrdhvakeßa; the kadamba trees with Sumukhå and the k∑etra-påla Mahåghaˆ†a; the
karañja trees with Karañjavåsin¥ and Caˆ∂aghaˆ†a (Caˆ∂a-ghaˆ†å); the madhuka
trees with Saikå (Íekå) and the k∑etrapåla Puµseßvara; the kåñcana trees with
Caˆ∂ål¥ and the k∑etrapåla Sujanetra; and finally, the ß®∫ga trees with Mahålak∑m¥
and the k∑etrapåla Vahnimukha.
The worship mantras for the first group of the above deities are as follows:
“Oµ maµ mahåkåkåya nama˙ Svåhå.
Oµ gaµ guhyakåya nama˙ Svåhå.”
After the completion of the reciting of the mantras, the teacher envisages the tree-
deities assuming the forms of the corresponding k∑etrapålas, and invites them to
leave:
“Since these particular trees are to be cut down for a vihåra, I request you to
take residence in other trees.”
He gratifies the tree-deities with flowers and other articles of worship, and envis-
ages them transferring to other trees. For the sake of protection, he should recite the
MahåmåyËr¥ dhåraˆ¥. Next, the carpenter, envisaged as having an all-operative form,
is given a golden garment (vastra), a betel (tåmbËla), and some other articles. The
teacher smears the axe (ku†håra) with honey, and the carpenter, grasping it with the
right hand, and assuming a virtuous mental attitude (ßubha-citta), turns his face
138
towards the north-east, glances at the sun, and then cuts down the trees.

136
. Sanskrit A, 78.1; Tibetan A, 120.3.4.
137
. Sanskrit A, 78.3-79.6; Tibetan A, 120.3.7-120.5.1.
138
. Sanskrit A, 80.3; Tibetan A, 120.5.3.

67
 As the trees are cut down, they should be observed in order to assess the various
139
auspicious and inauspicious omens (ßubhåßubhanimitta). If bad omens appear, the
trees should be abandoned, and when good omens are perceived, the trees should be
retained. When the felled tree falls towards the north, then the benefactor will meet
with success and wealth. When the tree falls towards the north-east, it is a sign of
learning (vidyå), knowledge (jñåna), and study (åga-ma). When the tree falls towards
the eastern direction, it is an omen of victory and prosperity. When the trees fall
towards the directions presided over by Agni, Nair®ti, Yama, Varuˆa, or Våyu, then
these are bad omens indicative of conflagra-tions, plagues, deaths, floods, and
storms. When during the tree felling, certain animals are seen, such as camels, dogs,
donkeys, snakes, boars, vultures, crows or other vicious birds, then they epitomise
bad omens indicative of many differ-ent troubles (vighna) such as killing and death.
When the felled trees shed blood, the benefactor will die, and when the trees shed
curds, butter, honey or milk, then these are the signs of murder, prison and other
detrimental things. When the taste of the felled trees is naturally sweet, hot, bitter or
astringent, then there is no danger of any harm. When the felled tree is red in colour,
it should be regarded as a frog (maˆ∂Ëka), and it stands for illnesses (vyådhi). When
the tree is tawny (kapila), it should be regarded as a rat (mË∑ika), and stands for
thieves and diseases. When it is yellow, it is regarded as a lizard (godhå), and
indicates the loss of wealth. When it is grey (kapota), it is regarded as a house lizard
(g®hagodhå), and indicates that the benefactor will become impoverished. When the
tree is reddish (aruˆa), it should be regarded as a chameleon (k®kalåsa), and stands
for many diseases (roga). When the tree has the rhinoceros colour (kha∂gavarˆa), it
is regarded as water (jala), and indicates the fear of water. In contrast, the sight of
such things as umbrellas (chatra), banners (dhvaja), svastikas, endless knots
(ßr¥vatsa), or chowries (cåmara) epitomise auspicious omens.
Once the trees are cut down, the wood should be properly sorted.
II. Procuring stones140
The stones (ßilå) for caityas, images (bimba) and other purposes, are procured in the
mountains, and the procedure is similar to the expedition made to the forest. The bad
stones should be rejected, and the good stones retained. [The good and bad qualities
of stones are assessed on the basis of their provenance, colours, shapes, and designs
on their surface.] The stones from mountain sites, and stones positioned towards the
ten directions are recommended as excellent when they are solid (ghana), hard
(ka†hina), fragrant (sugandhi), and resonant (susvara). The stones which are white,
yellow, green, red, black, and spotted with white markings (rekha) or dots (bindu),
are said to bring success (saµpatti) in terms of intelligence (buddhi), household
continuity (ku†umbasaµtåna), family (kula) and sovereignty (råjya). The stones
which face upwards, towards the north or east, bring success, wealth, and desired

139
. Sanskrit A, 80.3-82.1; Tibetan A, 120.5.3-121.1.8
140
. Sanskrit A, 82.1-83.1; Tibetan A, 121.2.1-2.8

68
attainments. The stones which are soft, rough, and bad in colour and resonance
should be rejected.
The timber and stones are brought to the town with appropriate celebrations, and
141
arranged in a suitable place.
III. Placement of the doors and other wooden elements142
Prior to dealing with the implanting (sthåpana) of the portals, columns, and other
wooden elements, the text explains the auspicious dates, and specifies two systems
of measuring things.
Auspicious dates
The text details the months (Mågha, Phålguˆa, Vaißåkha, Jye∑†hå, Ó∑å∂ha, Kårttika),
the lunar days (2, 3, 5, 7, 10, 13, 14) and the planets (Soma, Budha, B®haspati,
Íukra) in conjunction with which the following constellations (nak∑a-tra) induce
positive things: Rohiˆ¥ brings wealth, M®gaßiras peace, Órdrå good fortune, Pu∑yå
victory, Hastå success, Jye∑†hå happiness, MËla and Íravaˆå knowledge of
scriptures, Ó∑å∂hå sons, and Bhadrapadå increase in wealth. One should calculate
the favourable ecliptic configurations (bhalagna) and periods (bhamuhËrta) in
relation to the auspicious planets (saumyagraha).
Units of measure
143
Next, the text explains two categories of measurements (pramåˆa): one referred to
as social convention (varˆabheda), and one called finger convention (a∫gul¥-bheda).
The explanation of the first category of measures is not readily compre-hensible,
and it seems to represent criticism of the self-interest of the four social classes. The
text says: “In the case of the bråhmaˆas, k∑atriyas, vaißyas, and ßËdras, who, as a
rule, are respectively fond of pacification (ßåntika), victory (jaya), subjugation
(vaßya), and prosperity (pau∑†ika), one should be aware of their preferences for the
banner (dhvaja), lion (siµha), elephant (gaja), and bull (go). Therefore, they also use
barley, finger, and cubit.”
The second category of measures is explained as follows: seven atoms (para-
måˆu) make up one atomic particle (aˆu), seven atomic particles make one dust
particle (sËk∑marajas), seven dust particles one hare particle (ßaßarajas), seven hare
particles one goat particle (e∂aka), seven goat particles one cow particle (go-rajas),
144
seven cow particles one louse (yËkå), seven lice one barley grain (yava), six
barley grains one little finger (kanyaså∫guli), seven barley grains one middle finger

141
. Sanskrit A, 83.1-3; Tibetan A, 121.2.8-3.2.
142
. Sanskrit A, 83.3, Tibetan A, 121.3.3.
143
. Sanskrit A, 83.6; Tibetan A, 121.3.7.
144
. Tibetan: seven cow particles make one nit (lik∑å / sro ma), seven nits make one louse.

69
 145
(madhyamå∫guli), eight barley grains one thumb (jye∑†hå∫guli), twelve fingers
(a∫guli) one span (vitasti), and two spans make one cubit (hasta).
Doors and columns
146
The measurements of the doors (dvåra), columns (stambha), and other things are
explained mainly in terms of the overall ratio between the lengths and widths of the
different structural elements.
The door's width (vyåyåma) is one-eighth, one-ninth, or one-tenth part (aµßa) of
the pråsåda, or it is thirty-two måtrikas, and the door's height (åyåma) is two times
greater (dviguˆa). The threshold (dehal¥) is eight and a half or twelve må-trikas, and
147
the våhal¥ is the same. The båhu is four and a half or six and a half måtrikas. On
the outside of that, there is the upabåhu, measuring one and a half or two and a half
måtrikas. On the outside of that, there is the door-post (ßåkhå), made even or uneven,
and measuring five måtrikas. The våhan¥ (Skt B våhali) and niryËha are fourteen and
a half måtrikas. The pallava is twenty måtrikas, and its top (Ërddhva) and bottom
(adhas) are accordingly five or six and a half måtrikas. The toraˆas and other
elements should be adorned with vajras, jewels (ratna), lotuses (padma), wheels
(cakra), gods (deva), yak∑as, Vidyådharas, and other decorative elements.
The ko∑†ha serving as the dwelling of the deities (devålaya) is half the width of the
door.
The columns (stambha) should have the required thickness (pariˆåha) and height
(åroha), and they should be handsome, even, and made of hardwood. They should be
straight, have the quadrangular (caturasra) quality, and other good qualities (guˆa).
The width (vyåyåma) of the columns is seven or eight and a half måtrikas, and their
height (åyåma) is worked out in conformity with the intended building (layana). The
spot (pradeßa) beneath the moon-design (candrarekhå) is in the middle of the
column's length (stambhåyåmamadhya). Above that, at a height of six måtrikas,
there are eight aµßas (a∑†åµßa) of two and a half måtrikas. One and a half måtrikas
above that, there is a garlanded cloth (hårapa†a) of sixteen aµßas, or instead of the
garlanded cloth there are padmas. Eight måtrikas above that, there is a jewel-section
(maˆibhåga) together with a kavaca. Two and a half måtrikas above that, there are
eight aµßas. Just one måtrika above that, there is a garlanded cloth (hårapa†a), or a
row of flowers (någapu∑papa∫kti). Two måtrikas above that, there are two padmas of
eight aµßas. Three måtrikas above that, there is a quadrangular part (caturasra). One
måtrika above that, there are eight aµßas. Just half a måtrika above that, there is a
circular part (vartula). Six måtrikas above that, there is a c¥raka (Skt A, ߥr∑a). One
måtrika above that, there is a round ߥr∑a (vartulaߥr∑a). One måtrika above that, there

145
. Tibetan has: one big thumb (mthe bo chen). Normally jye∑†hå∫guli means the middle
finger.
146
. Sanskrit A, 84.4-86.2; Sanskrit B, 27a3-27b3; Tibetan A, 121.4.3-122.1.1.
147
. Also written våhali, vahal¥.

70
is a padma of eight aµßas. The remainder above that is [or consists of] quadrangle(s)
(caturasra). Above that, on either side (prånta) there is the wooden ßil¥ support
(ßil¥dharadåru) of forty-five måtrikas. Finally, on top of that, there is arranged a ßil¥
of suitable size.
When the doors and columns are placed in their positions (sthåpana), they are
smeared with sarjarasa incense and sesame oil (taila), and adorned with ver-milion
(sindËra), pieces of cloth (vastra), alaktaka unguent, priya∫ku flowers, saffron
148
(kuµkuma), dËrvå grass, kunda and bodhiv®k∑a leaves, the five articles of worship
(pañcopahåra), fruits (phala) and other similar items.
149
When the individual portals (dvåra) and columns (stambha) are fixed in their
appropriate places, the teacher recites the mantras of their assigned wrathful kings
(krodharåja). The seed syllable for the four portals is the syllable H˵. At the
eastern portal, the teacher assumes the three samådhis, and then envisages the
krodharåja Ír¥ Vajravijaya. The wrathful Vajravijaya is white in colour, stands in the
ål¥∂ha posture, and holds a noose and a hook. The teacher recites his man-tra one
hundred and eight times: “Oµ Ó˙ vajravijåya mahåkrodharåja HËm,” summons the
corresponding knowledge-deity, offers the appropriate articles of worship, and
merges it with the pledge-deity. Then, he envisages Vajravijaya becoming
transformed and assuming the form of the eastern portal. A similar procedure is
followed in the case of the remaining portals, which are permeated with the
following wrathful deities: south, with Vajrakani, green and holding a sword and a
lotus; west, with Trailokyaprasådhaka, red and holding a lotus and a hook; and north,
150
with V¥ravikrama, holding a noose and a crossed vajra.
Each of the above four wrathful deities resides in a particular concentration.
Vajravijaya has the nature of the stainless concentration (vimalasamådhi), Vajra-
kani, the sky-treasure concentration (gaganagañjasamådhi), Trailokyaprasådhaka, the
heroic progress concentration (ßËraµgamasamådhi), and V¥ravikrama, the lion play
concentration (siµhavikr¥∂itasamådhi).
Next, starting and concluding with the north-eastern direction, the teacher ge-
nerates twenty-four wrathful deities from the syllable H˵, recites their mantras, and
dissolves them into their corresponding twenty-four portals (dvåra) posi-tioned in the
151
north-eastern and other quarters.
The twenty-four wrathful deities have two hands. With their left hands, they hold
a noose (påßa) displayed in a threatening manner. Their names, bodily colours, and
the emblems held in their right hand are as follows: Acala, blue and holding a sword
(kha∂ga); Vidråpaka, yellow and holding a banner of victory (dhvaja); Vajrå∫kußa,

148
. Tibetan adds: mirror (me long).
149
. Sanskrit A, 86.2; Sanskrit B, 27b.3; Tibetan A, 122.1.1.
150
. In the mantra as transcribed in the Tibetan version, his name is given as V¥ra-vikrånta.
151
. Sanskrit A, 88.2-6; Tibetan A, 122.2.8-3.5; and again Sanskrit A, 88.6-91.5; Tibetan A,
122.3.5-122.5.8.

71
white and holding a hook (a∫kußa); Yamåntaka, blue and holding a hammer
(vajramudgara); Vajråßani, yellow and holding a vajra; Dur-nir¥k∑a, white and
holding a wheel (cakra); Èakkiråja, black and holding a hook; Antacara, yellowish
and holding a hatchet (paraßu); Vajrapåßa, blue and holding a vajra-noose;
Prajñåntaka, white and holding a club (daˆ∂a); Palåya, green and holding a hammer;
Ratnaßikhara, yellow and holding a hook; N¥ladaˆ∂a, black and holding a club;
Durjaya, yellow and holding a spear (kunta); Vajraspho†a, red and holding a fetter
(ß®∫khala); Padmåntaka, reddish and holding a lotus (padma); Bh¥ma, green and
holding a sword; Pracaˆ∂a, yellow and holding a vajra; Mahåbala, blue and holding
a trident (trißËla); Padanik∑epa, green and holding a bow (dhanu) with an arrow
(ßara); Vajråveßa, variegated and holding a bell (ghaˆ†å); Am®takuˆ∂ali, black and
holding a vajra; Vajr円ahåsa, white and holding a sword; Vajravidåraˆa, green and
holding a one-pronged vajra (ekasËci-kavajra). As in the case of the first four
wrathful deities, all the above twenty-four wrathful deities also abide in one
particular type of samådhi. The first deity of this group, Acala, has the nature of the
samådhi called “the blessing of all beings (sattvådhi∑†håna),” and the last,
Vajravidåraˆa, the nature of the samådhi called “the destruction of Måra
(mårapramardana).”
152
The columns (stambha) are placed upon gem-stones (ratnaßilå).
In the case of the three, five, and seven kumårikås, on the eastern side, the four
column pairs (stambhayugala) have the nature of the four correct efforts (samyak-
pradhåna); the six column pairs have the nature of the six perfections (pårami-tå);
and the eight column pairs have the nature of the four attractive qualities
(saµgrahavastu) and the four sublime attitudes (brahmavihåra).
Correspondingly, the columns positioned to the south have the nature of the four
kinds of mindfulness (sm®tyupasthåna); the six activities (∑a∂k®tya); the four noble
truths (catu˙satya) and the four dhyånas. The columns positioned to the west have
the nature of the four bases of magical powers (®ddhipåda); the six intuitive
knowledges (abhijñå); the four grounds of confidence (vaißåradya) and the four
kinds of reliance (pratißaraˆa). Finally, the columns positioned to the north have the
nature of the four special knowledges (pratisaµvid); the six com-memorations
(anusm®ti); and the eight limbs of the noble path (a∑†å∫gamårga).
153
Next, the text provides further details about the doors and columns.
The doors and columns are fixed into their positions with even layers of bricks
(i∑†akåpa∫kti).
Above the columns are placed the ßil¥dharas, and above them the ßil¥s. On the
walls (bhitti) above and on a level with the ßil¥s, there are the någavalayas (or
balayas) or the hårapa†ikås. Above them are devised the siµhamukhas, or they may
be omitted. Above that, there are the anukar∑akas, above them are the sthånas made

152
. Sanskrit A, 91.5-92.3; Tibetan A, 122.5.8-123.1.5.
153
. Sanskrit A, 92.4-6; Sanskrit B, 29b.5-8; Tibetan A, 123.1.5-8.

72
with bricks, and above them are the kaˆ†hikås. [The Sanskrit stops here, but the
154
Tibetan version continues.] When they are made of bricks, then above the ßil¥s
there are golden pa†as, above them there are lotus petals, and then the sthånas
surmounted by the kaˆ†hikås. Finally, both versions say something to the effect that
the outer piˆ∂ikås form the niryËhas, which are half the size of the vedikå.
The inner space within the door's position (dvårasthåpanånantara) is called “fire-
155
worship” (agnipËjå). It is over that spot that a homa is offered to the fire god
called Mahåtåpasa Agni. The upper body of this form of Agni is blue, yellow, red
and green. He rests on a solar disc, his hair is matted, and he wears a sacred thread
and a black antelope skin (m®gåjina). Of his four hands, one hand makes the gesture
of giving (varada), and the remaining hands hold a rosary (ak∑a), a pot (kuˆ∂ikå),
and a club (daˆ∂a). The mantra for this homa is: “Oµ tåpasågnaye Svåhå.” After the
homa, in conformity with the place, the supporting wooden element (dharaˆikadåru)
should be positioned over the evenly laid bricks.
Windows
Next are explained the characteristics and symbolism of the round windows
156
(gavåk∑a).
The inner circle (ka†aka) of the windows is one-third the size of the doors. In the
centre of the window there is the pråˆaka [? breathing space]. The window sill
(dehal¥) is nine måtrikas, its niryËha twenty måtrikas, and its pallavita fourteen
måtrikas (Tib. twenty-four). Beneath and above that, there are [? spaces of] four
måtrikas. The våhal¥ is eight måtrikas, the niryËha four and a half måtrikas, the
pallava twenty-eight måtrikas, and beneath and above there are [? spaces of] six
måtrikas. The båhus are four and a half måtrikas, the upabåhus one and a half
måtrikas, and the columns (stambha) three and a half måtrikas. Above that, there is
157
the sealing wood. Between the båhus and the stambhas, there are wooden pieces
(dåru) of two and a half måtrikas. The ßåkhå is four and a half måtrikas. The dehal¥
and våhal¥ should be suitably decorated (pari-maˆ∂an¥ya). Above that, there are the
anukar∑akas. The windows should be decorated with a variety of designs, such as
Vidyådharas, conch shells, and so forth.
The windows are made in sets of three, five or seven. They are properly inset into
the brickwork in even (sama) or uneven (visama) ways. The set of three windows
has the nature of emptiness (ßËnyatå), signlessness (ånimitta), and wishlessness
(apraˆihita); the set of five windows, the nature of the divine eye (divyacak∑us), the
wisdom eye (prajñåcak∑us), the doctrine eye (dharmacak∑us), the knowledge eye

154
. Tibetan A, 123.1.7.
155
. Sanskrit A, 93.1; Sanskrit B, 29b.8; Tibetan A, 123.1.8.
156
. Sanskrit A, 93.3-94.3; Sanskrit B, 30a.2-8; Tibetan A, 123.2.4-3.3.
157
. Sanskrit A, me†akadåru; Sanskrit B, medhakadåru.

73
(jñånacak∑us), and the Buddha eye (buddhacak∑us); and the set of seven windows
has the nature of the seven limbs of enlightenment (sapta-bodhya∫ga).
Basic woodwork of houses
158
Next is explained the basic arrangement of the woodwork in houses (g®ha). In the
case of a house, the arrangement of wooden elements which are square starts with
the south-eastern side. In the inner corners are positioned two kaˆ†hikås beneath the
dharanikas. Above that, over the dharaˆikas, there are the båhus, and above those are
the outer and inner masonary work (bhittikå) and the two parallel end pillars
(pråntasthˈa). Between those are positioned the centre pillars (madhyasthˈa), and
between the end pillars and the centre pillars are the side pillars (pårßvasthˈa).
Above the centre pillars, depending on the building, are positioned the columns
(stambha). Above the side pillars are the reinforcing brackets (balabåhu) fixed in the
correct places. Above the balabåhus, there are two baladharadårus.
Deposition of dhåraˆ¥s on roofs
159
In order to increase wealth (dhana) and population (jana), and to eliminate poison
160 161
(vi∑a), the ∂håraˆ¥s of Kurukullå and Jå∫gul¥ should be deposited on the
southern and northern sides over the pråsåda's turret (ßikhara). These ∂hå-raˆ¥s are
written down and placed on lotuses made of gold and silver. On the top of the
lotuses, one envisages pieces of wood (ßirodåruka), nine måtrikas long, and having
the forms of vißvavajras generated from the syllable Khaµ. This should be done on
the day and time (tithimuhËrta) and during the period of the lunar mansions
162
(nak∑atra) M®gaßiras, Dhani∑†hå, and Citrå. One recites one hundred and eight
163
times the mantra of U∑ˆ¥∑acakravartin, and offers the articles of worship. The

158
. Sanskrit A, 94.3-6; Sanskrit B, 30a.8; Tibetan A, 123.3.3-7.
159
. Sanskrit A, 94.6; Sanskrit B, 30b.8; Tibetan A, 123.3.7.
160
. namo ratnatrayåya nama˙ sarvabuddhabodhisatvebhyo namo a∑†amahårya-pudgalåya
nama˙ saptebhya˙ samyaksaµbuddhebhya˙ tadyathå oµ hr¥˙ hr¥˙ hr¥˙ sarvanågånåm
anantakulånåµ våsukikulånåµ tak∑akakulånåµ ßa∫khapåla-kulånåµ karko†akakulånåµ
padmakulånåµ mahåpadmakulånåµ kulikakulånåµ balåhakakulånåµ puˆ∂ar¥kakulånåµ
ghanakakulånåµ meghakulånåµ jaladha-rakulånåµ j¥mutakulånåµ vasantakulånåµ
airåvatakulånåµ kumudakulånåµ kahlåda-(kahlåra-)kulånåµ saugandhikakulånåµ hana
hana ßareˆa bandha bandha cåpena tå∂aya tå∂aya utpalena bh¥tånåmabhayaµ dehi
pralayakålastha iva jaladharam eva tåraya var∑atåµ någån vaߥkuru phu˙ kuru kuru phu˙
kåraya kåraya phu˙ oµ kurukulle hr¥˙ h˵ pha† svåhå.
161
. namo ratnatrayåya tadyathå oµ ilimitte (ilamitte) tilimitte ilitilimitte ∂umbe ∂umbe liye
∂umbåliye ∂umbe ∂umbål¥ye tarka tarka raˆe marma marmaraˆe kaßm¥re (ka-sm¥re)
kaßm¥ra(kasm¥ra)mukte aghe aghane aghanåghane ilimiliye miliye ilimiliye a a kasyayiye
ßvete ßvetatuˆ∂e anantarak∑e oµ aßijihve ßËlajihve vajrakåyågrasa jvala jvala mahåjvale
mahåyogeßvari h˵ h˵ pha† pha† svåhå.
162
. All texts add amlånapallava, “unwithered blossom.”
163
. nama˙ samantabuddhånåµ, oµ mahåpratya∫giro∑ˆ¥∑acakravarti sarvayantra-
mantrabandha indrabhuvanaµ bandha v®k∑adevabandhadhåraya iha våsinåµ yena

74
∂håraˆ¥s are placed in their appropriate directions and conse-crated with the water
from the vases of the Buddhas residing in the corresponding directions. They are
adorned with variegated umbrellas (chatra), pieces of cloth and leaves, and protected
with pieces of metal (loha), and also with fire made with eraˆ∂a leaves. Finally,
holding the vajra and the bell, the master recites one hundred and eight times the
mantras of the Tathågatas residing in the corre-sponding directions, makes things
firm with the hundred syllables of Vajrasattva, and consecrates the ∂håraˆ¥s with
fruits (phalåbhi∑eka).
Homa rite
164
In order to delight the deities, a homa should be performed with the fire god called
Am®ta Agni. This form of Agni rests on a padma and a solar disc (sËrya). His body is
red (padmåruˆa), and in his four hands he holds a noose (påßa), a hook (a∫kußa), a
club (daˆ∂a), and a pot (kuˆ∂ikå). In this form, the fire god Agni acts as an agent of
kindness (anugrahakåraka) towards living beings. This particular homa is performed
with the arka wood, rice, and other things, and the mantra is: “Oµ am®tågnaye
Svåhå.”
Symbolism of house woodwork
The wood (dåru) of the wooden parts called ßirodåru and baladharadåru are per-
meated with the purity of three vital channels (trinå∂¥). The five pillars (sthˈa)
epitomise the purity of five vital channels (pañcanå∂¥), and the remaining wooden
elements have the nature of many vital channels (anekanå∂¥). The wooden parts of
the house's roof frame (g®håcchådana) are positioned on top of wooden supports
(ßirodåru). They have the nature of the network made of vajra-arrows (vajraßarajåla),
and the relevant mantra is: “Oµ vajraßarajåla Traµ.” Above that are arranged the
wooden parts of the turret (ßikhå), which has the nature of the principal nå∂¥, and the
corresponding mantra, recited one hundred and eight times, is: “Oµ vajracakra
H˵.”
This chapter concludes with a statement that not all the rites concerned with
timber have been explained.

kenacidbhayådikaµ chinda chinda bhinda bhinda ciri ciri giri giri miri miri h˵ h˵ pha†
pha† svåhå.
164
. Sanskrit A, 97.1; Tibetan A, 123.5.5.

75
 Chapter Six165

This is the longest chapter and amounts to more than a half of the entire Kriyå-
saµgraha. According to Kuladatta's summary, the chapter details the following
rituals: the teacher's entry (vajråcåryapraveßa), the three concentrations (samådhi-
trayabhåvåna), and then a cluster of ritual procedures which set out the demar-cation
of the maˆ∂ala by casting the maˆ∂ala threads (sËtraˆapåtana) and scat-tering
coloured powders (rajas), the fire rites (agnikriyåvidhåna), the deposition of
pedestals (piˆ∂ikåsthåpana), and the placement of the images (pratimå-sthåpana),
which entails the installation inside the monastery of the images, the pedestals, the
fireplace (agnikuˆ∂a) and other relevant objects. This summary is helpful as an
indicator but it gives only the basic idea of the rich content of this chapter.
The rituals contained in this chapter have been divided into eleven (I-XI) major
sections. The divisions are not always satisfactory because the descriptions of rituals
flow into one another, and also because there are often independent rituals inserted
within other rituals. However, the divisions introduced here do not disrupt the overall
structure of this chapter, and are intended to help in separating the major groups and
individual rituals, and to provide a clearer demarcation of the progression and
direction of the whole.
This chapter brings almost to completion the crucial stages leading to the
consecration of the monastery, the images and other elements of the monastic
equipment. It contains the most important rituals focused on the transformation of
the monastic building into a sanctified palace and the images into deities.
Prior to embarking on the performance of the rituals through which he is to
consecrate the images and encounter the deities that will be installed inside the
monastery, the teacher prepares himself for the occasion by perfecting his own inner
state and purity and enhancing his progress towards the attainment of buddhahood.
The performance of rituals in the Kriyåsaµgraha is not about the execution of rituals
merely for their intended purposes, but is constantly accom-panied by the teacher's
meditational activities aimed at perfecting himself and the world around him. Thus,
after his formal entry, which marks the beginning of his ritual activities in this
chapter, the teacher executes the three concentrations. He has frequently performed
these concentrations in the previous chapters, but they were not fully explained there.

165
. Sanskrit A, 97.6-238.3; Sanskrit B, 31b.3-96b.6; Tibetan A, 124.1.3-161.1.8.

76
This time the text gives full details of their content and execution. The outcome of
these concentrations, as the reader will see, is a fully perfected yogin, who is said to
have completed the Bodhisattva stages and bestowed upon himself the state of
buddhahood through the self-consecration. Having perfected himself, the teacher is
now ready to proceed with further activities. In the next stage, he imparts the tantric
consecrations to his disciple. Once again, the text describes in detail the way of
executing the tantric consecrations and provides insightful interpretations of their
significance and efficacy. The actual exposition of the consecrations is given in
section five of this chapter, but it is logically convenient to place them here, as they
link the teacher and the disciple spiritually, and demonstrate their joint preparation
for the next stages. In this chapter the text describes the tantric consecrations, while
the next chapter will describe the ceremony of going forth. Taken together, the
tantric consecrations and monastic ordination lay the foundation for the
establishment a religious community.
Next follow the major ritual stages leading to the inauguration of the monas-tery
and the consecration of the images and other objects, and their installation inside the
monastery. These stages involve two types of ritual activities which merge and
intermingle as the whole exposition progresses. One type of ritual is specifically
concerned with the Vajradhåtu maˆ∂ala and with the consecration of the monastic
complex and its content. The second type of ritual is concerned with the worship of
the minor deities in order to engage them for the benefit of the monastery, and the
homa and other rites aiming to induce prosperity, peace and other beneficial things.
Having performed the three concentrations, the teacher and his assistants pro-ceed
to execute a set of dramatic postures and dances on the monastic ground. The
purpose of these dances is to purify and take possession of the site. The teacher
assumes the identities of a whole array of deities, recites their mantras, and executes
the relevant steps and postures. This is, in effect, a ritualised mani-festation of the
deities and their superimposition over the monastic ground which will serve as their
abode.
Upon the completion of the dances, the teacher proceeds to construct the Vajra-
dhåtu maˆ∂ala in coloured powders. This maˆ∂ala has been constantly engaged in
most of the ritual activities from the very start. However, this time, the text explains
how to draw the maˆ∂ala and install the deities inside. While the process of
constructing the maˆ∂ala is in progress, the teacher or his assistants step outside the
maˆ∂ala boundaries and offer a bali to the guardians of the world and other minor
deities. The balis have been also offered as part of the activities executed in the
previous chapters, and they will be offered again in the subsequent activites, but on
this occasion the text actually explains how to make and proffer this type of offering.
After the construction of the maˆ∂ala, there follow the fire rites, and the worship
of the eight dreadful cemeteries. The homa rites involving the different forms of the
fire god Agni are performed at regular intervals throughout the entire process leading
to the consecration of the monastery. Depending on the circum-stances, they are

77
executed to bring prosperity and peace, or to pacify and destroy all adverse forces.
This time the text explains two homa rites, namely the en-riching homa, and the one-
hundred-thousand homa, both of which are designed to bring prosperity and
happiness. The worship of the eight dreadful cemeteries is performed as part of the
process of propitiating all the deities and gods in order to secure their constructive
involvement in making the monastic complex a happy abode. The dreadful
cemeteries constitute a mighty source of tantric powers, and they are therefore drawn
into the process of constructing and conse-crating the monastery.
The next step is the preparation of the pedestals to serve as the resting places of
the images and other articles. The pedestals of course have the practical pur-pose of
serving as supports for the various objects and images. However, the text suggests
more than that. The pedestals are arranged and perceived as repositories and
dwellings for ritual offerings, vases, and images. This section also explains the way
of allocating places to the gods and men in the monastic ground, and the method of
depositing precious stones and other items inside the same ground.
Next comes the consecration of the monastic building. The focus of this con-
secration is solely on the monastic structure. In addition to consecrating the mon-
astic building with mantras and water sprinkled from the empowered vases, the
principal deity of the Vajradhåtu maˆ∂ala is dissolved into the monastic build-ing
and assumes the form of a palace. This being accomplished, the monastery is now
ready to be painted and to receive the images.
The next section explains the proportions and characteristics of the images. The
text provides some concrete information on iconometry, but predominantly it focuses
on the auspicious and inauspicious omens linked with correctly or defectively made
images. After that, come the consecrations of the canvases, books, and images. Prior
to painting images or copying books, the materials required, and the artists and
scribes are consecrated and blessed. The rest of the chapter is taken up with the
production and consecration of the images. The process starts with the purification of
the material for making images, and then progresses through a series of steps which
involve such procedures as purificatory lustrations, the bestowal of vision, the
marriage ceremony, and the tantric consecrations. The final outcome is a complete
transformation of the clay images into deities endowed with power and their
appropriate attributes. The images are now ready to be installed inside the
monastery. The consecration of the images concludes the major steps in the process
of consecrating the monastery. There is, however, more to come in the next two
chapters, as the monastery has to be painted, stËpas to be built, and banners and flags
to be placed on the roofs.
I. Teacher's entry166
Prior to the installation of the images inside the vihåra and the performance of all the
relevant activities, the teacher should be formally invited in accordance with the

166
. Sanskrit A, 98.1-5; Tibetan A, 124.1.4-2.2.

78
procedure described at the beginning of Chapter One. Once invited, the teacher
begins his activities by performing a peaceful homa in order to appease harmful
things (do∑a). Next, on an auspicious day, he should perform the devatåyoga in his
house for the purpose of drawing the maˆ∂ala, and also in order to eliminate adverse
forces (vighna). Once this is completed, the benefactor (dånapati) should offer the
teacher a ceremonial scarf (dattavastra), some ornaments (åbharaˆa), betel (tåmbËla),
a suitable fee (dak∑iˆå) and other similar items.
After carrying out the preliminary act of worship, the teacher puts on a robe, a
diadem and other attire. He grasps the vajra and the bell, and assuming the pride of
Trailokyavijaya, he comes out of the house and performs a dance (n®tya) with vajra-
steps (vajrapada). He offers a bali on the path, and worships the gods (de-va), serpent
deities (någa), yak∑as, and other deities by making their appropriate mudrås and
reciting mantras. He also dispenses the eight kinds of offerings with Låsyå and the
other seven goddesses. After that, the teacher should step into the house (g®ha) of the
great maˆ∂ala from the north-eastern side. Such is the teacher's entry
(vajråcåryapraveßa).
II. Three concentrations167
For the purpose of executing the three concentrations (samådhitraya), the teacher
should perform the meditational exercise called the deity-yoga (devatåyoga).
Purificatory ablution
To begin with, the teacher recites “Oµ svabhåvaßuddhå˙ sarvadharmå˙ svabhå-
vaßuddho 'haµ,” and makes an aspiration that the self does not exist (nairåtmyå-
dhimok∑a). Through doing this, he executes an inner purificatory ablution (adhy-
åtmikasnåna).
Protective retinue
Next, he envisages himself as Vajrajvålånalårka through the transformation of the
168
syllable H˵. Vajrajvålånalårka is blue and has eight arms and four faces, each
face with three eyes. In his principal hands, he holds a vajra and a bell while
embracing his prajñå. In the second pair of hands, he holds a sword (kha∂ga) and a
noose (påßa); in the third pair of hands, a wheel (cakra) and a kha†vå∫ga; and in the
fourth pair of hands, an arrow (ßara) and a bow (cåpa). The front face is black, the
left one red, the right one white, and the one at the back yellow. He is adorned with
snake and wrathful ornaments, and tramples on Nåråyaˆa and Lak∑m¥.
Following a specified visualisation processes, he transforms his tongue into a vajra-
tongue and his hands into five-pronged vajras. In his throat, he envisages an eight-

167
. Sanskrit A, 98.5; Tibetan A, 124.2.2.
168
. From now onwards the remaining sections of the devatåyoga are missing in Sanskrit A.
The length of the missing text corresponds to the Tibetan A from page 124.2.3 to page
134.2.8. For the Sanskrit version of the devatåyoga, I follow Inui A, 178ff., and Sanskrit B,
31.b.8ff.

79
petalled lotus generated from the syllable Hr¥˙, and on his tongue a white, five-
pronged vajra issued from the syllable H˵. On his palms, he envis-ages lunar discs
generated from the letter A, and on top of the lunar discs, he perceives five-pronged
vajras issued from the syllable H˵. He destroys the obstructive forces
(vighnaghåta) with the tips of his fingers envisaged as pointed spikes (sËci), while
reciting as follows:
“Oµ vajrajvålånalårka H˵ Vaµ. O Wrathful One bind them! Oµ g®hˆa
vajrasamaya H˵ Vaµ. Place them in the palms of the vajra-binding and
cover them. Bind them with your wrathful mind and the great thumb, and
constantly remain aware of them.”
169
Next, the teacher receives the garland consecration (målåbhi∑eka). He recites “Oµ
170
Vajrajvålånalårka consecrate me,” and raising his thumbs in the vajra-bond
gesture (bandhana), he places them on his head, forehead, right ear, nape, and left
ear. After that, he produces an armour with the syllables Oµ Èuµ. He manipu-lates
the vajra-fists in the manner of tying a knot (granthi) on the heart, and then on the
throat, at the back of his head, again on the heart, at the centre of his chest, once
again on the heart, on the throat, at the back, and finally on the fore-head. After that,
171
he performs the ribbon consecration on his head, and then stimulates the
repository of sameness (samatålaya) by intoning “Vajra rejoice Ho˙.” Then again,
reciting “Oµ Vajrajvålånalårka H˵,” he places the left vajra-fist at the heart, and
shaking the vajra with the right hand, he slays all the obstructive forces (vighna), and
burns them with the pride of Vajrånala while reciting “Oµ vajrånala hana daha paca
172
matha bhañja raˆa H˵ Pha†.”
Next, he compels all the obstructive forces with the vajra-eyes. He does this by
making the pledge gesture of Vajranetr¥ and reciting “Oµ vajranetri bandha
sarvavighnån.”
The above pledge gesture consists in making the vajra-bond gesture, and then
extending and positioning the thumbs on his eyes. After that, he assumes the pride of
Vajrarak∑a, and performs a blessing to induce the vajra-nature by exe-cuting
Vajrarak∑a's pledge mudrå, and reciting “Oµ vajra d®∂ho me bhava rak∑a sarvån
Svåhå.”
Then, in a similar way, he binds the sphere above himself with the pride of
Vajrabhairava and once again with the pride of Vajrayak∑a, the eastern and other
directions with the pride of U∑ˆ¥∑acakravartin, all obstructive forces with the pride of

169
. Inui A, 177.7; Sanskrit B, 32.a.5; Tibetan A, 124.3.1.
170
. oµ vajrajvålanalårka abhi∑iñca måµ.
171
. Sanskrit reads pa†åbhi∑eka, and Tibetan reads cod pan gyi dbang bskur ba = muku-
†åbhi∑eka, diadem consecration.
172
. Inui A, 176.11; Sanskrit B, 32.a.8; Tibetan A, 124.36.

80
 173
Vajrapå∑a, the western direction with Vajraya∑†i, the northern direction with
Vajrakåli, and the southern direction with Vajraßikhara. The vajra-enclosure
(pråkåra) is produced with the mantra and the enclosure-mudrå of Vajrakarma, the
inner enclosure (abhyantarapråkåra) with the pride of Vajrah˵kåra, and the vajra-
tent (vajrapañjara) with the pride of Vajrasandhi.
Next, assuming the pride of Vajrånala, he purifies the articles of worship (pË-
jå∫ga), blesses the three conches with the mudrås and mantras of Vajrayak∑a,
Vajrarak∑a and Vajraßikhara respectively, and then once more, he blesses all three
conches with the pledge-gestures of Vajrasattva and Vairocana. The water con-tained
inside the conches should be sprinkled on all the articles of worship. Finally, he
blesses flowers, incense, scent and other articles of worship with their appropriate
mantras and mudrås. All other articles of worship should be blessed with the mudrå
of Vajrasattva.
Such is the procedure of creating the protective circle (rak∑åcakra).
Self-consecration with the Vajradhåtu maˆ∂ala
174
Next, the teacher generates the Vajradhåtu maˆ∂ala. He does this by reciting the
mantra “Oµ vajracakre H˵” and making the karmamudrå of the vajra-cause
(vajrahetu). The mere enunciation of the words “vajra-circle” perfects the entire
maˆ∂ala. When he recites this mantra and turns clockwise to face all the directions,
175
the entire Vajradhåtu maˆ∂ala becomes manifest, and when he repeats it eight
176
times and makes the above mudrå, he becomes established inside the maˆ∂ala.
Upon perceiving the maˆ∂ala, he summons, leads in, binds, and subdues the maˆ∂ala
deities with Vajrå∫kußa, Vajrapåßa, Vajraspho†a, and Vajråveßa, while reciting their
mantras: Oµ vajrå∫kußa Ja˙, Oµ vajrapåßa H˵, Oµ vajraspho†a Vaµ, Oµ
vajråveßa Ho˙.” After that, he recites the appropriate mantras and offers four kinds
of water, water for the face (argha), for the feet (pådya), for sipping (åcamana), and
for sprinkling (prok∑aˆa).
Next, he should carry out the activity of depositing flowers (pu∑panyåsa) inside the
177
maˆ∂ala. Following the order given below, he should place flowers on the seats of
the deities, while reciting their mantras: “Oµ vajradhåtu H˵, Oµ vajrasattva
H˵,” and so forth, concluding with “Oµ karmavajr¥ Hr¥˙.”
At the centre of the maˆ∂ala there is Vajradhåtu, with Vajrasattva to the east,
178
Vajraratna to the south, Dharmavajra to the west, and Karmavajra to the north.

173
. Tibetan, rDo rje gnod sbyin = Vajrayak∑a. In the mantra the name of this deity is given as
Vajrapatåka.
174
. Inui A, 172.26; Sanskrit B, 33.a.8; Tibetan A, 125.1.4.
175
. The Tibetan version reads: “the entire maˆ∂ala becomes protected.”
176
. The Tibetan version reads: “one hundred and eight times.”
177
. Inui A, 171.10; Sanskrit B, 33.b.4; Tibetan A, 125.2.1-3.3.
178
. Sanskrit B, Vajradharma.

81
Ak∑obhya is accompanied by Vajrasattva positioned at the front, Vajraråja to the
right, Vajraråga to the left, and Vajrasådhu at the back.
Ratnasaµbhava is accompanied by Vajraratna, Vajratejas, Vajraketu, and Vajra-
håsa.
Amitåbha is accompanied by Vajradharma, Vajrat¥k∑ˆa, Vajrahetu, and Vajra-bhå∑a.
Amo ghasiddhi is accompanied by Vajrakarma, Vajrarak∑a, Vajrayak∑a, and
Vajrasandhi.
All the above deities form the inner assembly (garbhapu†a).
In the south-eastern and other corners there are Vajralåsyå, Vajramålå, Vajrag¥tå and
Vajran®tyå.
In the four corners of the outer maˆ∂ala there are VajradhËpå, Vajrapu∑på, Vajrålokå
and Vajragandhå.
Next, there are the sixteen Bhadrakalpika Bodhisattvas distributed in groups of four
along the flanks of the maˆ∂ala portals: on the eastern side Maitreya, Amo-
ghadarßin, Sarvåpåyaµjaha(-sarvåpåyavißodhani), and Sarvaßokatamonirghåtana-
mati; on the southern side Gandhahastin, ÍËraµgama, Gaganalocana, and
Jñånaketu(-jñånavati); on the western side Am®taprabha, Candravyavalokani, Bha-
drapåla, and Mahåjvålini; on the northern side Vajragarbha, Ak∑ayakarmåvaraˆa-
vißodhani, Pratibhånakˆa, and Samantabhadra.
Inside the four maˆ∂ala portals are Vajrå∫kußa, Vajrapåßa, Vajraspho†a, and
Vajråveßa.
Once again, Vairocana is accompanied by Sattvavajr¥ positioned at the front,
Ratnavajr¥ to the south, Dharmavajr¥ to the west, and Karmavajr¥ to the north.
Having completed the deposition of flowers, the teacher offers flowers and other
articles with their appropriate mantras, makes the mudrås of Låsyå and the other
179
goddesses, and recites verses of praise (stotra). After that, he executes the
following series of ritual procedures: four prostrations (praˆåma) towards the car-
180 181
dinal directions, confession of sins (påpadeßanå), twentyfold worship (viµ-
182
ßatiprakårapËjå), self-offering (åtmaniryåtana) to all the Buddhas and Bodhi-
183 184
sattvas, sharing meritorious deeds (kußalamËla), generating the thought of

179
. Inui A, 168.15-166.13; Sanskrit B, 34a.6-34b.6; Tibetan A, 125.3.3-4.5.
180
. For English translations of almost identical versions of the four prostrations, the
confession of sins, the twentyfold worship, and the transfer of merit, see Sarva-
durgatiparißodhana, 14-19.
Inui A, 166.16-165.11; Sanskrit B, 34b.6-35a.2; Tibetan A, 125.4.5.
181
. Inui A, 165.12-164.8; Sanskrit B, 35a.2-35a.7; Tibetan A, 125.5.2.
182
. Inui A, 164.9-161.1; Sanskrit B, 35a.7-36a3; Tibetan A, 125.5.8-126.2.7.
183
. Inui A, 161.2; Sanskrit B, 36a.4; Tibetan A, 126.2.7.
184
. Inui A, 161.6; Sanskrit B, 36a.5; Tibetan A, 126.2.8.

82
 185
enlightenment (bodhicittotpåda), and taking the tantric vows relating to the
186
Buddha families (saµvaragrahaˆa).
The above procedures are called the yoga of timeless attainments (anådisaµ-
siddhiyoga).
Next, the teacher performs the relevant activities leading to the descent of the
maˆ∂ala deities into his heart. First, he should bless all the deities by making the
187
appropriate mudrås, and through the yoga of the reflected images (prati-bimba).
Bringing his cupped palms together (saµpu†åñjali), he recites: “Oµ anyonyånugatå˙
sarvadharmå˙.” Then again, placing his palms together (vajråñ-jali), he should
recite: “Oµ parasparånupravi∑†å˙ sarvadharmå˙.” After that, he makes the vajra-
bond gesture and says: “Oµ atyantånupravi∑†å˙ sarvadharmå˙, Oµ vajrabandha
Tra†.” Then, after releasing a triple vajra-bond inside the heart, he binds the pledge
gesture of the vajra-descent (vajråveßa), and envisages inside his heart a vajra issued
from the letter A. He holds the vajra-fist at the heart and recites:
“Oµ vajra abide, be firm for me, be eternal for me, empower my heart, grant
me all attainments, H˵ Ha Ha Ha Ha Ho˙. Oµ vajra-descent A˙. Oµ mutual
convergence of all the dharmas. Oµ vajra-fist Vaµ.”
Next, he performs the act of extracting sins (påpåkar∑aˆa). He does this by making
the gesture of drawing and casting the sins, while reciting the following mantra:
“Oµ the vajra-pledge of drawing out and purifying all evil (apåya) H˵
Pha†.”
He rends the sins asunder with the appropriate gesture while reciting:
“Oµ Vajrapåˆi, burst open the fetters of all evil, liberate all living be-ings
from all evil destinies, the vajra-pledge of all the Tathågatas H˵ Tra†.”
Finally, he executes the activity of expelling the sins (påpavisarjana) by making the
pledge gesture (samayamudrå) of Vairocana and reciting: “Oµ vajra Mu˙.”
It is in this manner that he should execute the activity of casting all the mu-drås.
Through doing this, the yogin becomes equal to the Bodhisattvas who have trained
for three immeasurable aeons (asamkhyeya).
Next, he mentally recites “Vajrasattva” and contemplates the non-existence of all
the dharmas inside the vajra positioned in Vajrasattva's heart. After that, he
envisages a lunar disc by means of the sixteen vowels (∑o∂aßasvara), and again a
second lunar disc by means of the consonants (vyañjana). Above the second lunar
disc, he should perceive Vajrasattva's emblem (cihna) in the form of a white and
radiant five pronged-vajra accompanied by his heart mantra (h®daya). In the case of
the other deities, he also deposits at the centre their mudrås, mantras and emblems
generated from the vajra. After that, he should contemplate the nature of the mudrås.

185
. Inui A, 161.14; Sanskrit B, 36a.7; Tibetan A, 126.3.4.
186
. Inui A, 161.17-160.14; Sanskrit B, 36a.8-36b.3; Tibetan A, 126.3.4-4.3.
187
. Inui A, 160.15; Sanskrit B, 36b.4; Tibetan A, 126.4.3.

83
He makes the mahåmudrå of Vajrasattva and then recites the names of the thirty-
three emblems with which he identifies himself: “vajro 'haµ, vajro 'haµ, ratno 'haµ,
padmo 'haµ, vißvavajro 'haµ,” and so forth, concluding with “ghaˆ†o 'haµ.”
Next, he recites the heart mantras, penetrates into the vajra-sphere (vajradhå-tu) of
188
the body, speech and mind of all the Tathågatas, and envisages their mudrås,
while reciting: “Vajradhåtur ahaµ, I am Vajrasattva, I am Ratna-vajra,” and so forth,
concluding with “I am Vajråveßa.” Having completed this recitation, he envisages
inside his heart the form of each deity, and then contem-plates inside his heart the
perfected Vajradhåtu maˆ∂ala. He envisages himself as having the form of
Vajrasattva, and then binding his samayamudrå, he should recite: “I am the pledge, I
am the pledge, I am the pledge.” He blesses himself with Vajrasattva's mudrå, and
recites: “O Pledge-being bless me, Oµ Vajrasattva H˵.” Having completed the
189
recitation, he should shake the vajra.
Then once again, he activates the radiant vajra resting on the lunar disc inside his
heart, makes the karmamudrå of the vajra-cause, and projects and beholds the
Vajradhåtu maˆ∂ala positioned in space. He makes the samayamudrå of Vajra-
190
sattva, and recites: “You are the pledge, I am the pledge.” He binds the mudrå of
the vajra-descent, and recites three times, just as above, the verses “Oµ vajra, abide,
be firm for me,” and so forth. He envisages the pledge and knowledge maˆ∂alas as
being merged together, positions himself in space in the form of a subtle body
(sËk∑marËpa), binds Sattvavajr¥, grasps a flower garland, enters the maˆ∂ala, and
throws the flower while reciting:
“I enter this delightful maˆ∂ala as a disciple. May I be duly assigned to the
family of the appropriate deities in conformity with my merit. May I become
a vessel in the appropriate family in accordance with the attain-ment of this
procedure. May this happen in this maˆ∂ala through the power of my merit.
Prat¥ccha vajra Ho˙.”
Next, he should receive the garland consecration (målåbhi∑eka), also called flower
consecration (pu∑påbhi∑eka). He recites: “Oµ receive this O powerful son.” After
this, he should carry out the opening of the eyes (cak∑urudghå†ana). He does this by
binding Sattvavajr¥ and reciting as follows:
“Oµ. Today Vajrasattva himself endeavours to open your eyes. He acti-vates
the supreme vajra-sight and vajra-eye. He vajra paßya.”
He beholds the deities inside the maˆ∂ala, starting with Vajrå∫kußa and con-cluding
with Vairocana.

188
. The Tibetan version reads: “he recites their heart mantras and envisages their mudrås
deposited inside the vajra-sphere of the body, speech and mind of all the Tathågatas.”
189
. Inui A, 155.8; Sanskrit B, 37b.3; Tibetan A, 127.2.2.
190
. The Tibetan version reads: “the pledges of the pledge-beings (are executed) with the
samayamudrå.

84
 Next, he receives the water consecration (udakåbhi∑eka). He holds the vajra over
his head, and receives the consecration with the water from the vase held by
191
Sattvavajra and other deities, while reciting: “Oµ O Vajra consecrate me.
Next, there follows the consecration with the diadem (muku†a) of the five Ta-
thågatas. On the crown of his head, he envisages Vairocana, white and making the
gesture of the supreme enlightenment (bodhyagr¥mudrå), and calls to mind
Vajradhåtv¥ßvar¥ with an appropriate gesture and recites: “Oµ Vajradhåtv¥ßvar¥ H˵
consecrate me.” On the forehead, he envisages Ak∑obhya, blue and making the
gesture of touching the earth (bhËsparßamudrå), and calls to mind Vajra-vajriˆ¥; on
the right ear, he envisages Ratnasambhava, golden and making the gesture of giving
(varadamudrå), and calls to mind Ratnavajriˆ¥; behind the head, he envisages
Amitåbha, red and making the gesture of meditation (samå-dhimudrå), and calls to
mind Dharmavajriˆ¥; finally on the left ear, he envisages Amoghsiddhi, green and
making the gesture of fearlessness (abhayamudrå), and calls to mind Karmavajriˆ¥.
192
Next, he receives the vajra consecration (vajråbhi∑eka). Holding the vajra at the
heart, he recites:
“Today the Buddhas bestow upon you the vajra consecration. It is the
quintessence of all the Buddhas. Grasp this vajra for your complete success.”
After that, he proudly holds the vajra and the vajra-bell, and receives the bell
consecration (ghaˆ†åbhi∑eka) with the following words:
“Oµ vajra-master, I consecrate you. O vajra abide, you are the pledge.”
Then holding the vajra and the vajra-bell over the head, he receives the name
consecration (nåmåbhi∑eka) with these words:
“Oµ Vajrasattva, I bestow upon you the vajra-name consecration. Hail
Tathågata endowed with such a glorious and lasting vajra-name, beneath the
193
earth, above the earth, and in the heavens.”
Finally, he receives the vajra-vow (vajravrata), and the bell-pledge (ghaˆ†å-samaya).
Holding the vajra and the vajra-bell, he binds Vajrasattva's mahå-mudrå and receives
the vajra-vow with the following words:
“This is the complete buddhahood abiding in the palm of Vajrasattva. You
too hold it forever, the firm vow of Vajrapåˆi.”
Then, the bell-pledge is received with the following words:
“Oµ abide perfect vajra-pledge of all the Tathågatas. I cherish it. Vajra-sattva
Hi Hi Hi Hi H˵.”
194
This completes the process of self-consecration (svådhi∑†håna).

191
. Inui A, 154.17; Sanskrit B, 37b.9; Tibetan A, 127.3.2.
192
. Inui A, 152.1; Sanskrit B, 38a.5; Tibetan A, 127.3.8.
193
. Inui A, 152.11; Sanskrit B, 38a.7; Tibetan A, 127.4.3-128.1.4.
194
. Inui A, 152.20; Sanskrit B, 38b.1; Tibetan A, 127.4.5.

85
Self-apotheosis (devatåhaµkåra)
After the completion of the self-consecration, the teacher performs the acts of
195
perfecting the deities within his own body. First, he envisages and identifies
himself with a lunar disc resting inside his heart. He recites “samaya A˙” over his
body and beholds the lunar disc. Next, he says “Vajrasattva A˙,” generates over the
lunar disc a vajra from the syllable H˵, and identifies himself with the vajra while
saying “I am vajra.” Then, through the transformation of the vajra, he should
envisage Vajrasattva, white in colour, and contemplate his identity (ahaµkåra). He
says “I am Vajrasattva.” Upon perceiving the great body (mahå-kåya) of Vajrasattva,
he should make his mahåmudrå. After that, he should envisage the body maˆ∂ala
(kåyamaˆ∂ala). He recites “Oµ Vajrasattva H˵” and perceives lunar discs in
twenty-eight places on his body. He recites the seed syllables of twenty-eight deities
and perceives their emblems (cihna) resting on the envisaged lunar discs. This group
of twenty-eight deities includes the sixteen Vajrasattvas, the eight goddesses of
offerings, and the four guardians of the maˆ∂ala portals. Their seed syllables consist
of their names and the vowel A˙: “Vajrasattva A˙,” and so forth, concluding with
“Vajråveßa A˙.” Upon per-ceiving the emblems, he should recite “I am Vajrasattva”,
and so forth, conclu-ding with “I am Vajråveßa.” Then through the transformation of
the seed syllables and emblems, he should contemplate the identities of these deities
(devatåhaµkåra), and recite “I am Vajrasattva” and so forth.
196
The above twenty-eight deities are envisaged on the following parts of the body.
White Vajrasattva rests inside the heart. Yellow Vajraråja rests on his right side, red
Vajraråga on his left side, and green (marakata) Vajrasådhu at his back. Yellow
Vajraratna rests on the forehead (lalå†a), bright (sËryåbha) Vajratejas behind the head
(ßiras), blue (gaganåbha) Vajraketu on the shoulders (skandha), white (gaura)
Vajrahåsa on the teeth (dantapa∫kti), white-red Vajradharma on the throat, cloudy
(ßyåma) Vajrat¥k∑ˆa between the breasts (stanåntara), golden (kanakagaura)
Vajrahetu on the navel (nåbhi), coppery Vajrabhå∑a on the tongue, variegated
Vajrakarma on the head (mËrdhan), golden (kanakåbha) Vajrarak∑a on the shoulder-
blades (aµsa), black Vajrayak∑a on the mouth (vaktra), and yellow Vajrasandhi on
the hips (ka†i). White Låsyå rests on the left side (våmapårßva) of Vajrasattva,
yellow Målå on the left side of Vajraratna, red G¥tå on the left side of Vajradharma,
variegated N®tyå on the left side of Vajrakarma, white DhËpå inside the pelvis
(vasti), yellow Pu∑på on the head (ßiras), red D¥på on the eyes, and variegated
Gandhå between the breasts. Finally, white Vajråµkußa rests on the right thigh (Ëru),
black Vajrapåßa on the left thigh, white Vajraspho†a on the right shank (jaµghå), and
variegated Vajråveßa on the left shank.
He should make the mahåmudrås of the above deities, and promptly envisage their
forms in the twenty-eight places on his body. This concludes the process of assuming

195
. Inui, B, 158.1, Sanskrit B, 38b.1; Tibetan A, 127.4.5.
196
. Inui B, 156.1; Sanskrit B, 38b.7; Tibetan A, 127.5.4.

86
the pride of these deities by means of their seed syllables and emblems
(b¥jacihnadevatåhaµkåra).
197
Next, just as he has done before, he projects the maˆ∂ala into space in the sky. He
makes the gathering gesture (samåjamudrå) inside his own body and inside the
bodies of Vajrasattva and other deities, and then reciting “Ja˙ H˵ Vaµ Ho˙,” he
should apply his mind and bring in all the Buddhas. He makes the vajra-bond
gestures, snaps his fingers, and assuming the identity of Vajrasattva, he should
assemble all the Buddhas. He summons, leads in, binds, and subdues them with
Vajrå∫kußa and the other three guardians of the maˆ∂ala portals. He offers them the
water for the face and other items of outer worship (båhyapËjå), and then recites
their pledges: “Oµ Vajradhåtu behold, Ja˙ H˵ Vaµ Ho˙, you are the pledge, I am
the pledge.” He recites similar pledges for the sixteen Vajrasattvas, the eight
goddesses of offerings, and the four guardians of the maˆ∂ala portals. At the end of
recitation of the pledges he says: “Oµ Lord of the great yoga of all the Tathågatas
H˵.” He generates in his heart a white five-pronged vajra (pañcasËcikavajra) from
198
the syllable H˵, and unites it with the samayamudrås.
199
Next, the text explains the way of executing the samayamudrås, the recita-tion and
200
deposition of the dharmamudrås on the tongues of the deities, the recitation and
201
execution of the karmamudrås, and the recitation and execution of the
202
mahåmudrås. In the case of the samaya and dharma mudras, the text does not
explain the mudrås of Maitreya and other Bodhisattvas, but only of Vajradhåtu and
his immediate entourage, and of the above twenty-eight deities envisaged inside the
body.
Next, he makes things firm by reciting the hundred syllables of Vajrasattva
203
(ßatåk∑ara):
“Oµ Vajrasattva protect my pledge. Vajrasattva be in attendance, be firm for
me, be favourable to me, remain attached to me, promote me, and grant me
all attainments. Ascertainer of all karma, make superior my mind, H˵ Ha
Ha Ha Ha Ho˙. O Lord Vajra of all the Tathågatas do not abandon me. Vajra-
Essence, Great Pledge-being Ó˙.”
204
Master consecration

197
. Inui B, 155.14; Sanskrit B, 39a.3; Tibetan A, 128.1.4.
198
. Inui B, 152.19; Sanskrit B, 40a.1; Tibetan B, 128.3.4.
199
. Inui B, 151.1-150.15; Sanskrit B, 40a.2-40b.3; Tibetan A, 128.3.4-4.8.
200
. Inui B, 150.16-149.28; Sanskrit B, 40b3-6; Tibetan A, 128.4.8-5.4
201
. Inui B, 148.1-144.7; Sanskrit B, 40b6-41b.8; Tibetan A, 128.5.4-129.3.1.
202
. Inui B, 144.8-140.9; Sanskrit B, 41b.9-42b.8; Tibetan B, 129.3.1-5.6.
203
. Inui B, 140.15; Sanskrit B, 42b.9; Tibetan A, 129.5.7.
204
. Inui, 140.16; Tibetan A, 129.5.8.

87
Then, just as was explained above, he mentally receives the consecrations and takes
the vajra-vow for his attainments. After that, he offers the articles of outer worship
with Låsyå and other goddesses, executes the relevant gestures and recitations, and
205
then rings the Dharma bell and recites as follows:
“Oµ, the supreme one, having neither beginning nor end, has emerged from
the emblem (cihna) generated from space. O Vajrasattva, Sattva having the
nature of the great vajra, please bring me to perfection. You are the supreme
and great attainment of all, and the highest deity of great sovereignty. O
Vajradhara and Lord of all, perfect in me the immutable truth (paramåk∑ara).
You remain forever stainless, and yet imbued with all passions. O Lord, great
passion and great joy, perfect me with the true nature. You are forever pure,
the highest of all, liberated from eternity, and Tathågata. O Samantabhadra,
the essence of all and Bodhisattva, bring me to per-fection. O great master of
the vajra-essence, accomplish in me the highest and greatest attainment with
the highest mudrå of great sovereignty, and through the powerful summoning
of the vajra.”
206
Such is the master consecration (åcåryåbhi∑eka).
207
Five abhisaµbodhis
Having perfected himself in the way described above, the teacher positions him-self
in space by means of the mahåmudrå, and contemplates all things as being empty.
He recites: “The letter A is the source of all the dharmas on account of their
primordial non-origination.” He should have trust in the meaning of this mantra, and
affirm the emptiness (ßËnyatå) of the entire universe (lokadhåtu). He says “Oµ, I am
pure in my self-nature.” After that, through the medium of the vajra issued from the
syllable H˵, he envisages in space the wind, fire, water and earth (Måhendra)
maˆ∂alas, respectively produced from the syllables Yaµ, Raµ, Vaµ and Laµ. On
top of them, he generates the great ocean from the sylla-bles Buµ Bha, and in the
middle, the great mountain Meru from the syllables H˵ Suµ H˵. The mountain
Meru is square, made of four different jewels, and adorned with eight elephant tusks
(ß®∫ga). Following the procedure already described, he generates and blesses the
vajra-ground and enclosures, and then saying “Oµ vajra-circle H˵,” and making
the karmamudrå of the vajra-cause, he creates the uppermost palace (kˆågåra) made
of vajras, gems, lotuses, and variegated jewels. On the spot of Vairocana, he recites
“Ó˙ Siµ Ó˙” and envis-ages his lion throne (siµhåsana). With similar recitations
over the positions of Ak∑obhya, Ratnasaµbhava, Amitåbha, and Amoghasiddhi, he
should envisage respectively their elephant (gaja), horse (aßva), peacock (mayËra),
and garu∂a thrones. The thrones of the Buddhas are covered with lotuses. The seats

205
. Inui B, 138.1; Sanskrit B, 33a.7; Tibetan A, 130.1.6.
206
The Tibetan reads: 'phags pa'i dbang bskur ba (åryåbhi∑eka), “noble consecration.”
207
. Inui, 138.12; Sanskrit B, 43b.1; Tibetan A, 130.2.2.

88
of the remaining deities are envisaged in the form of variegated lotuses. All the
thrones and seats are surmounted by lunar discs on which the deities are seated in the
vajraparya∫ka posture, and submerged in meditation.
Next, he should envisage himself as the great Bodhisattva Sarvårthasiddhi born in
his mind-made body (manomayakåya) in the Akani∑†ha abode after three
asaµkhyeyas. He envisages that buddha-sphere (buddhak∑etra) as being filled with
all the Buddhas. He recollects the Buddhas in their manifested and unmani-fested
bodies (rËpadhåtudharma), the redemptive (nairyåˆika) Dharma, and the community
of Bodhisattvas. He directs his benevolence (maitr¥) towards all living beings of all
the universes (lokadhåtu), his compassion (karuˆå) towards all sufferings in all the
evil destinies (sarvåpåya), his joy (muditå) towards all the noble ones (årya), and his
equanimity (upek∑å) towards all the dharmas of the world (lokadharma). He affirms
that all the dharmas are non-existent by their nature (abhåvasabhåva), and similar to
illusions (måyå) and phantoms (prati-bhåsa). He further affirms the Bodhisattva
career of following the perfections of wisdom and skilful means (upåyakußala), and
aspires to become a Buddha for the benefit and happiness of living beings. Next, he
should enter the quiescent meditation (åsphånakasamådhi), and progressively
advance through the process of gaining enlightenment (abhisaµbodhi). [This is done
208
just as is described in the Sarva-tathågatatattva-saµgraha.]
“Then all the Tathågatas gathered in a great assembly (mahåsamåja), and
then approached the place where the Bodhisattva Mahåsattva Sarvårtha-
siddhi was seated on the seat of enlightenment (bodhimaˆ∂a). Having
approached him, they became manifest before the Bodhisattva in their
glorified bodies (sambhogikakåya), and said this: ‘How, O noble son, will
you ever gain the perfect enlightenment (without knowing the true essence of
all the Tathågatas)?’
The Bodhisattva Mahåsattva Sarvårthasiddhi, upon hearing the exhorta-tion
of all the Tathågatas, emerged from the quiescent meditation, bowed down
before all the Tathågatas, and said this: ‘O Lord Tathågatas, please instruct
me on the nature of that essence, and how I should accomplish it.’ All the
Tathågatas said this with one voice: ‘Accomplish it through discerning your
mind, while reciting this naturally perfected mantra: Oµ I penetrate the
209
mind.’
This being done, the Bodhisattva said: ‘O Lord Tathågatas, I perceive in my
heart the form of a lunar disc.’ All the Tathågatas replied: ‘O noble son, this
mind is luminous by its nature (prak®tiprabhåsvara). Raise the thought of

208
. Sarvatathågata-tattvasaµgraha, edited Isshi Yamada, New Delhi, 1981,7.4ff. Inui B,
136.16; Sanskrit B, 44a.3; Tibetan A, 130.4.3.
209
. Oµ cittaprativedhaµ karomi.

89
 enlightenment with this naturally perfected mantra: Oµ I raise the thought of
210
enlightenment.’
The Bodhisattva spoke in these words: ‘That form of a lunar disc, I now truly
see as a lunar disc.’ All the Tathågatas said: ‘In order to make firm the
generated thought as Samantabhadra of all the Tathågatas, envisage a vajra-
form on the lunar disc inside your heart, while reciting this mantra: Oµ vajra
211
abide.’
The Bodhisattva said: ‘O Lord Tathågatas, I behold a vajra on the lunar disc.’
All the Tathågatas replied: ‘Make firm this thought-vajra of Sa-mantabhadra
with this mantra: Oµ I am of the vajra-nature.’
Next, the vajra-elements of the body, speech, and mind of all Tathågatas
abiding throughout the entire element of space infused into that being-vajra
the consecration of all the Tathågatas. After that, all the Tathågatas imparted
to the Lord Mahåbodhisattva Sarvårthasiddhi the vajra-name consecration,
saying ‘Vajradhåtu Vajradhåtu’.
Finally, the Mahåbodhisattva Vajradhåtu said this to all the Tathågatas: ‘O
Lord Tathågatas, I perceive myself as having the body of all the Tathå-gatas.’
All the Tathågatas replied: ‘O Mahåsattva, you should envisage yourself, the
being-vajra, as having a Buddha-form endowed with all the most excellent
attributes, while reciting this mantra: Oµ I am the same as all the
212
Tathågatas.’ ”
At the end of the above meditational process, he should envisage himself as having
become Vairocana, white in colour, having four faces, adorned with all the relevant
ornaments, making the gesture of the highest enlightenment (bodhy-agr¥mudrå), and
213
seated on the lion throne. After that, he makes the mudrå which induces the
discernment of the mind, and raises the thought of enlighten-ment, while saying:
“Oµ I raise the thought of enlightenment of Vajradhåtu.”
Next, he envisages Ak∑obhya and the remaining Buddhas seated on their thrones,
making their respective mudrås, and raising the thought of enlightenment:
“Oµ I raise the thought of enlightenment of Vajrasattva.
Oµ I raise the thought of enlightenment of Ratnavajra.
Oµ I raise the thought of enlightenment of Dharmavajra.
Oµ I raise the thought of enlightenment of Karmavajra.”
He bows before all the Tathågatas and says:
“O Lord Tathågatas, bless me and make firm this supreme enlightenment
(abhisaµbodhi).”

210
. Oµ bodhicittam utpådayåmi.
211
. Oµ vajra ti∑†ha.
212
. Oµ yathå sarvatathågatås tathåham.
213
. Inui B, 134.8; Sanskrit B, 44b.5; Tibetan A, 131.1.4.

90
He blesses himself on the heart, throat, forehead, and top of the head with the being-
vajra and other vajras emerged from the bodies of all the Tathågatas. In that very
instant, he envisages himself as being enlightened with the knowledge of sameness
(samatåjñåna) of all the Tathågatas, as being pervaded with the mudrå and secret
samaya of the vajra-knowledge of sameness of all the Tathå-gatas, as being granted
the jewel consecration which induces the realisation of sameness through the
consecration by all the Tathågatas, as being pure by his nature through the realisation
of the knowledge of sameness with regard to the Vajradharma of all the Tathågatas,
as having his nature (svabhåva) imbued with the primordially luminous knowledge
(prak®tiprabhåsvarajñåna) of all the Tathågatas, and as having become a Tathågata,
Arhat, and perfectly enlightened Buddha.
Next, he envisages himself as being consecrated with the water contained in the
vase held by all the Tathågatas, Sattvavajra and other deities, while reciting: “Oµ
Vajraratna consecrate.” After that, just as on the previous occasion, he should
receive the vajra and diadem consecrations, and generate the Dharma-knowledge of
214
Avalokiteßvara. Then, having established and brought down the universal deeds of
all the Tathågatas, he should envisage Vairocana emerged from the merit of all the
Tathågatas, having four faces, and seated on his lion throne. Similarly, he envisages
and blesses himself with Ak∑obhya and the remaining Tathågatas seated on their
respective thrones.
215
Such is the samådhi called the primordial yoga (ådiyogasamådhi). [The phrase
ådiyogasamådhi denotes the five abhisaµbodhis, and it constitutes the first of the
three samådhis.]
Supreme royal maˆ∂ala
Having completed the above meditational realisation, the teacher blesses himself
with Vajradhåtv¥ßvar¥ and the other Buddha goddesses, makes the mudrå of the
highest enlightenment, and pronouncing “Vajrasattva,” he should alert Vajra-sattva
216
resting in his heart. After that, he produces lunar discs in the hearts of all the
Tathågatas, mentally penetrates the non-existence of the self (nairåtmya) of all living
beings in all the universes, transforms his one-pointed mind into the form of a lunar
disc, and envisages it resting on the lunar discs positioned on the places of all the
deities. He draws out the knowledge-rays (jñånaraßmi) from the deities and projects
them into the vajra inside his heart, unites himself with it, and declares it to have
become a five-pronged vajra as vast as the entire space-element (åkåßadhåtu)
through the blessing of all the Tathågatas. He says: “I am of the vajra-nature.” He
envisages this vast vajra resting inside his heart, and then drawing it out, he
perceives it deposited on his hand. Then once more, he disperses rays of different

214
. The Tibetan version reads: “the knowledge of the Dharma-lord.”
215
. Inui B, 133.18; Tibetan A, 131.3.1
216
. Inui C, 110.1; Tibetan A, 131.3.1.

91
colours and shapes, and pervades with them the entire space-sphere. Then again, he
transforms the rays into the bodies of Vajrasattva and other deities, through whose
agency he unites the entire sphere of living beings with the knowledge of sameness
and the remaining stages of enlighten-ment of all the Tathågatas. Next, he converges
217
the rays, and transforms them into a body of one living being. He penetrates into
the vajra in his heart, and makes this solemn utterance (udåna):
“I am Samantabhadra, the firm and self-born being. That which is bodi-less
(akåya) has assumed the bodily form of a being (sattvakåyatva).”
After that, emerging from his heart, he positions himself in front of Ak∑obhya, and
envisages himself requesting him for the authority (åjñå) to advance on the path.
After that, he receives the consecration with the diadem of the five Bud-dhas,
confers upon himself the supreme morality and other related things, enacts the
mystic realisation (abhisaµbodhi) of the knowledge of sameness of all the
Tathågatas, discharges the vajra and the bell for the sake of Samantabhadra and his
diffusion in the sphere of living beings, and receives the name consecration
(nåmåbhi∑eka).
218
Next, assuming the pride of Vajrapåˆi, he makes this solemn utterance:
“This is the supreme attainment vajra (siddhivajra) of all the Buddhas. It is
given me into my hand, the vajra abiding in the vajra.”
Then, after enunciating the solemn utterance of Vairocana and receiving the con-
secrations, he should enunciate the solemn utterances of the sixteen Vajrasattvas,
following the order of their distribution around the Buddhas in groups of four,
219
starting with Vajrasattva and concluding with Vajrasandhi. The solemn utter-
ances of Sattvavajr¥, Ratnavajr¥, Dharmavajr¥, and Karmavajr¥ are enunciated with
220
the pride of their corresponding Buddhas. The solemn utterances of the first four
goddesses of offerings are enunciated with the pride of Vairocana, and the solemn
221
utterance of the remaining four goddesses with the pride of Ak∑obhya. Then,
assuming the pride of Vairocana, he generates the sixteen Bodhisattvas, Maitreya
and the others, following the order of their distribution on the sides of the maˆ∂ala.
222
He envisages them in their appropriate bodily colours and holding their emblems.
Finally, assuming once more the pride of Vairocana, he enunciates the solemn
223
utterances of the four guardians of the portals, Vajrå∫kußa and the others. As he

217
. The Tibetan version reads: “countless living beings.”
218
. Inui C, 109.13; Tibetan A, 131.4.5.
219
. Inui C, 109.16-104.14; Tibetan A, 131.4.6-132.3.5.
220
. Inui C, 104.15-103.11; Sanskrit B, 47a.1-5; Tibetan A, 132.3.5.
221
. Inui C, 103.12-102.18; Sanskrit B, 47a.5-47b.3; Tibetan A, 132.4.3-5.4.
222
. Inui C, 102.20-101.5; Sanskrit B, 47b.3-6; Tibetan A, 132.5.4-7.
223
. Inui C, 101.6-100.2; Sanskrit B, 47b.6-48a.1; Tibetan A, 132.5.7-133.1.4.

92
recites the solemn utterances, he should envisages all the deities in their appro-priate
places inside the maˆ∂ala, and he should identify himself with them.
At the conclusion of reciting the solemn utterances, the teacher performs the
Buddha activities in all the universes for the benefit of living beings. He does this by
means of the Bodhisattvas and the other deities and then, calling them back, he
should envisage them seated on the lunar discs resting in their appro-priate places
inside the maˆ∂ala. After that, he summons the knowledge deities by means of the
rays of light dispersed from the seed syllables resting in their hearts. He says “Oµ
vajracakre H˵” and snaps his fingers. Then again, saying “Oµ vajrasamåja Ja˙
H˵ Vaµ Ho˙,” he summons, leads in, binds, and grati-fies the deities by means of
Vajråveßa and the remaining guardians of the maˆ∂a-la portals. He should open the
maˆ∂ala portals with the mudrå for opening the portals, while reciting: “Oµ open the
portals, enter the pledge H˵.” After that, just as before, he should carry out the
consecration, and then offer the articles of outer worship with Låsyå and the other
goddesses. He rings the bell and recites as follows:
“I pay homage you Vairocana, the great sovereign of the threefold world, the
all-pervasive one, the pinnacle of the highest existence, the blessed lord,
sovereign, and conqueror.
I salute you Vajrasattva, Vajraratna, Vajradharma, and Vajrakarma.”
[This completes the second concentration called] the supreme royal maˆ∂ala (maˆ-
224
∂alaråjågr¥-nåma-samådhi).
Supreme royal action
Next, he envisages himself as being identical with Vairocana and convokes the
225
maˆ∂ala assembly. Once the entire maˆ∂ala assembly is gathered, he recites as
follows before the assembly of the Buddhas and Bodhisattvas: “Oµ, I worship the
feet of all the Tathågatas.”
After that, he recites the following solemn utterance:
“Ah! This is the excellent deed (satk®yå) of the Bodhisattva Samanta-bhadra.
That which abides in the centre of the Tathågata assembly, that is indeed the
Tathågata.”
He penetrates into the heart of Vairocana, identifies himself with Sattvavajra and the
others, and recites the next solemn utterance:
“Ah! The timelessly arisen great magnanimity of all the Buddhas. The
totality of all, the Buddhas assembled in oneness (ekatva).”
After that, standing in the place of Vajrasattva, he receives the garland consecra-tion
and other things, and then snapping his fingers, he summons, leads in, binds, and
subdues the deities with Vajrå∫kußa and others. He offers them the arti-cles of outer

224
. Inui C, 100.23; Sanskrit B, 48a.5; Tibetan A, 133.2.2.
225
. Inui C, 99.1; Sanskrit B, 48a.5; Tibetan B, 133.2.2.

93
worship, makes the previously explained four mudrås, and performs the relevant
226
recitations.
Upon the completion of the above meditational series, he should muse, and then
recite the following mantras:
“Oµ sarvatathågatayogeßvara H˵. Oµ vajrasattva H˵.
Oµ ratnavajra Tråµ. Oµ dharmavajra Hr¥˙.
Oµ karmavajra A˙. [etc., concluding with]
227
Oµ vajråveßa Ho˙.”
Depending on the time available, all the mantras should be recited one hundred and
eight times, twenty-five times, seven times, or just once. Alternatively, he says “I am
all of them,” and mentally enacts the mantra sounds through be-holding all the
deities. Or again, he inserts a vajra, the size of an atom, inside the hearts of the
knowledge deities, and on top of the vajra, he deposits his mind which has the nature
of the sound of the syllable H˵. He should meditate for as long as he does not feel
tired. Once he becomes tired, he recites the verses of praise, offers the articles of
outer worship, and makes the four prostrations. The first and the last verses of the so-
called nåmå∑†aßatastuti are as follows:
“I salute you Vajrasattva, Mahåsattva, Vajrasattva, Tathågata, Samanta-
bhadra, Vajrapåˆi, and the supreme vajra.
I salute you Vajrasandhi, the ever present one, the dispenser of the vajra-
228
bond, the supreme vajra-fist, Vajramu∑†i, and the highest pledge.”
During the recitation of the laudatory verses, he should ring the bell.
[Such is the third concentration called] the supreme royal action (karma-råjågr¥-
229
nåma-samådhi).
Concluding rites of the devatåyoga
Next, he offers a bali in accordance with the procedure explained later, presents the
elixir feast (am®tåsvådana), recites the hundred syllables of Vajrasattva, dispenses
the articles of outer worship while ringing the bell, and makes the four prostrations.
After that, he requests the deities that he be pardoned for all faults. Next, placing on
his heart the samayamudrå of Vajraratna, he consecrates himself with all the mudrås,
while reciting: “Oµ Vajraratna consecrate.” He produces a protective armour
(kavaca) while reciting: “Oµ may all the mudrås make me firm with a protective
armour Vaµ.” He stimulates the repository of sameness (sama-tålaya), offers his
merit (kußala) for the desired purpose, and asks for pardon with the following words:
“I ask to be pardoned for all the shortcomings and errors committed during these

226
. Inui C, 97.2; Sanskrit B, 48b.6; Tibetan A, 133.3.8.
227
. Inui C, 97.4-95.18: Sanskrit B, 48b.7-49a.4; Tibetan A, 133.4.1-7.
228
. Inui C, 94.6-93.16; Sanskrit B, 49a7-49b.5; Tibetan A, 133.5.3-134.1.4.
229
. Inui C, 93.18; Sanskrit B, 49b.6; Tibetan A, 134.1.5.

94
ritual procedures (vidhinyËna).” He offers the water for the face, and invites the
deities to leave. He releases their mudrås and sends them away with the following
words:
“Oµ I request you to act for the benefit of all living beings and to grant the
appropriate attainments. Please depart now to the sphere of the Bud-dhas
(buddhavi∑aya) and come back on a future occasion. Oµ vajra-sattva Mu˙.
Oµ vajra Mu˙.”
He mentally gathers the pledge deities within his heart, and protects himself with the
karmamudrås of Vajrayak∑a, Vajrarak∑a, and Vajrasandhi. Finally, he makes the
gesture of touching the earth, and releases the entire maˆ∂ala, while reciting: “Oµ
the letter A is the source of all the dharmas on account of their primordial non-
origination.” Thereafter, depending on the circumstances, he should carry out all the
activities with the pride of the relevant deities. He is the yogin endowed with the
nature of Vajrasattva.
230
This concludes the process of the deity-yoga (devatåyoga).

III. Dramatic postures and dances231

The teacher sprinkles the maˆ∂ala ground with a pleasantly scented water, recites
“Oµ Bhu Khaµ,” and transfers it into space. Then again, reciting “H˵ Laµ H˵,”
he envisages it as having the nature of a vajra. He touches the ground with his hand,
and blesses and purifies it with the following three mantras:
232
“Oµ the earth's vajra-nature, the vajra-bond H˵.
Oµ destroy destroy, vajra-wrath H˵ Pha†.
Oµ Ó˙ H˵, purify, protect protect H˵ H˵ Pha†.”
The above procedure constitutes the inner purification of the earth (adhyåtma-
bhËmißodhana). After that, he sits down in the sattvaparya∫ka posture, and inspirits
233
himself with the following verses:
“Today my birth (janman) and my life (j¥vita) have gained their fruits. I have
no doubt that this has happened in accordance with the pledge of all the
Buddhas. I shall reach the state of non-returning (avaivartya) and the
Bodhisattva's one-pointed determination (ekacetana). I have no doubt that I
will gain a birth in the Tathågata family. Today is the time of my su-preme
joy and the highest exaltation on account of the invitation extended to all the
Buddhas.”

230
. Inui C, 91.11; Sanskrit B, 50a.4; Tibetan A, 134.2.8.
231
. Sanskrit A, 98.6; Sanskrit B, 50a.4; Tibetan A, 134.2.8.
232
. Oµ medin¥vajr¥bhava vajrabandha H˵.
233
. Sanskrit A, 99.2; Tibetan A, 134.3.3.

95
He prostrates himself fully with all his limbs outstretched, transforms his tongue into
a vajra-tongue issued from the syllable H˵, and supplicates the Buddhas with the
following words:
“May I be remembered by all the Buddhas abiding in all the directions.
Today, I, a Vajra of such and such a name, shall erect here the maˆ∂ala. I
invite all the Buddhas to come and bestow upon me the solicited attain-
ment.”
While Ak∑obhya and other Buddhas rest in the sky, four assistants take vajras and
bells into their hands, and taking positions in the appropriate places towards the four
directions, they recite four stanzas through which they ask for permis-sion to draw
234
the maˆ∂ala:
“This is the tranquillity realm, and the abode of all the Tathågatas, the su-
preme deßamaˆ∂ala epitomising the non-existence (nairåtmya) of all the
dharmas.
It is endowed with all the characteristics (lak∑aˆa), and at the same time, it is
free from all characteristics, the supreme bhå∑amaˆ∂ala epitomising the body
of Samantabhadra.
It incorporates all the peaceful dharmas, and it purifies knowledge and
practice, the supreme bhå∑amaˆ∂ala epitomising the speech of Samanta-
bhadra.
It is the great mind (mahåcitta) of all living beings, and the naturally stainless
purity, the supreme gho∑amaˆ∂ala epitomising the mind of Samantabhadra.”
The teacher envisages the maˆ∂ala in the same way as before, and transfers it into
space. After that, he changes behind a curtain (yavanikå) and puts on the robe and
other attire of a cakravartin, and then stepping out, he beholds himself, recites a
verse to remove the obstructions (åvaraˆa) of the joyful and other Bodhisattva
stages, and emerges as a vajra. Then placing his folded hands on his head, and then
on the heart, he offers himself to all the Tathågatas:
“Oµ I bow down before all the Tathågatas. Oµ I offer myself to all the
235
Tathågatas.”
Next he recites a supplication (praˆidhi):
“Whatever is the total number of living beings, whether born from eggs
(aˆu), embryos (jaråyu), moist heat (saµsveda), or self-produced (upapå-
duka), whether in bodily (rËpin) or bodiless (arËpin) forms, whether
licentious (sa∫gin) or not licentious (asa∫gin), I shall establish all these living
beings in the sphere of the great seal (mahåmudråpada).”
He beholds the living beings pervaded by the demon of ignorance, and destroys the
demon Måra. He instantly assumes the form of Vajrah˵kåra, acts in a wrathful

234
. Sanskrit A, 99.6; Sanskrit B, 50b.1; Tibetan A, 134.4.1.
235
. Sanskrit A, 100.6; Tibetan A, 134.4.8.

96
manner, transforms his eyes into blazing flames, and then beholding all living beings
with the vajra-sight (vajrad®ß), he shakes the vajra and recites:
“I am truly a vajrin, I am truly Vajrasattva, I am truly Buddha, the great
sovereign, the mighty vajra-power, the lord and king of the yogins, and
Vajrapåˆi.”
Starting with the north-east direction, he moves in a proud manner; the same is done
by his assistants (sådhaka). The assistant positioned in the eastern direction
envisages his feet as one pointed vajras (ekasËcikavajra), and then stamping the
ground, he recites a chain of mantras, disperses masses of wrathful deities, destroys
the adverse forces (vighna), and blesses the maˆ∂ala ground as having the vajra-
nature. The first and last words of the recited mantra are as follows:
“O Wrathful One with feet made of one-pointed vajras, defeat and destroy all
the evil demons (asura) H˵ Pha†. I split their heads with the blazing syllable
236
H˵ and the mighty vajra.”
The remaining three assistants carry out similar activities. The assistant posi-tioned
at the south envisages his feet as three-pronged vajras (trisËcikavajra), the one at the
west as five-pronged vajras (pañcasËcikavajra), and the one at the north as crossed
vajras (vißvavajra). They also envisage the maˆ∂ala ground as assuming the vajra-
237
nature of the respective vajras on their feet.
Next, the text explains the sequence in which the feet movements should be
238
executed (padasådhana). The principal master (pradhånåcårya) executes the
appropriate vajra-steps and dances (vajrapadan®tya) at the eastern and other quarters.
He recites the syllable H˵ with the pride of the wrathful Vajrå∫kußa, and making
his mudrå, he bends his left shank (jaµghå), stretches his right shank forward five
spans (vitasti), recites the mantra, and assumes the ål¥∂ha posture (pada). The mantra
is:
“Oµ great vajra-wrath of the ål¥∂ha steps, agitate, destroy all the evil ones
H˵ Pha†.”
At the southern quarter he executes the pratyål¥∂ha posture with the wrathful pride of
Vajrapåßa, at the western quarter the vaißåkha posture with the pride of Vajraspho†a,
at the northern quarter the maˆ∂ala posture with the pride of Vajråveßa, and at the
centre the samapada posture. At the nadir he executes the tortoise posture
(kËrmapada) with the pride of Vajrapåtåla, and at the zenith the one-step posture
(ekapada) with the pride of U∑ˆ¥∑acakravartin. The above seven postures are also
239
executed by the chief master's four assistants.

236
. Sanskrit A, 102.4; Sanskrit B, 51a.8; Tibetan A, 135.1.4.
237
. Sanskrit A, 102.4-104.5; Tibetan A, 135.1.4-3.3.
238
. Sanskrit A, 104.5; Tibetan A, 135.3.3.
239
. Sanskrit A, 104.6-106.5; Sanskrit B, 52a.4-52b.6; Tibetan 135.3.4-4.8.

97
 Prior to the execution of dances, the teacher rings the bell and shakes the vajra.
Starting with the north-eastern direction and concluding with the zenith, he executes
in ordered sequence forty-two dramatic poses or postures (abhinaya) in each
direction. He performs these dramatic steps and dances (vajrapadan®tya) while
shaking the vajra and ringing the bell. Starting with the north-eastern quarter and
concluding with the zenith, he enacts a total of forty-two postures.
There are eleven dramatic poses (abhinaya) executed with the ål¥∂ha step. They
are called: lion step (siµhapada), lion yawning (siµhavij®mbhita), vajra-mallet
(vajramudgara), women's illusion art (str¥måyåkaraˆa), vajra-breaking
(vajraspho†ana), vajra-tusk (vajradaµ∑†ra), sword (kha∂ga), hook (a∫kußa), spear
(kunta), javelin (bhindipåla), and bow (cåpa).
There are ten dramatic poses executed with the pratyål¥∂ha, having such names as
vajra-tossing (vajrak∑epa), Vajrabhairava, mighty summoning (mahå-balotkar∑aˆa),
vajra-jesting (vajrahasita), vajra-noose (vajrapåßa), club (daˆ-∂a).
There are six poses executed with the vaißåkhapada, having such names as vajra-
summoning (vajrotkar∑aˆa), vajra-sporting (vajravilåsa), fearlessness (abhaya), fruit
(phala), giving (varada), bowing (praˆåma).
There are seven attitudes executed with the maˆ∂alapada, having such names as
vajra-dancing (vajranartana), blessing with four faces (caturmukhådhi∑†håna), vajra-
swirl (vajrakuˆ∂ali), bell-ringing (vajraghaˆ†åraˆita), circle (cakra), lotus (padma),
arrow-drawing (ßarotkar∑aˆa).
There are five postures executed with the samapada, having such names as vajra-
bursting (vajraspho†a), vajra-vampire (vajravetål¥), pestle (musala), flag (patåka).
There is just one posture executed with the kËrmapada, and this is called the
240
Vajrasattva posture (abhinaya).
Finally, two dramatic postures are executed with the one-step pose (ekapada),
241
called double arrogance (garvadvaya) and bee-swarm (bhramaˆ¥jåla).
Next, the text explains the execution and specific applications of the different poses
and dances. It gives the names of deities whose pride should be assumed, lists the
mantras that go with them, and indicates specific purposes for which they are
242
executed. A few selected examples are given below.
In order to disperse all demons (Måra), he should execute the bee-swarm. He
assumes the pride of Mahåvairocana with the one-step posture (ekapada), and
loosening all fingers, he stretches his hands and shakes them to the left and right.
The mantra is:

240
. Tibetan A reads rDo rje sems dpa'i mchu.
241
. Sanskrit A, 106.5-107.4; Sanskrit B, 52b.6-53a.3; Tibetan A, 135.4.8-5.8.
242
. Sanskrit A, 107.4-117.4; Sanskrit B, 53a.3-56b.5; Tibetan A, 135.5.8-137.5.7.

98
 “Oµ bhramaˆ¥jålåbhinaya vajramahåkrodha bhañjaya sarvat¥rthikån H˵
243
Pha†.”
In order to devour the four måras, he assumes the pride of a vetal¥ with the samapada
posture, and performs with his hands as if eating a corpse (ßava). The mantra is:
“Oµ vajravetålyabhinaya vajramahåkrodha carcaya sarvadu∑†ån H˵
244
Pha†.”
In order to attract living beings to the four wisdoms, he executes the attitude of
blessing with four faces. He assumes the pride of Ak∑obhya with the maˆ∂ala-pada
posture and makes mudrås towards the cardinal directions, namely the gestures of
touching the earth (Ak∑obhya), giving (Ratnasambhava), meditation (Amitåbha), and
protection (Amoghasiddhi). While making the mudrås, he should meditate on the
four vimok∑as. The mantra is:
“Oµ caturmukhådhi∑†hånåbhinaya vajramahåkrodha adhiti∑†haya sarva-dik
245
Oµ Tråµ Hr¥˙ A˙ H˵ Pha†.”
In order to destroy the obstructive forces in all the directions, he executes the flag
pose. He assumes the wrathful pride of Vajraketu with the samapada posture,
stretches out two fingers of his right vajra-fist and holds them upwards. The mantra
is:
246
“Oµ patåkåbhinaya vajramahåkrodha pretaya sarvapretån H˵ Pha†.”
In order to indicate the fruit of transcendent knowledge, he executes the fruit pose.
Assuming the vaißåkhapada posture and the wrathful pride of Vajrasådhu, he
stretches the fingers of the right hand and slightly bends them towards the heart. The
mantra is:
“Oµ phalåbhinaya vajramahåkrodha prahlådaya sarvatathågatån H˵
247
Pha†.”
In order to praise all the Tathågatas, the teacher positioned at the northern direc-tion
executes the bowing pose. Assuming the vaißåkha posture and the pride of Ratnolka,
he places his folded hands (añjali) at the heart. The mantra is:
“Oµ praˆåmåbhinaya vajramahåkrodha praˆåmaya sarvatathågatån H˵
248
Pha†.”
Next, the principal master executes nine dramatic movements (åk∑epa) at the centre
and towards the cardinal and intermediate directions. He assumes the pride of nine
wrathful deities, recites their mantras and executes the appropriate bodily

243
. Sanskrit A, 108.5; Tibetan A, 136.2.1.
244
. Sanskrit A, 110.5; Tibetan A, 136.3.7.
245
. Sanskrit A, 111.3; Tibetan A, 136.4.5.
246
. Sanskrit A, 113.4; Tibetan A, 137.2.2.
247
. Sanskrit A, 115.1; Tibetan A, 137.3.5.
248
. Sanskrit A, 117.3; Tibetan A, 137.5.5.

99
movements. These dances and recitations are performed in order to destroy all the
adverse forces. The names of the wrathful deities and their bodily colours are as
follows: Buddhabala (Buddhabalå) is white, Jvålåmåla (Jvålåmål¥) red, T¥vravega
(T¥vraveßa) blue, Óyata (Óyadu) black, Aparåjita white, Saµvartaka yellow,
Surakrodha blue, Kel¥kila red, and Mahåkel¥kila (Mahåkelikilå) green. The dramatic
movements are called: buddha-power (buddhabala), trembling (åkampa-na), terror
(vitråsan¥), agitation (saµk∑obhaˆa), confusion (vimohana), swiftness (k∑ipra),
grimacing face (vyåv®ttåsya), and sportive (kel¥kila). The last dance is the same for
249
Kel¥kila and Mahåkel¥kila. The first dramatic movement and the mantra are as
follows. He executes a dance with the ål¥∂ha steps, turns his face towards the right,
positions his left forefinger in a threatening manner at the heart, leans the left side of
his body towards the ground, gazes towards the sky, and destroys all the demons
with the vajra held in the right hand. The mantra is: “Oµ Buddhabala, the great
wrathful one, expel all the demons (måra) H˵ Pha†.”
Next, standing on the places of all the deities, he assumes their bodily postures
(åsana) and makes their mudrås, while reciting their corresponding mantras.
Vairocana and the other Buddhas sit in the vajraparya∫ka posture. The mantra of
Vairocana is this:
“Oµ Great Wrathful One seated in the vajraparya∫ka posture, destroy all the
evil forces H˵ Pha†. Oµ Great Wrathful One making the ges-ture of the
250
highest enlightenment, release the power of all the samådhis H˵ Pha†.”
The eight goddesses of offerings sit in the padmåsana posture. Låsyå's mantra is:
“Oµ Great Wrathful One seated in the lotus posture, destroy all the foes
H˵ Pha†. Oµ Great Wrathful One enacting the movement of dancing, bring
to maturation the perfection of generosity of all the Tathågatas H˵
251
Pha†.”
The sixteen Vajrasattvas sit in the sattvaparya∫ka posture. Vajrasattva's mantra is:
“Oµ Great Wrathful One seated in the vajraparya∫ka posture, frighten away
the mahoragas and all other demons H˵ Pha†. Oµ Great Wrath-ful One
enacting the movement of Vajrasattva, generate the thought of enlightenment
252
of all the Tathågatas H˵ Pha†.”
The sixteen Bodhisattvas, Maitreya and the others, are seated in the bhadråsana
posture. Maitreya's mantra is:

249
. Sanskrit A, 117.4-121.2; Sanskrit B, 56b.5-57b9; Tibetan A, 137.5.7-138.4.3.
250
. Sanskrit A, 121.2-6; Tibetan A, 138.4.3-7.
251
. Sanskrit A, 121.6-122.6; Tibetan A, 138.4.7-5.4.
252
. Sanskrit A, 122.6-124.4; Tibetan A, 138.5.4-139.1.5.

100
 “Oµ Mighty Wrathful One seated in the elegant posture, bring happiness to
living beings H˵ Pha†. Oµ Great Wrathful One enacting the move-ment of
253
Maitreya, intensify the power of benevolence H˵ Pha†.”
The four guardians of the maˆ∂ala portals are seated in the v¥råsana posture. The
mantra of Vajrå∫kußa is this:
“Oµ Great Wrathful One seated in the heroic posture, liberate living be-ings
from all evil H˵ Pha†. Oµ Great Wrathful One enacting the move-ment of
the vajra-hook, guide all living beings towards the practice of the ten
254
perfections H˵ Pha†.”
The sixteen male and female messengers and servants are seated in the squatting
posture (utku†ukåsana). The names of the messengers and servants as given in their
mantras are as follows.
The four male messengers (dËta) are called Vajramusala MahådËta, Vajrånila
MahådËta, Vajrånala MahådËta, and Vajrabhairava MahådËta.
The four female messengers (dËt¥) are called VajradËt¥, Vajravegavajriˆ¥,
Vajrajvålå, and Vajravika†å.
The four male servants (ce†a) are called Vajravåråha Mahåce†a, Vajrakåla Ma-
håce†a, Vajravinåyaka Mahåce†a, and Vajranåga Mahåce†a.
The four female servants (ce†¥) are called Vajramukhi, Vajrakåli, Vajrapˆanå, and
Vajramakarå.
The mantra of the first male messenger Vajramusala is: “Oµ Vajramusala, the
255
great messenger, break to pieces all evil ones H˵ Pha†.”
The guardians of the world (lokapåla) are seated in the playful posture (lali-tåsana).
The names of these guardians as given in their mantras are as follows: Indra, Agni,
Yama, Nair®tya, Varuˆa, Våyu, Kuvera, Á∑åna, SËrya, Candra, Brahmå, Vemacitra,
P®thiv¥, Adhonåga. The mantra of Indra is “Oµ vajra H˵,” that of Vemacitra “Oµ
salutation to the asuras Svåhå,” and that of Adhonåga “Oµ salutation to the någas
256
Svåhå.”
Upon the completion of enacting the postures and movements of all the deities, the
teacher summons the secret maˆ∂ala in order to eliminate all the obstructive
257
forces. Once this is done, he prepares four k¥las made from the khadira wood, or
from certain other kinds of hardwood, or from bones. They should be eighteen,
twelve, or eight fingers long, and six, four and a half, or two fingers thick. He recites
“Oµ Vajrak¥la pin down and bind all the obstructive spirits H˵,” and passes the
k¥las to his four assistants (sådhaka) who fix them on the outer sections of the

253
. Sanskrit A, 124.4-126.1; Tibetan A, 139.1.5-2.6.
254
. Sanskrit A, 126.1-6; Tibetan A, 139.2.6-3.3.
255
. Sanskrit A, 126.6-129.5; Tibetan A, 139.3.3-5.6.
256
. Sanskrit A, 129.5-131.4; Tibetan A, 139.5.6-140.2.5.
257
. Sanskrit A, 131.6; Tibetan A, 140.2.5.

101
maˆ∂ala at the intermediate directions. The master positioned at the eastern portal
strikes the k¥la at the north-eastern quarter. While executing this function, he makes
an appropriate gesture, recites “Oµ vajra-hammer destroy H˵,” and envisages the
k¥la as having the wrathful form of Ak∑obhya. In a similar way, the master
positioned at the southern portal fixes the k¥la at the south-eastern quarter and
envisages it as wrathful Ratnasambhava, the one at the western portal fixes the k¥la
at the south-western quarter and envisages it as wrathful Amitåbha, and the one at
the northern portal fixes the k¥la at the north-western quarter and envisages it as
258
wrathful Amoghasiddhi. Then, after executing a dance with the vajra-steps of the
chief deity, they fix eight k¥las towards the cardinal and intermediate directions,
starting with the north-eastern quarter, and then proceeding clockwise. The k¥las at
the intermediate directions are envisaged as Vijaya and others, and the k¥las at the
cardinal directions as Yamåri, Kanikrodha, Trailokyaprasådhaka, and V¥ravikrama.
259
The deities are gratified with offerings and balis.
While executing the above activity of striking (åko†ana) the ground with the k¥las,
the teacher envisages all the obstructive forces acquiring the same essence as the
great bliss (mahåsukha). He should drive away the remaining obstructive forces, and
assert that the entire world, up to the extremities of the Cakravåla, has become
liberated from the obstructive forces. He perceives the ground freed from all the
obstructive forces as a mass of radiant light, and around it a radiant tent
(vajrapañjara) demarcated with k¥lakas, and beyond that a radiant enclosure (va-
260
jrapråkåra). Then, still further outside, he binds the directions (digbandha) by
devising a golden and square Madendra maˆ∂ala, and demarcates the boundary
(s¥måbandha) by envisaging a red and triangular fire-maˆ∂ala. Finally the teacher
blesses the entire complex with mantras and mudrås.
261
This completes the rite of dramatic movements (parikramaˆavidhi).
IV. Construction of the maˆ∂ala
262
Installing the earth goddess
Next, the teacher envisages the wealth goddess Vasundharå arising from the syllable
Vaµ. He summons knowledge-being and merges it with the earth god-dess P®thiv¥.
On this occasion, the goddess has one face and two hands. She is golden in colour,
peaceful in appearance, wears a white garment and ornaments, and holds in her
hands the golden vase of fortune (bhadragha†a). He offers her worship and recites the
following mantra:

258
. Sanskrit A, 132.2-133.1; Tibetan A, 140.2.7-4.2.
259
. Sanskrit A, 133.1-5; Tibetan A, 140.4.2-6.
260
. Sanskrit A, 133.6; Tibetan A, 140.5.1.
261
. Sanskrit A, 134.2; Sanskrit B, 62a.1; Tibetan A, 140.5.3.
262
. Sanskrit A, 134.2-135.3; Tibetan A, 140.5.3-141.1.5.

102
 “Oµ come here great goddess P®thiv¥ and mother of the world. You are rich
in all jewels, and adorned with divine ornaments... Receive this water for the
face and accomplish the relevant works for the maˆ∂ala Hr¥˙ Hr¥˙ H˵
Svåhå.”
He touches the ground with the mudrå of Ak∑obhya, makes a declaration to draw the
maˆ∂ala, installs the earth goddess, and envisages her as giving her consent and then
dissolving into the ground. He touches the ground with the vajra, recites “Oµ vajra-
nature H˵,” and envisages the ground as being endowed with the vajra-nature.
Such is the rite of installing Vasundharå (vasundharådhi-våsanavidhi).
263
Casting the maˆ∂ala threats
Next, there follow instructions on the method of marking the maˆ∂ala lines by
264
casting threads (sËtrapåtana). First, the teacher marks the east-west direction and
casts the first brahmasËtra. Next, he marks the Yama-Kuvera direction, and then
holding the thread in the middle of the so-called fish-tails (matsyagaccha), he casts
the second brahmasËtra. Next, he casts the two corner threads (koˆa-sËtradvaya), the
four directional threads (diksËtracatu∑†aya), and then on the outside of that, the four
base threads (mËlasËtracatu∑†aya). After that, following the specified measurements
and a proper sequence, he casts all the remaining threads: the threads of the four
portals (dvårasËtra), the three threads on the outside of the four portals, the threads
on the sides of the base threads, and the circular threads of the vajra-garland
(vajråval¥v®ttasËtra). Altogether he casts fifty-six threads for the inner maˆ∂ala
(abhyantaramaˆ∂ala) when the vedikå is not counted, and sixty threads when it is
counted. Next, he casts the threads of the outer maˆ∂ala (båhyamaˆ∂ala). The rite of
casting the threads (sËtraˆavidhi) concludes with marking the lines of the lintels
(toraˆapa††ikå), and the ribbons for the deities (devatåpa††ikå) and the world
protectors (lokapålapa††ikå). This concludes the summary of the rite of casting the
threads (sËtraˆavidhi).
265
Installing the coloured powders
Next the teacher positions the all-operative vase on the anther of an eight-petalled
lotus drawn with white and other coloured powders (rajas) corresponding to the
colours of the Buddha families. On the front petal marked with the appropriate
colours, he places a five-coloured thread (pañcara∫gikasËtra), on the southern petal a
vajra, on the northern petal a bell (ghaˆ†å), and on the western petal a conch
(ßa∫kha). In the south-eastern and other intermediate quarters, he arranges
receptacles (bhåjana) containing powders of blue, yellow, red and green colour. The
receptacle containing the white powder should be placed on top of the vase. Reciting
appropriate mantras, he installs the vase, offers the articles of the outer worship, and

263
. Sanskrit A, 135.4-139.5; Tibetan A, 141.1.5-141.5.2.
264
. åkhaˆ∂alanågadißa / zhigs pa'i klu'i phyogs (Indra-Varuˆa).
265
. Sanskrit A, 139.5-142.1; Tibetan A, 141.5.2-142.2.4.

103
rings the bell. He recites the seed syllables of the five Buddhas, H˵ Tråµ Hr¥˙ A˙
Ó˙, and arranges the threads of Ak∑obhya and other Buddhas. He blesses the threads
by making the vajra-bond gesture and reciting the following mantra one hundred and
eight times: “Oµ the bestowal of the vajra-pledge on the threads H˵.” He offers
the articles of outer worship and rings the bell. He envisages a white five-pronged
vajra generated from the syllable H˵, and reciting one hundred and eight times
“Oµ vajradhåtu, Oµ vajrasattva H˵,” he installs the vajra, and offers the articles of
worship. Such is the rite of installing the vajra (vajrådhivåsana).
Next, he envisages a white bell from the letter A, and installs it with the mantras
of Karmavajra and Vajraghaˆ†a. Then, executing similar procedures, he installs the
white conch and the powders (ra∫ga) of five colours: white, blue, yellow, red, and
green. The coloured powders are produced from precious gems, roots, grain, or
flowers. He envisages the powders as having the nature of Vairocana and the other
Buddhas, generates the knowledge-powders (jñånara∫ga) from the seed syllables
resting in the hearts of the Tathågatas, and merges them with the coloured powders.
Then, over the white powder, he recites “Oµ Br˵ the pledge of the vajra-mind
H˵.” He also recites similar mantras over the remaining powders. Finally, he
imbues the threads with radiance produced with the samayamudrå of the wrathful
VajrasËrya and the syllable Hr¥˙, and offers the articles of worship. This concludes
the rite of installing the coloured powders (ra∫gådhivåsana).
266
Spinning the threads
The teacher sprinkles water (prok∑aˆa) from the vase blessed with the mantra of
Vajrayak∑a, and then places the vase in a secure place (nirupadravapradeßa). He
protects and makes firm the place with the samayamudrå of Vajramu∑†i, and endows
it with the vajra-armour (vajrakavaca). He envisages himself as Vajra-sattva and his
assistant as Vajrakarma. He transforms his own and the assistant's eyes into solar and
lunar discs, and endows them with the vajra-sight (vajra-d®∑†i). After that, having
blessed the threads with the mantra “Oµ A Ó˙ Aµ A˙ Svåhå,” the teacher takes the
position at the south-western quarter and his assistant at the north-eastern quarter,
and they hold and spin the threads. While doing this, they recite the following
mantra:
“Oµ all the dharmas come together, all the dharmas mutually pervade each
267
other, Oµ Vajrasattva H˵.”
Such is the procedure of spinning the threads (sËtravalana).
268
Bali rite

266
. Sanskrit A, 142.1-5; Tibetan A, 142.2.4-3.2.
267
. oµ anyonyanugatå˙ sarvadharmå˙ parasparånupravi∑†hå˙ sarvadharmå˙, oµ vajrasattva
H˵.
268
. Sanskrit A, 142.5-144.3; Tibetan A, 142.3.2-4.8.

104
The teacher's assistant takes the position on the outer border (s¥ma) of the maˆ∂ala
house (g®ha) and offers a large bali (mahåbali) to the devas and others. The presiding
master (cakreßa) sits down facing the maˆ∂ala, and installs the deities. The actual
bali rite is executed as follows.
The teacher generates the blue wind maˆ∂ala from the syllable Yaµ, and the red
fire maˆ∂ala from the syllable Raµ. On the top of the fire maˆ∂ala, he gene-rates a
hearth (cËlikå) from a set of three syllables H˵, and on top of that a white cooking
vessel (bhojabhåjana) generated from the syllable A˙. He fills the vessel with boiled
rice (bhakta) and other articles, and blesses them as the five ambrosias (pañcåm®ta)
having the form of five flames (prad¥pa) generated from the syllables Bruµ H˵
Aµ Jiµ Khaµ Låµ Måµ Påµ Tåµ Vaµ. He cooks the content until it gains the
lustre of the rising sun (abhinavabhånu). He envisages the steam (bå∑pa) becoming
transformed into the syllable H˵ from which there emerges a white vajra, which in
turn melts into ambrosia glittering like quick-silver (pårada). Above the ambrosia, he
envisages a lunar disc generated from the syllable Oµ, and then the syllables Oµ Ó˙
H˵ arising from the lunar disc. He disperses into the ten directions the rays of light
radiating from the above three syllables, calls in the gods and goddesses, and then
drawing out the ambrosia (am®ta) from the seven oceans of milk
(saptak∑¥rasamudra), he infuses it into the vajra and the lunar disc inside the cooking
vessel.
Next, he once more perfects the content as ambrosia with the above three
syllables. After that, as is explained below, he summons the gods, plays ten different
musical instruments, v¥ˆa and so forth, and offers the articles of outer worship. Next,
reciting the relevant verses from the Subåhuparip®cchå-tantra, he should offer a
mahåbali to Indra and the other lokapålas. On this occasion, he should induce the
flow of the following five essences (pañcaråsa). In order to gratify (pr¥ˆana) the
269
deities attached to the elements (dhåtvabhiraktadevatå), he induces the flow of
milk (k∑¥ra); for the deities attached to the sense-bases (åyatanåbhinivi∑†adevatå), the
flow of marrow (majjan); for the deities attached to the aggregates
(skandhåbhisaktadevatå), the flow of scented liquid (sugandha-pån¥ya); for the
deities craving for the form and other objects (rËpådyabhi-lå∑idevatå), the flow of
alcohol (madya); and for the deities whose minds are pervaded with passion and so
forth (rågådiparigatacetaså devatå), the flow of blood (rudhira). After that, he sends
the gods away. He blows a conch, beats a drum, and plays other musical instruments,
and then discharges the mahåbali. This concludes the procedure of preparing and
offering balis (balividhi).
270
Installing the deities of the Vajradhåtu maˆ∂ala
Having devised the entire maˆ∂ala, the teacher anoints with scent (gandha) all the
maˆ∂ala places (sthåna). On the places of the five Tathågatas, he demarcates squares

269
.Sanskrit A, 143.6; Tibetan A, 142.4.4.
270
. Sanskrit A, 144.3-145.4; Tibetan A, 142.4.8-143.1.3.

105
 271
with sandal (candana), and circles with saffron (ku∫kuma) or with other items. On
the places of the remaining deities (devatå), he draws circles. He envisages the fifty-
three deities of the Vajradhåtu maˆ∂ala positioned in their appropriate places. He
summons the knowledge-deities with Vajrå∫kußa and others, presents the deities
with flowers recited over with their mantras, offers the five articles of worship
(pañcopacåra), recites praises, and rings the bell. After that, he envisages his tongue
as a vajra, kneels down on the right knee, and makes the following petition before
the Buddhas and other deities:
“I salute you Vajradhåtu, the sovereign of the Vidyås. O Lord, I wish to draw
the maˆ∂ala endowed with compassion, and destined to infuse my disciples
with compassion, and to render you worship. O Lord, show your kindness to
your devotee, and grant me your permission. May I be remembered by the
Buddhas pursuing the deeds for the benefit of the world, the Bodhisattvas
established in their fruition, the tantric deities (mantradevatå), the gods and
the world's protectors, the spirits (bhËta) established in the thought of
enlightenment, and by the beings (sattva) delighting in the Buddha's
dispensation (ßåsana) and endowed with the vajra-eye. I, a great vajrin of
such and such a name, will draw this par-ticular maˆ∂ala to the best of my
abilities.”
Finally, he lifts the deities seated inside the above scented maˆ∂ala, and transfers
them into space (åkåßadeßa).
Such is the procedure of installing the deities (devatådhivåsana).
272
Casting the threads
Next, the teacher places scented threads (sËtra) inside a golden vessel, sprinkles them
with scent, and offers worship with flowers and other items, and with Låsyå and the
other goddesses. He generates the five Tathågatas from the sylla-bles Buµ H˵ Aµ
Hr¥˙ Khaµ, brings them down from the sky and unites them with their
corresponding Tathågatas, and then envisages the knowledge-threads (jñånasËtra)
issuing in the form of rays (raßmi) from the Buµ and other syllables placed inside
the hearts of the Tathågatas. Reciting the relevant mantras, he invokes the Buddhas
to grant him their corresponding threads. In the case of Mahåvairocana, he recites:
“Oµ Ó˙ ßåßvatavajra grant me the vajra-thread for fastening the great
maˆ∂ala H˵.”
In the case of the remaining Buddhas, he recites the same mantra but changes the
initial names: for Ak∑obhya he inserts Vajrasattva, for Ratnasambhava Ratna-vajra,
for Amitåbha Dharmavajra, and for Amoghasiddhi Karmavajra. Next, he makes
similar requests before all the remaining deities, starting from Vajrasattva and
concluding with Vajråveßa. After that, he envisages two eyes having the form of

271
. Tibetan A, me tog.
272
. Sanskrit A, 145.4-148.6; Tibetan A, 143.1.3-4.6.

106
solar and lunar discs generated from the syllable Ja˙. He recites “Oµ bright vision
come Ja˙,” and blinking his eyes, he summons Locanå and the other goddess with a
hook, and by admonishing them with Vairocana and the other Buddhas, and then
dissolves them into the threads having their corresponding colours. He offers flowers
and other items of worship, and then bows down.
Next, Reciting “Vajradhåtu” he envisages himself as Vairocana, and reciting
“Vajrakarma” he envisages his assistant as Vajrakarma. They grasp the thread with
their left fists and hold it at the navels. They rouse the thread with the syllable Ja˙,
and then facing each other from west and east, and again from south and north, they
cast the two brahmasËtras in the intermediate space (antarik∑a). Then, holding vajras
in their right hands, they grasp the thread with the thumb and forefinger, and snap
their fingers. This is repeated when casting all the remaining threads. They recite:
“Oµ samayasËtram måtikrama H˵ Oµ H˵ Svåhå.”
They alert the Tathågatas with the above mantra and with the thread's humming
sound dispersed into space, and envisage the Tathågatas arriving and dissolving into
the thread. The sound of the thread conveys the following verbal meaning: “This is
the time for bringing benefit to living beings. Come.” At all times, the teacher and
his assistant should move clockwise, and assert the sameness (samatå) of all the
directions. They cast two threads into space (khasËtra) and on the ground beneath the
two brahmasËtras. Then, standing in the south-eastern quarter and facing the north,
they cast the thread on the eastern side, and standing in the north-western quarter and
facing the south, they cast the thread on the western side. Next, they cast the threads
on the northern and southern sides. These are the four base lines (mËlasËtra) which
demarcate the inner maˆ∂ala. After that, they cast the side threads of the outer
273
(båhya-) maˆ∂ala. Such is the rite of casting the threads (sËtraˆavidhi).
If there are no omens (animitta), there can be no success (siddhi), and if the thread
breaks the guru will die. If they confuse the directions, the disciple will meet with
misfortune. It is thus necessary to know how to take precautions (pra-tividhåna).
274
Next, on the maˆ∂ala's navel, the teacher should envisage an iron k¥la pro-
duced from the syllable H˵. It is four fingers long, at one end it is pointed, and at
the other end, it is shaped like a five-pronged vajra. He recites the k¥la mantra one
hundred and eight times, and then hammers it down with a vajra-hammer, while
reciting the hammering mantra (åko†anamantra):
“Oµ vajra wrath, pin down the body, speech and mind of all the wicked
spirits (vighna) H˵ Phat. Oµ vajra-hammer, peg in the k¥la H˵ Pha†.”
Starting with the north-eastern direction and proceeding in clockwise order, they
should demarcate the circular lines (vartulasËtra). At the end of casting the threads,
the teacher offers a bali and the articles of worship, and discharges the knowledge-

273
. Sanskrit A, 147.6; Sanskrit B, 66a.8; Tibetan A, 143.4.6.
274
. Sanskrit A, 148.3; Tibetan A, 143.4.3.

107
threads into the hearts of the Tathågatas positioned in space: “Oµ Ó˙ H˵ vajra
Mu˙.” The threads are invited to leave and to abide in the sky. The material threads
of five colours are deposited in a suitable place.
275
Erasing the outer maˆ∂ala
Upon the completion of casting the threads, the teacher dissolves the k¥la fixed on
the maˆ∂ala's navel into the vajra held in his hand, and fills the hole with powders
(ra∫ga) of five colours. After that, he proceeds to execute the rite of effacing
(lopana). It is said that this activity epitomises the effacing of the obstruction
(åvaraˆa) which was removed (vibandhabhËta) at the liberation-portal of the Lord's
276
body. This rite is executed in the following way. The teacher recites the syllable
H¥˙ and envisages his eyes transformed into solar and lunar discs, and then
emulating the gaze of wrathful deities, he recites H¥˙ H¥˙, and gathering the mudrå,
he executes the activity of effacing. First he effaces the four markings (rekhå) in the
middle of the four portals. Next, he effaces the four lines inside the lintels (niryËha),
and then progressively all the remaining lines of the outer maˆ∂ala, concluding with
the outermost lines (ߥr∑a). It is said that in total he effaces sixty-four lines on the
sections allocated to the deities (deva-pa††ikå).
It is said at the end of this section that since the casting of the threads (sËtra-
påtana), the scattering of powders (rajaspåtana), and the dispelling of the adverse
forces (vighnanivåraˆa) are explained in other books (grantha), they are not treated
here.
277
Maˆ∂ala lines as explained in the tantras
Next the text provides a résumé of the treatment of the maˆ∂ala threads (sËtra) as
specified in the tantras, but without referring to any tantra titles.
A wise person should cast the maˆ∂ala lines with threads that are new, well made
and properly measured. He casts the threads of the outer maˆ∂ala (båhya-maˆ∂ala),
which is square (caturasra), adorned with four portals (caturdvåra) and four toraˆas,
fastened with four cords (catu˙sËtra), decorated with silk strips, garlands, girdles
(pa†asragdåmabhË∑ita), and studded with vajra-jewels (vajraratna) on the corner
sections (koˆabhåga) and the junctions of the door lintels (dvåraniryËhasandhi).
After that, he casts the threads inside the inner city (abhyantarapura) adorned with
eight columns (stambha). Directing himself towards all the directions in turn, he
marks the maˆ∂ala threads. Facing from the east, west and north, he casts the eight
maˆ∂ala threads. The palace of the inner maˆ∂ala (abhyantaramaˆ∂ala) is half the
size of the outer maˆ∂ala. It is square, and it has four portals, ramparts (vedikå), and
tympanums (toraˆa) encircled with vajra-cords (vajrasËtra).

275
. båhyamaˆ∂ala-lopanavidhi. Sanskrit A, 149.1-150.4; Tibetan A, 143.4.6-144.1.2.
276
. bhagavanmËrtimok∑advåra.
277
. Sanskrit A, 150.5-152.6; Tibetan A, 144.1.2-144.3.5.

108
 278
Application of coloured powders
The teacher should summon the deities and display their mudrås in accordance with
the procedure explained later. First, he offers an outer bali (båhyabali) to Indra and
the other lokapålas. He eliminates bad omens by ringing the bell and chanting the
following vajra-song (vajrag¥tikå):
“This is the pure dharmadhåtu, the liberator (pramocaka) of the entire realm
of living beings (sattvadhåtu), the abode of the self-arisen Lord Vairocana
and all the Tathågatas, who abide inside this circular complex completely
free of all defects (do∑a).”
He asserts himself as Vajradhåtu, and standing inside the inner maˆ∂ala, he recites
“Oµ vajracita samayara∫ga Oµ H˵,” and with the left vajra-fist and the right hand
marked with a vajra, he distributes (påtana) the coloured powders (ra∫ga) in a
clockwise way, beginning with the north-easter quarter. Lines that are too thick bring
diseases, thin lines induce the loss of wealth, crooked lines agitate hatred, and broken
lines cause the death of both the teacher and the disci-ple. If one does not proceed in
clockwise order, the powders become transformed into k¥las. When the colours
mingle, they cause the break up of families. In order to avoid all such ills, one should
draw the lines (vajrarekha) in a flawless way.
Proceeding in correct order from the outside, in the case of Vairocana the se-
quence of the colours is blue, yellow, red, green, and white; for Ak∑obhya white,
yellow, red, green, and blue; for Ratnasambhava white, blue, red, green, and yellow;
for Amitåbha white, yellow, blue, green and red; for Amoghasiddhi white, yellow,
red, blue and green.
It is said in the tantras that the five prongs of the vajra have the nature of sap-phire
(n¥la)—blue, gold (sauvarˆa)—yellow, ruby (padmaråga)—red, emerald
(mårakat¥)—green, and cowry (ßveta)—white. The five powders are said to have the
same colours. When the teacher draws the lines, he must always hold a vajra and a
bell, and remain fully alert. It is said that in order to eliminate the harm arising from
stepping over the powders and lines, he should recite this mantra: “Oµ
vajravegåkrama H˵.”
279
Deposition of the emblems of the Vajradhåtu maˆ∂ala
Next, the teacher draws variegated lotuses (vißvapadma) to serve as the seats for the
emblems (cihna) of the fifty-three deities. The emblems of the deities should be
arranged on lunar discs positioned over the pericarps of lotuses. The arrange-ment of
the emblems is as follows.
280
Inner maˆ∂ala (abhyantaramaˆ∂ala):

278
. Sanskrit A, 151.3; Sanskrit B67b.1; Tibetan A, 144.1.8.
279
. devatåcihnapåtana. Sanskrit A, 152.6-155.1; Tibetan A, 144.3.5-144.5.5.
280
. Sanskrit A, 153.1; Tibetan A, 144.3.5.

109
 Centre: a white five-pronged vajra for the Buddha Mahåvairocana; in front of
him, a red five-pronged vajra for Sattvavajr¥; to his right, a red wish-
granting gem (cintåmaˆi) marked with a five-pronged vajra for
Ratnavajr¥; at his back, a white-red, sixteen-petalled lotus, or an eight-
petalled lotus marked with a vajra, for Dharmavajr¥; to his left, a five-
coloured and twelve-pronged vißvavajra for Karmavajr¥. The ground at
the centre is white, at the front (east) blue, to the right (south) yellow, at
the back (west) red, and to the left (north) green.
Eastern maˆ∂ala: a blue five-pronged vajra for the Buddha Ak∑obhya; a white
vajra for Vajrasattva; a hook (a∫kußa) marked with a vajra for Vajraråja;
an arrow (våˆa) for Vajraråga; a pair of hands with a vajra sounding the
sådhukåra for Vajrasådhu.
Southern maˆ∂ala: a jewel (ratna) marked with a vajra for the Buddha
Ratnasambhava; a jewel-garland (ratnamålå) marked with a vajra for
Vajraratna; a solar disc (sËrya) for Vajratejas; a wish-granting banner
(cintåmaˆidhvaja) for Vajraketu; an ivory garland (dantapa∫kti) marked
with a vajra for Vajrahåsa.
Western maˆ∂ala: a padma marked with a vajra for the Buddha Ami-tåbha; a
padma with a stalk for Vajradharma; a sword (kha∂ga) and a book
(pustaka) for Vajrat¥k∑ˆa; a yellow eight-spoked wheel (cakra) for
Vajrahetu; a conch (dharmaßa∫kha) for Vajrabhå∑a.
Northern maˆ∂ala: a vißvavajra for the Buddha Amoghasiddhi; also a
vißvavajra for Vajrakarma; a cuirass (saµnåha) for Vajrarak∑a; a pair of
fangs (daµ∑†ra) marked with vajras for Vajrayak∑a; a yellow five-
pronged vajra held with vajra-fists for Vajrasandhi.
South-eastern and other corners: two vajras for Vajralåsyå; a jewel-garland
(ratnamålå) for Vajramålå; a v¥ˆå for Vajrag¥tå; two hands marked with a
three-pronged vajra for Vajran®tyå.
Outer maˆ∂ala (båhyamaˆ∂ala):
In the south-eastern and other corners: a frankincense spoon (dhËpa-
ka†acchuka) for VajradhËpå; a flower-basket (pu∑pakaraˆ∂aka) for
Vajrapu∑på; a lamp-wick (d¥paya∑†i) for Vajrad¥på; a yellow incense
conch (gandhaßa∫kha) for Vajragandhå.
On the eastern and other flanks, along the portals: a någa-flower (någa-pu∑pa)
for Maitreya; a lotus with an eye (sanetråmbhoja) for Amo-ghadarßin; a
hook (a∫kußa) for Sarvåpåyaµjaha; a club (daˆ∂a) for
Sarvaßokatamonirghåtanamati; a conch (ßa∫kha) for Gandhahasti; a
sword (kha∂ga) for ÍËraµgama; a treasure chest on a lotus (sad-
dharmagañja) for Gaganagañja; a wish-granting banner (cintåmaˆi-
dhvaja) for Jñånaketu; a vase (kalaßa) for Am®taprabha; a lunar disc
(candra) for Candraprabha; a blazing jewel (jvålåratna) for Bhadra-påla;
a vajra-tent (vajrapañjara) for Jålin¥prabha; a blue lotus with a vajra

110
 (savajran¥lotpala) for Vajragarbha; a vase of fortune (bhadra-gha†a) for
Ak∑ayamati; a jewel-crest on a lotus (padmastharatnakˆa) for
Pratibhånakˆa; and a jewel-cluster (ratnamañjar¥) for Samanta-bhadra.
On the eastern and other portals: a hook (a∫kußa) for Vajrå∫kußa; a noose
(påßa) for Vajrapåßa; a fetter (ß®∫khala) for Vajraspho†a; and a bell
marked with a vajra (vajrå∫kitaghaˆ†å) for Vajråveßa.
281
This completes the process of demarcating the emblems of the deities.
On the outer sections of the demarcated powder (rajo-)maˆ∂ala, the teacher
scatters the five cow products (pañcagavya) recited over with the mantra of
Vajraßikhara, the five ambrosias (pañcåm®ta) recited over with the mantra of
Vajrayak∑a, and scented water (gandhodaka). He also deposits all kinds of grain
(vr¥hi) recited over with the mantra of Vajrakarma, and arranges flowers (pu∑pa).
Then reciting “Oµ Ó˙ H˵ vajra Mu˙” over the remaining powders, he requests the
knowledge-powder (jñånarajas) to depart, and deposits the powder vessels
(rajobhåˆ∂a) in a secluded place. This concludes the rite of applying the powders
282
(rajaspåtanavidhi).
V. Tantra consecrations conferred on the disciple283
Installing the powdered maˆ∂ala
At the outset, just as before, the teacher offers a large bali outside the periphery of
the maˆ∂ala, and installs and arranges the vases following the procedure described in
Chapter Three. Next, he instantly envisages himself as the chief deity (cakreßa) and
executes the activities relating to the drawn (likhita-)maˆ∂ala, namely the
visualisation of the protective circle (rak∑åcakra), hurling the k¥las at the obstructive
forces (vighnak¥lana), and so forth. He envisages the maˆ∂ala's design (rËpa),
summons the knowledge-beings, offers the articles of worships, recites praises, and
infuses the knowledge-beings into the pledge-retinue (samaya-cakra). He blesses
them by reciting the mantra of the chief deity one hundred and eight times, and the
mantras of the remaining maˆ∂ala members (måˆ∂a-leya) twenty-one times. He
presents the five articles of worship (pañcopahåra), executes the eightfold rite with
Låsyå and other goddesses, and offers a bali and food (naivedya). This concludes the
284
procedure of installing the maˆ∂ala (maˆ∂a-lådhivåsana).
Every day from the time of demarcating the maˆ∂ala lines (sËtrapåtana) and up to
the time of depositing the fire (agnisthåpana), the teacher should execute three times
per day (trisaµdhya) the three samådhis, recite the Prajñåpåramitå and other
scriptures, and offer the articles of outer worship. He should also convene the
nocturnal gatherings (råtr¥gaˆacakra). Whenever he steps outside the maˆ∂ala in

281
. Sanskrit A, 155.1: ; Tibetan A, 144.5.5:
282
. Sanskrit A, 155.3; Tibetan A, 144.5.8.
283
. Sanskrit A, 155.4-179.5; Tibetan A, 144.5.8-149.5.4.
284
. Sanskrit A, 156.1; Tibetan A, 145.1.5.

111
order to offer balis, and then returns inside the maˆ∂ala, he should execute the
relevant hand gestures and enact the relevant bodily postures. Every day, he offers
worship with flowers and other articles, envisages himself entering the maˆ∂ala,
285
makes prostrations, and executes the related recitations.
286
Installing the disciple
Next, the teacher executes the rite of installing his disciple (ßißyådhivåsana). The
disciple asks the teacher to grant him entrance into the maˆ∂ala, the essence of the
pledges, the thought of enlightenment, the threefold refuge, and the entrance into the
287
city of great liberation (mahåmok∑apura). The teacher responds:
“Come my dear, I shall disclose to you the rite (vidhi) of the Mahåyåna and
mantra path and method (caryånaya). You are a worthy vessel to follow this
supreme method (mahånaya). Being endowed with the body, speech and
mind vajras, the Buddhas of the three times have gained the unparalleled
knowledge through the power of the vajramantra. It was through the
unparalleled employment of the mantras that Íåkyasiµha and other Buddhas
have destroyed the mighty dreadful power of Måra. They have appeared in
the world, proclaimed the Dharma, and passed into nirvåˆa in conformity
with the worldly conventions (lokånuk®ti). O dear one, make a firm resolution
(mati) to gain omniscience (sarvajñatå).”
The disciple takes the three refuges, confesses sins, rejoices in the merit of living
beings, and holds firmly to the enlightenment of the Buddhas.
The teacher recites “Oµ samaya A˙” and generates a lunar disc inside the
disciple's heart. On the top of the lunar disc, he generates a five-pronged vajra and
fixes it in his heart, while reciting: “Oµ surate samayas tvaµ Ho˙, vajra-siddhya
yathåsukham.” He dips his hand in scented water, and placing it on the disciple's
head, he recites “Oµ vajrasattva H˵.” He envisages Vajraratna on the disciple's
forehead (lalå†a), Vajrapadma on the throat (kaˆ†ha), and Vajrakarma on the head
(mËrdhan), generated respectively from the syllables Traµ, Hr¥˙, and Kaµ. Then
repeating “Oµ vajraratna Tråµ, Oµ vajradharma Hr¥˙, Oµ vajrakarma Kaµ,” he
generates the bodily forms of Vajrasattva and the other three deities, and offers them
scent with the goddess Vajragandhå, flowers with Pu∑på, insence with DhËpå, and
288
light with D¥pa.
Next the teacher recites “Oµ vajrahåsa H˵” and gives the disciple a toothpick
(dantakå∑†ha), twelve fingers long, smeared with milky tree-sap, and fastened with a
flower. The disciple faces the east, looks upwards, and throws the toothpick on
ground the size of the cow's hide. The level of the disciple's pro-spective spiritual

285
. Sanskrit A, 156.1-6; Tibetan A, 145.1.5-2.4.
286
. Sanskrit A, 156.6; Sakurai E, 263.27; Tibetan A, 145.2.4.
287
. Sanskrit A, 157.3; Sakurai E, 264.7; Tibetan A, 145.3.1.
288
. Sanskrit A, 158.4; Sakurai E, 265.2; Tibetan A, 145.4.1.

112
attainments is deduced from the way the toothpick falls to the ground. If it falls down
facing the disciple, he will gain the highest attainment (siddhi); if towards the south,
the success of the peaceful rites (ßåntikasiddhi); if towards the east, the success of
the enriching rites (pau∑†ika); if towards the north, the success of the subduing rites
(vaßya). When the toothpick faces upwards, he will gain the ability to fly in the sky
(khacaratva), and when it faces downwards, he will gain the attainments of the
underworld (påtålasiddhi). Finally, if it falls in an undetermined way (vidiß), his
success will be limited (ßËdrasiddhi).
The teacher gives the disciple three handfuls (culuka) of water blessed with the
mantra of Vajrayak∑a, while reciting “Oµ Hr¥˙, pure Dharma purify all his sins and
remove all false perceptions H˵.” This function represents the lustration of the
mouth (mukhaprak∑ålana).
The teacher makes a cord (sËtra) from three threads, ties three knots, blesses it
289
with the mantra of Vajrarak∑a, and then fastens it on the disciple's left hand. After
that, he inspires the disciple with the following Dharma dispensation
(dharmadeßanå):
“O noble being (mahåtman), today you will attain the unparalleled
unattainable (alåbha). You will be born as an adept of the Mahåyåna, the
dispensation embraced by the noble Buddhas and their sons. You will further
embark on the excellent and glorious path which surpasses the Mahåyåna,
and you will duly become a Tathågata. It is the self-born great destiny
(bhåga), longed for by the entire world, free from existence and non-
existence, and stainless like the sky. It lies beyond all profound spe-culations
(tarka), completely free from all human discourses (prapañca), and yet
propounded through human discourses. It is free from karma and all
activities, and it relies on the two levels of truth (satyadvaya). As it is the best
and most splendid path, I will establish you in the method of its acquisition.”
290
It is in this manner that he should disclose the Dharma dispensation. After
that, he explains the events (utpåda) which are difficult to attain.
“Just as the appearance of the omniscient ones in the world is as rare as the
blossoming of the udumbara flower, so the acquisition of the tantric path and
method (mantracaryånaya) is rare and difficult. Just as one is enabled to
perform unparalleled deeds for the benefit of living beings and to pass into
nirvåˆa, in the same way, the sins committed in the past over many millions
of aeons are removed upon beholding this maˆ∂ala. And what can be said
about those established in the renowned tantric path and method? Upon
reciting the secret mantras of the protectors (tåyin), they gain the highest

289
. The Tibetan versions reads: “on the left shoulder.”
290
. Sanskrit A, 159.5; Sakurai E, 266.4; Tibetan A, 145.5.3.

113
 rank. In the case of those who have a determined trust (mati) in this excellent
291
path, the evil destinies of all sufferings become appeased.”
Next, the teacher blesses a bunch of kußa grass with the mantra of Vajrat¥k∑ˆa, and
gives it to the disciple to serve as a cushion (upadhåna). Then again, he blesses some
more kußa grass with the mantra of Vajrarak∑a, and gives it to the disciple to serve as
bedding (ßayana). After that, he recites the following words:
“Good friend (bhadramukha), please leave. Just as you plainly behold the
great vault of the heavens, in the same way you will fully disclose to me the
things seen in your sleep.”
292
This concludes the activities of installing the disciple (ßi∑yådhivåsana).
Next morning, the teacher questions the disciple about his dreams. If the
disciple's dreams were inauspicious, the teacher makes an aspiration that ulti-mately
all the dharmas are similar to dreams, and recites one hundred and eight times the
293
protective mantra of Vajrayak∑a: “Oµ vajrayak∑a H˵.”
294
Leading the disciple inside the maˆ∂ala
The disciple makes prostrations before the teacher, and holding a flower, he asks for
the liberation from the ocean of existence, the method of the great enlighten-ment
(mahåbodhi), the essence of the pledges (samayatattva), and the thought of
enlightenment (bodhicitta).
The teacher enters the maˆ∂ala and recites the truth-blessing (satyådhi∑†håna):
“The dharmas are like reflected images (pratibimba). They are pure, radi-ant,
undisturbed (anåvila), ungraspable (agråha), inexpressible (anabhi-låpya),
arisen from causes and karma (hetukarma), and born from the essence of
suchness (tathatåtattva). O disciple, it is through this truth that you should
295
behold the stainless reflection of the maˆ∂ala.”
The teacher receives a gift (dak∑iˆå) on the outside of the maˆ∂ala's house (g®ha),
and then envisages the disciple as having the form of Vairocana. Reciting “Oµ
vajrarak∑a H˵,” he blesses a red cloth (vastra) as lower (nivåsana) and upper
(uttar¥ya) garments. Reciting “Oµ vajrayak∑a H˵, Oµ vajrå∫kußa Ja˙, Oµ
vajrapåßa H˵, Oµ vajraspho†a Vaµ, Oµ vajråveßa A˙ Khaµ v¥ra H˵,” he covers
the disciple's eyes with a cloth (pa†a), gives him a flower garland (pu∑pamålå), and
asks: “Ho! In what do you take delight?” The disciple answers: “I am fortunate, I
take delight in the great bliss (mahåsukha).”

291
. Sanskrit A, 160.2; Sakurai E, 266.15; Tibetan A, 145.5.7.
292
. Sanskrit A, 160.4; Sakurai E, 266.22; Tibetan A, 146.1.1.
293
. Sanskrit A, 160.5; Sakurai E, 266. 26; Tibetan A, 146.1.2-6.
294
. Sanskrit A, 160.5-6; Sakurai E, 266.27-267.2; Tibetan A, 146.1.2-4.
295
. Sanskrit A, 161.1; Sakurai E, 267.3; Tibetan A, 146.1.4.

114
 The teacher sprinkles water recited over with the mantra of Vajrayak∑a, and then
placing the vajra at the heart, he binds Sattvavajr¥, while reciting:
“Oµ I raise the thought of all yoga. O divine one, you are the pledge. O vajra
of attainments, you are the pledge.”
Holding a flower garland, he executes the function of summoning and leading into
the maˆ∂ala. He recites “samayas HËm” and then, reciting the mantras of the four
guardians of the maˆ∂ala, he leads the disciple through the eastern portal. He recites
as follows:
“Today you will definitely be established in the Tathågata family. I shall
generate for you the vajra-knowledge (vajrajñåna). Through this know-ledge,
you shall gain the attainments (siddhi) of all the Tathågatas, and certainly all
other attainments. You must not speak to those who have here not seen this
296
maˆ∂ala, and you must not break the pledge.”
The teacher binds the Sattvavajr¥ mudrå and places the vajra on the head of
the disciple with these words:
“This is the pledge-vajra. If you disclose anything, it will split your head. You
must do whatever I order you to do. You must never treat me with disrespect.
If you behave dishonestly, when you die, you will fall into hells.”
Placing the vajra on the disciple's heart, he should say:
“Oµ. Today Vajrasattva himself penetrates into your heart. If you disclose
this method (naya), he will rend you that very moment and depart.”
The teacher takes the five ambrosias (am®ta) placed in a lotus-vase (padma-bhåˆ∂a),
blesses them with the mudrå and mantra of Vajrasattva, and gives them to the
disciple with these words:
“Oµ Ó˙ H˵. This is the water of hell. Whenever you transgress against the
pledge, it will burn you. If you guard the pledge, it will bestow attain-ments.
Drink this ambrosia water! Oµ vajråm®todaka Èha˙.”
The disciple makes a promise (pratijñå), and the teacher pronounces the following
oath (ßapatha):
“From today onwards, you shall consider me as Vajrapåˆi, and you shall do
everything I order you to do. You must not treat me with disrespect. Should
297
you behave dishonestly, when you die, you will certainly fall into hells.”
Next, the disciple says:
“I beseech to be blessed by all the Tathågatas. May Vajrasattva descend upon
me.”
The teacher envisages himself in the form of white Vajrasattva. He envisages in his
heart a beam of rays (raßmimålå) issued from the syllable A˙, and then through the

296
. Sanskrit A, 162.1; Sakurai E, 267.28; Tibetan A, 146.2.4.
297
. Sanskrit A, 162.6; Sakurai E, 268.29; Tibetan A, 146.3.3.

115
transformation of the syllable H˵, he envisages the disciple as having the form of
Vajrasattva. Reciting H˵ Tråµ Hr¥˙ Kaµ, the teacher envis-ages a vajra inside his
heart, a jewel between the eyebrows (Ërˆa), a lotus on the tongue, and a crossed vajra
on the head. Applying the gesture of opening, he opens his own heart and the heart
of his disciple. He draws out the syllable A˙ from the vajra, and envisages the
Tathågatas penetrating into the vajra inside the disciple's heart, and pervading his
entire body. He recites:
“May all the Tathågatas bestow their blessing. May Vajrasattva descend upon
me.”
The vajråcårya promptly binds the Sattvavajr¥ and recites:
“This is your pledge-vajra. Cherish it as Vajrasattva. May the supreme vajra-
knowledge descend upon it.”
Reciting “Oµ vajråveßa A˙,” the teacher should induce the descent of know-ledge.
After that, he displays the samayamudrå of Vajrasattva, and reciting “Hail
Vajrasattva, Hail Vajraratna, Hail Vajradharma, Hail Vajrakarma,” he induces their
298
presence (såµnidhya).
Next, the teacher envisages the disciple as having the bodily form of Vajra-
dharma. He envisages a red vajra on the disciple's tongue, and says: “ti∑†˙a.” This
injunction makes the disciple say truthfully both the good and the evil (ßubhåßubha).
In order to make firm the vajra's descent, he says: “ti∑†ha vajra.” Then the teacher
299
enunciates this truth-blessing (satyådhi∑†håna):
“May the disciple, led by me into this delightful maˆ∂ala, gain the inte-
gration into the family of the appropriate deities (kulakrama) in accord-ance
with his merit. May he become a vessel in the appropriate family in
accordance with his attainments. May he attain the appropriate maˆ∂ala in
accordance with the power of his merit.”
Next the teacher asks the disciple: “What kind of vision do you have in your eyes?”
If he replies that he sees projections of white, yellow, red, black, or green circles of
light, then he should be informed that he will be respectively successful in the
pacifying (ßåntika), enriching (pa∑†ika), subduing (vaßya), and fierce (abhicåra) rites,
and all attainments (siddhi).
Next, the disciple throws the flower garland saying: “prat¥ccha vajra Ho˙.” After
that, the garland is tied on his head with the words: “Oµ pratig®hˆa tvam imam
sattva mahåbala.” The teacher envisages a radiant syllable Oµ on the disciple's eyes,
and removing the blindfold (mukhabandha) he recites:
“Oµ. Today Vajrasattva himself opens your eyes. He opens the vajra-eye, the
supreme all-pervasive eye.”

298
. Sanskrit A, 163.6; Sakurai E, 269.25; Tibetan A, 146.4.3.
299
. Sanskrit A, 164.2; Sakurai E, 270.4; Tibetan A, 146.4.6.

116
The teacher removes completely the blindfold, pronounces “O vajra behold,” and
shows the disciple the deities of the great maˆ∂ala, beginning with Vajrå∫kußa and
ending with Mahåvairocana. Taking account of the way the garland has fallen to the
ground, the teacher should bestow on the disciple the yoga of either the emblem
(cihna) or the emblem-pledge (cihnasamaya) of the relevant deities. Alternatively, he
confers on the disciple the yoga which is suitable for him (bha-vyatå). This
300
concludes the rite of leading the disciple into the maˆ∂ala (ßi∑ya-praveßavidhi).
Four obeisances, confession of sins, vows
Next the disciple makes obeisances (praˆåma) at the four portals of the maˆ∂ala
while reciting the appropriate mantras. Making the pu∑påñjali, and prostrating
himself at the eastern portal, he recites:
“Oµ, as I prostrate before the body, speech and mind of the Tathågatas, I
worship the vajra. May I be blessed by all the Tathågatas. Oµ I offer myself
for the service of worshipping (pËjopasthåna) all the Tathågatas. O
Vajrasattva of all the Tathågatas bestow upon me your blessing.”
He executes similar recitations at the remaining portals, offering himself at the
southern portal for the consecration of worship (pËjåbhi∑eka), at the western portal
for the continuation of worship (pËjåpravartana), and at the northern portal for the
performance of worship (pËjåkarma); and asks to be blessed by Vajraratna (south),
301
Vajradharma (west), and Vajrakarma (north).
The teacher envisages the disciple as being fully confirmed (adhi∑†hita) by the
Tathågatas, and then invigorates his faith (ßraddhå):
“Behold this maˆ∂ala, and generate faith. You have been born in the family
of the Buddhas, and blessed with vidyås and mudrås. You are con-fronted
with excellent advantages (sampad) and the yoga of attainments (siddhi).
Gain the attainments through protecting the pledges, and apply yourself to the
302
practices of the mantras.”
After that, the desciple recites the formula of the confession of sins (påpa-deßanå),
rejoices in the merit (puˆyånumodana) of all the Buddhas and Bodhi-sattvas,
supplicates the Buddhas not to pass into nirvåˆa, and offers his merit and himself for
303
the attainment of buddhahood.
Next, the disciple raises the thought of enlightenment, and recites the vows
304
relating to the Buddha families.

300
. Sanskrit A, 165.1; Sakurai E, 271.1; Tibetan A, 146.5.6.
301
. Sanskrit A, 165.2-166.1; Sakurai A, 17.1-13; Tibetan A, 146.5.6-147.1.3.
302
. Sanskrit A, 166.1; Sakurai A, 17.15; Tibetan A, 146.5.6-147.1.5.
303
. Sanskrit A, 166.2-167.3; Sakurai A, 17.15-18.15; Tibetan A, 147.1.5-3.1.
304
. Sanskrit A, 167.3-168.2; Sakurai A, 18.16-19.7; Tibetan A, 147.2.8-3.7.

117
 “I raise the perfect and highest thought of enlightenment in the same way as it
has been raised by the Buddhas of the three times.
I firmly embrace the threefold morality: the morality of precepts (ߥlaßi-k∑å),
the morality of accumulating wholesome qualities (kußaladhar-maߥla), and
the morality of acting for the benefit of living beings (sattvårthakriyåߥla).
From today onwards, I take the vow born in the Buddha family, the highest
and best Three Jewels: the Buddha, the Dharma, and the Sa∫gha.
In the great Vajra family, I truly grasp the vajra, the bell, and the mudrå, and
receive my teacher.
In the great Ratna family with the pleasing yoga and pledge, I offer the four
305
gifts (caturdåna), six times every day.
In the great Padma family, pure and born from the great enlightenment, I
receive the holy Dharma in its outer, inner and secret Vehicles.
In the great assembly of the Karma family, I truly take on the comprehen-sive
vow of performing the task of worship (pËjakarma) to the best of my abilities.
It is for the benefit of all living beings that I raise the perfect and highest
thought of enlightenment, and embrace this comprehensive vow.
I shall lead to the other shore those who have not as yet reached there. I shall
liberate those who are not liberated, inspire those who are inert, and bring
living beings to emancipation (nirv®ti).”
This concludes the procedure of taking the vows (saµvaragrahaˆa).
Water, diadem, vajra, bell, and name consecrations
After taking the vows, the disciple requests the teacher to be given the non-returning
306
consecration (avaivartyasatseka) and the master transmission (åcårya-parikrama).
307
The first consecration to be bestowed is the water consecration (udakåbhi-∑eka).
The teacher perceives the disciple as Ak∑obhya, and envisages the bestowal of this
consecration with the water from the vases held by Sattvavajr¥ and the other Buddha
goddesses. He recites:
“I bestow this consecration of the great vajra, venerated by the entire three-
fold world, and generated from the repository of the threefold secret (tri-
guhyålaya) of all the Buddhas. Oµ vajråbhi∑iñca H˵.”
The water consecration epitomises the mirror-like wisdom (ådarßajñåna).
Next, envisaging the disciple as Ratnasambhava, the teacher recites: “Oµ
sarvabuddhacË∂åmaˆimuku†a Tråµ abhi∑iñca Tråµ.”

305
. material possessions (åm¥∑a), fearlessness (abhaya), Dharma, benevolence (maitr¥).
306
. Sanskrit A, 168.2: Sakurai A, 19.9; Tibetan A, 147.3.7.
307
. Sanskrit A, 168.2; Sakurai A, 19.13; Tibetan A, 147.3.8.

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Dispensing the water from the vase held by Vajradhåtv¥ßvar¥, he recites “Oµ
vajradhåtv¥ßvari abhi∑iñca H˵,” and envisages on the disciple's u∑ˆ¥∑a the form of
white Vairocana making the gesture of enlightenment (bodhyagr¥mudrå).
Reciting “Oµ vajravajriˆi H˵,” he envisages on the desciple's forehead (lalå†a) the
form of blue Ak∑obhya making the gesture of touching the earth
(bhËmisparßamudrå).
Reciting “Oµ ratnavajriˆi Tråµ,” he envisages on the disciple's right ear the form of
golden Ratnasambhava making the gesture of giving (varadamudrå).
Reciting “Oµ dharmavajriˆi Hr¥˙,” he envisages at the back of the disciple's head
(ßirasp®∑†ha) the form of red Amitåbha making the gesture of meditation
(samådhimudrå).
Finally, reciting “Oµ karmavajriˆi A˙,” he envisages on his left ear the form of
green Amoghasiddhi making the gesture of fearlessness (abhayamudrå).
Such is the diadem consecration (muku†åbhi∑eka) which epitomises the wisdom of
sameness (samatåjñåna).
308
Next comes the vajra consecration (vajråbhi∑eka). The teacher envisages the
disciple as Amitåbha, touches his heart with a vajra, and then depositing the vajra
into the disciple's hand, he says:
“Today I consecrate you with the vajra of all the Buddhas. It is complete
buddhahood (sarvabuddhatva). Accept this vajra for the purpose of your
perfect success (susiddhi).”
He touches the vajra to his heart and then deposits it into the disciple's right hand.
The vajra consecration epitomises the discriminating wisdom (pratyave-k∑aˆajñåna).
309
The bell consecration (ghaˆ†åbhi∑eka) is bestowed in the following way.
Envisaging the disciple as Amoghasiddhi, the teacher recites “Oµ vajrådhipatis tvåm
abhi∑iñcåmi ti∑†ha vajrasamayas tvam,” and deposits the bell into the disciple’s left
hand. This consecration epitomises the active wisdom (k®tyånu-∑†hånajñåna).
310
Next, the teacher bestows the name-consecration (nåmåbhi∑eka). Envisaging the
disciple as Vairocana he recites:
“Oµ vajrasattva tvåm abhi∑iñcåmi vajranåmåbhi∑ekata˙. Hail noble Vajra
and Tathågata of such and such a name, beneath the earth, on the earth, and in
the heavens.” Oµ, hold the vajra and the bell over the head.”
The name-consecration epitomises the wisdom of the perfectly pure dharmadhåtu
(suvißuddhadharmadhåtujñåna).
Upon receiving the above five consecrations (pañcåbhi∑eka), the disciple be-
comes authorised (adhik®ta) to receive the doctrinal transmission (ßravaˆa), and the

308
. Sanskrit A, 169.2; Sakurai A, 20.2; Tibetan A, 147.4.7.
309
. Sanskrit A, 169.4: Sakurai A, 20.7; Tibetan A, 147.5.1.
310
. Sanskrit A, 169.4: Sakurai A, 20.11; Tibetan A, 147.5.2.

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exposition (vyåkhyåna) of the mantras and the tantras. The above five consecrations
are jointly referred to as the wisdom consecration (vidyåbhi∑eka) because they are
bestowed through Sattvavajr¥ and the other Buddha goddesses.
Master consecration
311
Next, the disciple asks for the master consecration (vajråcåryåbhi∑eka):
“O repository of compassion (k®pånidhi), show your kindness (prasåda), and
grant me the master consecration for my own and other people's benefit.”
The teacher envisages the disciple adorned with all kinds of ornaments, and gives
him the vajra generated from the syllable H˵ with the following words:
“This vajra epitomises all buddhahood abiding in the hand of Vajrasattva.
You must always observe this firm commitment (vrata) of Vajrapåˆi. It is the
Being which has no beginning or end (anådinidhana), Vajrasattva Great Joy
(mahårati), Samantabhadra All-essence (sarvåtma), Vajragarbha Master of
Masters (patipati), the Highest Primordial Man (paramådya-puru∑a), the Lord
(bhagavan).”
Over the bell generated from the letter Ó˙, the teacher recites:
“Oµ sarvatathågatasiddhivajrasamaya ti∑†ha e∑a tvåµ dhårayåmi vajra-sattva
H¥˙ H¥˙ H¥˙ H¥˙ H¥˙ H˵.”
He gives the vajra-bell (vajraghaˆ†å) to the disciple saying:
“This is remembered as the companion (anuga) of the wisdom-melody
(prajñågho∑a) of all the Buddhas. The Victorious Ones affirm it as the highest
enlightenment. Hold it firmly forever. Existence (bhava) is pure by its nature
(svabhåva), and by its nature it is free from existence (vibha-v¥k®ta). Excellent
beings, pure by their nature, enact the supreme existence (paramabhava).”
312
Such is the bestowal of the vajra-vow (vajravratadåna).
The teacher continues:
“I bestow this consecration of the great vajra, venerated by the entire
threefold world, and generated from the repository of the threefold secret of
all the Buddhas.”
He makes the gesture of embracing (åli∫gana), and then continues:
“The maˆ∂alapadma epitomises the highest mind maˆ∂ala (mano-maˆ∂ala).
The inner palace (kˆågåra) epitomises knowledge (jñåna) as the most
excellent essence of the mind. The five aggregates (skandha) combined
together (samåsa) are renowned as the five Buddhas.”
Such is the true nature of the maˆ∂ala (maˆ∂alatattva).

311
. Sanskrit A, 169.6; Sakurai A, 20.21; Tibetan A, 147.5.5.
312
. Sanskrit A, 170.4; Sakurai A, 20.11; Tibetan A, 148.1.2.

120
 Next, the teacher proceeds to bestow upon the disciple the authorisation to teach
313
(anujñå). Placing the Dharma-wheel (dharmacakra) between his legs, and
depositing a conch (ßa∫kha) into his right hand, the teacher recites:
“Starting from today, turn the Dharma-wheel solely through generating the
thought of enlightenment (cittotpåda). Fill the supreme Dharma-conch, and
retaining your mind free from attachment (kå∫k∑å) or aversion (vi-mati),
reveal in the world the rite of the mantra path and method (mantra-
caryånayavidhi). This is indeed the informed conduct (k®tajña) which the
Buddhas praise as the helpful companion (upakårin). The Vajradharas protect
you at all times.”
Envisaging the disciple once more as having the bodily form of Vairocana, the
teacher says:
“Turn the Dharma-wheel in all the worlds for the benefit of all living beings,
and in the manner congenial to the potential converts.”
Envisaging the disciple as Ak∑obhya, the teacher recites:
314
“Turn the Vajra, Ratna, Padma and Vißva wheels (cakra).”
Having granted the authorisation to teach, the master binds the fists of the Tathå-
gatas, and then grasping with the left hand his religious garment (c¥vara) in the
region of the heart, and making the gesture of fearlessness with the right hand, he
recites the following prophecy (vyåkaraˆa):
“Oµ. I foretell that you will gain freedom from the evil destinies, appease
existence, and become Vajrasattva and Tathågata. O Vajra of such and such a
name, this is your pledge of attaining buddhahood, beneath the earth, on the
earth, and in the heavens.”
“With this mahåmudrå, displayed in such manner, I make this prophetic
statement disclosing the supreme secret (paramarahasyåbhidhåna). In unison
with Vajrasattva and others, all the Buddhas and Vajradharas, the maˆ∂ala of
the great Bodhisattvas, the maˆ∂ala of the Tathågatas, and the lineage
teachers (samayåcårya), I foretell that you will gain the supreme and perfect
enlightenment, through the mahåmudrå, through the blessing of attaining the
315
supreme secret, and through the power of the mantras.”
316
Next, the teacher recites the words of inspiration (åßvåsa):
“Oµ mahåsamaya hana hana H˵ Ha˙. Having entered and viewed the best,
highest and secret maˆ∂ala, you have become free from all sins. Today you
have become unshakeable. In this vehicle of great bliss (mahå-sukha), there is
no recurrent death for you. In your case the suffering of this life is appeased

313
. Sanskrit A, 170.5-171.3; Sakurai A, 21.22-22.7; Tibetan A, 148.1.4-2.2.
314
. Sanskrit A, 171.2-4; Tibetan A, 148.1.8-2.4.
315
. Sanskrit A, 171.4-172.1; Sakurai A, 22.9-22; Tibetan A, 148.2.4-8.
316
. Sanskrit A, 172.1-6; Sakurai A, 22.23-23.13; Tibetan A.148.2.8-3.6.

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 for the sake of the perfected existence. Do not abandon the thought of
enlightenment, the vajra or the mudrå. It is certain that buddhahood is gained
through the mere generation of the thought of en-lightenment. You must never
oppose or abandon the holy teachings. You must never discourse through
ignorance (ajñåna) or delusion (moha). You must never abandon the vajra, the
bell and the mudrå. You must never disparage your teacher, as he is equal to
all the Buddhas. Abandon your self (åtmå), but do not torture yourself with
austerities (tapas). Hold onto bliss (sukha) with the bliss of a future Buddha.
Adhere to your teacher of the maˆ∂alas, mantras, and tantras. Remain mindful
of the Buddhas, Bodhisattvas and deities. Out of compassion for living beings,
embark with zest on drawing the maˆ∂ala in accordance with the relevant rites
(vidhi), and keep company with the adepts of the mantras.”
Upon completing the recitation of the words of inspiration, the teacher bestows the
317
non-returning consecration (avaivartikåbhi∑eka). The sequence of executing this
consecration is as follows. First, the disciple requests for it with the verses which
start with the words “bodhivajra.” Next, after arranging the required paraphernalia
(upakaraˆa) such as umbrellas (chatra), banners (dhvaja), flags (patåka), a conch
(ßa∫kha), and a wheel (cakra), the teacher envisages the disciple as Vairocana,
adorned with all the appropriate attaire, and seated under a canopy (vitåna) on the
lion throne at the eastern portal of the maˆ∂ala. Above the throne, over a variegated
eight-petalled lotus, he perceives a yogin having the na-ture of his chosen deity
(sve∑†adevatå), and then activating the maˆ∂ala with the rays of light resting inside
the heart of the knowledge-beings, he envisages the maˆ∂ala retinue bestowing upon
his disciple the consecration with umbrellas, banners and other items. The teacher
recites:
“I bestow this consecration of the great vajra, venerated by the entire three-
fold world, and generated from the repository of the threefold secret of all the
Buddhas.”
318
This concludes the åcårya consecration (åcåryåbhi∑eka). It is said that the vase
consecration (kalaßåbhi∑eka) brings the purification of the body (kåya-vißodhana).
319
Secret consecration
Having received the master consecration, the disciple requests the vajråcårya for the
secret consecration (guhyåbhi∑eka):
“You are the adept of the bliss of Vajrasattva. Impassion the Buddhas and
their sons the Bodhisattvas with the delightful rapture (rati) and the great
bliss (mahåsukha), and with the inflamed and sustained meditation on

317
. Sanskrit A, 172.6-173.3; Sakurai A, 23.15-25; Tibetan A, 148.3.6- 4.4.
318
. Sanskrit A, 173.3; Tibetan A, 148.4.4.
319
. Sanskrit A, 173.4-174.1; Sakurai B, 2.7; Tibetan A, 148.4.4-5.1.

122
 emptiness. Arouse with the pure thunderbolt (kulißa) the fervent pledges of
the pure path and the Samantabhadra enlightenment.”
Upon being supplicated in this manner, the vajråcårya should bestow the re-quested
consecration upon the disciple. The disciple presents his own companion (mudrå), or
some other suitable woman, who is beautiful and youthful. After committing her to
the appropriate Buddha family, the teacher purifies her padma and his vajra. Entering
together with her into a meditational trance (samåpatti), he executes the appropriate
friction movement (manthåna), and consolidates the bliss. Upon perceiving the sign
320
(lak∑a), he beholds the disciple, and then deposits the bodhicitta in his mouth with
the thumb and the ring finger. Such is the secret consecration which epitomises the
purification of the speech-vajra (vågvajra).
321
Knowledge of wisdom consecration
Next the disciple makes a petition for the purification of the mind-vajra (citta-vajra).
The teacher calls upon the Tathågatas to act as witnesses, and joining together the
hands of the disciple and the woman, he places his hand on the disciple's head, and
recites as follows:
“This is your charming dhåraˆ¥ whom you should frequent as sanctioned by
the Buddhas. Invigorate the sacred bliss (satsukha) by consolidating the
mystic power (cakrakramaprayoga). There is no buddhahood through any
other method (upåya). Thus, this vidyå is the best. All the dharmas are non-
dual (advaya), and they are characterised by the nature of non-duality. Should
you separate from her, you will forever drift in the sea of existence (saµsåra).
This is the supreme injunction of the Vidyås (vidyåvrata) of all the
Tathågatas. Those confused people (mË∂ha) who violate it, never gain the
highest attainment (siddhi).”
Then the prajñå should say:
“O dear one (vatsa), are you prepared to act with courage or not? Do par-take
of excrement (vi†), urine (mËtra) and other nutrients (bhak∑aˆa). Like-wise,
partake of blood (rakta), semen (ßukra), and flesh (måµsa), demon-strate great
devotion (bhakti) to women (str¥), and execute with pleasure the kissing
(cumbana) of the vagina's lotus (bhagapadma).”
The upåya should reply:
“O goddess, why should I not be brave and partake of blood, semen and the
rest? I shall always honour women and kiss their vaginas.”
“Ah! This is my lotus endowed with all happiness. I stand before the one who
should be duly honoured in conformity with the mandate (vidhåna). I shall
duly perform inside the lotus the things that are proper to do, namely the

320
. The Sanskrit reads: “he binds the desciple's face.”
321
. Sanskrit A, 174.2; Sakurai C, 20.4; Tibetan A, 148.5.1.

123
 Buddha adoration (årådhana) and other activities. I abide here firmly as the
king of great happiness (mahåsukharåja). Bhaja mok∑am Ho˙.”
322
Such is the blessing of the vajra and the padma (vajrapadmådhi∑†håna).
Next, the disciple stimulates with one finger (a∫guli) the appropriate vein (nå∂¥)
inside Vajradhåtv¥ßvar¥ while reciting:
“Oµ sarvatathågatånurågeˆa vajrasvabhåvåtmako 'ham.”
After that, he begins the sexual union (rati). He inserts his vajra inside the padma,
but he must not release the bodhicitta. Having aroused rapturous joy (ånanda), he
generates the citta and meditates. So long as the yogin does not release the
bodhicitta, he gains the sustained bliss (sukha) generated from this rapture. Once the
bodhicitta descends, it becomes the repository of all attain-ments (siddhinidhånaka),
and once the skandhas and vijñåna fall into a swoon, the result is the faultless apex-
attainment (kˆasiddhi). The great and wondrous bliss (mahådbhutasukha) generated
through the union of the space element and the vajra (khadhåtuvajrasaµyoga), and
through mutual touching (saµsparßa), induces supreme joy (paramånanda). On
discerning the sign (lak∑a) amid this final mutual pleasuring, he should make it firm.
As a result of the tension on the sides of the erected jewel (maˆi) inside the kamala
seat, he perceives the citta emerged on the tip of the jewel. That which has emerged
is knowledge (jñåna), knowledge as the pure body. He must cling neither to passion
(råga) nor to aversion (viråga), nor assume an intermediate disposition (madhyama).
Once the yogin has the vision of knowledge (jñånad®∑†i), he should consistently
abide in bliss through the application of knowledge, for one watch (prahara), one day
(ahan), half a month (pak∑a), one month (måsa), one year (vatsara), or one thousand
kalpas, one after another.
Upon beholding the meditational proficiency of the disciple issuing from his heart,
the master should place in his citta the four goddesses, Moha, Rati and others. On his
part, the disciple releases them inside the lotus (kamalodara). After that, he seizes
with the rasanå the citta as the herald of the bodhi. This concludes the knowledge of
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wisdom consecration (prajñåjñånåbhi∑ekavidhi).
324
Fourth consecration
The fourth consecration is said to be the jewel of consecrations (abhi∑ekaratna), and
it constitutes the fruit (phala) of the consecration explained above in which the
knowledge of wisdom is grasped in an intuitive way (såk∑ådg®hitaprajñå-jñåna). The
purpose of the fourth consecration is to purify that knowledge (jñånavißodhana). It is
explained differently out of concern that harm may be done to the commitment
(samayak∑ati) which in fact is not different.

322
. Sanskrit A, 175.1; Sakurai B, 21.5; Tibetan A, 148.5.8.
323
. Sanskrit A, 176.1; Sakurai C, 22.2; Tibetan A, 149.1.7.
324
. Sanskrit A, 176.1-179.5; Sakurai D, 112.23; Tibetan A, 149.1.7-5.4.

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 The yogin who is not properly initiated (nåbhi∑ikta) simply deceives the nature of
yoga (yogitva). He is similar to someone attempting to strike the sky with his fist or
to suckle a thirsty deer. Thus, having bestowed the above conse-cration in
conformity with the explained rites, the disciple's aspiration (adhi-mukti) must be
properly ascertained. If he truly aspires to the illustrious and profound method
(udåragambh¥ranaya), the jewel of consecrations (abhi∑eka-ratna) should be
bestowed with words (våc).
Since this consecration is considered as not being different, then how should it be
understood (avagantavya)? When someone with noble intentions (udå-rådhimukta)
requests for it, then it should be duly bestowed upon discerning the right signs. It has
been said that just as one knows that there is fire or water upon seeing smoke or
cranes, in the same way, the learned teacher (paˆ∂ita), upon perceiving the sign
(nimitta) of the Bodhisattva lineage (gotra), and upon beholding a true outburst of
joy arising from the body, should accept such a genuine disciple.
The Buddha has stated in the tantras that the consecration bestowed in three steps is
undivided (abhinna). There are the master (åcårya), the secret (guhya), and the
wisdom (prajñå) consecrations, and then accordingly, the fourth conse-cration
(caturtha). There is the smiling, beholding, and holding hands, and then the united
couple (dvaµdva). There is the first joy (prathamånanda), the supreme joy
(paramånanda), and the joyless joy (viramånanda), and then the innate joy
(sahajånanda). The first joy is described as lovely (vicitra), the supreme joy as
maturation (vipåka), the joyless joy as contact (vimarda) and the innate joy as
characteristic-free (vilak∑aˆa). The lovely is explained in a variety of ways, such as
embracing (åli∫gana), kissing (cumbana) and so forth. Maturation is the inversion
(viparyåsa) of that, and constitutes the enjoyment (bhujana) of the knowledge of
bliss (sukhajñåna). Contact is explained as reflection (ålocana) in the sense of self-
realisation of the enjoyed bliss. The characteristic-free is different from the above
three, as it is exempt from passion and dispassion (rågåråga-vivarjita). It is said:
“One must never adhere to passion (råga) or to aversion (viråga), or to assume an
intermediate disposition. The innate enlightenment (sahajasaµbodhi) constitutes
freedom from these three dispositions.” The interpretation of this statement is given
in the Guhyasamåja. The union of the sådhya and the sådhana is called veneration
(sevå). The union of the vajra and the padma is called the upasådhana. When the
sådhana is endowed with the syllables H˵ and Pha†, it is called vibration (cålana).
The mahåsådhana in its true nature (svabhåva) is said to be self-bliss (svasukha) and
tranquillity (ßånta). The joy (ånanda) is the result of the vajra-penetration
(vajrapraveßa) of the sådhya and the sådhana. The supreme joy (paramånada) is the
result of the unbroken vibration (atyantacålana) of the bodhicitta. The shedding
(cyuti) is the joyless (virama). When in the midst (madhya) of these two, there comes
peaceful self-bliss (svasukha); at that time, the sådhya is the innate joy
(sahajånanada). Such is the interpretation of the above quoted verses.

125
It is said that, when in the midst of the timeless (anådyananta) there is neither
existence (bhava) nor nirvåˆa, then this constitutes the supreme great joy (para-
325
mamahåsukha) of self-realisation.
It is further said: “The supreme joy (paramånanda) is existence (bhava), nir-våˆa
derives from dispassion (viråga), the middle one (madhya) is simply joy
(ånandamåtra), and the innate (sahaja) is free of all three. Once the supreme joy is
gained, in that very instant there is freedom from multiplicity (nånåtva). The Teacher
said: ‘Vajrasattva, adhere to the great bliss (mahåsukha), and act for the benefit of
living beings till the limit of enlightenment.’”
Why is this threefold group (tridhå) said to be undivided (abhinna)? It is on
account of the identity (ananyatva) of the cause and the result (phalahetu) that this
threefold group has been proclaimed. The fourfold group (caturvidha) is due to the
proclamation (prakåßatva) in the midst of the dual joyless joy (vira-månandayor).
How is this to be understood? This is explained through such passages as this:
“Vajradh®k abides neither in the emptiness (ßËnya) nor in the non-emptiness
(aßËnya) of the highest (parama), final (anta) or intermediate (madhya) joyless joy
(virama).” How should one understand in this context the terms empty and non-
empty (ßËnyåßËnya)? The all-pervading sovereignty (vibhu) has the nature of neither
existence nor non-existence (bhåvåbhåva), it is timeless (anådinidhana) and peaceful
(ßånta). The bodhicitta is affirmed as undivided emptiness and compassion
(ßËnyatåkaruˆåbhinna). Such is the view of the doc-trinal treatises (siddhånta).
Through which expedient (upåya) is the bodhicitta to be perfected? This is done
through the maˆ∂ala retinue and other expedients, and through the self-consecration
326
(svådhi∑†håna). How does one attain the unmanifested? Self-aware knowledge
(svasaµvedyajñåna) constitutes the sphere (gocara) beyond verbal discourses
(våkpatha). It is the sacred realm (adhi∑†hånapada), and it has the nature of the
omniscient knowledge (sarvajñajñåna). This is also expressed in a different way:
“The innate (sahaja) is not explained in any way, and it is not grasped in anything. It
makes itself known through merit (puˆya), and through devotion (upasevå) to the
guru. It is through the grace (prasåda) of the guru that there arises the great merit,
327
and the knowledge which constitutes the sphere beyond verbal discourses.” It is
said that the king of bliss (sukharåja) arises in the world of himself (eka) and in
isolation from activities (kåraˆarahita). In the case of things recited from memory
(nigadana), even the omniscient one (sarvajña) is short of words (vacana). The
essence of such things is induced by the disciple through the teacher's speech, but
how can one ever explain the innate state and its immortal flavour? It is far beyond
the sphere of reason (buddhi) and verbal activities. However, it is taught by the guru
through expositions, induced through the tantra methods, and through compassion

325
. Sanskrit A, 177.4; Sakurai D, 110.10; Tibetan A, 149.3.3.
326
. Sanskrit A, 178.2; Sakurai D, 109.1; Tibetan A, 149.4.1.
327
. Sanskrit A, 178.4; Sakurai D, 109.8; Tibetan A, 149.4.3.

126
and other relevant qualities (guˆa), and spontaneously instilled into the heart of the
328
one endowed with faith (ßraddhåvat).
The person whose mind (buddhi) is completely purged from discursive thoughts
329
(vikalpa), in this very world, becomes attached to the true bliss (sat-sukha). Such a
wise person (vidvån) has fulfilled his task (k®tak®tya), and other men treat him with
respect. Thus the genuine disciple (sacchi∑ya), having venerated the perfect guru,
should attain by himself the realisation of the nature of the supreme bliss
(mahåsukharËpa) abiding in the three bodies (kåyatraya). Therefore, the attainment
of the true consecration of the knowledge of wisdom (prajñåjñånasatseka) should be
enunciated with these words:
“Today my birth (janman) and my life (j¥vita) have yielded their fruit (sa-
phala). Today I have been born in the Buddha family, and I am therefore the
son of the Buddhas (buddhaputra).”
Such is the rite of the fourth consecration (caturthåbhi∑ekavidhi).
VI. Fire rites330
The fire rites (agnikriyå) that are explained in this section are the enriching homa and
the one-hundred-thousand homa.
Enriching homa
The text begins with the characteristics of the hearth for the enriching homa
(pau∑†ika). The fireplace (agnikuˆ∂a) for this rite is square, and it is two cubits wide
(dvihasta). The size of the articles used for burning (havyadravya) should be devised
in proportion to the size of the hearth. The hearth is excavated in the ground, and it
has outer and inner raised edges (vedikå). On the outside, it should be decorated with
such things as hoofs (khura), edgings (varaˆ∂a), and so on. Inside the hearth, one
draws an eight-spoked wheel, and on its hub a white five-pronged vajra. On the
cardinal spokes, one draws the emblems of Ak∑obhya and the other Buddhas, and on
top of the raised edges (vedi), one draws garlands made of wheels, vajras, lotuses,
jewels, and crossed vajras. On the corners, one draws combinations of lunar discs
and vajras (candravajr¥). As well as square, the shape of the hearth for this rite can
also be designed like an octagonal jewel (a∑†å∫garatna), a padma, or a wheel (cakra).
On the inner raised edges, the teacher should arrange kußa grass recited over with
the mantra of Vajrasattva. The kußa grass should be of the right size, and it should be
arranged in a clockwise manner with its tips pointing towards the cardinal directions.
The firewood (indhana) is prepared from such trees as palåßa, aßvattha, åmra,
331
udumbara, kadamba, plak∑a, and other sappy kinds of trees. The fire inside the

328
. Sanskrit A, 178.6; Sakurai D, 109.18; Tibetan A, 149.4.6.
329
. Sanskrit A, 179.3; Sakurai D, 108.5; Tibetan A, 149.5.1.
330
. Sanskrit A, 179.5; Sanskrit B, 77a.2; Tibetan A, 149.5.4.
331
. Sanskrit A, 180.5; Sanskrit B, 77a.8; Tibetan A, 150.1.4.

127
hearth is lit with fire brought from the monastic community or the king's palace, or
produced by friction (yajñamanthana) by the king or someone else. The fire is placed
inside the hearth with the mantra “Om blaze with flames H˵ Svåhå.” One should
also offer a large bali.
On the left side of one's seat, one arranges three conches (ßa∫kha), and in front of
them three receiving receptacles (prat¥cchapåtra). The first conch, containing water,
flowers and a bunch of kußa grass, is intended for aspersion (prok∑aˆa). The second
conch, containing honey, milk and flowers, is intended for offering the water for the
face (argha). The third conch, containing scented water and parched grain (låja), is
intended for the feet (pådya) and for sipping (åcamana).
On the right side, one arranges the articles for burning (havyadravya): offertory
wood (samidh), flowers, seeds of beautiful flowers, priya∫gu seeds, sumukha seeds,
någakesara, filaments (kesara) of white lotuses, sarjarasa incense, saffron
(ku∫kuma), camphor (karpËra), white and red sandal (candana), sesame oil (tila-
taila), tree resin (niryåsa), aguru, guggulu, red and black sesame (tila), fruits (phala),
bilva fruits, jujube (kola) fruits, parched grain, red rice (ßåli), corn (dhånya), barley
(yava), wheat (godhËma), beans (må∑a), unhusked grain (taˆ∂u-la), curds (dadhi),
sugar (gu∂a), dËrvå grass, kußa grass, the three sweet things (trimadhura: sugar,
honey, ghee), incense (dhËpa), flowers (pu∑pa), food (nai-vedya), scent (gandha),
wicks (vartikå), and other such things.
Inside the burning hearth, one envisages a padma generated from the syllable
Paµ, on top of it, the fire maˆ∂ala generated from the syllable Raµ, and on top of
that, the fire god Agni issued from the syllable Ruµ. Agni is yellow, and has one
face with three eyes, and four arms. In his left hands, he holds a club (daˆ∂a) and a
pitcher (kamaˆ∂alu). In one right hand he holds a rosary (ak∑amålå), and with the
second right hand, he makes the gesture of giving (varada). He wears a diadem made
of his matted hair (ja†åmuku†a), a sacred thread (yajñopav¥ta) and yellow garments.
Reciting the relevant mantras, one summons the knowledge-fire (jñånågni), and then
sprinkles water. Next, as one recites the mantra of Vajrayak∑a for turning into ashes
all sins (påpa), evil spirits (vighna), and måras, one throws five mustard seeds
(sar∑apa). Reciting the mantra of Vajra-karma whose purpose is the pacification of
the primary and secondary defilements (kleßa and upakleßa), one sprinkles water.
Reciting the mantra of Vajrarak∑a whose purpose is the destruction of all the
obstacles (åvaraˆa), one purifies things with a white dish (ßaråva). Finally, reciting
the mantra of Vajrasandhi whose purpose is the acquisition of merit and knowledge,
one throws in food (bhakta). After that, one sprinkles water (prok∑aˆa) on Agni's
body, offers him the water for the face (argha) on the head, the water for the feet
(pådya) on the feet, and the water for sipping (åcamana) in the mouth, while reciting
the relevant mantras. One also offers an ablution (snåna) with different kinds of
332
scent, and the articles of outer worship (båhyapËjå).

332
. Sanskrit A, 182.4-183.3; Sanskrit B, 77b.9-78a.5; Tibetan A, 150.3.1-7.

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Next, the text describes the sizes and designs of the ladle (påtr¥) and the spoon
333
(sruva) for the homa rites.
Next, one envisages on Agni's tongue a white vajra issued from the syllable Raµ,
and one offers all the articles for burning, while reciting their correspond-ing
334
mantras.
The mantras and the articles offered during the homa rite are said to bring certain
concrete benefits. The homa as such enriches the soil and the fields; the activities
inside the homa hearth enrich the households; ghee (gh®ta) induces the conditions of
success (sampad); firewood (indhana) induces prowess (ßaurya); kußa grass brings
protection (rak∑å); white mustard (siddhårtha) secures paci-fication (ßånti); unhusked
grain (taˆ∂ula) increases prosperity (pu∑†i); sesame (ti-la) destroys sins (påpa); corn
(dhånya) promotes business (artha); beans (må∑a) increase strength (bala); barley
(yava) invigorates spontaneity (vega); dËrvå grass brings long life (åyurv®ddhi);
wheat (godhËma) induces long life and good health (d¥rghåyun¥roga); honey and
milk (madhuk∑¥ra) bestow wisdom (prajñå); curds (dadhi) mixed with sugar (gu∂a)
bestow felicity (saukhya); fruits (phala) bring good fortune (sampatti); bilva fruit
brings sons (putra) and posterity (pautra); padma, utpala and other flowers bring
335
good fortune (saubhågya); lamps increase bodily lustre (tejas); scent (gandha)
336
brings glory (ßr¥); and betel (tåmbËla) induces good fortune (lak∑m¥).
Next the text explains good and bad omens (ßubhåßubhanimitta) that may appear in
337
the fire. When the fire has a one-pointed flame (ekaßikha), it brings good fortune.
When it has four tongues (catu˙ßikha), it brings prosperity (pu∑†i). When it blazes as
one mass (ekapiˆ∂a), it bestows great wealth (mahårtha). When it has two stable
flames, it is average. When its brightness resembles the moonlight (candrakånti) or
gems (maˆi), and when its shape and colour is similar to the moon (indu) and jewels
(ratna), then it brings the destruction of all sins (påpavinåßana), and when its colour
resembles gold (suvarˆa) or topaz (pu∑paråga), it brings good fortune (saµpatti).
When its glow resembles the col-our of saffron (javå), aßoka flower, safflower
(kusumbha), fire-flies (indragopa), coral (vidruma) or gold (kåñcana), then it
procures sovereignty (råjya) and lordship (aißvarya). When it is smokeless, gentle
and bluish like lapis lazuli (vai∂Ërya), it brings good health and long life. When its
smell is similar to that of aguru and campaka trees, lotus flowers, olibanum (sihla),
camphor (karpËra), saffron (ku∫kuma), or musk (kastËrikå), it bestows the mastery
over the different branches of knowledge (vidyåsthånådhipati). When its sound
emulates musical instruments such as lute (v¥ˆå), flute (veˆu), conch (ßa∫kha),

333
. Sanskrit A, 183.3-184.1; Sanskrit B, 78a.5-78b.1; Tibetan A, 150, 3.7-4.5.
334
. Sanskrit A, 184.1-186.1; Sanskrit B, 78b.1-79a.3; Tibetan A, 150.4.5-151.1.1.
335
. Sanskrit B, 79a.6.
336
. Sanskrit A, 186.1-3; Sanskrit B, 79a.3-6; Tibetan A, 151.1.1-5.
337
. Sanskrit A, 186.3-187.5; Sanskrit B, 79a.6-79b.5; Tibetan A, 151.1.5-3.1.

129
copper drum (kåhala), or tambour (m®daµga), it induces all kinds of happiness
(sukha). When its shape resembles such things as banner (dhvaja), vase (kalaßa), fish
(m¥na), lotus (ambhoja), conch (ßa∫kha), sword (kha∂ga), chowrie (cåmara) or
trident (trißËla), elephant (gaja) or horse (aßva), or svastika, ßr¥vatsa, and nandyåvarta
emblems, or again a ladle (ßruva) filled with butter, a clockwise coiled conch
(dak∑iˆåvarta), an umbrella (chatra), or a vajra, it bestows great wealth (ma-hårtha).
When the fire is unsettled and full of smoke, it induces many diseases (roga). The
fire without any glow and with many split tongues of flame brings death (m®tyu).
When it flickers and coils in an anticlockwise manner, it causes the decrease of land
and family (gotra). When the fire is disagreeable and of bad-colour, dark blue or
grey, it destroys all enterprises (sarvårtha). When it has the unpleasant smell of
water-born creatures (jalajapråˆi), or the smell of buffaloes (mahi∑a), cats (mårjåra),
dogs (ßvan), jackals (ß®gåla), crows (kåka), or sweat (sveda), it induces destruction
by the primary elements (dhåtuvinåßa). When the fire crackles with thundering,
rattling, clattering, and other rough sounds, it induces the loss of wealth.
When inauspicious omens (aßubhanimitta) are perceived inside the fire, one should
sprinkle the water from the all-operative vase seven times, and offer an oblation
(åhuti) with seven ladlefuls of butter.
338
Next, having gratified the fire god Vahni, the conveyer of oblations, with the
water for sipping and other articles, the teacher should envisage the trans-cendent
knowledge-fire (lokottarajñånågni), and inside the heart of the blazing god Agni, he
should envisage the knowledge-beings of Vairocana and the other deities of the
maˆ∂ala seated on lunar discs placed over lotuses. He offers the water for the face
and other articles of worship, and then, just as before, he executes the homa. After
that, in order to inject vitality (pråˆa) into the avadhËti channel, the teacher, assisted
by the benefactor (dånapati), offers a full oblation (pËrˆåhuti) with the ladle filled
with melted butter (gh®ta), while reciting his heart mantra three, five, seven, or
twenty-one times. Then, once more he sprin-kles water (prok∑aˆa), presents the
water for sipping (åcamana), offers worship, and recites verses of praise (stuti). After
that, he offers fruits with the following mantra “Oµ Ó˙ samådhiphalåya Svåhå.”
Reciting similar mantras, he offers a piece of cloth (vastra), a betel (tåmbËla), lotuses
and other flowers (pu∑pa), sandal (candana) and other kinds of pleasant scents
(gandha), incense (dhËpa), and lamps (d¥pa).
Next, he places the maˆ∂ala deities within his body, envisages the god Agni, and
offers the water for the face and other articles of outer worship. Next, while reciting
“Oµ Ó˙ consume and eat the remains H˵ Svåhå,” he offers the articles for
burning. He also offers ladlefuls of butter, recites the mantra for the fulfilment of the
desired intentions, and presents the articles of outer worship. Finally, he consecrates
the benefactor (yajamåna) with the jewel vase filled with the knowledge ambrosia

338
. Sanskrit A, 187.6; Sanskrit B, 79b.5; Tibetan A, 151.3.1.

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(jñånåm®ta) and held by the host of deities issued from their seed syllables inside his
339
heart.
Next, the teacher asks to be forgiven for the errors of deficiency and excess
340
(nyËnådhikado∑a) committed during the execution of the above homa.
“O Lord, please abate all the wrongly executed activities (du∑k®ta) which I, a
foolish person, have committed. Please do this for the sake of pro-tecting
living beings.”
He recites many times “Oµ vajrasattva A˙” and the one hundred syllables of
Vajrasattva. After that, he gets up, approaches the outer periphery of the
maˆ∂ala, and offers a bali to Indra and the other lokapålas with appropriate
341
gestures and recitations. Having done this, he returns inside the maˆ∂ala,
offers flowers and other articles of worship, makes three circumambulations
(pradak∑iˆa), and duly arranges pieces of cloth (vastra) and other ornaments.
342
One hundred thousand homa
The quantities of the various articles used for the so called one-hundred-thousand
homa (lak∑åhuta) are specified as follows. One arranges one hundred and eight jars
(gha†ikå) filled with sesame (tila); twenty-five jars filled with melted butter (gh®ta);
one set of twelve jars filled with corn (dhånya), barley (yava), and wheat (godhËma);
nine jars of unhusked grain (taˆ∂ula); ten jars of jujube fruits (kolaphala), parched
grain (låja), and beans (må∑a), or if these are not available (abhåva), twenty-five jars
of bilva fruits. As for the other articles for burning (havya), one uses whatever is
available.
In terms of the offertory wood (samidh), on Sunday (SËrya dina) (one offers)
twelve pieces of arka wood and twenty-five pieces of va†¥ wood; on Monday (Soma)
twenty pieces of palåßa wood and seventeen pieces of åmra wood; on Tuesday
343
(A∫gåraka), twenty-one pieces of khadira wood and sixteen of ßåla wood; on
Wednesday (Budha), twenty-two pieces of apåmårga wood and fifteen pieces of
plak∑a wood; on Thursday (B®haspati), twenty-four pieces of aßvattha and thirteen of
madhuka wood; on Friday (Íukra) nineteen pieces of udumbara and eighteen of
kadamba wood; on Saturday (Íanißcara) fourteen pieces of ßam¥ wood and twenty-
three of aßoka wood. One may use additional wood whenever it is available.
The actual rite (vidhi) of performing this homa is not explained. The text says
only that when this rite is to be performed on such occasions as the consecration
(prati∑†hå) of monasteries and other things, the benefactor (yajñamåna) should go the

339
. Sanskrit A, 189.3; Sanskrit B, 80a.4; Tibetan A, 151. 4.4.
340
. Sanskrit A, 189.3; Sanskrit B, 80a.4; Tibetan A, 151.4.4.
341
. Sanskrit A, 189.4-192.4; Sanskrit B, 80a.5-81a.4; Tibetan A, 151.4.6-152.2.3.
342
. Sanskrit A, 192.5-194.1; Sanskrit B, 81a.5-81b.4; Tibetan A, 152.2.4-3.5.
343
. Sanskrit reads Soma, but corrected to A∫gåraka on the basis of the Tibetan reading Sa
skyes = A∫gåraka.

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teacher's house, make prostrations, offer good scent, flowers, betels, and a pair
(yugala) of cloths (vastra), and then formally request the teacher to conse-crate the
vihåra, to draw the maˆ∂ala and to perform the homa.
VII. Worship of the eight dreadful cemeteries344
The teacher who is due to perform the worship of the eight dreadful cemeteries
(a∑†aßmaßånapËjå) should recite one hundred thousand times the mantra of the
maˆ∂ala's chief deity, and ten thousand times the mantras of the remaining member
deities of the maˆ∂ala (måˆ∂aleya). The arrangement of the cemetery worship is as
follows.
To the east, there are: yellow Brahm別, yellow Íakra, black Asitå∫ga Bhaira-va, a
någakesara tree, and yellow Mahåpadma Någa. Their bali is stained with blood
(rudhira) and studded with five flags (patåka). They should receive their worship on
Sunday (ravivåra), the ninth day of the bright lunar fortnight (prati-pad). The mantras
for this group are as follows.
For the k∑etrapåla: “Oµ Hr¥˙ Ír¥µ H˵ Ha˙ prayogasya vighnanåßåya Pha†
Svåhå.”
For Vinåyaka: “Oµ gaµgaˆapataye nama˙ Svåhå.”
For Kumåra: “Oµ skandhåya nama˙.”
For Mahåkåla: “Oµ mahåkålåya Svåhå.”
For summoning Bhagavat¥: “Oµ brahmåˆi brahmalokaµ avatara ߥ-ghraµ
H˵ Pha† Svåhå.”
For worship: “Oµ Pheµ Pha† brahmåˆye nama˙ Svåhå.”
For Bhairava: Oµ H˵ vajracaˆ∂e Svåhå.”
For the bali: “Oµ Hr¥µ nilåj¥mËtasaµkåßaghoradaµ∑†ra bhayåvaha Ër-
dhvakeßavirËpåk∑a k∑etrapåla v®hadudara H˵ ehy ehi baliµ prati-g®hˆa
hana daha paca ... vighnabhairavarËpeˆa baliµ pratig®hˆa Hr¥˙ Pha†
Svåhå.”
To the north, there are: white Raudri, yellow Kuvera, Kolågiri (Tib. Kolåßiri), red
Caˆ∂a Bhairava, a puµnåga tree, and yellow Ía∫khapåla Någa. They receive a meat
bali (måµsa) on Monday (Soma), the second or the tenth lunar days. The mantras for
this and the remaining groups are similar to the mantras of the first group.
To the south-east, there are: red Kaumår¥, red Vahni, green A††åhåsa Bhairava, a
345
karañja tree, and white Padma Någa. Their bali is made of bones (?), and they
receive their worship on Tuesday (Ma∫gala), the third or the eleventh lunar days.
To the south-west, there are: blue Vai∑ˆav¥, Råk∑asådhipati, Jayant¥, black Unmatta
Bhairaba, a parka†¥ tree, and blue Ananta Någa. Their bali consists of pastry

344
. Sanskrit A, 194.1-197.6; Sanskrit B, 81b.3-82b.7; 152.3.5-153.1.5.
345
. Sanskrit, a†ugaˆ∂a, Tibetan, adhamaˆ∂a.

132
(pi∑†aka), and their worship takes place on Wednesday (Budha), the twelfth or the
fourteenth lunar days.
To the south, there are: red Våråh¥, Yama Ekåµvaka (Tib. Ekaµvikå), red Ka-påla
Bhairava, a cËta tree, and blue Kulika Någa. Their bali is studded with five flags
(patåka), and their worship takes place on Thursday (Guru = B®haspati), the fifth or
the thirteenth lunar days.
To the west, there are: saffron Indr別, Varuˆa, yellow Ruru Bhairava, an aßvattha
tree, and dark blue Karko†a Någa. Their bali consists of fish (matsya), and their
worship is carried out on Friday (Íukra), the sixth or the fourteenth lunar days.
To the north-west, there are: red Cåmuˆ∂¥, Dev¥ko†a, red Saµhåra Bhairava, blue
Våyu, an udumbara tree, and white Våsuki Någa. Their bali is adorned with
vermilion (sindËra), and their worship takes place on Saturday (Íanißcara), the
seventh or the fifteenth lunar days.
To the north-east, there are: white Mahålak∑m¥, red Bh¥∑aˆa Bhairava, k∑etra-påla
Caritra (Carita, Caritrå), a va†a (Tib. nyagrodha) tree, Maheßvara, and red Tak∑aka
Någa. Their bali is variegated, and their worship is offered on the eighth or the new
moon day (amåvåsyå).
The text does not provide any further information on this rite.
VIII. Piˆ∂ikås 346
[This section dealing with the piˆ∂ikås is not entirely clear in some places, because
the text does not provide any background information, and also because it does not
explain the significance of certain activities. The term piˆ∂ikå means a base or
pedestal on which an image, vases, or offerings are placed. However, it appears from
the context of this section that its role and significance are more than just to serve as
a support. The implication is that its overall function is that of an abode allocated to
a specific image or offering.]
Pedestals and multiple worship
On an auspicious day when the planets and lunar mansions are in favourable
combinations, one should set up the pedestals (piˆ∂ikå) of the powder for the
fireplace (agnikuˆ∂arajaspiˆ∂ikå), the ablution facilities (snånapiˆ∂ikå), the vases of
Indra and the other world guardians (lokapålakalaßasthånapiˆ∂ikå), and for the outer
bali (båhyabalipiˆ∂ikå). The size of the rajaspiˆ∂ikå is six small fingers. The
snånapiˆ∂ikå positioned on the eastern or north-eastern side of the maˆ∂alag®ha is
square and its sides are fourteen cubits. The size of the pedestals for the vases of
Indra and others is one cubit (hasta), and that of the bali pedestal fourteen.
Next, the text describes the decorations of the vases (kalaßa). Individual vases
should be decorated with flowers, umbrellas (chatra), pairs of silver eyes (netra-
yuga), golden spots (tilaka), pieces of cloth (vastra), clusters (pu†a) of five jewels
(pañcaratna), clusters of five kinds of grain (pañcavr¥hi), five kinds of medicine

346
. piˆ∂ikåsthåpana. Sanskrit A, 197.6-199.2; Sanskrit B, 82b.7; Tibetan A, 153.1.5-3.6.

133
(pañcau∑adhi), five kinds of shoots (pañcapallava), clusters of five kinds of mustard
(sar∑apapu†a), five ambrosias (pañcåm®ta), five kinds of scent (pañcagandha), five
products of the cow (pañcagavya), five flags (patåka), five threads (sËtra), and six
fruits (phala).
The banners for Brahmå, Indra, P®thiv¥, and Kuvera are yellow; white for Någa,
Á∑åna, Soma, and Varuˆa; red for Vahni and SËrya; black for Råk∑asa; dark blue for
Yama; spotted (ßavala) for Våyu; green (ßyåma) for Vemacitra. They are four cubits
long and one cubit wide.
On the initial day (parikramadivasa), one arranges three thousand clusters of leaves
(parˆapu†a) and balis. Then, on every subsequent day (pratidina), one prepares one
hundred and eight balis, one hundred and eight morcels of food (naivedya), many
different kinds of flowers, flower garlands, different kinds of scent, incense, and
lamps. And again day by day, one arranges four measures (pala) of bdellium
(guggula), one mahåbali made of seven measures (prastha) of unhusked grain
(taˆ∂ula) and two pots (kˆa) of fivefold milk (pañca-dhåråk∑¥ra), two pots of
alcohol (madya), two pots of blood (rudhira), and food (khådya) consisting of fish
(matsya) and flesh (måµsa). Such are the articles for the multiple worship
347
(vividhapËjå).
348
Next, the text explains the quantities for the coloured powders (rajo-vibhåga):
four measures (prastha) of black flour (kålacËrˆa), three measures of white powder
(ßuklarajas), two measures of vermilion (sindËra), one measure of blue powder
(n¥larajas), two measures of yellow powder (p¥tarajas), two pots (kˆa) of green
powder (haritarajas).
When each category of worship (pËjå) is performed, the teacher's equipment should
include the following things: cotton seat (tËlåsana), back bolster (masË-raka),
umbrella (chatra), girdle (ka†ive∑†ana), corslet (kañjcuka), head-dress (ßirove∑†ana),
garment (vastra), golden tilaka, golden rings (suvarˆå∫guli), bracelets (kuˆ∂ala) and
other ornaments (åbharaˆa), and a suitable donation (da-k∑iˆå). In the case of the
dharmabhåˆakas, the equipment for each pËjå includes: cotton seat, umbrella,
349
garment, golden rings, and a suitable donation.
The fireplace (agnikuˆ∂a) is wrapped with pieces of red cloth and with garland made
of flowers, and on the vases are fastened long flower garlands. On each day one also
arranges such items as a sesame vessel (tilakumbha), a sacrificial vase
(yajñakumbha), and a copper pan (tåmracaru). The homa should be performed with
conviction (ßraddhå) and with gold (suvarˆa).
This section ends with a statement that the above matters are not explained in a
comprehensive way.

347
. Sanskrit A, 199.2; Sanskrit B, 83a.7; Tibetan A, 153.2.6.
348
. Sanskrit A, 199.2; Sanskrit B, 83a.7; Tibetan A, 153.2.6.
349
. Sanskrit A, 199.3-5; Sanskrit B, 83a.8-83b.1; Tibetan A, 153.2.7-3.1.

134
Ko∑†haka arrangements for all beings
Next, the text explains the distribution of nine diagrams (ko∑†haka) devised for the
350
piˆ∂ikå allocations (piˆ∂ikåsthåpana).
When the inner space of the residence of the gods (devålaya) is divided up seven
by seven, it yields forty-nine ko∑†hakas. The central ko∑†haka serves as the place of
Brahman (brahmasthåna). The eight adjacent ko∑†hakas are for the gods (devabhåga).
The next sixteen ko∑†hakas are for men (manu∑ya). The next twenty four ko∑†hakas
constitute the allocations for the departed spirits (preta). The space allocated for
animals (tiryag) is evenly positioned at the end of the four ko∑†hakas positioned at
the front of the partition (bhitti). Within the inner area one makes nine ko∑†hakas,
covers them with sand (vålaka) and treads them down. Inside these nine ko∑†hakas,
one deposits five ambrosias, five medicines, five scents, five jewels, and one fastens
them with five threads. One fills them with quicksilver (pårada), covers their
appertures (mukha) with copper (tåmra), and arranges over them nine pots of honey
(madhukumbha). Alternatively, one can arrange five ko∑†hakas, one at the centre and
four towards the north-east and the other intermediate directions. It is also possible to
arrange just one ko∑†haka at the centre. When one fixes the central ko∑†haka, one
recites the deity's mantra one hundred and eight times. When executing the same
activities in the cardinal quarters, one recites the mantras of the corresponding
Tathågatas, and at the north-eastern and the remaining intermediate quarters, one
recites the mantras of the four guardians of the maˆ∂ala portals (dvårapåla).
Alternatively, when the inner space is divided up eight by eight, it yields sixty-four
351
ko∑†hakas. In this arrangement, the four central ko∑†hakas constitute the place of
Brahman. Then, moving progressively outwards, there are twelve ko∑†hakas for the
gods (deva); twenty ko∑†hakas for men (manu∑ya), twenty-eight ko∑†hakas for the
departed spirits (preta).
Finally, when the space is divided up nine by nine, it yields eighty-one ko∑†hakas:
nine ko∑†hakas for Brahman, sixteen for the gods, twenty four for men, and thirty
two for the pretas.
Next, the text explains the purities (vißuddhi) connected with the central and the
surrounding sets of ko∑†hakas of the above groups of forty-nine, sixty-four, and
352
eighty-one ko∑†hakas.
In correspondence with the above divisions, the central group has one, four or nine
ko∑†hakas which serve as the places of Brahman. Brahman as such epito-mises
emancipation (mok∑a). A single square for Brahman epitomises the purity of the
instant enlightenment (ekak∑aˆåbhisambodhi) through the Prajñåpåramitå; four

350
. Sanskrit A, 199.6; Sanskrit B, 83b; Tibetan A, 153.3.3.
351
. Sanskrit A, 200.4; Sanskrit B, 83b.7; Tibetan A, 153.4.1.
352
. Sanskrit A, 201.1; Sanskrit B, 84a.1; Tibetan A, 153.4.4.

135
ko∑†hakas epitomise the purity of the dharmakåya; and nine ko∑†hakas the purity of
omniscience (sarvajñatå).
The second group has eight, twelve or sixteen ko∑†hakas allocated for the gods. In
the case of eight ko∑†hakas positioned in the north-east and the other quarters, the
places (sthåna) are allocated to the following gods: Dh®tarå∑tra, Tråyastrimßa,
VirË∂haka, Yåma, Virupåk∑a, Tu∑ita, Kuvera, and Nirmåˆarati devas. In the case of
twelve ko∑†hakas positioned in the north-east and so forth, the places are allocated to
this group of gods: Dh®tarå∑†ra, Brahmakåyika, Tråyastriµßa, VirË-∂haka,
Brahmapurohita, Yåma, VirËpåk∑a, Mahåbrahma, Tu∑ita, Kuvera, Nirmå-ˆarati, and
Parinirmitavaßavartin. In the case of sixteen ko∑†hakas positioned in the north-east
and so forth, the places are allocated to this combination of gods: Dh®tarå∑†ra,
Par¥ttåbha, Brahmakåyikas, Tråyastriµßa, VirË∂haka, Apramåˆåbha,
Brahmapurohita, Yåma, VirËpåk∑a, Óbhåsvara, Mahåbrahma, Tu∑ita, Kuvera,
Par¥ttaßubhra, Nirmåˆarati, and Parinirmittavaßavartin.
The third group has sixteen, twenty or twenty-four ko∑†hakas which serve as the
places of human beings (manu∑ya). In the group of twenty-four ko∑†hakas po-
sitioned in the north-east and so forth, there are the following places: Priya∫gu,
Kåµsa, Ómalak¥, PËrvavideha (Tib. Videha), Nålikera (Tib. Nålikira), Íveta (Tib.
Ívetata), Yana (Yaˆa), Sakåka, Yava, Jambudv¥pa, Siµhala (Tib. Si∫gala), Varada,
Harikela, Nagnapårßvaka, Aparagodån¥ya, Tåmra, Någa, Vardhamåna, Ratna,
353
Kamara∫ga, Varvara, Uttarakuru (Tib. Kurava), Candra, and Suvarˆa-dv¥pa. In
the group of twenty ko∑†hakas, four names are dropped from the above list of
twenty-four ko∑†hakas, and in the group of sixteen ko∑†hakas, a further four names
are dropped from the same group.
The fourth arrangement has twenty-four, twenty-eight or thirty-two ko∑†hakas which
constitute the places of the pretas. For these three groups, the text gives only two
names, Ca†aka and PËtana, and states that one is free to make one's own allocations
354
in the case of these ko∑†hakas.
Deposition of jewels
Next, the text explains how to perform the activity of concealment (åcchådana) with
355
a gem-stone (ratnaßilå). The piˆ∂ikå of the gem-stone is approximately four
fingers (a∫guli). A short distance behind (p®∑†ha) the gem-stone, one exca-vates
thirteen ko∑†hakas. The central ko∑†haka is for the gods and human beings
(devamanu∑ya). On the outside of that, there are four ko∑†hakas for the cardinal
directions, and still further outside, there are eight ko∑†hakas for the cardinal and
intermediate directions.

353
. Sanskrit B, Kamala A∫ga.
354
. Mahåvyutpatti, 4754-4918, contains a list of one hundred and forty eight names of pretas.
355
. Sanskrit A, 202.3-205; Sanskrit B, 84b.1; Tibetan A, 153.5.8-154.3.5.

136
 356
In the central ko∑†haka, one deposits barley, a pure meteor (tårakå), a b®-hat¥,
and white sandal. On top of that one places a silver padma, and above it a golden
lion (siµha), and then a vajra. One recites one hundred and eight times the following
mantra: “Ó˙ Siµ Ó˙.”
Inside the eastern ko∑†haka, one deposits wheat (godhËma), red arsenic (mana-ßilå),
solanum (kaˆ†akår¥), and musk (kastËrikå). On top of them one places a silver lotus,
a golden elephant (vårin), and a sapphire (indran¥la). The mantra is: “H˵ Ga H˵.”
Inside the southern ko∑†haka, one deposits grain (dhånya), orpiment (haritåla),
sahadeva herbs, and saffron (ku∫kuma). On the top of them one places a silver lotus,
a golden horse (haya), and a topaz (pu∑paråga). The mantra is: “Traµ Baµ Traµ.”
Inside the western ko∑†haka, one places red sesame (tila), vermilion (hi∫gula),
sahadev¥ herbs, and camphor (karpËra). On top of them, one places a silver lotus, a
golden peacock (mayËra), and a ruby (padmaråga). The mantra is: “Hr¥˙ Maµ Hr¥˙.”
Inside the northern ko∑†haka, one places beans (må∑a), blue vitriol (tutthaka),
mountain herbs (?girikarˆikå), and olibanum (silha). On top of them, one places a
silver lotus, a golden garu∂a, and an emerald (marakata). The mantra is: “A Kaµ A.”
The articles deposited inside the remaining eight ko∑†hakas positioned further outside
in the cardinal and intermediate directions are as follows.
Eastern ko∑†haka: white sesame (tila), collyrium ointment (rasåñjana), black root
pigment (añjanåmËlikå), aloe wood (aguru), a golden lotus, a silver lotus, and a
conch (ßa∫kha). The mantra is: “Oµ vajravajriˆi H˵.”
Southern ko∑†haka: mudga beans, koßilå beans, sand (vålaka), a golden lotus, a silver
lotus, and a råjåvartaka gem. The mantra is: “Oµ ratnavajriˆi Tråµ.”
Western ko∑†haka: red rice (ßåli), grain (dhånya), gold (suvarˆa), white mus-tard
(gaurika), lak∑maˆa roots (mËla), red sandal (candana), a golden lotus, a silver lotus,
and a coral (vidruma). The mantra is: “Oµ dharmavajriˆi Hr¥˙.”
Northern ko∑†haka: mustard (sar∑apa), beeswax (måk∑ika), måµs¥ and vi∑ˆu-krånta
plants, a golden lotus, a silver lotus, and gold (kanaka). The mantra is: “Oµ
karmavajriˆi A˙.”
South-eastern ko∑†haka: kulattha beans, mica (abhraka), nutmeg (jåtiphala), granthi
leaves, a golden lotus, a silver lotus, and a pearl (mauktika). The mantra is: “Oµ
vajralåsye H˵.”
South-western ko∑†haka: flax (atas¥), panic seeds (priya∫gu), bha††åraka (plant), lead
(s¥saka), a golden lotus, a silver lotus, and a bh¥∑maka (gem). The mantra is: “Oµ
vajramåle H˵.”
North-western ko∑†haka: black sesame (tila), vermilion (sindËra), cardamom
(sËk∑mailå), jasmine (surabh¥), a golden lotus, a silver lotus, and a lapis lazuli
(vai∂Ërya). The mantra is: “Oµ vajrag¥te Hr¥˙.”

356
. Tibetan reads “silver”.

137
North-eastern ko∑†haka: millet (ßyåmåka), va∫ga and lava∫ga wood, a padma, a
golden lotus, a silver lotus, and a quartz (spha†ika). The mantra is: “Oµ vajran®tye
A˙.”
Next are explaind the different purities (vißuddhi) that are epitomised by the articles
357
inserted inside the ko∑†hakas. The jewels (ratna) epitomise the purity of morality
(ߥlaskandha); medicinal herbs (o∑adhi) the purity of meditation (samådhiskandha);
the dhåtus the purity of wisdom (prajñåskandha); scent (gandha) the purity of
liberation (vimuktiskandha); deposition of the seeds (b¥jasthåpana) the purity of the
vision and knowledge of liberation (vimukti-jñånadarßanaskandha). The deposition
of the vajra (vajrasthåpana) epitomises the purity of the vajrabhËmi; indran¥la
epitomises the purity of the jñånavat¥ bhËmi; pu∑paråga the purity of the
samantaprabhå bhËmi; padmaråga the puri-ty of the dharmameghå bhËmi; marakata
the purity of the sådhumat¥ bhËmi; ßa∫kha the purity of the acalå bhËmi; suvarˆa the
purity of the dËra∫gamå bhËmi; råjåvarta the purity of the abhimukh¥ bhËmi;
vidruma the purity of the sudurjayå bhËmi; spha†ika the purity of the arci∑mat¥
bhËmi; vai∂Ërya the purity of the prabhåkar¥ bhËmi; bh¥∑maka the purity of the
vimalå bhËmi; and muktå the purity of the pramuditå bhËmi. Finally, silver and
golden lotuses epitomise the purity of wisdom and means (prajñopåya).
All the ko∑†hakas should be covered with copper plates (tåmrapa††ikå). This
concludes the rite of depositing jewels (ratnanyåsavidhi).
358
Pedestals for the images
The pedestals (piˆ∂ikå) for the deities that are to be positioned on them are seven
and a half tålas long, five tålas wide, and their height is half the size of their length.
The deities should be positioned in such a way that they view the centres of the
portals (dvåramadhya). [What follows is not quite clear.] When a deity (deva) is in
the centre of the secret (guhyamadhya), it bestows good fortune (saubhågya). When
it is in the centre of the navel (nåbhi), it bestows wealth (artha); when in middle of
the heart, it bestows the Dharma; when in the centre of the throat, it bestows
wisdom; when between the eyebrows (Ërˆå), it bestows liberation (mok∑a). The
pedestals should be placed in their intended positions at an auspicious time of the
day, the planets and the lunar mansions, and in the presence of the gods and men
(devamanu∑ya).
IX. Consecration of the vihåra building359
Once the monastery is built and the plastering work (lepakarma) is completed, one
proceeds to paint the deities and the various decorative motifs (alaµkåra). On the
edges (prånta) of the roofs (pa†ala), one should suspend the things called vijaya and
balikin¥. Around the upper sections of the outer walls, one draws lines of five colours

357
. Sanskrit A, 204.6; Sanskrit B, 85a.6; Tibetan A, 154.2.8.
358
. piˆ∂ikålak∑aˆa. Sanskrit A, 205.5-206.3; Sanskrit B, 85b.3-7; Tibetan A, 154.3.5-154.4.1.
359
. vihåraprati∑†hå. Sanskrit A, 206.3-207.4; Sanskrit B, 85b.7-86a.4; Tibetan A, 154.4.1-5.2.

138
(pañcasËtra), clusters of mustard seeds (sar∑apapo†al¥), leaves of the bodhi tree, balis,
vessels with dËrvå grass (dËrvåkuˆ∂a), and flower garlands. On this occasion one
recites “Oµ svabhåvaßuddhå˙ sarvadharmå˙ svabhåva-ßuddho 'ham,” and one
envisages these things as being similar to space (åkåßa).
Next, one envisages the wind maˆ∂ala from the syllable Yaµ, the fire maˆ∂a-la
from the syllable Raµ, and the great ocean (mahåsamudra) from the syllable Vaµ.
Inside the great ocean, one envisages the golden and square Mahendra maˆ∂ala
generated from the syllable Laµ, and on top of it Mt Sumeru, emerged from the
syllable Suµ and endowed with the nature of four jewels. Above Mt Sumeru, one
envisages a ground generated from the syllable H˵ and having the nature of the
crossed vajra. In the centre of the ground, one envisages a wheel (cakra) generated
from a white syllable Bhr˵ and surmounted by another syllable Bhr˵. One
perceives the syllable Bhr˵ becoming transformed into the body of Vairocana, and
then Vairocana becoming transformed into the vihåra in the form of a palace
(kˆågara). Finally, one demarcates the boundaries (s¥må) by producing a vajra-wall
(pråkåra) and the rest.
Next, one blesses (adhi∑†håna) the monastery with the following mantra re-cited one
hundred and eight times: “Oµ H˵ Hr¥˙ Bhr˵ Khaµ vajr¥bhava d®∂ha ti∑†ha H˵
Khaµ.” One summons the knowledge-being (jñånasattva), sprinkles water
(prok∑aˆa), and offers the water for the face and other articles of worship. One
recites auspicious verses, and then, one consecrates the monastery with the water
sprinkled from the previously explained vases (kalaßa). After that, one offers
worship with flowers and other articles. Then once more, one blesses the monastery
with the following mantra recited seven times: “Oµ suprati∑†ha-vajre Svåhå.” One
sanctifies it (prati∑†hå) with the following mantra:
“Oµ whatever events arise from a cause, the Tathågata has stated their cause,
360
and the great ascetic has also taught their cessation,”
One makes it firm with the one hundred syllables of Vajrasattva, and finally, one
offers a large bali (mahåbali). This concludes the rite of consecrating the monastery
(vihåraprati∑†hå).
X. Measurements and characteristics of images361
In this section, the text explains the measurements and characteristics of the images
that are installed (pratimåsthåpana) inside the monastery. The measure-ments of the
images are given in tålas, måtrikas, and yavas. The summarised characteristics of the
images are as follows.
The heads can be shaped like a sesame (tila), a mango (cËta), a bird's egg
362
(khagåˆ∂a), or a disc (cakra). The text explains in detail the sizes and shapes of

360
. oµ ye dharmå hetuprabhavå hetuµ te∑åµ tathågata˙
hy avadat te∑åµ ca yo nirodha evaµ våd¥ mahåßramaˆa˙.
361
. Sanskrit A, 207.4; Sanskrit B, 86a.4; Tibetan A, 154.5.2.

139
the forehead, eyebrows, eyes, mouth and other features, including the tresses of hair
(ja†åjˆa). The countenances (vadana) of peaceful deities should be permeated with
loveliness (mådhurya), gracefulness (lavaˆa), cheerfulness (prahar∑a), and
auspiciousness (ßubha). The wrathful faces (kruddhavadana) should look scornful
(ka†u), bitter (tikta), distorted (åmla), and vicious (aßukha). When the heads are not
made as specified in the relevant manuals (ßåstra), the benefactor will not live.
However, if they are made as specified in the texts, they bring prosperity (lak∑m¥)
and wealth (dhana).
363
In the case of the bodies (deha), the distance from the base of the clavicles
(?hikkå) up to the navel (nåbhi) is two tålas, and from the navel to the base of the
scrotum (v®∑aˆa) one tåla. The distance from the clavicles to the nipples (cË-cuka),
and from the sides of the neck (gr¥va) to the edges of the shoulders (bhujaߥr∑a), is
one tåla. From the nipples to the navel, there are fourteen måtri-kas. The upper
sections (agra) of the clavicles and the shoulders (aµßa) should form an even line
(samasËtra). The inside (antara) of the armpits (kak∑a) and the breasts (stana) is six
måtrikas. The circumference of the nipples (cËcuka-maˆ∂ala) is two måtrikas, and
their moles (v®tta) are two yavas. The navel's circumference (nåbhimaˆ∂ala) is three
yavas, and the inner navel (nimnanåbhi) coils in a clockwise direction. The buttocks
(nitamba) are two måtrikas, and the scrotum (v®∑aˆa) is three måtrikas. The roots of
the thighs (ËrumËla) are implanted in the middle (madhya) of the navel and the
secret parts (guhya). The shanks (jaµghå) and the thighs are two tålas, the knees
(jånu) four måtrikas, the ankles (gulpha) two måtrikas, and the feet (påda) ten by
eight måtrikas. The upper arms (båhu) are sixteen måtrikas, and the forearms
(prabåhu) eighteen måtrikas. The palms (karatala) are six måtrikas, the middle
fingers six måtrikas, and the thumbs and the little fingers four måtrikas. The head's
circumference (parimaˆ∂ala) is thirty six matrikas. The neck's extent is eight
måtrikas, and its circumference is three times larger. From the armpits downwards to
the middle (madhya), is twenty måtrikas, and the body circumference (pariˆåha) is
five tålas minus two måtrås. The middle expansion (madhyaviståra) of the belly
(udara) is twenty-five måtrikas. The ratio of the roundness of the hips, thighs, and
364
shanks is worked out as three to one.
365
Next, the text comments on the positive qualities (guˆa) of the images. When the
images are made in accordance with the measurements specified in the relevant
manuals (ßåstra), they provide the place with stability (sthiratva). Heads resembling
umbrellas increase wealth, broad eyebrows and foreheads bestow glory (ßr¥), fine

362
. Sanskrit reads khagaˆ∂a, and Tibetan reads bya'i sgo nga = ‘bird's egg. As the precise
meaning of the term khagaˆ∂a is not clear, it has been corrected to khagåˆ∂a on the basis
of the Tibetan translation.
363
. Sanskrit A, 209.4; Sanskrit B, 86b.7; Tibetan A, 155.2.1.
364
. Sanskrit A, 207.4-212.2; Sanskrit B, 86a.4-87b.4; Tibetan A, 154.5.2-155.4.4.
365
. Sanskrit A, 212.2-6; Sanskrit B, 87b.4-8; Tibetan A, 155.4.4-5.1.

140
noses bring happiness to posterity (prajå), lion-like jaws bring great enjoyment
(bhoga), fine chins bestow desired food and beverage, fine ear-lobes give good
hearing, fine throats induce success, lion-like shoulders infuse power and heroism,
elephant-like hands execute all works, lion-like bodies increase crops and success,
fine bellies grant good food, fine thighs increase cattle, antelope-like shanks increase
sons, and finely shaped feet enhance morality and knowledge.
Now follows the description of different kinds of harm (do∑a) that are induced when
366
the bodies are defective or damaged. When the hands, legs, torsos or limbs fall
off, they cause famine and the destruction of the country. Reduced widths induce
starvation for posterity; inferior torsos or noses induce diseases; small eyes or squint-
eyes reduce wealth; inferior or downward directed sight impedes all works and
goals; short noses, ears or fingers destroy success and attainments; short and narrow
pedestals, seats or umbrellas induce the loss of success, unpleasant deaths, and lack
of happiness. Such are said to be the charac-teristics of the images which are nine
tålas tall.
Next the text describes the characteristics of the bodies that are ten, eight, seven, six,
367
five, four, and three tålas tall. This time the measurements are given in tålas,
måtrås, and yavas.
In the case of the images ten tålas tall, the bodily measurements are given as follows.
The head (ßiras) four måtrås; the face (mukha) twelve måtrås; the neck (gr¥va) four
måtrås; the body (deha) twenty-six måtrås; the buttocks (nitamba) four måtrås; the
hips (ka†i) five måtrås; the thighs (Ëru) twenty-six måtrås; the knees (jånu) five
måtrås; the shanks (jaµghå) twenty-six måtrås; the ankles (gulpha) three måtrås;
beneath (adhas) five måtrås; the upper arms (båhu) eighteen måtrås; the forearms
(prabåhu) sixteen måtrås; the (?palms and) fingers (karapallava) twelve måtrås. In
the case of the images ten tålas tall, the total sum (samËha) of måtrås is one hundred
and twenty, and the total number (saµ-khyå) of yavas nine hundred and sixty. In the
case of the images eight tålas tall, the total sum of måtrås is ninety-six, and the total
number of yavas is seven hundred and sixty.
The images of Buddhas, Brahmå, Carcikå (Tib. Cårcika, Carcika), sages (®∑i),
Brahma (Tib. bråhmaˆa), and Råk∑asa are ten tålas tall. The images of gods (Skt
dev¥, Tib. deva) are eight tålas tall, those of human beings (manu∑ya) seven tålas,
those of army generals (senåpati) six tålas, those of wrathful images (krodha) six
tålas, those of ∂åkin¥s five tålas, those of dwarfs (våmana) four tålas, those of
children (Skt båla, Tib. Mahåkåla) four tålas, and those of Vinåyaka (Tib. Gaˆapati)
three tålas.
XI. Consecration of canvases, books and images

366
. Sanskrit A, 212.6-213.5; Sanskrit B, 87b.8-88a.4; Tibetan A, 155.5.1-156.4.2.
367
. Sanskrit A, 213.5-216.3; Sanskrit B, 88a.4-89a.3; Tibetan A, 156.1.2-4.2.

141
[The text states that the next ten rites (daßakriyå) are concerned with canvases (pa†a),
books (pustaka), images (pratimå), and other things. In fact, these ten rites as a group
form the first part of the consecration process. In addition to these ten rites, the text
also explains the procedures of leading the deities into the maˆ∂ala, and of imparting
to them the tantric consecrations. Thus this whole section, which runs practically to
the end of this chapter, has been conveniently divided into three major subsections,
namely the ten rites, leading the deities inside the maˆ∂ala, and the tantric
consecrations.
The ten rites represent a selection of the life-cycle rites adopted from the
Brahmanical tradition. Among the Hindus the life-cycle rites are known as saµ-
368
skåras, and depending on the text, their number varies between ten and six-teen.
Apart from their presence in the Kriyåsaµgraha, the ten rites have been adopted and
369
practised by the Newari Buddhists. The names of the ten rites closely correspond
to the Brahmanical terms, although their ritual content and structure have been recast
and permeated with Buddhist ideas. The procedure of leading the deities inside the
maˆ∂ala, and the tantric consecrations are entirely Buddhist in content and
character.]
A. The ten rites (daßakriyå)
1. Yonißodhana
370
a. Canvases
[The purpose of the canvas rite (pa†avidhi) is the purification and sanctification of
the materials used for painting images, and the blessing of the painter.]
The colours of the four social classes (jåti), namely bråhmaˆa, k∑atriya, vai-ßya
and ßËdra are respectively white, yellow, red, and black.
The paintings should be executed on material woven by a young woman or
procured by a valiant man. To begin with, the teacher offers a bali to the family of
the deity which is to be painted. The deities should be drawn in accordance with the
instructions given in the Kriyå, Caryå, and Yoga tantras.
Next, the teacher executes the three samådhis, and recites the following mantra:
“Oµ nama˙ samantabuddhånåµ sambodhan¥vißuddhånåµ sarvavighna
harantu H˵ H˵ Pha†.”

368
. For studies of the Brahmanical saµskåras, see R.B. Pandey, Hindu Saµskåras, Socio-
Religious Study of the Hindu Sacraments, Delhi, Motilal Banarsidass, 1969; M.
Tachikawa et al., PËjå and Saµskåras, Delhi, Motilal Banarsidass, 2001.
369
. For their lists and insightful discussions see J.K. Locke, Karunamaya, Kathmandu,
Sahayogi Prakashan, 1980, 210-217; D.N. Gellner, Monk, Householder, and Tantric
Priest, Cambridge, Cambridge University Press, 1992, 198-200. For a study of the ten
rites as found in the Kriyåsaµgraha, see R. Tanemura's article which is listed in the
References (Tanemura 2001).
370
. Sanskrit A, 216.3-217.4; Sanskrit B, 89a.4-89b.1; 156.4.2-156.5.2.

142
He blesses the canvas with the mantra “Oµ H˵ Tråµ Hr¥˙ A˙,” and purifies it with
water sprinkled from the all-operative vase, which is filled with water from a
pilgrimage site (t¥rthodaka), five scents (pañcagandha), five ambrosias (pañ-cåm®ta),
and five products of the cow (pañcagavya).
In the case of the deities of the yog¥ and yogin¥ class of the Anuttarayoga tan-tras,
they should be painted on material such as old garments (karpa†a) of brave men who
fell on battlefields (saµgråma), dusty and stained textiles, cemetery rags
(ßmaßånakarpa†a), human skin (naracarman) or skulls (kapåla). The canvas should be
purified with the vase containing cemetery ashes and alcohol (madya).
The teacher suffuses the canvas with the Tathågatas abiding in the essence of the
bodhicitta combining emptiness and compassion. He offers worship with flowers and
other articles of worship, blesses it with the seed syllables of the five Tathågatas, and
fastens it with the five threads (pañcasËtra) in accordance with the relevant rite.
The painter (citrakara) is identified with Vajrakarma, and his palms are marked
with a vajra and a lotus resting on lunar and solar discs. The paint-brush (vartikå)
should be held in the right hand, and it should be suffused with the five wisdoms
(pañcajñåna). After that, the painter embarks on drawing the contours (rekhå) and the
rest.
371
b. Books
In the case of the rite for books (pustakavidhi), in the first instance, the teacher offers
a bali and envisages the scribe (lekhaka) as having the body of Amitåbha (Tib.
Vairocana). He touches the scribe's heart, throat and head, and blesses him with the
syllables H˵ Ó˙ Oµ which rest respectively on a vajra, a lotus, and a wheel. Next,
pronouncing once more H˵ Ó˙ Oµ, the teacher envisages on the scribe's right and
left hands a vajra and a lotus (jalaja) resting on solar and lunar discs.
Next, the teacher blesses the tools of writing. As he holds palm-leaves (tåla-patra),
cotton-paper (tËl¥patra), or birch bark (bhËrjapatra), he envisages them, through the
transformation of the syllable Dh¥˙, as having the nature of the syllables of the
speech-vajra. He recites one hundred and eight times “Oµ vajra-sattva H˵” or
“Oµ vajrayak∑a H˵.”
He envisages the ink (maߥ) as having the nature of the wisdom-knowledge
(prajñåjñåna) in the form of the knowledge-ambrosia (jñånåm®ta) produced through
the transformation of the vajra-particles. He recites one hundred and eight times this
mantra: “Oµ vajradharma Hr¥˙ Svåhå.”
He envisages the reed-pen (lekhan¥) as having the form of the primordial vajra
(paramådyavajra), and recites twenty-one times: “Oµ Dh¥˙ ßrutism®tivijaye
sarvajñånapa†alåpahåriˆi Hr¥˙ Svåhå.” After that, the teacher gives it to the scribe.
The scribe offers a bali, and begins the writing. Finally, things are made firm with
the hundred syllables of Vajrasattva.

371
. Sanskrit A, 217.4-218.3; Sanskrit B, 98b.1-6; Tibetan A, Tibetan A, 156.5.2-157.1.1.

143
 372
c. Images
On the occasions of making images (pratimå), the teacher offers a bali and envis-
ages the craftsman (vijñånin) as having the bodily form of the master (adhipati) of
the deity whose image is to be made. The blessing of the craftsman on the throat and
the rest is done in the same way as in the previous ritual.
Next, the teacher commits into emptiness the pure clay (m®t), beeswax (siktha) and
other articles, and envisages them as having the bodily form of the intended deity
emerged from its seed syllable. In order to purify the relevant articles (vastu) he
recites:
“That which is the nature (svabhåva) of the Tathågatas, that nature is this
world. The Tathågatas have no self-nature (ni˙svabhåva), and this world too
has no self-nature.”
He beholds all the Tathågatas in the sky, offers them worship with flowers and other
articles, and attends on them with Låsyå and the remaining goddesses of offerings.
After that he recites as follows:
“I extend an invitation to all the Tathågatas and Bodhisattvas abiding in the
entire space to come here in order to receive worship in this buddha-made
abode (buddhak®tåvåsa).”
Then, having recited one hundred and eight times the heart mantra of the deity
whose image is to be made, the teacher summons the corresponding knowledge-
being and merges it with the pledge-being. He sprinkles water from the vase, and
offers the five articles of worship (pancopacåra). He recites “Oµ vajrasattva Ó˙” and
displays the pledge-gesture of Vajrasattva. Next, he recites “Oµ vajråveßa Ho˙” and
displays the pledge-gesture of Vajråveßa. Finally, he makes things firm by reciting
three times the one hundred syllables (ßatåk∑ara) of Vajrasattva.
Just as in the previous rituals, the teacher blesses the hands of the artist (ßil-pin),
but on this occasion, he suffuses them with the nature of the family master
(kulådhipati) of the deity whose image is to be made. He applies a tilaka to the
artist's forehead, and offers him a betel (tåmbËla), and other customary items. The
people attending (prek∑akajana) should be treated to betels and other items, and food
(bhojana) and a bali should also be offered. After that, the teacher discharges the
envisaged deity (bhåvikadevatå), and recites a benediction (åߥr-våda) for the
benefactor.
This concludes the purification of the image's birth-receptacle (yonisaµßo-dhana).
373
2. Puµsavana
A wooden rod (ya∑†i) is implanted to serve as the deity's spine (såra). Taking a
golden leaf, the teacher inscribes on it the deity's seed-syllable (h®db¥ja), and then
positioning it in the region of the image's heart, he fastens it with threads spun by a

372
. Sanskrit A, 218.3219.3; Sanskrit B, 89b.6-90a.3; Tibetan A, 157.1.1-2.2.
373
. Sanskrit A, 219.3220.3; Sanskrit 90a.3-9; Tibetan A, 157.2.2-3.1.

144
young woman, covers it with clay (m®ttikå), and performs an ablution (snåna). After
that, perceiving in the sky the deity's seed syllable sustained by the three natures
(tritattva = Oµ Ó˙ H˵) and reinforced by two red Ho˙ sylla-bles resting on lunar
discs, he recites three times the following words:
“Just as all the perfect Buddhas have descended from the Tu∑ita abode into the
womb (kuk∑i) of Måyådev¥, please descend in the same way into this figure
(åk®ti). May I be remembered by the Buddhas residing in all the di-rections. I,
a vajrin of such and such a name, fashion the deities (devatå). It is out of
compassion for my disciples and for the benefit of all living beings that I beg
for the descent of the great knowledge (mahå-jñåna), and for its infusion into
the seed syllable in order to render homage.”
Having made the above supplication, and having offered worship, he disperses rays
of light from the seed syllable in his heart and recites:
“Oµ vajråµkußa b¥jam åkar∑aya Ja˙, Oµ vajrapåßa b¥jaµ praveßaya H˵,
Oµ vajrasphotå b¥jaµ bandhaya Vaµ, Oµ vajråveßa b¥jaµ to∑aya Ho˙.”
Having executed the above activities of summoning and the rest, he recites three
times “samayas tvaµ samaya 'ham,” and installs the seed syllable.
The production (ni∑padåna) of the deities from their seed syllables is known as
impregnation or gestation (puµsavana). One recites the mantras and the one hundred
syllables of Vajrasattva, and one offers the articles of worship, and a bali.
This concludes the rite of impregnation, also known as the rite of implanting the
seed syllables (b¥jådhi∑†hånavidhi).
374
3. S¥måntopanayana
One sets up an ablution platform (snånaved¥) decorated with a canopy (vitåna),
umbrellas (chatra), banners (dhvaja), flags (patåka), and flowers (kusuma). At its
centre, the teacher draws with perfumed powder (pi∑†åtaka) a variegated lotus
(vißvadalakamala) or an eight-petalled lotus (a∑†adalakamala). On the outside of that,
he arranges eight vases (kalaßa). The vases are positioned to the inter-mediate and
cardinal directions, and they are marked with the corresponding emblems (cihna) of
the following deities:
North-eastern vase: Mahåvairocana, Sattvavajr¥, Ratnavajr¥, Dharmavajr¥,
and Karmavajr¥.
Eastern vase: Ak∑obhya, Vajrasattva, Vajraråja, Vajraråga, and Vajraså-dhu.
South-eastern vase: Vajralåsyå, Vajramålå, Vajrag¥tå, Vajran®tyå, Vajra-
dhËpå, Vajrapu∑på, Vajrad¥på, and Vajragandhå.
Southern vase: Ratnasambhava, Vajraratna, Vajratejas, Vajraketu, and
Vajrahåsa.
South-western vase: Vajrå∫kußa, Vajrapåßa, Vajraspho†a, and Vajråveßa.

374
. Sanskrit A, 220.3; Sanskrit B, 90a.9; Tibetan A, 157.3.1.

145
 Western vase: Amitåbha, Vajradharma, Vajrat¥k∑ˆa, Vajrahetu, and Vajra-
bhå∑a.
North-western vase: Maitreya, Amoghadarßin, Sarvåpåyaµjaha, Sarvaßo-
katamonirghåtanamati, Gandhahasti, ÍËraµgama, Gaganagañja,
Jñånaketu, Am®taprabha, Candraprabha, Bhadrapåla, Jalin¥prabha,
Vajragarbha, Ak∑ayamati, Pratibhånakˆa, and Samantabhadra.
Northern vase: Amoghasiddhi, Vajrakarma, Vajrarak∑a, Vajrayak∑a, and
Vajrasandhi.
The teacher mentally enacts (adhimok∑a) the arrangement of the emblems on lion
thrones covered with cloths and positioned on lunar discs. The lunar discs in turn are
placed on a stool (p¥†hikå) which stands on the pericarp (karˆika) of the drawing of
the eight-petalled lotus. Alternatively, he may do without the above ablution
arrangement (snånamaˆ∂ala) and follow different methods of arranging the thrones.
In the case of painted scrolls (pa†a), books (pustaka) and caityas, the facing
direction is the east or another suitable direction.
When the ablution platform is not used, in the case of vihåras, caityas,
gandhaku†¥s, or images, and when there is some disorder that affects the pledge
(prado∑asamaya), one induces the presence of the images and other things before
one, and then facing them, one offers the water for the feet, the water for the face and
other items, and one irradiates them with the mantras for the face water and other
things. On this occasion, the irradiation mantras (n¥råjanamantra) are referred to as
the fire treatment (agnikriyå).
The teacher recites “H˵ Ó˙ Oµ” over the hearts, throats and foreheads of the
images, deposits scent on the hearts, fastens flower garlands on the heads, and offers
the water for the face. Then rotating a lamp (d¥pa) in circles, he recites seven times
“Oµ vajrayak∑a H˵.” Finally, he fumigates them with incense made from ghee
375
(gh®ta) and sarjarasa wood. Such is the irradiation procedure (n¥råjanakrama).
Next, the teacher arranges a bunch of dËrvå grass recited over seven times with
the mantra of Vajrakarma, the five ambrosias consisting of curds (dadhi), milk
(dugdha), ghee (gh®ta), honey (madhu), and sugar (khaˆ∂a) mixed together in a
376
copper vessel (tåmrabhåjana), and the five products of the cow. He blesses them
with the seed syllables Oµ H˵ Tråµ Hr¥˙ A˙, and with this mantra: “Bruµ Óµ
Jriµ Khaµ H˵.” In the case of drawings (citrita), painted scrolls (pa†a), books
(pustaka) and clay products (m®dmaya), he reflects them in a mirror (darpaˆa), and
lustrates them with the water from the vase blessed with the mantras of Maitreya and
other Bodhisattvas, and by reciting auspicious verses (maˆgalagåthå):
“The monastery and its beings have been purified with the gaze of the Lord
Maitreya and the other Bodhisattvas, and the dimness of blemishes

375
. Sanskrit A, 222.2; Sanskrit B, 91a.2; Tibetan A, 157.5.1.
376
. curds (dadhi), ghee (gh®ta), milk (dugdha), cow dung (gomaya), and urine (mËtra).

146
 (do∑atimira) has been completely removed. May this auspicious stanza be for
you the supreme consecration (paramåbhi∑eka).”
Next, he gratifies them with the scented sap of the va†a, udumbara, plak∑a, and
pippal¥ trees poured into a brass vessel (kåµsabhåjana), and with different kinds of
tree bark (valkala), while reciting this mantra: “Oµ sarvatathågatakåya-vißodhani
Svåhå.” Likewise, reciting ”Oµ H˵ Tråµ Hr¥˙ Khaµ Kha˙,” he gratifies and
lustrates them with pleasant scent and sesame oil contained in a brass vessel. He
anoints them with ointment contained in a brass vessel, and lustrates them with the
water contained in a vase blessed with the mantra of Vajrå∫kußa and the other
guardians, and with auspicious verses. Then again, he anoints and lustrates them
with liquid turmeric (haridrå). Finally, he lustrates them with white and red sandal,
saffron, granthi leaves, fragrant aloe, camphor, musk and other available things, and
with the water from the vase held by Sattvavajr¥ and other goddesses summoned by
means of the rays of light dis-persed from their seed-syllables, while reciting as
follows:
“Just as the Buddhas were lustrated immediately after their nativity (abhi-
jåta), in the same way, I perform this lustration with the pure celestial water
(divyavåri).”
377
He wipes off the water with a soft cloth.
Next the teacher transforms his tongue into a vajra issued from the syllable H˵,
and holding a fragrant flower in his folded hands, he bows down and offers it while
reciting the following mantra:
“Oµ sarvatathågatasulalitavilåsanamitair namåmi bhagavantaµ ßr¥ amu-
kavajra Ja˙ H˵ Vaµ Ho˙ prat¥ccha kusumåñjali nåtha Ho˙ samayas tvaµ.”
He kneels down on the right knee and asks for the lord's confirmation (adhi-
patisatya):
“O Lord, I bow before you, the sovereign of knowledge (vidyåråja). O
compassionate one, I request leave to execute the consecration (prati∑†hå) out
of compassion for my disciples, and in order to render you homage. O Lord,
show your kindness (prasåda) to me, your devotee. Just as the perfect
Buddhas have descended from the Tu∑ita abode and resided in Må-yådev¥'s
womb, in the same way, I ask you to abide here. O Lord, remain here
constantly, and receive from me flowers and other offerings. May I be
remembered by the Buddhas engaged in the deeds for the benefit of the
world, the Bodhisattvas established in their fruit, the mantra deities, the
deities, the world protectors and the spirits (bhËta) directed towards
enlightenment, the living beings taking delight in the Buddha's teaching
(ßåsana), and those endowed with the vajra-eye. I, a vajrin of such and such a
name, am in possession of the consecration rite (prati∑†håvidhi), and I shall
execute it to the best of my abilities for the benefit of the world. For my own

377
. Sanskrit A, 223.4; Sanskrit B, 91b.2; Tibetan A, 158.1.4.

147
 and my disciple's benefit, I ask you to be compas-sionate and come here with
378
your retinue to receive homage.”
Having invited the deities in this way, he should inspirit himself:
“Today my birth and my life have gained their fruit. In conformity with the
deities and the pledges, I have reached the state beyond doubt. With my mind
firmly set on enlightenment, I shall gain the non-returning rank (avaivartya). I
have no doubt that today I have been born in the Buddha family. Today, I
have reached the pinnacle, the day of the supreme sacri-fice (yajña). Today, it
379
has been my part to invite all the Buddhas.”
Depending on the instructions (upadeßa), he executes either the yoga of his own
deity or of some wrathful deity, purifies the food (bhakta) and other articles, and
380
offers a bali to the directional protectors (dikpåla). In order to protect his disciple,
the teacher ties on his right hand a ribbon (pratisara) with three knots, which he
sprinkles with water, and recites over it three times the mantra of Vajrarak∑a. He
instructs his disciple saying:
“Whatever the mantrin says, you must do, be it the rite of worship or
anything else. If you act with unwavering determination, you will cer-tainly
gain the fruit of the great sacrifice (mahåyajña).”
Finally, for the sake of protection, he recites “Oµ vajrasattva H˵.”
This concludes the activities during the period of confinement (s¥måntopa-
381
nayana).
4. Jåtakarma
382
a. Generation of the pledge-beings
At dawn on the following day, a peaceful bali (ßåntibali) is offered, and the images
(pratimå) and other things are duly allocated to their places (sthåpita). One generates
the pledge-beings (samayasattva) of the vihåra or other things, following the order of
their arrangement.
In the case of books, immediately after the gathering of the syllables (ak∑ara-
samudåya) and emptiness, one envisages the syllable Hr¥˙ issued from the red
syllable Hr¥˙ resting on a red lotus and a lunar disc. Next, one envisages the syllable
Hr¥˙ becoming transformed into the body of Amitåbha, and then Amitå-bha's body
becoming transformed into the pledge-being (samayasattva) having the form of the
syllables (ak∑aråkåra).

378
. Sanskrit A, 224.4; Sanskrit B, 91b9; Tibetan A, 158.2.4.
379
. Sanskrit A, 224.6; Sanskrit B, 92a.1; Tibetan A, 158.2.7.
380
. According to the Tibetan version, he should offer a bali placed on a skull.
381
. For the Sanskrit s¥måntopanayana, the Tibetan version reads: “having removed the
boundary limit.” Sanskrit A, 225.3; Sanskrit B, 92a.4; Tibetan A, 158.3.2.
382
. Sanskrit A, 225.3-226.1; Sanskrit B, 92a.4; Tibetan A, 158.3.2-158.4.2.

148
 In the case of the D¥pa∫kara's and other vihåras, immediately after emptiness, one
envisages a white syllable Bhr˵ resting on a lotus and a lunar disc. One envisages
the syllable Bhr˵ becoming transformed into an eight-spoked wheel and another
syllable Bhr˵. This last syllable is envisaged as becoming trans-formed into
Vairocana, and Vairocana in turn into the pledge-being assuming the form of the
D¥pa∫kara's vihåra, the gandhaku†¥, or the caitya. One offers the water for the feet
and other articles of worship, and one lustrates them in the same way as explained
above. After that, following the specified rite, one anoints them (mrak∑aˆa) with the
five ambrosias and other articles, and one consecrates them with auspicious stanzas
(ma∫galagåthå), and with the water from the vase blessed with the mantra of
Ak∑obhya.
383
b. Bestowal of vision
384
One pronounces a series of syllables with which one blesses the images on their
foreheads, throats, hearts, eyes, ears, noses, tongues, hair parting (s¥månta), and
navels. Next, taking some ghee and honey with a golden pin (ßalåkå) from a silver
cup (mallikå), and reciting the following verses, one opens their eyes by applying
collyrium (kajjala):
”Just as the king of physicians (vaidyaråja) has removed with his pin the
world's blindness (timira), so do I remove for you the veil of nescience
(ajñåna). Oµ cak∑u cak∑u samantacak∑uvißodhane Svåhå.”
Projecting the mirror reflections of books or images, one perceives inside the right
and left eyes the sun (ravi) and the moon (indu) arising from the seed syllables Ma
and Èa. One recites “Oµ divyacak∑u∑e H˵,” and applying a lamp, one recites once
more “Oµ divyacak∑u∑e H˵” over the right eye, and “Oµ dharmacak∑u∑e H˵”
over the left eye. Next, one recites ”Oµ Ó˙ jñånavajra-jñånacak∑u˙ kuru,” and
applying a mirror, one recites “Oµ jñånacak∑u∑e H˵” over the right eye, and “Oµ
buddhacak∑u∑e H˵” over the left eye. Then, one recites “Oµ prajñåcak∑u∑e H˵,”
and applying a vajra, one recites “Oµ prajñå-cak∑u∑e HËm” over the left eye, and
“Oµ vajracak∑u∑e HËm” over the right eye. Once again, one recites “Oµ Ó˙
jñånacak∑u˙ kuru H˵ H˵ H˵,” and one consecrates them as the knowledge
eyes. One aspires in one's mind to merge the light emitting from the image's eyes
with the divine sight (divyacak∑u) of all beings abiding in all regions of the universe.
Such is the bestowal of vision (d®∑†idåna).
385
c. Investiture and feeding
Taking a conch filled with grain and other articles, as well as all kinds of jewels, one
offers the water for the face while reciting “Oµ Ó˙ Hr¥˙ pravarasatkå-rårghaµ
prat¥ccha Svåhå.” While reciting “Oµ vajragandhe H˵,” one anoints the images

383
. Sanskrit A, 226.2-227.1; Sanskrit B, 92a.9-92b.6; Tibetan A, 158.4.2-5.1
384
. oµ å˙ h˵ k∑iµ jriµ khaµ gaµ skaµ saµ.
385
. Sanskrit A, 227.1-5; Sanskrit B, 92b.6-93a.1; Tibetan A, 158.5.2-6.

149
and other things with good scent made of such things as camphor (karpËra), musk
(kastËrikå) and saffron (kåßm¥raja). Reciting “Oµ Ó˙ bodhy-a∫gad®∂hakavacavastre
Svåhå,” one puts yellow corselets (kañcuka) on the images. Then, reciting the
relevant mantras, one offers them yellow cloaks (ßå†i-kå), and applies the tilakas on
their foreheads with sandal, saffron or other items. Reciting “Oµ Ó˙
sarvatathågatagh®tamadhupråßane H˵ H˵ Pha† Svåhå,” one infuses the bodies
(ßar¥ra) of the Tathågatas with ghee, honey and sugar held on an aßvattha leaf or in a
golden vessel (påtra). Reciting “Oµ Ó˙ sarvatathåga-tacintyåm®tadhåre Svåhå,” one
offers milk. In order to keep the images healthy (niråmaya), one offers the five kinds
of medicine (o∑adhi). Finally, one offers the five articles of worship (pañcopacåra),
makes the pledge-gesture of Vajråveßa, and makes them firm with the one hundred
syllables.
Such is the birth ceremony (jåtakarma).
386
5. Nåmakarma
One recites “Oµ vajrasattva Ó˙,” and projecting mirror reflections in the same way
as was explained above, one applies tilakas to the foreheads with the bile of cattle
(gorocanå) and other things. Inside the hearts, one generates the seed sylla-bles on
lunar discs, and above the heads, one envisages the seed syllables of the deities,
vibrating with rays of light. One discharges these rays into all the buddha-fields.
Next, one converges the rays of light, and issuing the name-syllables (nåmåk∑ara)
from the hearts of the deities, one deposits them inside the hearts of the images or
other consecrated things. The actual consecration is per-formed with the above
dispersed and converged rays of light, and with the water sprinkled from the vase
blessed with the mantra of the chief deity, while reciting auspicious stanzas. After
the recitation of the auspicious stanzas and the bestowal of names, one presents the
water for the face and other offerings, and dispenses betels and the rest. One protects
the images with the mantra of Vajrarak∑a, and finally one recites the appropriate
laudatory verses (stuti).
Such is the name-giving ceremony (nåmakaraˆa).
387
6. Upanayana
Just as on the previous occasions, one performs the consecration by sprinkling the
water from the vase recited over with the mantra of Vajrakarma, and by re-citing the
auspicious stanza, which on this occasion is as follows:
“Accompanied by the noble Vajrarak∑a, the excellent Yak∑a, together with
Vajrapåˆi, and the clenched fists (mu∑†i), here is the blessing (ma∫gala) of
Amoghasiddhi, who performs the beneficial deeds, and bestows the highest
attainments. May today this blessing become for you the agent of peace
(ßåntikara). Oµ bodhya∫gad®∂hakavacavastre Svåhå.”

386
. Sanskrit A, 227.5-228.3; Sanskrit B, 93a.1-6; Tibetan A, 158.5.6-159.1.5.
387
. Sanskrit A, 228.3-229.6; Sanskrit B, 93a.6-93b.8; Tibetan A, 159.1.5-3.2.

150
One offers variegated corselets (kañcuka) with the above given mantra, and then
executes the activity of protection with red-hot metal (lohitågni). Depending on the
season (kålånurËpa), one places in a golden, silver or copper dish a selection of ripe
388
fruits such as mangoes (åmra), blesses them with the relevant mantra, and then
offers them to eat. This is known as feeding with fruits (phalapråßana).
One performs an ablution with the water from the vase blessed with the mantra of
Vajrag¥tå, and offers a v¥ˆa, a garland (sraj), and other objects. Having blessed them
with “Oµ bodhya∫gad®∂hakavacavastre Svåhå,” and having protected them with
red-hot metal, one offers necklaces, golden tilakas, golden ornaments (åbharaˆa),
neck ornaments (kaˆ†håbharaˆa) consisting of garlands made of golden gåru∂ikas,
golden bracelets (ka∫kaˆa), anklets (nËpura), and other ornaments. One also offers in
golden dishes a selection of food items such as sweetmeat (la∂∂uka), bread (kaˆika),
pastry (pi∑†aka), alcohol (pånaka), milk (k∑¥ra), and curds (dadhi). After that, one
offers articles of worship, such as the water for sipping and flowers. One further
offers va†a and åmra for sucking (co∑ya), honey (madhu) and sugar (gu∂a) for licking
(lehya), dainty condiments (mi∑†avyañjana), festive pastry (ma∫galapi∑†aka), boiled
rice (ßålyodana) imbued with six flavours (∑a∂rasåsvåda), red pieces of cloth
(kañcuka) for clearing the throat (kaˆ†haßodhana), and fried cakes (bhrå∑†rava†aka).
One recites four different mantras when one offers the above articles. After that,
one offers the water for sipping (åcamana), fastens flower garlands on the heads, and
offers betels and the water for the face. Next, one recites the following mantra over
the lunar discs inside the hearts of the deities: “Oµ mahåsukhavajra Ja˙ H˵ Vaµ
Ho˙ suratas tvaµ samayas tvaµ.” Having done this, just as before, one disperses and
converges the rays of light of all the Tathågatas, and folding one's hands (añjali), one
recites the following address (vijñåpana):
“The propitious (ßiva) lord of the world (jagatpati) abides in great bliss
(mahåsukha) and in great passion (mahåråga). He pervades the minds
(manas) of all living beings, and abides in the hearts (h®d) of all living beings.
He is also the progenitor (pit®) of all living beings, and the supreme desire
(kåmågra) of the pledge champions (samayågri). It is on account of this truth
that I request the protector (nåtha) to accomplish for me the desired goals
(kåmårtha). May you accomplish all the attainments (siddhi) of all living
beings on account of the stability (adhi∑†håna) of the absolute realm
(dharmadhåtu), through the retention (smaraˆa) of the pledges, and out of
389
compassion.”
Finally, one offers flowers and other articles of worship. Such is the ceremony of
390
admittance (upanayana).

388
. oµ å˙ samådhiphale sarvajinaputrapr¥ˆane å˙ svåhå.
389
. Sanskrit A, 229.5-6; Tibetan A, 159.2.8-3.2.
390
. Sanskrit A, 229.6; Tibetan A, 159.3.2.

151
 391
7. CË∂åkaraˆa
The teacher assumes the pride of Vajrat¥k∑ˆa, and reciting the relevant auspicious
stanzas, he sprinkles the images and the rest with the water recited over with the
mantra of Vajradharma.
Next, he takes a golden razor (khura) generated from the syllable H˵, and then
reciting “Oµ sarvåvaraˆavißodhane sarvåjñånavålån chedaya H˵ Svåhå,” he
shaves off the hair grown on the mental flows (saµtåna) of all living beings, and
mentally contrives the tufts (c趌) on the heads.
Reciting “Oµ dharmaßabdavyåkaraˆe Svåhå,” he pierces the ear lobes (karˆa)
with a golden pin (sËcikå).
Next, he consecrates the images with the water from the vase recited over with the
mantra of Vajraratna, and with the relevant auspicious stanza. He protects them with
a metal fire (lohågnirak∑å), anoints with saffron (ku∫kuma), applies ghee ointment
(gh®tåñjana) on the eyes, marks golden tilakas, and offers strings of pearls
(muktåhåra), necklaces (kaˆ†hikå), bracelets (valaya), armlets (keyËra), girdles
(mekhalå), and anklets (nËpura). He offers the above articles with the following
mantra: “Oµ sarvåbharaˆavibhË∑aˆe Svåhå.” After that, he generates diadems
(muku†a) with “Oµ vajraratna Tråµ,” and offers them with the follow-ing verse and
mantra:
“This is the diadem acquired from the five Buddha families, the diadem of the
Buddhas venerated by the entire threefold world. I offer it to you in worship.
Oµ sarvabuddhacË∂åmaˆimahåmuku†aµ praticcha Ho˙.”
Finally, he makes the images firm with the mantra and mudrå of Vajradhåtv-¥ßvar¥.
Such is the ceremony of tonsure (cË∂åkaraˆa).
392
8. Vratådeßa
The teacher issues the seed syllables (h®db¥ja) and the emblems (cihna) from his own
heart and from the hearts of the deities, disperses into space the emblems of the
deities, and then converges them together into one. He blesses the deities with the
mantra of Vajrasattva, and envisages the emblems resting on their palms. He recites
as follows:
“This is the supreme epitome of knowledge (jñånalak∑aˆa) of all the
Buddhas. This is renowned as the existence of the emblem (cihnabhåva)
amidst the non-existent dharmas. One should always execute the activi-ties
(kriyå) for the benefit of living beings, and approach buddhahood through
knowledge.”
Next, he blesses the images with the mantra of Vajradharma, and fastens the sacred
threads (brahmasËtra) around their necks. Reciting the mantra of Vajra-sandhi, he

391
. Sanskrit A, 229.6-231.2; Sanskrit B, 93b.8-95a.6; Tibetan A, 159.3.2-4.4.
392
. Sanskrit A, 231.2-232.1; Sanskrit B, 84a.6-84b.3; Tibetan A, 159.4.4-5.4.

152
offers them girdles (mekhalå) made of muñja grass. Finally, reciting the mantra of
Vajraratna, he deposits rods (keßudaˆ∂a) into their hands.
Such is the bestowal of the solemn vow (vratådeßa).
9. Samåvartana
Next he offers worship with flowers and other items and makes a declaration to the
effect that the images of the Tathågatas and all other things have the nature of the
enlightened thought of non-existence (ni˙svabhåvabodhicittarËpa). Then, he should
make them firm with the following verses:
“All the Buddhas of the three times are deemed to have arisen from the
enlightened thought (bodhicittodbhava), and so are Bodhisattvas, Great
Bodhisattvas, Solitary Buddhas (kha∂ga), and trained adepts. The non-
existent (ni˙svabhåva) and ungraspable (nirålamba) unique cause of all
living beings (sattvaikakåraˆa) is esteemed as the sameness-knowledge of
393
suchness (tathatåsamatåjñåna), and the bodhicitta.”
Next he presents the outer offerings (båhyapËjå), worships with Låsyå and the other
goddesses, and then he releases the solemn vow (vratamok∑aˆa) and under-takings
394
(samådåna). Such is the ceremony of welcoming (samåvartana).
395
10. Påˆigrahaˆa
Inside his heart, the teacher envisages the letter Ó˙, generates the bodily form of the
goddess Vajradhåtv¥ßvar¥ to serve as the mudrå of the deities of the images or the
deities of other consecrated things (pratimådidevatå). Releasing Vajra-dhåtv¥ßvar¥
from his heart, he accommodates her on solar and lunar discs posi-tioned on the left
side of the deities. He recites the mantra of Vajrasattva, and placing on her head the
samayamudrå of Vajrasattva, he confers her as wife (vivå-ha) in conformity with the
ritual etiquette. He recites the following auspicious stanza, while sprinkling the water
from the vase recited over with the mantras of Låsya and other goddesses:
“May these highest acts of worship with playful postures (låsya), ex-cellent
garlands (målya), charming songs (g¥ta), dances (n®tya), flowers (pu∑pa),
incense (dhËpa), lamps (d¥pa) and pleasing scent (gandha), epitomise for you
the blessing (maˆgala) and the supreme consecration (paramårthåbhi∑eka).”
He anoints the images with morsels (piˆ∂a) of cardamom (elå), cloves (lava∫ga),
nutmeg (jåtiphala), saffron (ku∫kuma), and camphor (karpËra). He invests them with
divine crimson garments (divyasuraktåµbara), turbans (ßirove∑†ana), cors-lets
(kañcuka), lower garments (adho aµßuka), variegated ribbons (pa††aka), and girdles
(bandhana). He embellishes them with all kinds of adornments (alaµkå-ra), and
blesses them with pippali, kapittha, bilva, ß®∫gå†aka, sahakåra, jambu, jamb¥ra,

393
. Sanskrit A, 231.6.
394
. Sanskrit B: s¥mådåna, Tibetan: ba lang gi sbyin pa.
395
. Sanskrit A, 232.1; Sanskrit B, 94b.3; Tibetan A, 159.5.5.

153
nåra∫ga, and other seasonal fruits, and with grapes (dråk∑å). He offers them the
water for the face containing the five jewels (pañcaratna) and other similar gems
(maˆi). He offers women (str¥) and men (puru∑a) to serve as attend-ants (upasthåna);
elephants (hasti) and horses (aßva) for means of conveyance (våhana); wheels
(cakra), arrows (ßara), bows (ßaråsa), and metal spears (nårå-ca) for warding off
(våraˆa) wicked people (durjana); needles (sËci), scissors (kartar¥), and cutters
(k∑ura) for sewing (s¥vana); favourite trees (icchådruma) and domestic commodities
(g®haparibhoga) for pleasure (abhirati). He offers all these items with the tree-
syllable mantra (tryak∑aramantra: Oµ Ó˙ H˵). He offers them worship, and then
performs lustrations in the same way as before.
Then once again, to make them splendid (ßreyas), he lavishes on them a stream of
gold (kåñcana), karka†¥ (marka†¥) and milk (k∑¥radhårå), and decks them with all
kinds of perfumes (gandha), sesame oil (taila), dËrvå grass, and unhusked grain
396
(taˆ∂ula).
Reciting “Oµ yojakågnaye Svåhå,” he worships the god Yojaka Agni with the
ceremony (vidhi) performed on the occasion of marriage (vivåhakåla). At the time of
circumambulating that fire in a clockwise manner, he offers celestial ornaments
(divyåbharaˆa), and protects the images and deities with lamps (rËpavat¥), arrows
(yuvati), and suns (¥ßånikå). He ties strips of cloth (pa†abaddha), places in their hands
the sacred fruit (ßr¥phala = bilva), and protects them with lamps (prad¥pa), arrows
(ßara) and suns (sËrya). He displays before them a mighty lamp (b®hatprad¥pa) and
meteoric light (ulkå-åloka); bestows a stream of gold (kåñcana), karka†¥ and milk
(k∑¥ra); scatters from a plate (bhåjana) a shower (v®∑†i) of golden confetti
(sauvarˆakusuma) and flowers (pu∑pa); and perfumes them with aguru incense.
Finally, he offers the articles of worship, and recites the following marriage stanza
(vivåhagåthå):
“This is the mudrå of the Tathågatas who dispenses the radiant light of
knowledge. Join your hands together in order to set in motion the Buddha
activities (buddhak®tya).”
397
Such is the rite of joining hands (påˆigrahaˆa).
398
B. Leading the deities inside the maˆ∂ala
To begin with, the teacher executes an act of protection with the mudrås of Vaj-
rakarma, Vajrarak∑a, Vajrayak∑a, and Vajrasandhi. Then, reciting “Oµ Ó˙ Khaµ
v¥ra H˵,” he aspires to lead the deities inside the maˆ∂ala. He executes the four
prostration (praˆåma) in the same order as already explained, and leads the deities
inside the maˆ∂ala with the following stanza:

396
. Sanskrit A, 233.1; Sanskrit B, 95a.1; Tibetan A, 160.1.7.
397
. Sanskrit A, 233.4; Sanskrit B, 95a.4; Tibetan A, 160.2.2.
398
. Sanskrit A, 233.4; Sanskrit B, 95a.4; Tibetan A, 160.2.2.

154
 “The consecration of the Buddhas has yielded a store of good qualities
(guˆåkara) when it was bestowed with the vajriˆ¥ for the liberation of the
world. I now ask for it to be granted in this place.”
Such is the rite of leading the deities inside the maˆ∂ala (maˆ∂alapraveßavidhi).
399
C. Bestowal of tantric consecrations
At an auspicious period of the day, the planets and the lunar mansions, the images
are carried inside the gandhaku†¥ and other buildings, and arranged on their assigned
lion thrones constructed by the craftsmen (ßilpin).
Holding in his right hand the vajra together with a five-coloured thread (pañ-
casËtra) and a flower garland, the teacher blesses the images with the relevant
400
mantras recited one hundred and eight times. He further sanctifies (prati∑†hå) the
images by reciting “Oµ ye dharmå” and so forth. After that, he projects the
Tathågatas and other deities from their seed syllables, and envisages them per-vading
the entire sky. Reciting the relevant mantras and verses, he bestows the water
consecration (udakåbhi∑eka) with the vase filled with the bodhicitta ambro-sia and
held by the Vidyås. Then again, reciting the relevant mantras and verses he bestows
401 402
the diadem (muku†a), vajra, bell, and name consecrations.
403
Next, there follows the master consecration (åcåryåbhi∑eka). In the case of
the deities of the images and other things, the teacher envisages them holding
vajras and bells in a form of embrace (åli∫gana) which epitomises the
knowledge-seal (jñånamudrå). Next, he duly bestows on them the water and
other consecrations as already described, and deposits on their heads the mudrås
of their appropriate families. In the case of the deities whose family affiliations
are unknown (ajñåtakula), he should deposit the mudrå of Ak∑o-bhya or of
Vajrasattva.
He should bless the deities with the following mantra: “Oµ suprati∑†hi-tavajre
Svåhå.”
In the case of vihåras and caityas, he recites “Oµ H˵ Hr¥˙ Bhr˵ Khaµ
vajr¥bhava d®∂ha ti∑†ha Bhr˵ Khaµ.”
In the case of books he recites: “Oµ suprati∑†hitavajre Svåhå.”
Finally, he recites: “Oµ H˵ Hr¥˙ Khaµ.”
Next, he executes the secret consecration (guhyåbhi∑eka). He summons the body
(mËrti) of the maˆ∂ala's chief deity with the rays of light issued from the seed

399
. Sanskrit A, 233.6; Sanskrit B, 95a.6; Tibetan A, 160.2.5.
400
. oµ h˵ hr¥˙ vajr¥bhava d®∂ha ti∑†ha bh˵ khaµ h˵ svåhå.
oµ suprati∑†hitavajråya svåhå.
401
. Sanskrit A, 234.6-235.1; Sanskrit B, 95b.3-4; Tibetan A, 160.3.4-6.
402
. Sanskrit A, 235.1-6; Sanskrit B, 95b.4-8; Tibetan A, 160.3.6-4.2.
403
. Sanskrit A, 235.5-236.1; Sanskrit B, 95b.8-96a.1; Tibetan A, 160.4.2-5.

155
syllable resting inside the heart of Vajrasattva and inside his own heart, and then
leads in through Vairocana's portal the entire host of Vairocana and other Tathågatas
accompanied by their Vidyås. He envisages the deities as melting with the great bliss
(mahåsukha), and the bodhicitta transformed into ambrosia trickling from their
vajras and padmas into the mouths of the deities of the images or of other relevant
404
things.
In the case of the knowledge of wisdom consecration (prajñåjñåna), the teacher
envisages Vajrasattva's goddess (dev¥) being formally brought in (upan¥ta), and then
in meditation experiencing the innate rapture (sahajånanda), together with the deities
405
of the images.
The specific characteristic (svarËpa) of the fourth consecration (caturtha) is to cause
the deities to attain (pratipådita) the vajra-state (vajrabhËta). The teacher envisages
the deities of the images in the state of experiencing the great bliss completely free
from adverse propensities (våsanå) and obscurations (åvaraˆa), and pervaded with
406
the unique flavour (ekarasa) of emptiness and compassion.
Reciting the mantras of Vajrapu∑på, VajradhËpå, Vajrad¥på, Vajragandhå, and
Vajranaivedyå, he offers the relevant articles of worship, and then folding his hands
407
(vajråñjali) and bowing down, he proclaims the tantric truth (mantri-tattvasatya).
“Since the essence of your epitome (cihnatva) originates from space,
You are the highest one without beginning or end.
O Mahåvajra, the pledge-being,
Perfect me today, a vajra of such and such a name.
The highest of all, the great attainment,
The primordial deity (ådidevatå) and great sovereign,
O Vajradhara, the king of all,
Perfect for me the supreme beatitude (paramåk∑ara).
Faultless (nirdo∑a) and immutable (ßåßvata),
Enjoyer of all intense raptures (råga),
O Lord Mahåråga, the great ecstasy,
Perfect for me the absolute reality (tattva).
Forever pure, the best of all,
Primordially liberated (ådimukta), Tathågata,
O Samantabhadra, the essence of all (sarvåtmå),
Perfect me as a Bodhisattva.
O master of all the supreme attainments,

404
. Sanskrit A, 236.1-3; Sanskrit, 93a.1; Tibetan A, 160.4.5-8.
405
. Sanskrit A, 236.3; Sanskrit B, 96a.2-3; Tibetan A, 160.4.8-5.1.
406
. Sanskrit A, 236.4; Sanskrit B, 96a.4; Tibetan A, 160.5.2.
407
. Sanskrit A, 236.6-237.3; Sanskrit B, 96a.6-9; Tibetan A, 160.5.4-161.1.1.

156
 Perfect me with the mudrå of the great sovereignty,
Through the supreme eminence of the vajra,
And through the vajra-audacity (vajragarva).
Pervading the minds (manas) of all beings (sattva),
Abiding in the hearts of all beings,
You are the progenitor (pit®) of all beings,
The supreme desire (kåmågra) of the pledge champions (samayågri).
O Lord, fulfil for me my desires (kåma),
Through the truth generating the correct awareness (saµjñåna),
And through the maˆ∂ala epitomising wisdom and means.”
Finally he offers flowers and other articles.
408
D. Concluding rites
In order to appease the ritual shortcomings and excesses, he should recite the
409
relevant mantra. Next, he recites three times the hundred syllables of Vajra-sattva,
and the following verse to make things firm (d®∂h¥karaˆa):
“May the deities who abide in this very place be forever fully protected by all
the deities for many hundreds of kalpas, one after another, against the earth,
fire, water and wind elements.”
The teacher recites the relevant verses asking to be forgiven for the mistakes and
shortcomings committed during the above rituals through his ignorance and inability,
or because of the shortage of articles. Finally, the benefactor circum-ambulates the
images, offers incense and other articles of worship, and rewards the teacher with a
suitable donation.

408
. Sanskrit A, 237.4-238.2; Sanskrit B, 96a.9-96b.6; Tibetan A, 161.1.2-8.
409
. oµ vajrasattva samayam anupålaya vajrasattva tvenopati∑†ha d®∂ho me bhava suto∑yo me
bhava anurakto me bhava supo∑yo me bhava sarvasiddhiµ me prayaccha sarvakarmasu
ca me cittaµ ßreya˙ kuru h˵ ha ha ha ha ho˙. bhagavan sarvatathågatavajram me
muñca vajr¥bhava mahåsamayas tvam å˙.

157
 Chapter Seven410

In this chapter are explained four major ritual procedures, namely the arrange-ment
of paintings (citrakarma), the deposition of the bali pedestal (balipiˆ∂ikå), the
characteristics and consecration of four types of gong (called gaˆ∂¥ or gaˆ∂i-kå), and
the ceremony of going forth (pravrajyå).
411
Arrangement of paintings
Upon the completion of the vihåra and other things, the Tathågatas, Bodhi-sattvas,
412
Vidyådev¥s, wrathful deities (krodhagaˆa), Vidyådharas, pairs of eyes
(netrayugala) and pairs of vases (kalaßayuga) are drawn on the sides of the doors
(pratidvåra). On the outer walls to the left and right of the doors of the temple
413
(devågåra) one draws two vases (kumbha) with ten handles, or one draws
414
something else. In their vicinity, one devises one's favourite Vidyådev¥s and
415
different articles of worship. On the upper sections over the windows (gavåk∑a),
one draws the five Tathågatas. Over the adjacent windows, one draws one's favourite
Bodhisattvas, and over the rest, one draws appropriate decorations (alaµkåra).
In the interior, one draws a bodhi-tree behind the deity that is to be installed
(sthåpyamånadeva). On the left and right sides of the lord (bhagavan), one draws
Varuˆa and Yak∑ådhipa.
Varuˆa is white and has two hands. He is adorned with nine snake hoods (pha-ˆa)
and is seated in the sattvaparya∫ka posture. In his right and left hands respectively,
he holds a snake noose (någapåßa) and a jewel (ratna).
Yak∑ådhipa is yellow and also sits in the sattvaparya∫ka posture. He holds a
mongoose (nakul¥) and a citron (b¥japËraka).
On the right side of the door, there are drawn Mahåbala and Mahåkåla.

410
. Sanskrit A, 238.3-256.1; Saskrit B, 96b.7-102b.4; Tibetan A, 161.1.6-164.3.8.
411
. Tanemura 1997, 21.8-24.6; Sanskrit A, 238.3; Sanskrit B, 96b.7-97a.9; Tibetan A,
161.2.1-3.7.
412
. Tibetan: Rig 'dzin ma.
413
. Sanskrit: karˆadaßamukha, Tibetan: sna bcu pa.
414
. svåbhimatavidyådevat¥.
415
. pËjopakaraˆa.

158
 Mahåbala is black and has one face and two hands. His two legs are evenly
positioned (samapada) on a lotus and a sun. He has an angry face with three red eyes,
protruding fangs and dishevelled red and gold hair. He has a pendulous belly, wears
a tiger skin (vyåghracarman), and is adorned with the ornaments of the eight great
snakes (a∑†anåga). His hands are placed over opposite armpits (kak∑a) with the
416
fingers outstretched.
Mahåkåla is black and has one face with protruding fangs, three red eyes, and
dishevelled red and gold hair. In his hands he holds a curved knife (kartr¥) and a
skull (kapåla), and he has a trident (trißËla) tucked under his armpit. He is adorned
with a garland of human heads (muˆ∂amålå) and snakes. His two legs rest in the
417
pratyål¥∂ha posture on a lotus (vißvapadma) and a solar disc (sËrya).
418
On the left side of the door, there are Hår¥t¥ and Råjåna.
The Mahåyak∑aˆ¥ Hår¥tå is white, and rests on a jewel throne in the lalitåsana
posture. Her face looks very happy, her body is adorned with all kinds of orna-
ments, and her hands are studded with jewels (ratna).
Råjåna is adorned with all kinds of ornaments of famous kings (yaßonarendra), and
his bodily complexion resembles the colour of saffron (ku∫kuma). He rests on a lion
throne in a playful manner (l¥lå).
The above four deities should be drawn with all their appropriate attributes and
ornaments. Such is the procedure for executing paintings (citrakarma).
419
Deposition of the bali pedestal
An artist (ßilpin) makes a suitably designed bali pedestal (balipiˆ∂ikå) from a hard
and good quality stone (ßilå).
Assuming the yoga of his tutelary deity (svådhidevatå), the teacher envisages
Varuˆa's pledge-being (samaysattva), summons the corresponding knowledge-being
(jñånasattva), and merges it with the pledge-being. He blesses the pedestal with the
water from the vase of the Tathågatas and others, and recites the following mantra
one hundred and eight times: “Oµ Ó˙ vajravaruˆåya adhi-ti∑†ha Vuµ Svåhå.” Next,
he offers a bali, or an oblation (påyasa) made of curds (dadhi), treacle (gu∂a), and

416
. Sanskrit A, 239.2-4; Tanemura 1997, 22.9-23.4; Tibetan A, 161.2.7-4.2.
417
. Sanskrit A, 239.4-5; Tanemura 1997, 23.4-8. Tibetan A, 161.3.2-4.
418
. Tanemura 1997, 23.9-24.6; Sanskrit, A, 239.5-240.1; Tibetan, 161.3.4-7.
419
. Tanemura 1997, 24.7-37.4; Sanskrit A, 240.2-245.6; Sanskrit B, 97a.9-99a7; Tibetan A,
161.3.7-162.3.8.

159
 420
milk (k∑¥ra), while reciting two mantras, one when offering the bali, and one for
421
the allocation of Varuˆa (varuˆasthåpana).
Following similar procedures to the one for Varuˆa, the teacher offers balis and
allocates (sthåpana) Vaißravaˆa , Mahåbala, Mahåkåla, Har¥t¥, and Råjåna. In their
mantras, these deities are asked to performed certain specific tasks. Vaißra-vaˆa,
addressed as yak∑ådhipati, is requested to protect the Buddha's dispen-sation
(buddhaßåsana), and to bring peace, prosperity, and protection to all living beings
and to the benefactor. Mahåbåla is addressed as Caˆ∂a Vajrapåˆi,
mahåyak∑asenådhipati and bha††åraka, and is asked to bring protection and to grant
all desired intentions. Mahåkåla is asked to destroy all evil and to protect the
Buddhist teachings. Hår¥t¥ is addressed as mahåyak∑iˆ¥, and requested to protect the
Buddha's Word (buddhavåca). Råjåna is addressed as mahåya-k∑ådhipati and
requested to protect the Buddha's dispensation. [The name of this last deity is also
422
given as Råjan.]
Next, the teacher places a fine balipiˆ∂ikå in the ko∑†haka of Vajrahåsa. He
envisages the pledge-being of the balipiˆ∂ikå arising from the syllable H˵,
summons the knowledge-being, and infuses it into the pledge-being. He blesses the
balipiˆ∂ikå with the water from the vase consecrated with its mantra, offers worship,
and recites one hundred and eight times “Ha˙ Ho˙ Hr¥˙ Oµ Ó˙ H˵.” After that, he
addresses the following protective deities abiding inside the monastery: the
ko∑†hådipatis headed by Vajråcala and other door-keepers (dvå-rådhipati), the
423
masters of subjugation (vaßådhipati), and the masters of the vital positions
(marmådhipati). He recites:
“I make known this before you who abide inside this monastery, you, the
protective deities of the monastery headed by Hår¥t¥, and the great wrath-ful
kings (mahåkrodharåja), namely Vajråcala, Vidråpaka, Vajrå∫kußa, Vijaya,
Yamåntaka, Vajråßani, Durnir¥k∑a, Èakkiråja, Antacara, Vajrapåßa,
Kanikrodha, Prajñåntaka, Palåla, Ratnaßikhara, N¥ladaˆ∂a, Durjaya, Vajra-
spho†a, Trailokyaprasådhaka, Padmåntaka, Bh¥ma, Pracaˆ∂akaråla, Mahå-
bala, Padanik∑epa, Vajråveßa, V¥ravikrama, Am®takuˆ∂ali, Vajr円ahåsa,

420
. Sanskrit A, 240.4: oµ å˙ h˵ ho˙ varuˆa någådhipati anekanågaßatasaha-sraparivarebhya
idaµ baliµ g®hˆa gandhaµ pu∑paµ dhËpaµ d¥paµ ak∑ataµ dadåmahe te cågatya
saparivårå˙ ߥgraµ khådantu pibantu ja˙ h˵ vaµ ho˙ saµt®ptå dånapate˙ sarvasattvånåµ
ca ßåntipu∑†irak∑åvaraˆaguptiµ kuru h˵ h˵ pha† vajradhara åjñåpayati svåhå.
421
. Sanskrit B, 240.6: oµ å˙ vajravaruˆådhipati buddhaßåsanaµ rak∑a rak∑a H˵ svåhå.
422
. Tanemura 1997, 26.9-35.3; Sanskrit A, 240.2-244.6; Sanskrit B, 97b.5-99a.1; Tibetan A,
161.4.5-162.2.7.
423
. Sanskrit reads vaµßådhipati, but Tibetan reads dbang du byed pa'i lhag pa'i bdag po =
vaßådhipati.

160
 Vajravidåraˆa, and Mahåkåla. I deposit here inside the monastery, this
424
balipiˆ∂ikå for your enjoyment (upabhoga).”
He heaps up food (bhakta) and other articles, recites the relevant stanzas from the
Subåhuparip®cchå-tantra, and just as before, along with scent (gandha), water (jala),
blood (rudhira), marrow (majjå), alcohol (madya), and milk (k∑¥ra), he offers the bali
in the manner already explained.
425
Such is the deposition of the bali pedestal (balipiˆ∂ikåsthåpana).
426
Four types of gong
There are four types of gong (gaˆ∂¥), each type being endowed with the purity
(vißuddhi) of one of the four levels of spiritual penetration (nirvedhabhåg¥ya).
As for the material, the gongs should be made from the kåßm¥rå, nyagrodha,
aßvattha, keßara or udumbara wood.
The four types of gaˆ∂¥ are called: small gaˆ∂¥ (kan¥yas¥ gaˆ∂¥), double gaˆ∂¥
(dvit¥yå gaˆ∂¥), triple gaˆ∂¥ (t®t¥yå gaˆ∂¥), and quadruple gaˆ∂¥ (caturthå gaˆ∂¥).
The small gaˆ∂¥ epitomises the purity of the heat realisation (Ë∑magata), which
constitutes the first level of spiritual penetration. Its length (åyåma) of eighty-four
måtrikas epitomises the purity of the eighty-four Dharma articles (dharmaskandha),
and its roundness (vartula) of twelve måtrikas epitomises the purity of the twelve
links of dependent origination (dvådaßå∫gaprat¥tyasamut-påda).
The double gaˆ∂¥ epitomises the purity of the head realisation (mËrdhåbhi-samaya),
which constitutes the second level of spiritual penetration. Its length of eighty-five
måtrikas epitomises the purity which induces the attainment of the five intuitive
knowledges (abhijñå), and of the eighty minor marks (anuvyañ-jana) of a
mahåpuru∑a. Its roundness of thirteen måtrikas epitomises the purity of the thirteen
spiritual stages (bhËmi), and its eight ornamental nodes (ß®∫ga) epitomise the purity
of the eight liberations (vimok∑a).
The triple gaˆ∂¥ epitomises the purity of the acquiescent realisation (kßånti), which
constitutes the third level of spiritual penetration. Its length of eighty-seven måtrikas
epitomises the purity of the ten spiritual powers (bala), the ten wholesome virtues
(kußala), the ten supremacies (vaßitå), the ten perfections (på-ramitå), the ten
knowledges (jñåna) and the thirty-seven branches of enlighten-ment (bodhya∫ga). Its
roundness of fifteen måtrikas epitomises the purity of the fifteen vowels
(niråvaraˆåkårådipañcadaßasvara), and its twelve nodes (ß®∫ga) epitomise the purity
of the twelve literary categories of the Buddha's teaching (dvådaßå∫gapravacana).
The quadruple gaˆ∂¥ epitomises the purity of the highest worldly dharmas, which
constitutes the fourth level of spiritual penetration. Its length of eighty-nine måtrikas

424
. Sanskrit A, 244.6-245.5; Tibetan, 162.2.7-162.3.6.
425
. Tanemura 1997, 35.4-37.4; Sanskrit A, 245.6; Sanskrit B, 99a.7; Tibetan, 162.3.8.
426
. Tanemura 1997, 37.5-44.8; Sanskrit A, 245.6-249.4; Sanskrit B, 99a.7; Tibetan, 162.3.8.-
163.2.4.

161
epitomises the purity which removes the eighty-nine defilements
(a∑†anavatikleßaprahåˆa), its roundness of eighteen måtrikas epitomises the purity of
the eighteen exclusive attributes of the Buddha (a∑†ådaßåveˆika-buddhadharma), and
its sixteen nodes epitomise the purity of the sixteen aspects of the four noble truths
(∑o∂aßasatyåkåra).
The heads (mËrdhan) of the four gaˆ∂¥s are shaped like frog heads (maˆ∂Ëka-ߥr∑a),
and their measurements are respectively two måtrikas, three måtrikas, three and a
half måtrikas, and four måtrikas. [The explanation of the shape and sound of the
gaˆ∂¥ is rather puzzling, and it seems to be a play on words. The key term maˆ∂a
(left untranslated in the Tibetan version), has several meanings such as pith, essence,
and frog, and it probably stands for the term muˆ∂a, meaning shaved head or ascetic.
Taking into consideration the Sanskrit and Tibetan versions, and substituting the
word maˆ∂a with muˆ∂a, the relevant sentence could be interpretatively paraphrased
as follows:] “As the frog (resembles) the mendicant's shaved head (muˆ∂a) which is
the best of the best (sårapradhåna), the frog's croaking epitomises the knowledge of
427
the perfect enlightenment.”
In the centre of all four gaˆ∂¥s, the single indentation (nimna) consisting of five
sections (pañcabhåga), and the absence of one måtrika on the circumference
(vyåyåma), epitomise the five transcendent skandhas. The seven coloured lines
(valaya), also in the centre, epitomise the purity of the sevenfold transcendent
veneration (anuttarapËjå).
In the case of the gong striker (åko†anamudgara), the upper part (Ërdhva-bhåga) of
ten måtrikas epitomises the purity of ten dhåraˆ¥s, and its circum-ference (pariˆåha)
of six måtrikas epitomises the purity of the six commemo-rations (∑a∂anusm®ti). The
lower section (adhas) of five måtrikas stands for the five knowledges (pañcajñåna),
428
and its circumference of the same size symbolises the purity of the five skandhas.
The drumming sound (åko†anaßabda) epitomises the thundering of the per-fection of
wisdom, and it is expressive of auspicious stanzas. When the gaˆ∂¥ is tapped inside
the monastery, it appeases all diseases (vyådhi) in monks, nuns, and lay followers,
and it acts as a guide (pariˆåyaka) towards enlightenment. It inspires the laity
(kulaputra) with confidence (abhiprasåda) in the Three Jewels, it brings alms
(subhik∑a) into the community (maˆ∂ala), and it makes the ruler righteous
(dhårmika).
The colour sequence (ra∫gakrama) of the above-mentioned seven coloured lines
(valaya) is as follows: yellow (p¥ta), tawny (aruˆa), blue (n¥la), red (rakta), green

427
. Tanemura 1997, 39.5; Sanskrit A, 247.1; Sanskrit B, 99b.5; Tibetan A, 162.4.8. Sanskrit
B: maˆ∂aµ sårapradhånaµ maˆ∂Ëka˙ / saµbodhijñånaµ maˆ∂Ëka-ßabdenåbhidh¥yate.
Tibetan A: maˆ∂aµ snying po'i gtso ste maˆ∂Ëka'i byang chub kyi ye shes ni maˆ∂Ëka'i
sgras brjod par bya'o.
428
. Tanemura 1997, 40.3-6; Sanskrit A, 247.2-4; Tibetan A, 162.5.2-4.

162
 429
(harita), tawny (aruˆa), and yellow (p¥ta). In relation to the four reli-gious
affiliations (caturnikåya), the yellow colour stands for the Mahåså∫ghikas, the red
430
for the Sarvåstivådins, the green for the Saµmat¥yas, and the blue for the
431
Sthaviras. The thick red section on either side (ubhayasthËlabhåga) stands for the
nature of the speech-vajra (vågvajra). The pith section (sårabhåga) denotes the nature
of Vairocana.
432
Next, the teacher should proceed to set up the gong (gaˆ∂ikåsthåpana).
Assuming the nature of Vajrasattva, he envisages the gong emerging from the
syllable Dh¥˙, summons the knowledge-gong (jñånagaˆ∂¥), and infuses it into the
pledge-being. He blesses the gong with the water from the vase re-cited over
with its seed-syllable resting inside the heart. He recites the following mantra one
hundred and eight times: “Oµ Dh¥˙ ßrutism®timativi-jaye prajñe prajñåbalaµ
dh¥rdhåraˆi Svåhå.
He consecrates the gong with the five products of the cow, the five ambrosias, the
five scents and other things. He consecrates it further, just as was done before in
other cases, with the water from the vases and with an appropriate auspicious stanza,
and offers flowers and other articles of worship. Finally, he blesses it with this
mantra: “Oµ vajrabhå∑a Raµ Svåhå.”
The gong striker (åko†anamudgara) is consecrated in a similar way and blessed
with this mantra: “Oµ vajrat¥k∑ˆa Dhaµ Svåhå.”
The teacher protects the gong with a metal fire (lohågni), offers items of wor-ship,
and finally deposits it on a stool (p¥†hikå) inside the temple (devågåra) in the north-
eastern corner. He recites “Oµ ye dharmå˙” and so forth, and then repeats one
hundred and eight times the following mantra: “Oµ Dh¥˙ Hr¥˙ ßruti-sm®timativijaye
Dh¥˙ Svåhå.” Such is the procedure of setting up the gong.
On the eve (pËrvadivasa) of drumming the gaˆ∂¥ in the assembly of monks
(bhik∑uvarga), the king, important officials (pradhånapuru∑a), and other people,
convey their respects (satkåra) by presenting donations (dak∑iˆå) consisting of gold
(suvarˆa), garments (vastra), betels (tåmbËla), and other things. They further offer
dËrvå grass, jasmine (kunda), scent (gandha), flowers (pu∑pa), black aloe incense
(agurudhËpa) and other similar items. Next, after executing the besprinkling with
433
scented water, an invitation is read out to the senior monks endowed with
morality, wisdom and compassion. The senior monks are offered seats and paid

429
. The Tibetan version gives only five colours: yellow, red, green, blue, and yellow.
430
. Sanskrit A: Saµvid¥nåµ, Sanskrit B: Sevirbht¥ˆåµ, Tibetan: Mang pos bkur ba (=
Mahåsaµmata), evidently an error for Kun gyis bkur ba = Saµmat¥ya.
431
. Sanskrit A and B: Sthåvar¥ya, Tibetan: gNas brtan pa.
432
. Tanemura 1997, 41.9-43.8; Sanskrit A, 248.1-249.1; Sanskrit B, 100a.2-8; Tibetan
A,163.1.1-2.4.
433
. sugandhajaladhåråpåtana. Sanskrit A, 249.2; Tibetan, 163.2.2.

163
respect with flowers and other articles. This is formally known as the invitation of
the senior monks (sthaviropanimantraˆa).
On the following day, the Sa∫gha is offered a meal (bhojana), the stanzas in praise of
the gaˆ∂¥ are recited, and then the gaˆ∂¥ is sounded.
434
Such is the procedure of drumming the gaˆ∂¥ (gaˆ∂yåko†ana).
435
Ceremony of going forth
436
[In the Pravrajyåvastu of the MËlasarvåstivåda Vinaya, there is a narrative which
explains the circumstances of the Buddha's introduction of more formal and stricter
procedures for conducting the monastic ordination. This Vinaya explains that since
there were no teachers or preceptors, the monks did not behave properly and non-
believers criticised them. Then, after one monk died because nobody took care of
him when he was ill, the Buddha instructed the monks that, from this time onwards,
the ceremony of going forth (pravrajyå) and the full monastic ordination
(upasampadå) must be performed by teachers (åcårya) and preceptors (upådhyåya).
The pravrajyå is the original form of ordination, which does not involve any
imposition of vows or specific rules. As such, it is a spon-taneous abandonment of
the secular life and embarkation on mendicancy, in the same way as was done by the
Buddha himself when he renounced the world and became a mendicant. In his
Ekottarakarmaßataka, Guˆaprabha describes the pravrajyå ceremony under the
heading of “the ancient ordinance” (puråkalpa), but quite differently from the
437 438
description given below. In his Vinayavastu-†¥kå, Kalyåˆamitra explains that
essentially there is no difference between the pravrajyå and the upasaµpadå. In his
view both these rites bestow the essence of going forth and ordination. These two
rites, he explains, came into existence at two different period because of two
different types of Buddhist adepts. At the time the Buddha's enlightenment there
were pure beings alone, and there was no need for the Vinaya rules, preceptors or
teachers. Later on, there were no such pure beings, and the new and stricter
procedures had to be introduced.
Kuladatta's exposition of the pravrajyå ceremony, summarised below, is a mixture
of the pravrajyå ceremony and of the novice's ordination. The whole description is
implicitly presented as if a quotation from the Vinaya. The main point that he seems
to be making, but does not clearly state, is that this cere-mony emulates the ancient
pravrajyå, and hence constitutes the full monastic ordination. The description of
Kuladatta's exposition of the pravrajå ceremony opens with the following improvised

434
. Sanskrit A, 249.4; Sanskrit B, 100b.2; Tibetan, 163.2.4.
435
. pravrajyågrahaˆa. Tanemura 1997, 44.9-57.5; Sanskrit A, 249.4-256.1; Sanskrit B,
100b.2-102b.3; Tibetan, 163.2.4-164.3.8.
436
. Rab tu 'byung ba'i gzhi, Tibetan Tripi†aka, Pekin edition, vol 41, 22.3.2ff.
437
. Ekottarakarmaßataka, Tibetan Tripi†aka, Pekin edition, vol. 123, 240.2.5ff.
438
Vinayavastu†¥kå, Tibetan Tripi†aka, Peking edition, vol. 122, 226.4.6-5.3.

164
quotation from the Vinaya, which seems to continue to the end of the pravrajyå
section.]
“It is said in the Vinaya: ‘The pravrajyå and upasampadå should be duly
439
bestowed by teachers (åcårya) and preceptors (upådhyåya).’ The monks
did not know and asked: ‘How should one go forth and how should one be
ordained?’ The Lord said: ‘When someone comes and asks to go forth, he
should be interrogated about the serious impediments (antaråyika-dharma).
First, he takes the three refuges (trißaraˆagamana), receives the five rules of
training as the layman's vow (upåsakasaµvara), worships the caitya, makes a
maˆ∂ala before the åcårya, and assuming a squatting posture, he should recite
as follows:”
“I, of such and such a name, from this very moment till the end of my life,
take refuge in the Buddha, the supreme one among two-footed beings. I take
refuge in the Dharma, the best one of those freed from passion (viråga). I take
refuge in the Sa∫gha, the best one of all com-munities (gaˆa).”
Next, he should receive the five precepts of training (pañcaßik∑åpada). He recites:
“I, of such and such a name, from this moment till the end of my life, refrain
from taking life (pråˆåtipåta)... from stealing (adattådåna)... from sexual
misconduct (kåmamithyåcåra)... from telling lies (m®∑å-våda)... and from
heedlessness induced by intoxication with spirits (surå-
maireyamadyapramåda). I request to have conferred on me the layman's
commitment (upåsakaßik∑å) consisting of the three refuges and the five rules
of training.”
Next he formally requests his åcårya and upådhyåya to grant him the pravrajyå. His
hair is shaved except for the tuft of hair on the top of his head (c趌). Then he should
be asked:
“Do you wish to retain the rank (samåna) of a householder, or do you have
the resolve (nißcaya) to go forth (pravrajyå)?”
If he replies that he wants to go forth, he should be washed with the water from four
oceans (samudra), the c趌 should be shaved off, and he should be invested with the
saffron robes (kå∑åyavastra). He recites three times as follows:
“I, of such and such a name, from now till the end of my life, abandon the
status of a householder (g®hili∫ga), and I take on the status of mendicancy
(pravrajyåli∫ga).”
He concentrates deeply on the thought of going forth (pravrajyåcitta) and goes
forth. He abandons his secular name (g®hasthanåma), receives his monastic
name (bhik∑unåma) in conformity with the religious affiliation
(nikåyånurËpa), and takes the three refuges.

439
. Tanemura 1997, 44.11; Sanskrit A, 249.4; Tibetan, 163.2.5.

165
 440
Next, there are bestowed the ten rules of training (daßaßik∑åpada). The candi-date
recites a particular formula through which he commits himself to observe the ten
rules of training incumbent on novices (ßråmaˆeraka). He promises to refrain till the
end of his life from: 1. taking life (pråˆåtipåta), 2. stealing (adattådå-na), 3.
unchastity (abrahmacarya), 4. telling lies (m®∑åvåda), 5. heedlessness caused by
intoxication with spirits (suråmaireyamadyapramåda), 6. dancing, songs, and music
(n®tyag¥tavådya), 7. garlands, scent and ointments (målå-gandhavilepana), 8. high
and large seats (uccaßayanamahåßayana), 9. taking food at proscribed times
(akålabhojana), and 10. accepting gold and silver (jåta-rËparajatapratigraha).
Next, the candidate requests in turn the teacher, the preceptor, and the Sa∫gha, to
bless his religious robes (c¥vara), alms bowl (piˆ∂apåtra), water pot (guˆ∂ikå) and
441
mendicant's staff (khikkhirikå). He kneels down on his right knee, and folding his
hands, he recites:
“O teacher, please remember me. I, of such and such a name, make this
request before you as my teacher. As I have trust (vißvåsa) in the Sa∫gha,
please bless this monastic robe for the sake of delighting the Sa∫gha... for
visiting the royal family (råjakula)... for going to villages (gråma) and towns
(nagara).
Likewise... Please bless this alms bowl, the vessel of sages (®∑i), and the
vessel of training (ßik∑åbhåjana), so that I may eat.
Likewise... Please bless this water-pot, the vessel of training.
Likewise... Please bless this mendicant's staff.”
The teacher bestows the robe with the following mantra: “Oµ nama˙ samanta-
budddhånåµ sarvatathågatådhi∑†hitåtmac¥vara Svåhå.”
Next, the neophyte recites similar verses to those above, but this time stating that he
has received all these articles. After stating the acceptance of the mendi-cant's staff,
442
he recites:
“O venerable ones (bhadanta), please remember me. I, of such and such a
name, take on this comprehensive vow (saµvara), and I shall duly abide by it.
O venerable ones, please remember me. Having joined the Sa∫gha, I shall
celebrate together with the Sa∫gha the fortnightly observance (po∑a-dha), and
I shall strive to fulfil the articles of morality (ߥlaskandha), meditation
(samådhiskandha), wisdom (prajñåskandha), liberation (vimu-ktiskandha),
and the vision of liberation and knowledge (vimuktijñåna-darßanaskandha).”
Such is the ceremony of going forth (pravrajyåvidhi).

440
. Tanemura 1997, 48.16; Sanskrit, 251.3; Sanskrit B, 101a.3; Tibetan A, 163.4.4.
441
. Sanskrit B: khikkhilikå.
442
. Tanemura 1997, 56.6; Sanskrit A, 255.5; Sanskrit B, 102a.9; Tibetan A, 164.3.4.

166
 Chapter Eight443

The final chapter of the Kriyåsaµgraha explains the basic designs and character-
istics of four types of stËpa (dharmadhåtu), the implantation (avaropaˆa) of banners
(dhvaja) on the roofs of temples and houses, the rituals which precede and follow the
restoration of damaged images and other things (j¥rˆoddhåra), the dismantling of the
maˆ∂ala (saµhåra), and finally the communal celebration (gaˆamaˆ∂ala).
Characteristics of four stËpa types
[There are four types of stËpa which are distinguished from each other by the shapes
of their domes (kumbha). The domes can be designed like a rice grain (dhånya), an
444
alms bowl (påtra), a bird's egg (khagåˆ∂a), or a vase (kalaßa).]
445
In the case of the stËpas with domes shaped like a rice grain (dhånyåk®ti), the
vedikå's expansion (viståra) of thirty-two måtrikas epitomises the purity of the thirty-
two major marks (lak∑aˆa) of a mahåpuru∑a. Its elevation (ucchråya) of twelve
måtrikas epitomises the purity of the twelve links of dependent origi-nation
(prat¥tyasamutpåda). The vedikå can be round (vartula) or square (catur-asra), or
again, it can have twelve angles (dvådaßå∫ga) or twenty corners (viµ-ßatikoˆa).
Above that, there is the shank ved¥ (ja∫ghåved¥) of six måtrikas epito-mising the
purity of the six commemorations (anusm®ti). It is also round in shape. The middle
(madhya) of the dome (kumbha), and the dome as such, epitomise the dharmakåya,
and the encompassing cord (sËtra) of six måtrikas epitomises the purity of the six
intuitive knowledges (abhijñå). Above that, the harmikå's height up to its top edge

443
. Sanskrit A, 256-281.5; Sanskrit B, 102b4-111b8; Tibetan A, 164.3.8-170.2.3.
444
. The Sanskrit versions read khagaˆ∂a. In this section, the Tibetan versions read yan lag
drug (∑a∂a∫ga, six limbs), which is puzzling. However, in Chapter Six (p. 137), the Tibetan
versions read bya'i sgo nga, bird's egg = khagåˆ∂a. As already said there, since the word
khagaˆ∂a does not have a clear meaning, and since the Tibe-tan translation in Chapter Six
makes sense, it has been amended to khagåˆ∂a.
445
. Sanskrit A, 256.2; Sanskrit B, 102b.4; Tibetan A, 164.4.2.
The description of the four types of stËpa as given in the Kriyåsaµgraha has been translated
and extensively annotated by M. Bénisti, “Etude sur le stËpa dans l'Inde ancienne, Bulletin
de l'Ecole Française d'Extreme-Orient, 50, 1960, 89-105. See also the article by Gustav
Roth, “Symbolism of the Buddhist StËpa”, in The StËpa, its Religious, Historical and
Architectural Significance, edited by A.L. Dallapiccola and S. Zingel-Avé Lallemant,
Wiesbaden, 1980, 183-209.

167
(ߥr∑aparyanta) measures three måtrikas, epitomising the purity of the three Yånas,
and its girth (viståra) of four måtrikas epitomises the four noble truths. On each side
of it, there is a little excrescence (månådhika). The upper and lower sections of the
harmikå are in the ratio of one to three. One-third forms the ledge (kaˆ†hikå) and
two-thirds the rest of its height. The ledge's girdle (kaˆ†hikåvalaya) is of the same
size. The rest serves as the flower support (pu∑pagrahaˆ¥). The progressively
narrowing superstructure (hråsa) should be of a fine design. The base of the axial
pole (ya∑†imËla), one-ninth of the harmikå's size, is square and epitomises the purity
of the four sub-lime attitudes (brahmavihåra). The summit of the axial pole
(ya∑†ikågra), one-ninth the size of the ya∑†i, is also square. The ya∑†i's length (åyåma)
of twenty-two måtrikas epitomises the purity of the twenty two kinds of the
generated enlightened thought (cittotpåda). The lokapålas are positioned in the centre
of the ya∑†i as measured from the harmikå's interior. The size of the lokapålas is one
måtrika, epitomising the purity of the non-dual suchness (tathatå). The section
constituting the position (sthiti) of the umbrella garland (chatråval¥) is eight måtrikas
and epitomises the purity of the noble eightfold path (a∑†å∫gika-mårga). The
umbrella garland consists of thirteen discs (cakråval¥) epitomising the thirteen
bhËmis. Above that, there is the rain receptacle (var∑asthål¥), the size of a half
måtrika. Above that, there is the neck (gr¥vå), one and a half måtrikas high, and
epitomising the purity of the conventional and absolute levels of truth
(saµv®tisatyaparamårthasatya). The expansion (viståra) from the neck to the axial
pole's summit (ya∑†iߥr∑a) is a half of that. Finally, on the top there is the u∑ˆ¥∑a,
epitomising the transcendent great compassion (mahåkaruˆå).
446
In the case of the stËpas with domes shaped like an alms bowl (påtra), the base
vedikå (adhovedikå) of twenty-eight måtrikas epitomises the purity of the Buddha's
ten powers (daßabala) and eighteen exclusive attributes (åveˆika). The shank vedikå
(ja∫ghåvedikå) of five måtrikas epitomises the purity of the five spiritual powers
(pañcabala). The dome's elevation (kumbha-åroha) of seven måtrikas epitomises the
purity of the seven limbs of enlightenment (sapta-bodhya∫ga). The remaining
characteristics are the same as in the previous stËpa.
447
In the case of the stËpas with domes shaped like a bird's egg (khagåˆ∂a), the
base vedikå (adhovedikå) of twenty-six måtrikas epitomises the purity of the ten
knowledges (daßajñåna), the twelve supremacies (dvådaßavaßitå), and the four
grounds of confidence (vaißåradya). The shank vedikå (ja∫ghåvedikå) of four
måtrikas epitomises the purity of a quadrangular opening (?caturasrodghå†ana). The
dome's elevation of eight måtrikas epitomises the purity of the eight libera-tions
(a∑†avimok∑a). The rest is the same as for the påtra-shaped stËpa.

446
. Sanskrit A, 257.5; Sanskrit B, 103a.4; Tibetan A, 164.5.4.
447
. Sanskrit A, 257.6; Sanskrit B, 103a.6; Tibetan A, 164.5.6.

168
 448
In the case of stËpas with domes shaped like a vase (kalaßa), the base vedikå's
(adhovedikå) elevation of twenty-four måtrikas epitomises the purity of the twelve
perfections (påramitå) and the twelve dhåraˆ¥s. The shank vedikå's (ja∫-ghåvedikå)
elevation of three måtrikas epitomises the purity of the three libera-tions
(trivimok∑a). The dome's elevation of nine måtrikas epitomises the purity of the nine
literary categories of the Buddha's teaching (navå∫gapravacana). The rest is as for
the påtra-shaped stËpa.
449
Next are explained the purities (vißuddhi) common to all four types of stËpa.
The axial pole (ya∑†ikå) is positioned over the lunar disc (candramaˆ∂ala) of
sixteen måtrikas epitomising the purity of the sixteen lunar digits (kalå). On its
expansion and over the five great elements (mahåbhËta), there is the earth
epitomising generosity (dånap®thiv¥). The foundational structure (nemi) stands for
morality (ߥla). The purity of the tenfold morality free from the ten vices (da-
ßåkußala) is represented by the eight fractions (aµßa) of the adhovedikå and the
bhittivedikå, and the jagat¥ adjusted accordingly. Since the jagat¥ epitomises the
purity of the four kinds of noble lineages (vaµßa), the four ved¥ faces (mukha) are
450
expressive of the four noble truths. The four tympanums (toraˆa) stand for the
purity of the four absorptions (dhyåna). The four image shrines (pratimåg®ha) stand
for the purity of bestowing the four gifts, namely Dharma, material posses-sions
(åmi∑a), fearlessness (abhaya), and benevolence (maitr¥). The four corners (koˆa)
stand for the purity of the four grounds of confidence (vaißåradya). The ground ved¥
(adharå ved¥) stands for the four foundations of magical powers (®ddhipåda), and the
second ved¥ (dvit¥yaved¥) for the four correct efforts (samyak-prahåˆa). The shank
ved¥ (ja∫ghåved¥) represents the purity of the five spiritual faculties (pañcendriya).
The kaˆ†haka represents the purity of the five spiritual powers (pañcabala). The four
openings (mukha) and the flower-holder (pu∑pa-grahaˆa) stand for the purity of the
impermanence (anitya) and other Dharma-portals (dharmamukha). The kaˆ†hikå
represents the purity of the serenity limb of enlightenment (praßrabdhibodhya∫ga)
451
generated from the pure first absorption (anåsravaprathamadhyåna). The
adornment around the kaˆ†hikå (kaˆ†hikåvala-yavalitaka) represents the purity of the
joy limb of enlightenment (pr¥tisambo-dhya∫ga) issued from the second and third
dhyånas. The harmikå stands for the purity of the equanimity limb of enlightenment
(upek∑åsambodhya∫ga) issued from the relevant anågamya and the fourth dhyåna.
The four lokapålas epitomise the purity of the four limbs of enlightenment called
mindfulness (sm®ti), investigation into things (dharmapravicaya), energy (v¥rya), and
samådhi. The rain receptacle (var∑asthål¥) stands for the purity of the quiescent

448
. Sanskrit A, 258.2; Sanskrit B, 103a.7; Tibetan A, 164.5.8.
449
. Sanskrit A, 258.3; Sanskrit B, 103a.8; Tibetan A, 165.1.1.
450
. For an illustration see The StËpa, its Religious, Historical and Architectural Significance,
edited by A.L. Dallapiccola and S. Zingel-Avé Lallemant, Wiesbaden, 1980, 209.
451
. Sanskrit A, 259.1; Tibetan A, 165.1.7-8.

169
concentration (åsphånakasamådhi). The neck (gr¥vå) epitomises the purity that brings
the destruction of the four måras. The two mirrors (dar∑aˆa) consisting of the solar
and lunar discs stand for the purity of emptiness (ßËnyatå) and compassion (karuˆå).
The two bells (ghaˆ†å) represent the purity of the two stanzas (gåthå) and the purity
that pervades all spheres (sarvavi∑ayåtmagata). The umbrella (chatra) stands for the
purity of the omniscient knowledge that knows all aspects of all things
(sarvåkårajñatåjñåna). The banner (dhvaja) stands for the purity of the emancipated
mind free of avarice (alobhåtmikacetovimukti). The flags (patåka) stand for the
purity of fame (yaßas) such as the fame of the Lord Buddha and others.
In the case of the so called threefold umbrella garland (trividhåchatråval¥) com-
prising the corner garland (koˆåval¥), the centre garland (madhyåval¥), and the
cornercentre garland (koˆamadhyåval¥), one is free to devise one's own designs. The
same holds for the hoof (khura), rampart (varaˆ∂a) and the rest.
452
Next, one arranges jewels (ratna) on a tortoise-stone (kËrmaßilå) in the same
way as was already explained, and one performs over it the root rite of the axial pole
(ya∑†ikåmËlavidhi) with golden and other leaves. One generates from the relevant
syllables and envisages the following items positioned in sequence on top of each
other: a white eight-spoked wheel (a∑†åracakra; Bhr˵), a lotus with variegated
petals (vißvadalapadma; A), a lunar disc (candramaˆ∂ala; Oµ), and fi-nally the
ya∑†ikå having the nature of the syllable Dh¥˙, epitomising the absolute (paramårtha),
and generated from the syllable Ó˙. One summons its knowledge-being and
envisages it inside the ya∑†ikå. One performs the consecration with the water from
the vase containing the Tathågatas and other deities. Having offered the articles of
453
worship, one recites the relevant mantra twenty-one times. Then once again, one
recites one hundred and eight times “Oµ dharmadhåtugarbhe Svåhå,” and one
implants the axial pole (ya∑†ikåsthåpana). Having perfected the dharmadhåtu, one
assumes the identity of Vajrasattva, and following the process already explained, one
envisages the Vajradhåtu maˆ∂ala inside the caitya's womb (caityagarbha). Finally,
one executes the consecration rite (prati∑†hå-vidhåna) in the way it has been already
454
explained.
455
Characteristics and consecration of banners
The banners (dhvaja) are designed like vases (kalaßa), bells (ghaˆ†å) and so forth.

452
. Sanskrit A, 259.5; Sanskrit B, 103b.7; Tibetan A, 165.2.6.
453
. Sanskrit A, 260.1-3: oµ namo bhagavate vairocanaprabharåjåya tathåga-tåyårhate
samyaksaµbuddhåya tadyathå sËk∑me sËk∑me samaye samaye ßånte ßånte dånte dånte
asamåropye nirålambe niråkule nirvåˆe yaßovati mahåteje sarvabuddhådhi∑†hånådhi∑†hite
svåhå.
454
. Sanskrit B, 104a.3; Tibetan A, 165.3.4.
455
. Sanskrit B, 104a.4; Tibetan A, 165.3.6.

170
 In the case of the vase-shaped banner, its belly (udara) is sixteen måtrikas, and its
circumference (pariˆåha) is three times larger (triguˆa). The expansion (viståra) of
the immortal repository (amaraßåla) is twenty måtrikas, and its height is six måtrikas.
The section beneath that (adhobhåga) is five måtrikas, and its expansion should be
worked out accordingly. The intermediate section (antaråbhåga) between the belly
and the immortal repository is four måtrikas, and the expansion (viståra) of the lower
section (k∑¥ˆabhåga) is of the same size. From the belly upwards and to the edge of
the spout (mukha) there are six måtri-kas. The expansion of the spout (mukhaviståra)
is eleven måtrikas. The everted lip (lambamånau∑†ha) is two måtrikas. The expansion
of the neck (gr¥vå) is five måtrikas. The jewel-section (maˆibhåga) has eight parts
(a∑†aka), and a half of that makes the lower expansion (viståra). The neck (kaˆ†ha)
and the harmikå of two måtrikas are conveniently positioned between the jewel
(maˆi) and the spout (mukha). The remaining elements (racana) are made in such a
way that all looks elegant.
456
In the case of the bell-shaped banners (ghaˆ†åk®ti), the height of the vase
(kumbha) from top to bottom is forty-six måtrikas. The inner circumference
(madhyapariˆåha) is one hundred and eight måtrikas. The measurements of the upper
parts over the aperture (mukhaߥr∑a) should be worked out accordingly. The multiple
fold (samudåya) beneath the vase (kumbha) is forty two måtrikas. In distinction
(vibhåga), the length of the immortal repository (amaraßåla) is sixteen måtrikas, and
its circumference is two hundred. Above that, the height of the basket (karaˆ∂a) is
twelve måtrikas, and its circumference is duly adjusted so that it looks pleasing. The
lower section (adhobhåga) is fourteen måtrikas, and its circumference is also
adjusted accordingly. The remaining elements (racana) are made in such a way so
that the whole looks elegant.
457
Next are explained the measurements of the victory banner (dhvaja). This kind
of banner is hung along the doorways of the gandhaku†¥s, temples (kˆåla-ya), and
assembly halls (maˆ∂apa). In the case of layanas, the vertical length (åroha) of the
banner is a fifth part (pañcabhåga), a third part (tribhåga), and two parts (dvibhåga)
or a half of the door (in height). In the case of pedestals (piˆ∂ikå), the banners
measure one fifth or one third of the size of the pedestals.
458
The teacher assumes the yoga of Vajrasattva, and carries out the procedure for
implanting (sthåpana) the wooden and golden banners. He executes this procedure in
the same way as was explained in the case of the ya∑†isthåpana. The banners made
from gold or other materials are implanted in the following way. The teacher
instantly assumes the yoga of Vajrasattva, envisages the banner's pledge-being
(samayasattva), summons the corresponding knowledge-being (jñånasattva) and
infuses it inside the pledge-being. He consecrates the banner with the water from the

456
. Sanskrit B, 104a.7; Tibetan A, 165.4.2.
457
. Sanskrit B, 104b.2; Tibetan A, 165.4.6.
458
. Sanskrit B, 104b.3; Tibetan, 165.4.7.

171
vase of the Tathågatas and other deities, offers the water for the face and other
articles of outer worship. Then, holding in his hand a flower garland and a five-
459
coloured thread (pañcasËtra), he recites twenty-one times the relevant mantra over
the banner positioned in the centre on the top of the eastern layana. Reciting seven
460
times the relevant mantra, he adorns its umbrella (chatra) with a garland of
flowers and other items, protects it with a firebrand (lohågnirak∑å), and consecrates it
with fruits (phalåbhi∑eka). Holding a bunch of jasmine (kunda) and durvå grass, he
sanctifies it (prati∑†hå) with the mantra “Oµ ye dharmå,” and so forth.
The remaining banners are consecrated in a similar way, but they have their own
specific mantras. Altogether the text describes the consecration of forty four banners
implanted on the tops of twelve layanas: four layanas positioned towards the four
cardinal directions, and eight layanas positioned in the intermediate directions. The
layanas positioned towards the cardinal directions have five banners each, one at the
centre and four positioned on the four sides. The layanas positioned in the
intermediate directions have three banners each, one at the centre and two on each
side. Of the two layanas positioned in the south-east, one faces the west, and one
faces the north. Of the two layanas posi-tioned in the south-west, one faces the north
and one faces the east. Of the two layanas positioned in the north-west, one faces the
east and one faces the south. Of the two layanas positioned in the north-east, one
461
faces the south, and one faces the west.
In the case of the gandhaku†¥s, temples (kˆålaya), and assembly halls (maˆ∂apa),
on the eastern side, one should recite twenty-one times the dhåraˆ¥-mantra of
Vairocana; on the southern side, the DhvajågrakeyËra mantra; on the western side
the dhåraˆ¥mantra of Amitåbha; and on the northern side, the
Vajramaˆ∂ålaµkåradhåraˆ¥ mantra. After that, over the centre, one pronounces a
blessing (adhi∑†håna) by reciting seven times “Oµ sarvatathågatamaˆi-ßatad¥pta,”
and so forth, and then one carries out the consecration (prati∑†hå) by reciting “Oµ ye
462
dharmå,” and so forth.
Next, the teacher should envisage the pledge-being of the golden umbrella (chatra)
and its stem (daˆ∂a) as having the following natures. The stem is gene-rated from the
letter A, and perceived as having the nature of the central vein (avadhËt¥). The
umbrella's thirty-two lotus petals epitomising the group of thirty-two veins (nåd¥) are
generated from the syllable H˵, and envisaged as having the nature of the ambrosia
of Buddha-knowledge (buddhajñånåm®ta), as bearing the mark (a∫kita) of the
dharmadhåtu, and as draining away all defile-ments (kleßa) and sins (påpa). Next, he
summons the corresponding knowledge-being, and infuses it inside the pledge-being.

459
. The same as given in footnote 11.
460
. Sanskrit A, 260.6; Sanskrit B, 194b.7: oµ sarvatathågatamaˆißatad¥pta jvala jvala
dharmadhåtugarbhe svåhå.
461
. Sanskrit A, 261.3-267.6; Sanskrit B, 104b.7-107a.2; Tibetan A, 165.5.5-166.167.2.1.
462
. Sanskrit A, 267.6-268.2; Sanskrit B, 107a.2-4; Tibetan A, 167.2.1-4.

172
He executes the consecration with the water from the vase, and offers the articles of
worship. He further consecrates it by reciting one hundred and eight times the
following mantra: “Oµ nama˙ sarvabuddhabodhisattvånåm å˙ candrachatråvali
463
svåhå.” Such is the umbrella consecration (chatraprati∑†hå).
Next, following similar procedures, he generates from their seed syllables, the
464
following items: white chowrie (cåmara), lion (siµha), aparåjita, jewel-vase
(ratnakalaßa), fish (matsa), peacock (mayËra), deer (m®ga), makara, garu∂a, padma,
mirror (darpaˆa), crossed vajra (vißvavajra), bull (v®∑abha), vajra, jewel (ratna), swan
(haµsa) and other things. He envisages their corresponding knowledge-beings and
merges them with the pledge-beings. He consecrates them with the water from the
vase, and offers the articles of worship. Finally, he blesses them one hundred and
eight times with the following mantra: “Oµ Ó˙ vajradhvajavati jayavati jayottari
Svåhå.”
465
This concludes the consecration of banners (dhvajaprati∑†hå).
Following a similar procedure, he envisages luminous (prabhåsvara) and
majestic (pratåpa) flags (patåka) generated from the syllable Paµ, summons the
corresponding knowledge-being, and merges it with the pledge-being. He
consecrates them with the consecrated water and the following mantra recited
one hundred and eight times: “Oµ Ó˙ vajraketuvajrapatåke adhiti∑†ha Paµ
Svåhå.”
466
Such is the consecration of flags (patåkaprati∑†hå).
467
Restoration of images and other things
The people in charge (adhipati) of the places with maˆ∂alas and deities (maˆ∂a-
leyadevatåsthåna), the people in charge of the lokapålas and visitors (prek∑aka), the
craftsmen (ßilpin), the åcårya, and the dharmabhåˆakas, should be duly respected
according to their status (yathårhapËjå), and then a large bali (mahå-bali) should be
offered in accordance with the already explained rite.
When the caityas, images, banners and all other things in villages, towns or
monasteries, become decayed, are burnt, or damaged, the people living in such
places endure all kinds of harm, such as the destruction of property, violence,
famine, and loss of population. It is thus necessary to carry out repairs.
The teacher assumes the yoga of the three samådhis, offers the articles of worship
such as the water for the face (argha), flowers (pu∑pa), incense (dhËpa), scent

463
. Sanskrit A, 268.3-5; Sanskrit B, 107a.4-7; Tibetan, 167.2.4-7.
464
. Sanskrit, 268.5-269.2; Sanskrit B, 107a.7-107b.2; Tibetan, 167.2.7-3.6.
465
. Sanskrit A, 269.3; Sanskrit B, 107b.2; Tibetan, 167.3.7.
466
. Sanskrit A, 269.3-5; Sanskrit B, 107b.2-3; Tibetan, 167.3.7-167.4.1.
467
. Sanskrit A, 269.5-271.3; Sanskrit B, 107b.4-108a.5; Tibetan, 167.4.1-5.8.

173
(gandha), lamps (prad¥pa), food (naivedya), and other items, and then recites the
following supplication:
“O Lord and sovereign of knowledge (vidyåråja), I bow before you. O
protector, I intend to execute for you the pure activity of repairing the
damages (j¥rˆoddhårakriyå). For the sake of living beings, and in order to
render you homage, I request you to transfer into this vase endowed with the
nature of the knowledge ambrosia (jñånåm®ta).”
Next, the teacher beholds the deity's seed-syllable (b¥ja) inside the image's heart, and
holding a rosary (ak∑asËtra) in his left hand, and a vajra together with a five-coloured
thread in his right hand, he recites the deity's mantra one hundred and eight times. He
deposits inside the vase the deity's seed syllable flanked by two syllables Ho˙. He
performs a homa, and waves over the vase the mighty cord (v®∑abhayantra) and other
468
things. After that, he deposits the vase in an isolated place, and regularly offers it
worship with flowers and other items.
When caityas and other things made from stones (ßilå) become completely
dilapidated and destroyed, they should be thrown into water at the confluence of
rivers (nad¥saµgama) or some other such place. The caityas and other things made
from clay (m®d) should also be thrown away, as it is improper to reas-semble the
saµskåras. When the things made from wood (kå∑†ha) are destroyed, they should be
wrapped in pieces of cloth soaked with ghee, and then burned in the homa fire
(homågni). In the case of the things made from copper (tåmra) and other metals, they
are melted down, but they should not be recast smaller (nyËna) than their original
size (pramåˆa).
Once the caityas and other things have been repaired (ni∑panna), the teacher
proceeds to reinstall their deities. First he offers the water for the face and other
articles of worship. Next, he summons the knowledge-being which has been
deposited in the vase in the form of the knowledge-ambrosia, and infuses it inside
the pledge-being of the repaired caitya or other things. He consecrates them with
water, blesses them with their appropriate mantras recited one hundred and eight
times, and then he sanctifies them (prati∑†hå) following the already explained
procedure.
Such is the rite of carrying out repairs (j¥rˆoddhåraˆavidhi).
469
Dismantling the maˆ∂ala
The teacher pays respect to his disciples, the fire god Agni, the protectors of the
world (lokapåla), distinguished artists (åryaßilpin) and dharmabhåˆakas, and gratifies
the people attending (prek∑akaloka) with betels and other items.

468
. The Tibetan version reads: “He ties it with the v®∑abha rope and agitates it with vessels
and other things.”
469
. Sanskrit, 271.3-274.4: Sanskrit B, 108a.5-109b.4; Tibetan A, 167.5.8-168.3.8.

174
 In order to bring peace (ßånti) and prosperity (pu∑†i) to his disciple, he holds the
disciple's right thumb with his left hand, and offers different articles into the homa
fire (åhutikå) three or seven times, and makes the disciple to do the same.
Next, he offers the vessel with dËrvå grass (dËrvåkuˆ∂a), unhusked grain, lamps
(prad¥pa), and other articles. After that, he offers three, five or seven homa libations
(pËrˆåhuti), and prays to be pardoned for the mistakes committed. Next, he sprinkles
the benefactor's attendants (dånapativarga) with the water taken from the vases, and
recites a benediction (åߥrvåda).
Next, taking a well-washed vessel (caru), he places inside it the remainder of the
homa ghee (gh®ta), as well as honey (madhu), milk (dugdha), melted butter (åjya)
treacle (gu∂a), candied sugar (ßarkarå) and other articles mixed together, and he
cooks them so that they duly become ambrosia (am®ta). He further per-fects them by
reciting the mantra of his favourate deities. He takes the best share of the ambrosia,
places it in a golden receptacle (bhåjana), and offers it to the deities (devatå) while
reciting “Oµ divyånne samådhidhyånapr¥ˆane Svåhå.” After that, he offers a
mahåbali in conformity with the previously explained procedure, bows before the
maˆ∂ala deities, transfers merit, circumambulates the maˆ∂ala three times, and then
facing the chief deity, he recites three times the hundred syllables of Vajrasattva, and
then asks for forbearance (k∑amå):
“O Perfect Buddhas, deities and your sons (suta), Brahmå and other world
protectors, please deign to appease the errors committed during the ritual
activities (vidhikriyå). Now that you have bestowed peace (ßånti) and
prosperity (svasti) on the entire world, I request you to depart to the realm of
the Buddhas (buddhavi∑aya), and to return here again in the future.”
Reciting “Oµ Ó˙ H˵ vajra Mu˙,” he dispatches the knowledge-retinue (jñå-
nacakra), and absorbs within himself the retinue of the mentally constructed
470
maˆ∂ala.
Reciting “Oµ akåro mukhaµ sarvadharmåˆåµ ådyanutpannatvåt Oµ Ó˙ H˵
Mu˙,” and asserting the non-origination (anutpåda) of all the dharmas, he rings the
bell, and with his right hand holding the vajra, he progressively erases the maˆ∂ala
lines from the brahmasËtras up to the place of the principal deity (nåyakasthåna). He
places some coloured powder on the benefactor's head, and then erases the lotus and
the rest. Next, he destroys with the vajra the portals and the corners. Making an
appropriate gesture with his thumbs and forefingers, he pulls out the k¥las while
reciting “Oµ vajrak¥la k¥laya sarvak¥lån vajra-dharåjñayå H˵ H˵ Pha† Ho˙.”
Finally, he performs an ablution with milk, while reciting the following mantra one
hundred and eight times: “Oµ ruru sphuru jvala ti∑†ha siddhilocane sarvårthasådhani
Svåhå.” He discharges the k¥la deities (k¥ladevatå) and covers over the holes
471
(garta).

470
. nirmitamaˆ∂alacakra.
471
. Sanskrit A, 273.2; Sanskrit B, 108b.6; Tibetan A, 168.2.6.

175
 A small amount of the coloured powders (rajas) from the erased maˆ∂ala is given
to beggars (arthin) to bring them peace (ßånti) and other things, and the rest is
collected into a vase (kalaßa). Next, the vase is carried to the banks of a large river.
When this is done, the vase is held by a yogin¥ adorned with a garment donated by
the benefactor, and seated on a palanquin (dolå) mounted on an elephant, and
accompanied by umbrellas (chatra), flags (patåka), and music (vådya).
Upon reaching the river bank, an eight-petalled lotus is drawn with white powder.
472
The teacher recites the mantras of Varuˆa and the eight någa kings, and arranges
these deities on the anthers and the petals of the drawn lotus. Next, he recites a series
of mantras with which he presents the någas with a milk bali. After that, he offers
them worship and surrenders to them the coloured powders. Reciting “Oµ ghili ghili
H˵ Ja˙ Svåhå,” he throws the powders into the water, and envisages the någas
receiving them and then carrying them away with great reverence (satkåra) to their
underworld abode (påtålatala).
When the vessel (gha†a) with the coloured powders is filled with water, then, in
order to induce appeasement, the maˆ∂ala house and the rest are concealed and
dispersed. One should perform the so called maiden-worship (kumår¥pËjå) in the
473
maˆ∂alag®ha smeared with cow dung.
Depending on his means and according to their worthiness, the benefactor should
gratify the teacher (åcårya), the portal masters (dvåråcårya), the ritual adepts
(karmavajrin), and the craftsmen (ßilpin), by presenting them with such things as
garments (vastra) and similar items, and with betels and the like.
Such is the rite of dismantling the maˆ∂ala (maˆ∂alopasaµhåravidhi).
474
Nocturnal celebration
475
This rite applies to the householders who are initiated ascetics, to yogin¥s, and to
476
those who observe and protect the pledges.
Upon discerning such auspicious people (bhavya), the karmavajrin approaches
them, offers a maˆ∂ala in front of them, and then extends the following invi-tation
(nimantraˆa):
“I salute you who are endowed with the body of knowledge (jñånarËpa), and
who liberate from existence (bhavatåraka). Today I extend this invita-tion for
the purpose of the house celebration (g®hapËjå).”
Next, at the feet of those who have gathered (ågata), there is offered the water for the
face (argha) consisting of dËrvå vessels (dËrvåkuˆ∂a), unhusked grain (ak∑a-ta),

472
. Ananta, Padma, Tak∑aka, Våsuki, Mahåpadma, Ía∫khapåla, Karko†a, Kulika.
473
. Sanskrit A, 274.2; Sanskrit B, 109a.3; Tibetan A, 168.3.6.
474
. ratr¥gaˆacakra. Sanskrit, 274.4; Sanskrit B, 109a.5; Tibetan A, 168.3.8.
475
. abhi∑ikto yatig®hastha.
476
. Sanskrit A: samayåcåryaparipålaka; Sanskrit B: samayåcåraparipålaka.

176
sandal (candana) and other articles. They should wash with pure water mixed with
equal amounts of crushed måµs¥ and priya∫gu, and with uߥra, vålaka, white sandal,
and coraka fragrances.
They should sit down on their designated seats (parikalpitåsana) in order of
seniority (jye∑†hånukrama). There are five categories of seniority: the first is the
seniority of consecrations, the second one is the seniority of vows, the third is the
seniority of knowledge, the fourth one is the seniority of birth, and the fifth is the
477
seniority of scholarship.
They should prepare such things as flowers (kusuma) scent (gandha), wreaths
(målya), lamps (prad¥pa), red dye (alaktaka), sacred cords (upav¥ta), food (naivedya),
yellow powder (pi∑†åtaka), balis, betels (tåmbËla), a selection of fruits (phala), cakes
(pi∑†aka), a selection of alcoholic drinks (vividhamadya), and meat (måµsa). Then,
478
having recited twenty-one times the relevant mantra, these things should be
distributed on the four outer corners of the fraternity's meeting place
(gaˆamelakasthåna).
Next, a bali is arranged in the following order. Generated from the letter Ó˙, the
bali receptacle (bhåjana) has the nature of a milk ocean (k∑¥rasamudra). The food
(bhakta) placed on the receptacle has the shape of Mt Meru. It is generated from the
syllable Oµ, and it has the nature of Mt Meru. The five flags (patåka), generated
from the syllable H˵, have the nature of the five vital winds (pañca-våyu). The
sacred cord, generated from the syllable Su, has the nature of the serpent Våsuki.
The variegated garland (pu∑pamålå) is generated from the syllable Håµ, the red dye
(alaktaka) from the affection (repha) syllables Ma and Èa, the sesame and other
powders (tilådipi∑†a) from the syllable Oµ, the blood (rakta) from the syllable Tråµ,
fish (matsya) from the syllable Hr¥µ, meat (måµsa) from the syllable Khaµ, and all
the colourings (varˆika) from the syllable H˵. The blood, fish, meat, laktaka,
sacred cord, and colourings are marked in an orderly way with flags.
Of Prayåga, Varuˆa Kolågiri, A††ahåsa Jayant¥, Ujjayan¥, Caritra, and Ko†ivar∑a —
479
the pledge-pills, produced in accordance with the instructions given in the tantras,
should be placed inside the mouth, and then, there should be executed the alcohol
(madyådhi∑†håna) and the a∫kußa benedictions (a∫kußådhi∑†håna). On this occasion
480
(tatra), the vessel seat (kuˆ∂åsana) issued from Suµ is positioned above an eight-
petalled lotus (kamala) having the form of the eight serpent families
481
(a∑†akulanåga). Above that, there is the vessel (kuˆ∂a) gene-rated from the

477
. 1. abhi∑ekajye∑†hånukrama, 2. vratajye∑†hånukrama, 3. jñånajye∑†hånukrama, 4.
janmajye∑†hånukrama, 5. vidyånukrama.
478
. Sanskrit A, 275.3: oµ namo nißåbhairavåya ciri ciri siri siri kiratarËpeˆa sarpå-d¥nåµ
tuˆ∂aµ bandhaya h˵ svåhå.
479
. tantroktakramena sådhitasamayagu†ikå.
480
. Tibetan reads: “bali vessel seat.”
481
. Sanskrit A, 276.2; Sanskrit B, 109b.7; 168.5.8.

177
syllable Vaµ and having the nature (svabhåva) of Varuˆa. Inside it, one envisages
the knowledge-ambrosia (jñånåm®ta) of the bodhicitta generated from the syllable
Haµ. One adorns the neck with a garland and a sacred thread, smears sandal powder
(pi∑†åtaka) or saffron (ku∫kuma), and applies alakta and vermilion (sindËra). Then
once more, one should execute the blessing of alcohol. After that, one dispels
unpleasant odours (durgandha) with the måruta wind generated from the syllable
Ho˙; its colour is generated from the syllable Ha˙, and its essence, having the nature
of ambrosia, is generated from the syllable Oµ. One recites “Oµ Ó˙ H˵,” and
again “Ha˙ Ho˙ Hr¥˙ A˙ Svåhå,” and joining the thumb and the ring finger of the
left hand, one performs the action of churning (manthana), and then, in the middle
(madhya) of this, one should draw the dharmodaya. One summons the ambrosia by
reciting three or twenty-one times the following mantra:
“Oµ am®te am®te am®tasaµbhave ehy ehi am®tapraveßåya Hr¥˙ H˵.”
Next, one blesses five a∫kußas (pañcåµkußa) with this mantra:
“Oµ H˵ Juµ Ghruµ Íruµ Hraµ Svåhå.”
After that, the following stanza (gåthå) is recited:
“O hero, grasp this Dharma, this mantra infatuation of the siddhas.
[Let her] treat in the same manner the priest, the prince, and the
482
outcast.”
The woman (yoßid), beautifully adorned, her lotus-face coppery red, her breasts
(stana) firm, without any hesitation (manovikalparahita) and fully composed
(vinaya), should offer the am®ta to everyone individually. [She recites]:
“The yogin is a truly manifested dharmaråja. His mind is free from im-purity
and passion, and liberated from duality and non-duality (dvai-tådvaita). I
salute you, the epitome of the true reality (tattvaika).”
It is with this stanza and with the lotus-revolving gesture (kamalåvarta) that the
relevant grasping should be done. One recites “Oµ sarvatathågatåm®tåsvådana
vajrasvabhåvåtmako 'haµ,” and one tastes the am®ta.
Next the benefactor (dånapati) places his right knee on the ground, folds his hands,
and recites the following praise (stuti):
“I salute you, the lord of the assembly (cakranåtha). I salute you, the bestower
of knowledge (jñånadåyin). I bow before you, the epitome of purity
(ßuddharËpa). I bow before you, the liberator from existence (bha-vatåraka).
Namas te, namas te, namo namas, I bow before you with devotion. I bow
483
before the entire assembly (gaˆacakra).”

482
. g®hna v¥ra idaµ dharmaµ siddhånåµ mantramohita˙ / brahmak∑atriyacaˆ∂åla ekåkåraµ
pravartatåµ.
Sanskrit A, 276.6; Sanskrit B, 109b.9-110a.1; Tibetan, 169.1.6.
483
. Sanskrit A, 277.3; Sanskrit B, 110a.3; Tibetan, 169.2.2.

178
Next, everyone individually executes the three samådhis with his aspired share
(adhimuktibheda). After that a bali is offered, and everyone receives a scented tilikå.
Next, rice dishes (ßålibhakta) are served, first flavoured with bitter (tikta), then hot
(ka†uka), sour (åmla), sweet (madhura) and other spices (vyañjana). Next are served
ghee (gh®ta), broth (sËpa), and specialities (prakåra) of different kinds of fish
(vividhamatsya) and meat (måsa), and then different kinds of pastry (pi∑†a-pËpaka)
and sweetmeat (la∂∂uka), alcohol (madya), water (jala), and betels (tåmbËla). On the
purified ground facing the threshold (dehal¥), there should be deposited a bali heap
(balipiˆ∂a) with a garland and a lamp.
Next the benefactor makes a maˆ∂alaka with scented water, and then recites the
following three verses:
“The mind (citta) has become purged through the drink that has the unique
flavour of the yoga-ambrosia, and the body (deha) has been puri-fied through
(the mind's) pilgrimage to the p¥†has and other regions. In the midst of this
glorious p¥†ha, I worship the lord of this excellent maˆ-∂ala assembly, and I
bow before him as the supreme guru.
Along with the heroes, I always honour the bodily jewels (deharatna) adorned
with nymphal garlands (devyåval¥), the bodies (gåtra) that are forever pure. I
honour the innately pure lords abiding in the assembly, and always upholding
the sworn yoga (saµvarayoga).
Inside the resting place (nilaya) of the ßukrasåra in the form of the letter E
(ekåråk®ti), there is the supreme womb (garbha) of the Dharma. Inside that,
there is the supreme white haµsakuˆ∂a as the universal lord (sar-våtmaka) of
everything that has ever originated (vyutpanna). The stainless buddha-abode
of omniscience is the goddess's charming receptacle (devy-ålaya). I bow
before the guide (nåyaka) to the repository (udaya) where one attains the
484
innate (sahaja), highest and stainless rapture (rati).”
After that, one executes the absolute homa (paramårthahoma). One burns with the
fire of knowledge (jñånågni) the wood of the body (kåyakå∑†ha) afflicted by the pain
(du˙kha) of passion (anuråga). One gratifies the flavour (rasa), form (rËpa), smell
(gandha), touch (spar∑a), mouth (mukha), eyes (cak∑us), ears (karˆa), nostrils
(nåsikå), and body (ßar¥ra). Next, taking the ambrosia drops (am®tabindu) with the
thumb and the ring finger, one should perform with them an ablution, doing it
together with the maˆ∂ala deities, and the mighty lord (mahåprabhu) having the form
of a minute Buddha inside one's mind (mano 'ntargatasËk∑mabuddhåkåra). One
draws the essence (rasa) with the apåna wind circulating at the navel

484
. Sanskrit A, 278.1-5; Sanskrit B, 110a.7-110b.1; Tibetan, 169.3.2-6.

179
 485
(nåbhimaˆ∂ala). Then, swallowing three pills (gu†ikå), the mantrin endowed with
486
great knowledge (mahåjñåna) should abide in bliss (sukha).
Next, they enjoy food (bhak∑a), dainty dishes (bhojya), succulent things (co∑ya),
and alcohol (madya). They stay awake (jågaraˆa) through the whole night. They
should venerate the host of the Buddhas (jinagaˆa) with dances (n®tya), songs (g¥ta),
and music (vådya).
Next, the wise ones (buddhimat) endowed with the knowledge of Nairåtmyå, each
one individually, envisages lunar discs positioned one span (vitasti) above their
heads, and trickling with the knowledge-ambrosia (jñånåm®ta). Inside the lunar discs,
they envisage the seed-syllables of their deities, and then on the lunar discs
positioned in their hearts and on their heads, they should envisage the emblems
(cihna) of their deities, the size of barley grains. Having done this, they should
perform the acts of gratification.
Permeated with the unique flavour of compassion having the nature of wisdom and
means (prajñopåya), the leading and other yogins should envisage the nature
(svabhåva) of all things (vastu) as being pure with the three liberations (vimo-
k∑atraya), as immutable (avikåra), ultimately blissful (paramårthasukha), and all
endeavours (prakåra) in all actions (karma) as having the form (rËpa) of the infinite
Tathågatas. When the vital energy (våyu) flows quickly through the chan-nel of the
moon (candramårga), then the benefactor should be given advice about frequentation
487
(saµsevanåߥrvåda). After that, one recites seven times the multicoloured three-
syllabled mantra (tryak∑aramantra: Oµ Ó˙ H˵), generated from the seed syllables:
”Oµ Ír¥vajri Ghr¥µ H˵.” Finally, they conclude the session.
Next, there are offered betels, butter lamps, incense sticks (dhËpavarti), and other
articles of worship, and the principal bali (mËlabali) is offered on a stool positioned
towards the eastern direction.
Finally, the karmavajrin folds his hands and invites the assembly master
(cakreßvara) and all others to leave, and they respond by saying “We shall do”
488
(kriyatåm).
One takes the remaining food (ucchi∑†apiˆ∂a), places it in front of the assem-bly
489 490
master, offers him a half of it, and the flowers (kara∫kaja˙pu∑pa) are deposited
inside a large vessel (b®hadbhåjana). The remaining food (bhak∑a) and spices
(vyañjana) are also given away.

485
. Tibetan reads: “three gulps” (hub).
486
. Sanskrit A, 279.1; Sanskrit B, 110b.4; Tibetan A, 169.4.2.
487
. Sanskrit A, 279.5; Sanskrit B, 110b.7; Tibetan A, 169.4.8.
488
. Sanskrit, 280.1; Tibetan, 169.5.3.
489
. Sanskrit B, 111a.1: ardhabhågaµ gråhakaµ pËjayet.
490
. Sanskrit B: karaµkåraja˙pu∑påˆi.

180
 The assembly master, upon seeing the female messengers (dËtikå) of smoke and
stove (dËmågår¥s), pays them respect with flowers and other articles of worship,
recites mantras, and sends them away to their places. After that, he offers a skull bali
(kara∫kabali), and asks the maˆ∂ala deities to depart.
Having washed his hands, the benefactor offers flowers, scent, betels and other
articles, and presents a donation (dak∑iˆå). He makes a maˆ∂alaka, and then the
principal teacher (mËlåcårya), in order to invigorate (utsåha) minds, dances and
491
chants an auspicious song (ma∫galag¥ta).
Finally, the benefactor offers lamps, and sends them away with this mantra:
“Gaccha gaccha svabhavanaµ punar ågamanåya ca H˵ Pha†.”
492
This concludes the rite of the communal feast (gaˆacakravidhi).

491
. Sanskrit B, 111a.6-8.
492
. Sanskrit A, 281.3; Sanskrit B, 111a.8; Tibetan A, 170.1.5.

181
 Selected Index

With few exceptions, names of trees, plants, grain, seeds, animals, precious stones, minerals, pots and vessels, ritu
iconic implements, articles of food, and articles of worship are not included in this index.

Óbhåsvara, 133.
abhijñå, 69, 158, 165.
Abhimukh¥, 32.
abhimukh¥ bhËmi, 135.
abhinaya, 34, 94.
abhiprasåda, 159.
abhisaµbodhi, 85-88.
abhi∑eka, see consecration.
abhi∑ekaratna, 121, 122.
Acala, 46, 47, 49, 68.
Acalå, 32.
acalå bhËmi, 135.
åcåryåbhi∑eka, 85, 117-119, 122, 152.
åcåryaparikrama, 115.
åcchådana, 72, 133.
adhidevatå, 39, 40, 41, 156.
Adhimukti, 33.
adhipatisatya, 145.
adhi∑†hånapada, 123.
Adhonåga, 35, 98.
adhyåtmikasnåna, 76.
ådidevatå, 153.
Óditya, 35.

182
ådiyogasamådhi, 88.
Agni, 23, 25, 29, 36, 37, 40, 53, 56, 61, 63, 65, 98, 125, 126, 127, 151, 172.
agnikriyå, 124-129, 143.
agnikuˆ∂a, 23, 124, 131.
agnipËjå, 70.
Airåvaˆa, 36.
åjñå, 20, 89.
Akani∑†ha, 86.
åko†ana, 99, 104, 159.
Ak∑ayakarmåvaraˆavißodhani, 79.
Ak∑ayamati, 34, 43, 44, 107, 143.
åk∑epa, 96.
Ak∑obhya, 15, 41, 42, 45, 79, 82, 86, 87, 88, 89, 93, 96, 98, 99, 100, 103, 106, 107,
115, 116, 118, 124, 143, 146, 153.
ål¥∂ha, ål¥∂hapada, 35, 94, 95.
åli∫gana, 117, 122, 152.
ålocana, 122.
ålocya, 58.
Ómalak¥, 133.
amaraßåla, 168, 169.
Ambikå, 64.
Amitåbha, 15, 33, 41, 42, 44, 79, 82, 86, 96, 99, 103, 106, 107, 116, 140, 143, 146,
170.
Amoghadarßin, 15, 34, 43, 45, 79, 107, 143.
Amoghasiddhi, 39, 41, 42, 45, 79, 82, 86, 96, 99, 103, 106, 107, 116, 143, 148.
Am®ta Agni, 72.
Am®takuˆ∂ali, 23, 35, 45, 46, 47, 69, 157.

183
Am®taprabha, 34, 42, 43, 79, 107, 143.
am®takalaßa, 37.
Am®tapriya, 36.
am®tåsvådana, 91.
amulet (cakra), 24.
anådisaµsiddhiyoga, 80.
Anala, 35.
Analårka, 35, 36.
ånanda, 121; paramånanda, 121, 122, 123; prathamånanda, 122; sahajånanada, 122,
123, 153; viramånanda, 122.
Ananta, 51, 129, 174.
Anantamukhå, 33.
A∫gåra (Mars), 35, 36; (Tuesday), 128.
ånimitta, 70.
Antacara, 45, 46, 47, 49, 69, 157.
antaråyikadharma, 161.
anujñå, 117.
anukar∑aka, 69, 70.
anusm®ti, 69, 159, 165.
Anuttarayoga Tantra, 9, 140.
apåna, 177.
Aparagodån¥ya, 133.
Aparåjita, 35, 96.
Apramåˆåbha, 133.
apraˆihita, 70.
Aquarius (Kumbha), 52.
Arci∑mat¥, 32.
arci∑mat¥ bhËmi, 135.
Órdrå, 66.
Aries (Me∑a), 53, 56, 57.
artist (ßilpin), 141.
Ó∑å∂ha, 66.
Asitå∫ga Bhairava, 129.
åsphånakasamådhi, 167.
a∑†aßmaßånapËjå, 129-130.
astral calculations, 56-58.
Asura, 22, 35, 36, 37.
Asurottama, 36.

184
åßvåsa, 118-119.
Atibala, 64.
åtmaniryåtana, 79.
A††åhåsa Bhairava, 129.
A††ahåsa Jayant¥, 175.
avadhËt¥, 127, 170.
avaivartikåbhi∑eka, 119, 145.
avaivartya, 92.
avaivartyasatseka, 115.
Avalokiteßvara, 88.
åvaraˆa, 93, 105, 125, 153.
avaropaˆa, 165.
åveˆika, 158, 166.
axe (ku†håra), striking with, 37-38.
Óyata, 96.
Óyus, 32.
bala, 158, 166.
Bala, 32, 64.
bali, 24, 29, 38, 44, 45, 56, 63, 76, 91, 99, 104, 106, 108, 125, 128, 129, 130, 131,
136, 139, 140, 141, 142, 145, 146, 156, 157, 171, 173, 175, 176, 178; bali-
piˆ∂ikåsthåpana, 130, 156-157; balividhi, 101-102.
banner (dhvaja), 34, 41, 42, 43, 50, 57, 65, 66, 68, 119, 131; designs and
consecration 168-171.
benefactor (yajamåna, dånapati), 19, 20, 38, 56, 63, 128, 154, 174, 176, 177, 178.
bhadragha†a, 99, 107.
Bhadrakalpa, 34.
Bhadrapadå, 66, 107.
Bhadrapåla, 34, 43, 44. 79, 143.
bhadråsana, 97.
Bhagavat¥, 28, 129.
Bhairava, 35, 46, 129, 130.
bhik∑uvarga, 160.
Bh¥ma, 45, 47, 49, 69, 157.
Bh¥∑aˆa Bhairava, 130.
Bhogåsyada, 36.
bhujaµga, 58.
bhËmi, 29, 158, 166; ten, 32, 135.
bhËmipar¥k∑å, 20.

185
bhËmißodhana, 44, 92.
bhËrak∑å, 25.
b¥jådhi∑†hånavidhi, 142.
bodhicitta, 44, 80, 87, 111, 114, 120, 121, 122, 123, 140, 150, 152, 153, 175.
Bodhisattva, 34, 42; 79, 80, 85, 86, 90, 92, 93, 103, 109, 119, 122, 154, 155.
bodhya∫ga, 71, 158, 166, 167.
bone, splinter (asthi, ßalya), 28, 29.
book (pustaka), 42, 143, 146, 153; consecration of, 140.
Brahmå, 35, 37, 98, 131, 139, 173.
Brahmakåyika, 133.
Brahman, 132, 139.
bråhmaˆa, 21, 22, 28, 29, 49, 66, 139.
Brahm別, 129.
Brahmapurohita, 133.
brahmavihåra, 69, 166.
B®haspati (Jupiter), 35, 36, 66; (Thursday), 128, 130.
brick (i∑†akå), 30, 55; characteristics of, 56, 60, 61.
Buddha, 41, 63, 72, 79, 82, 84, 86, 90, 92, 93, 100, 103, 109, 110, 115, 118, 119,
124, 142, 145, 149, 150, 177 .
Buddhabala, 96.
Budha (Mercury), 35, 36, 66; (Wednesday), 128, 130.
caitya, 63, 65, 143, 153, 162, 168, 171, 172. See stËpa.
Cakravåla, 45, 99.
cak∑urudghå†ana, 81, 146.
caksus, see eye.
Cåmuˆ∂¥, 130.
Cancer (Karka†a), 52.
Caˆ∂a Bhairava, 129.
Caˆ∂aghaˆ†a, 64.
Caˆ∂ål¥, 64.
Caˆ∂a Vajrapåˆi, 157.
Candra, 98, 133.
Candraprabha, 34, 43, 107, 143.
Candravyavalokani, 79.
canvas (pa†a), 139.
Capricorn (Makara), 52.
Carcikå, 139.
Caritra, 130, 175.

186
carpenter (tak∑aka), 63, 64.
Caryå, 9, 140.
Ca†aka, 133.
caturdåna, 115.
caturthåbhi∑eka, 121-124, 153.
cemetery (ßmaßåna), 21, 23, 140; eight, 129-130.
ce†a, ce†¥, 98.
chatraprati∑†hå, 170-171.
chatråval¥, 166, 168.
cho†ikåbhinaya, 35.
Citrå, 71.
citrakarma, 155-156.
citrita, 144.
Citta, 33.
cittavajra, 120.
column, pillar (stambha, sthˈa), 58, 59, 63, 67, 68, 69, 71, 72.
concentration, three (samådhitraya), 76, 85-91. See samådhi.
conch (ßa∫kha) , 23, 31, 34, 36, 42, 43, 49, 70, 78, 100, 117, 118, 125, 126, 127, 135.
consecration (abhi∑eka), 108-124, 152-153; vajra- , 82, 116; bell (ghaˆ†å-), 116;
flower (pu∑pa-), 81; water (udaka-), 82, 115; dia-dem (muku†a-), 89, 115-116;
name (nåma-), 82, 89, 116. vidyå-, 116; master (åcårya-), 85, 117, 119, 152; non-
returning (avaivartika-), 119; vase (kalaßa-), 119; secret (guhya-), 119-120, 153;
knowledge of wisdom (prajñåjñåna-), 120-121, 153; fourth (caturtha-), 121-124;
self-consecration (svådhi∑†hå-na), 78-83, 123.
craftsman (ßilpin), 63, 141, 152, 171, 174.
cubit (hasta), 67.
cË∂åkaraˆa, 149, 162.
cËlikå, 101.
cËlin pråsåda, 59.
Cundå, 33.
∂åkin¥, 139.
Dåna, 32.
daˆ∂åk∑a pråsåda, 58, 59.
dantakå∑†ha, 109.
dårukarma, 63-65.
daßakriyå, 139-152.
daßaßik∑åpada, 162.
dehal¥, 58, 63, 67, 70.

187
deity-yoga (devatåyoga), 71-92.
devadigpålavasudhåsaµpËjå, 55, 60.
devågåra, 155, 160.
devålaya, 59, 67, 132.
devatå, 102, 103, 142, 150, 173.
devatåcihnapåtana, 106.
devatådhivåsana, 102-103.
devatåhaµkåra, 83, 84.
devatåyoga, 27, 76-92.
devatotthåpana, 27.
Devendra, 38.
Dev¥ko†a, 130.
Dhani∑†hå, 71.
Dhanvåråma, 3.
dhånyåk®ti stËpa, 165.
Dhåraˆ¥, 32.
dhåraˆ¥, 33, 71, 72, 120, 159, 167, 170; of Kurukullå, 71; of Jå∫gul¥, 71.
dharaˆika, 71.
dhåråpåta, 58.
dharma, 86, 93, 111, 120, 150, 158, 167, 173.
Dharma (Vaßitå), 33.
dharmabhåˆaka, 9, 131, 171, 172.
dharmadeßanå, 110.
dharmadhåtu, 106, 168, 170.
dharmakåya, 133, 165.
Dharmameghå, 32.
dharmameghå bhËmi, 135.
Dharmavajra, 79, 87, 103.
Dharmavajr¥, 34, 42, 44, 79, 89, 107, 143.
Dharmavajriˆ¥, 82, 134.
dharmodaya, 43, 176.
Dh®tarå∑tra, 133.
DhËpå, 41, 83, 109.
DhvajågrakeyËra, 170.
dhvajaprati∑†hå, 171.
dhyåna, 167.
Dhyåna, 32.

188
digbandha, 99.
diggrahaˆa, 55, 56.
D¥pa, 43, 83, 109.
D¥pa∫kara, 146.
door (dvåra), 63, 67, 68, 69, 70.
d®∂h¥karaˆa, 154.
d®∑†idåna, 146-147.
DËra∫gamå, 32.
dËra∫gamå bhËmi, 135.
Durjaya, 45, 46, 47, 49, 69, 157.
Durnir¥k∑a, 45, 49, 69, 157.
dËta, dËt¥, 98.
dËtikå, 178.
dvåra, see door.
dvija, 28, 30.
dwarf (våmana), 139.
dwelling, 59, 67.
earth goddess, propitiation of, 29, 31, 40, 99. See Prithiv¥, Jå∫gul¥, Va-sundharå.
Ekåµvaka (Yama), 130.
ekapada, 94, 95.
Ekottarakarmaßataka, 161.
emblem (cihna), of deities of the Vajradhåtu maˆ∂ala, 42-43, 106-108.
eye (cak∑us; divya-, jñåna-, dharma-, vajrajñåna-, buddha-, prajñå-, vajra-), 70, 113,
146-147.
fire rites (agnikriyå), 124-129. See homa.
flag (patåka), 29, 119, 168, 171.
frog (maˆ∂Ëka), 31, 36, 49, 65, 159.
Gaganagañja, 34, 43, 107, 143.
Gaganalocana, 79.
gaˆacakravidhi, 108, 174-178.
gaˆamaˆ∂ala, 165.
Gaˆapati, 139.
Gandhå, 43, 83.
Gandhahasti, 34, 41, 43, 44, 79, 107, 143.
gandhakut¥, 143, 146, 152, 169, 170.
gandharva, 22.
gaˆ∂¥, small (kan¥yas¥), double (dvit¥-yå), triple (t®t¥yå), quadruple (ca-turthå), 150-
160; gaˆ∂ikåsthå-pana, 160; gaˆ∂yåko†ana, 160.

189
garbhapu†a, 79.
gartåpËra, 58, 59.
garu∂a, 57, 86, 134, 171.
gåru∂ika, 148.
Gemini (Mithuna), 50, 52.
ghaˆ†åbhi∑eka, 82, 116.
ghaˆ†åsamaya, 82.
G¥tå, 83.
gong, see gaˆ∂¥.
g®håcchådana, 72.
g®hacËlin pråsåda, 58, 59.
g®hapËjå, 174.
ground, 20; auspicious and inauspicious grounds, 20-21, divination of, 27-28; omens
in, 30-31.
guhyåbhi∑eka, 119-120, 122, 153.
Guhyakå, 64.
Guhyasamåja, 122.
Guˆaprabha, 161.
Guru, 130.
haµsakuˆ∂a, 177.
hårapa†ikå, 69.
Harikela, 133.
Hår¥t¥, 156, 157.
harmikå, 165, 166, 167, 169.
Hastå, 66.
homa, 22-23, 24, 25, 29, 37, 40, 53, 56, 61, 70, 72, 131, 172, 173, 177; lak∑a, 24,
128-129; viµßatisåhasrika, 24; du∑†occå†ana, 29; pau∑†ika, 124-128; benefits of,
126; omens, 126.
house (g®ha), 71, 72.
hråsa, 166.
hundred syllables of Vajrasattva (ßatåk∑ara), 84-85.
image (pratimå, bimba), 65; characteristics, 137-139; ten rites, 141-152;
consecration, 152; restoration, 171.
Indra, 35, 36, 98, 102, 106, 128, 130, 131.
Indr別, 130.
ink (maߥ), 141.
緌na, 37, 47, 98, 131.
i∑†akålak∑aˆa, 56.

190
i∑†hadevatå, 28, 119.
jagat¥, 167.
Jålin¥prabha, 34, 44, 107, 143.
Jambudv¥pa, 133.
Jå∫gul¥, 33, 40-41, 64, 71.
jåtakarma, 146-147.
Jaya, 45.
Jayant¥, 129.
jewel (ratna), deposition of, 133-135.
j¥rˆoddhåraˆavidhi, 171-172.
Jñåna, 32, 33.
jñånadarßana, 135.
Jñånaketu, 34, 43, 79, 107, 143.
jñånaraßmi, 88.
jñånavat¥ bhËmi, 135.
jñånavißodhana, 121.
Jupiter (B®haspati), 35, 36, 66.
Jvålåmåla, 96.
Jye∑†hå, 66.
Jyotiketu, 36.
kåca pråsåda, 58, 59.
Kålaråtr¥, 35, 46.
kalaßa, see vase.
kalaßåbhi∑eka, 119.
kalaßa-shaped stËpa, 166.
kalaßasthåpana, 44.
Kalyåˆamitra, 161.
Kåma Agni, 37.
Kåµsa, 23, 133.
Kanikrodha, 45, 46, 47, 99, 157.
kaˆ†hikå, 59, 69, 70, 71, 166, 167.
Kapåla Bhairava, 130.
Kapardin, 58.
Karañjavåsin¥, 64.
Karka†a (Cancer), 52.
Karko†a, 51, 130, 174.
karmaråjågr¥samådhi, 91.

191
Karmavajra, 79, 87, 101, 103.
Karmavajr¥, 34, 42, 45, 79, 89, 107, 143.
karmavajrin, 174, 178.
Karmavajriˆ¥. 82, 134.
Karma (Vaßitå), 33.
Karˆamo†ikå, 64.
kartr¥, 156.
Kårttika, 66.
Kaumår¥, 129.
kåyavißodhana, 119.
Kel¥kila, 97.
Ketu, 35, 36.
khacaratva, 110.
khadhåtu, 121.
khagåˆ∂a (stËpa), 166.
Khaˆ∂ala, 37.
kha†vå∫ga, 46, 76.
khikkhirikå, 163.
k¥la, 39, 45-47, 48, 98, 99, 104, 105, 106, 108, 173.
K¥rticandra, 3.
Kolågiri, 129.
ko∑†haka, 28, 33, 38, 45, 58, 59, 67, 132-135, 157.
Ko†ivar∑a, 175.
Kriyå, 9, 140.
Krodha (deities), 32, 35, 68, 139.
Krodha Agni, 23.
K®∑ˆavarˆa, 36.
K®ttikå, 57.
K∑ånti, 32.
k∑atriya, 22, 28, 30, 66, 139.
k∑etrapåla, 29, 64.
k∑¥rasamudra, 102.
Kuladatta, 4, 5, 6, 7, 13, 17, 55, 73, 161.
Kulika, 51, 130, 174.
kulißa, 119.
Kumåra, 129.
kumårikå, 28, 69.

192
kumår¥pËjå, 174.
kumbha, 165.
Kumbha (Aquarius), 52.
kuˆ∂ikå, 40, 70, 72.
kËrmapada, 94, 95.
kËrmaßilå, 60, 168.
Kurukullå, 71.
kˆågåra, 85, 117.
ku†ålaya, 169, 170.
Kuvera, 36, 37, 38, 98, 100. 129, 131, 133.
Lak∑m¥, 77.
lalitåsana, 98.
Lasyå, 34, 41, 42, 79, 83, 85, 90, 96, 103, 108, 141, 150, 151.
layana, 56, 58, 67, 169, 170.
Leo (Siµha), 52.
Libra (Tulå), 52.
Locanå, 103.
Lohita Agni, 53.
lokadharma, 86.
lokadhåtu, 85, 86.
Lokåmåt®kå, 64.
lokapåla, 22, 32, 98, 166, 167, 171, 172.
lokapålakalaßasthånapiˆ∂ikå, 130.
lopanavidhi, 105.
madyådhi∑†håna, 175.
Mågha, 66.
Mahåbala, 45, 46, 47, 49, 64, 69, 155, 156, 157.
Mahåbrahma, 133.
Mahåghaˆ†a, 64.
Mahåjvålini, 79.
Mahåkåla, 35, 58, 129, 155, 156, 157.
Mahåkel¥kila, 97.
Mahålak∑m¥, 64, 130.
MahåmåyËr¥, 64.
Mahåmeru, 64.
Mahåpadma, 51, 129, 174.
mahåpuru∑a, 158, 165.

193
Mahåråga, 154.
Mahåså∫ghika, 159.
mahåsukha, 111, 118, 119, 121, 122, 123, 124, 149, 153.
Mahåtåpasa Agni, 70.
Mahåvairocana, see Vairocana.
Mahåvajra, 153.
Mahåvijaya, 45, 46.
Mahåyåna, 45, 109, 110.
Mahendra, 40, 85, 99, 136.
Mahendra Agni, 40.
Maheßvara, 35, 130.
mah¥pËjå, 28.
Mahodara, 45.
mahoraga, 97.
Maitreya, 34, 41, 42, 43, 45, 79, 89, 97, 107, 143, 144.
makara, 36, 171.
Makara (Capricorn), 52.
målåbhi∑eka, 77.
Målå, 83.
maˆ∂ala, 20, 41, 42, 44, 45, 93, 98, 99, 101, 102, 105, 106, 108, 118, 119, 123, 125,
127, 136, 178; -adhivåsana, 108; -praveßa, 152; -upasaµhåra, 172-174.
maˆ∂alaka, 22, 177, 178.
maˆ∂alapada, 94, 95, 96.
maˆ∂alaråjågr¥samådhi, 90.
mandalatattva, 117.
måˆ∂aleya, 108, 129.
maˆ∂apa, 169, 170.
Ma∫gala, 129.
ma∫galagåthå, 144.
Mañjugho∑a, 16.
manomayakåya, 86.
mansion, (pråsåda), 55, 58-59, 71.
manthana, 120, 176.
mantra, passim.
mantracaryå, 109, 110, 118.
mantritattvasatya, 153.
måra, 41, 125, 167.
Måra, 29, 93, 95, 96, 97, 109.

194
Mar¥ci, 24, 33.
marriage (vivåha), 151.
Mars (A∫gåra), 35, 36.
måruta, 175.
Marutånala Agni, 29.
Måyådev¥, 142, 145.
measure (pramåˆa), units of, 66.
Meghanåda, 45, 46.
Mercury (Budha), 35, 36, 66.
Meru, 85, 175.
Me∑a (Aries), 53, 56, 57.
messenger (dËta, dËt¥), 98.
Mañjußr¥, 16.
Moha, 121.
monastery (vihåra), 22, 23, 24, 29, 31, 41, 45, 49, 50, 51, 60, 63, 76, 128, 129, 143,
144, 146, 153, 155; prati∑†hå, 136.
Moon (Soma), 35, 36, 66, 131.
mrak∑aˆa, 146.
M®gaßiras, 66, 71.
Muditå, 86.
mudrå, 33, 45, 77, 78, 80, 81, 82, 83, 84, 85, 87, 88, 90, 91, 92, 93, 99, 101, 105,
106, 112, 115, 116, 118, 119, 120, 152.
mukhabandha, 113.
mukhaprak∑ålana, 110.
muku†åbhi∑eka, 82, 89, 115-116.
MËla, 66.
MËlasarvåstivåda, 161.
mËrdhåbhisamaya, 158.
nå∂¥, 32, 33, 72, 121.
någa, 21, 22, 30, 32, 35, 36, 39, 40, 57, 60, 76; våstunåga 50-53; eight, 51, 129, 174.
Någa, 37, 131, 133.
någavalaya, 69.
Nagnapårßvaka, 133.
nairåtmyå, 76, 88, 93, 177.
Nair®ti, Nair®tya, 65, 98.
nairyåˆika, 86.
nak∑atra, 57, 63, 66, 71.
Nålikera, 133.

195
nåmåbhi∑eka, 82, 89, 116.
nåmakaraˆa, 147.
nånåtva, 123.
nandyåvarta, 127.
nandyåvarta pråsåda, 59.
naråßa, 31.
Nåråyaˆa, 77.
nemi, 167.
nigadana, 123.
nikåya, 159, 162.
N¥ladaˆ∂a, 45, 46, 47, 40, 69, 157.
nimantraˆa, 174.
n¥råjanakrama, 143-144.
Nirmåˆarati, 133.
nirvåˆa, 7, 122, 123.
nirvedhabhåg¥ya, 158.
niryËha, 67, 70, 105.
Nißåcara, 31, 35.
N®tyå, 83.
nyËnådhikado∑a, 128.
obeisance, prostration (praˆåma), 79, 91, 114.
ordination (pravrajyå), 161-163.
Padanik∑epa, 45, 46, 47, 49, 69, 157.
padasådhana, 94.
Padma, 51, 129, 174.
Padmåntaka, 45, 46, 69, 157.
padmåsana, 97.
paint-brush (vartikå), 140.
painter (citrakara), 140.
painting, 139, 155.
pak∑aghna pråsåda, 59.
Palåla, 45, 46, 47, 49, 157.
Palåya, 69.
pallava, 67, 70.
pañcåbhi∑eka, 116.
påˆigrahaˆa, 150-152.
påpadeßanå, 79, 114.

196
påpåkar∑aˆa, 80.
påpavisarjana, 80.
paramådyapuru∑a, 117.
paramådyavajra, 141.
paramåk∑ara, 85, 153.
paramarahasya, 118.
paramårthåbhi∑eka, 151.
påramitå, 69, 158, 167.
Påramitå, 29; ten, 32, 69.
parikramaˆavidhi, 92-99.
Parinirmitavaßavartin, 133.
Pari∑kåra, 33.
Par¥ttåbha, 133.
Par¥ttaßubhra, 133.
Parˆaßabar¥, 33.
pa†åbhi∑eka, 77.
patåkaprati∑†hå, 171.
påtålasiddhi, 110.
påtålatala, 174.
pa†avidhi, 139, 143, 144.
påtra-shaped stËpa, 166.
Påvaka Agni, 25.
pedestal, see piˆ∂ikå.
phalåbhi∑eka, 72, 170.
phalapråßana, 148.
Phålguˆa, 66.
pill (gu†ikå), 175, 177.
piˆ∂ikå (-sthåpana), 130-135, 169.
Pisces (M¥na), 50, 53.
p¥†ha, 177.
planet (graha), 35, 57, 63, 66; nine, 36.
ploughing & sowing barley, 39-40.
possession of directions, 56.
postures and dances, 92-99.
powder (rajas, ra∫ga), 100-101, 106-108, 131, 173.
Prabhåkar¥, 32.
Pracaˆ∂a, 45, 46, 48, 69.

197
Pracaˆ∂akaråla, 157.
pradak∑iˆa, 128.
prajñåjñånåbhi∑eka, 120-121, 122, 124, 153.
Prajñåntaka, 45, 46, 47, 69, 157.
Prajñåpåramitå, 32, 45, 108, 133.
Prajñåsiµha, 3.
Prajñåvardhan¥, 33.
prak®tiprabhåsvara, 86, 87, 88.
Pramohana Agni, 56, 61.
Pramuditå, 32.
pramuditå bhËmi, 135.
pråˆaka, 70.
praˆåma, 79, 91, 114.
Praˆidhåna, 33.
Praˆidhi, 32.
praˆidhi, 93.
prapañca, 110.
pråsådalak∑aˆa, 58-59.
Pratibhånakˆa, 35, 43, 45, 79, 108, 143.
pratijñå, 112.
pratimå, see image.
pratimåg®ha, 167.
pratisara, 145.
pratißaraˆa, 69.
pratisaµvid, 69.
prat¥tyasamutpåda, 158, 165.
pratyål¥∂ha, 94, 95, 156.
pravacana, 158, 167.
Pravrajyåvastu, 161.
pravrajyåvidhi, 161-163.
Prayåga, 175.
preta, 132, 133.
Priya∫gu, 133.
prophecy (vyåkaraˆa), 118.
protective retinue (rak∑åcakra), 76-78.
P®thiv¥, 29, 31, 32, 35, 37, 60, 98, 99, 131.
pËjåbhi∑eka, 114.

198
pËjåkarma, 114, 115.
pËjåpravartana, 114.
pËjopasthåna, 114.
puµsavana, 142.
Puµseßvara, 64.
puˆyånumodana, 114.
puråkalpa, 161.
pËrvasevå, 20.
PËrvavideha, 133.
Pu∑på, 83, 109.
pu∑påbhi∑eka, 81.
pu∑pagrahaˆ¥, 166, 167.
pu∑panyåsa, 78-79.
pustakavidhi, 140, 143, 144, 146. See book.
Pu∑yå, 66.
PËtana, 133.
Råhu, 35, 36.
Råjåna (Råjan), 156, 157.
rajaspåtanavidhi, 106-108.
rajaspiˆ∂ikå, 130.
rak∑åcakra, 10, 45, 76-78, 108.
råk∑asa, 30, 131, 139.
Råk∑asådhipati, 37, 129.
Raktå∫gakumåra, 36.
ra∫gådhivåsana, 100-101.
rasanå, 121.
Rati, 121.
Ratna, 133.
ratnanyåsavidhi, 133-135.
Ratnasambhava, 15, 41, 42, 79, 82. 86, 96, 98, 103, 106, 107, 115, 116, 143.
Ratnaßikhara, 45, 46, 47, 49, 69, 157.
ratnaßilå, 69, 133.
Ratnavajra, 81, 87, 103.
Ratnavajr¥, 34, 42, 79, 89, 107, 143.
Ratnavajriˆ¥, 82, 134.
Ratnolkå, 33, 96.
råtr¥gaˆacakra, 108, 174.

199
Raudri, 129.
Ùddhi, 33.
®ddhipåda, 69.
reed-pen (lekhan¥), 141.
rekhå, 46, 56, 105, 106, 140.
Rohiˆ¥, 66.
rosary (ak∑a), 25, 29, 36, 37, 40, 42, 61, 70, 172.
rucaka pråsåda, 59.
RËpiˆ¥, 51.
Ruru Bhairava, 130.
sådhaka, 94, 98.
sådhana, 10-12, 56.
Sådhumat¥, 32.
sådhumat¥ bhËmi, 135.
Sagittarius (Dhanu), 50, 52
Saikå, 64.
Sakåka, 133.
Íakra, 31, 35, 129.
Íåkyasiµha, 29, 109.
ßålå, 58, 59.
ßalyapar¥k∑å, 28, 29, 30, 31.
samådhi, 22,68, 135, 167; samådhitraya, 45, 60, 76, 85-91, 108, 176.
Samantabhadra, 35, 43, 45, 79, 85. 87, 89, 90, 91, 93, 108, 117, 119, 143, 154.
samantaprabhå bhËmi, 135.
samapada, 94, 95, 96.
samåvartana, 150.
saµgrahavastu, 69.
Saµhåra Bhairava, 130.
Saµmat¥ya, 159.
saµsåra, 7, 120.
saµvaragrahaˆa, 80, 114-115.
saµvarayoga, 177.
Saµvarttaka, 96.
Íanaißcara (Saturn), 35, 36; (Satur-day), 128, 130.
Ía∫karikå, 64.
Ía∫khapåla, 51, 129, 174.
Íanißcara, see Íanaißcara.

200
ßapatha, 112.
Sarvabuddhakoßavat¥, 33.
sarvakarmikakalaßa, 42.
Sarvåpåyaµjaha, 34, 43, 44, 79, 107, 143.
Sarvårthasiddhi, 86, 87.
sarvårthasiddhi pråsåda, 59.
Sarvaßokatamonirghåtanamati, 34, 38, 43, 44, 79, 107, 143.
Sarvåstivådin, 159.
Sarvatathågatatattvasaµgraha, 4, 86.
ßatåk∑ara, 84-85.
sattvaparya∫ka, 92, 97, 115.
Sattvavajra, 82, 88, 90.
Sattvavajr¥, 16, 34, 41, 42, 44, 79, 81, 89, 106, 111, 112, 113, 115, 116, 143, 144.
Saturn (Íanaißcara), 35, 36.
satyådhi∑†håna, 111, 113.
satyadvaya, 110.
Scorpio (V®ßcika), 52.
scribe (lekhaka), 140.
self-consecration (svådhi∑†håna), 78-83.
seniority (jye∑†hånukrama), abhi∑eka-, vrata-, jñåna-, janma-, vidyå-), 174-175.
servant (ce†a, ce†¥), 98.
siddhårtha pråsåda, 58, 59.
siddhi, 109, 110, 112, 113, 114, 116, 120, 121.
ßikhara, 58, 71, 72.
ßik∑åpada, 162.
ßil¥, 68, 69, 70.
ßil¥dharadåru, 68, 69.
s¥måntopanayana, 142-146.
Siµhala, 133.
siµhamukha, 69.
ßi∑yådhivåsana, 109-111.
ßi∑yapraveßavidhi, 111-114.
Í¥tåµßu, 36.
skandha, 102, 117, 121, 159.
sm®tyupasthåna, 69.
snånapiˆ∂ikå, 130.
soil, 23, 38; categories of, 21-22.

201
Soma (Moon), 35, 36, 66, 131; (Monday), 128, 129.
ßråmaˆeraka, 162.
ßravaˆa, 116.
Íravaˆå, 66.
ßr¥vatsa, 65.
stambha, sthˈa, see column.
Sthavira, 159.
sthaviropanimantraˆa, 160.
stone (ßilå), 23, 30, 65-66.
str¥måyåkaraˆa, 95.
stËpa (dharmadhåtu), types and characteristics, 165-168. See caitya.
Subåhuparip®cchå, 102, 157.
ßubhåßubhanimitta, 28, 64, 126.
ßËdra, 22, 28, 30, 66, 139.
Sudurjayå, 32.
sudurjayå bhËmi, 135.
Sujanetra, 64.
Íukra (Venus), 35, 36, 66; (Friday), 128, 130.
suk∑etra pråsåda, 59.
Sumeru, 60, 136.
Sumukhå, 64.
Sun (SËrya), 35, 36, 57, 98, 131.
ßËnyatå, 7, 70.
Surakrodha, 97.
ÍËraµgama, 34, 43, 44, 79, 107, 143.
SËrya (Sun), 35, 36, 57, 98, 131; (Sunday), 128.
sËtraˆapåtana, 49, 100, 103, 105, 108.
sËtraˆavidhi, 100, 103-104.
sËtravalana, 101.
Suvarˆadv¥pa, 133.
svådhi∑†håna, 78-83, 123.
svasti pråsåda, 59.
svastika, 65, 127.
Íveta, 133.
Èakkiråja, 45, 46, 47, 49, 69, 157.
Tak∑aka, 51, 130, 174.
Tåmra, 30, 133.

202
Tathågata, 41, 42, 44, 47, 48, 40, 56, 72, 80, 81, 82, 83, 85, 86, 87, 88, 90, 93, 96,
101, 103, 104, 106, 110, 111, 112, 113, 114, 118, 120, 132, 140, 141, 147,
149, 150, 152, 153, 154, 155, 157, 168, 169, 178.
tathatå, 111, 112, 150, 166.
Taurus (V®∑abha), 51.
teacher (åcårya), passim, characteristic of, 19-20; entry, 20, 76; equipment, 131.
thread (sËtra), 47-48, 49, 50, 100, 101, 103-104, 110, 140, 152, 169, 172;
sutrapåtana, 48-49, 103, 105; omens, 49.
timber (dåru), 63-65.
t¥rtha, 43.
T¥vravega, 96.
toothpick (dantakå∑†ha), 109.
toraˆa, 67, 105, 167.
Trailokyaprasådhaka, 45, 46, 47, 68, 99, 157.
Trailokyavijaya, 23, 46, 76.
Tråyastrimßa, 133.
tree-deity (v®k∑adevatå), 64-65.
tree omens, 64-65.
trident (trißËla), 35, 37, 69, 156.
trimadhura, 125.
trißaraˆagamana, 161, 162.
Tu∑ita, 133, 142, 145.
udakåbhi∑eka, 82, 115, 152.
udåna, 89, 90.
Ujjayan¥, 175.
umbrella (chatra), 41, 50, 65, 72, 119, 170.
Unmatta Bhairaba, 129.
Upapatti, 33.
upåsakasaµvara, 162.
upasampadå, 161.
Upåya, 32.
upåyakußala, 86.
Úrdhvakeßa, 64.
Ë∑magata, 158.
u∑ˆ¥∑a, 166.
U∑ˆ¥∑a, 58.
U∑ˆ¥∑acakravartin, 35, 72, 78, 94.
U∑ˆ¥∑avijayå, 33.

203
utku†ukåsana, 98.
Uttarakuru, 133.
vågvajra, 120, 160.
våhal¥, 67, 70.
Vahni, 127, 129, 131.
Vairocana, 15, 32, 33, 41, 42, 44, 47, 48, 51, 60, 64, 78, 79, 80, 82, 85, 87, 88, 89,
90, 95, 97, 101, 103, 106, 111, 113, 115, 116, 118, 119, 127, 136, 140, 143, 146,
153, 160, 170.
Vaißåkha, 66.
vaißåkhapada, 94, 95, 96.
vaißåradya, 69, 166, 167.
Vai∑ˆav¥, 129.
Vaißravaˆa, 35, 157.
vaißya, 22, 28, 30, 37, 66, 139.
Vajrabhairava, 78, 95, 98.
Vajrabhå∑a, 34, 42, 44, 79, 83, 107, 143.
Vajrabhåskar¥, 52.
Vajrabh¥ma, 46, 49.
Vajrabh¥∑aˆa, 35, 36.
vajråbhi∑eka, 82, 116.
vajrabhËmi, 135.
Vajråcala, 49, 157.
vajråcåryapraveßa, 76.
Vajracetan¥, 52.
Vajradaˆ∂a, 35.
Vajradhara, 85, 118, 153.
Vajradharma, 34, 42, 44, 79, 83, 88, 90, 107, 113, 114, 143 149, 150.
Vajradhåtu, 32, 39, 79, 87; -maˆ∂ala, 42-43, 44, 78-79, 81, 102, 103, 106, 168.
Vajradhåtv¥ßvar¥, 82, 88, 115, 121, 149, 150.
vajrådhivåsana, 101.
Vajradh®k, 123.
vajrad®∑†i, 93, 101.
VajradhËpå, 15, 34, 43, 44, 79, 107, 143, 153.
Vajrad¥på, 34, 44, 107, 143, 153.
Vajradurnir¥k∑a, 49.
VajradËt¥, 98.
Vajragandhå, 15, 34, 45, 58, 79, 107, 109, 143, 153.
Vajragarbha, 34, 42, 43, 79, 107, 117, 143.

204
Vajraghaˆ†a, 101.
Vajrag¥tå, 15, 34, 43, 44, 79, 107, 135, 143, 148.
vajrag¥tikå, 106.
Vajrahåsa, 34, 42, 79, 83, 107, 143, 157.
Vajrahetu, 34, 42, 44, 79, 83, 107, 143.
Vajrah˵kåra, 32, 35, 36, 46, 78, 93.
Vajrahuµkår¥, 52.
vajrajñåna, 112.
Vajrajvålå, 98.
Vajrajvålånalårka, 11, 35, 71-72, 77.
Vajrakåla, 35, 36, 98.
Vajrakåli, 78.
Vajrakani, 68.
Vajrakarma, 34, 39, 42, 44, 53, 60, 107. 78, 79, 83, 90, 103, 108, 109, 113, 114, 125,
140, 143, 144, 148, 152.
Vajraketu, 34, 42, 79, 83, 96, 107, 143.
Vajrakhecar¥, 52.
Vajrak¥la, 98.
Vajralåsyå, 15, 34, 43, 44, 79, 107, 134, 143.
Vajrålokå, 15, 79.
Vajramahåkåla, 36.
Vajramålå, 15, 34, 43, 79, 107, 143.
Vajramaˆ∂ålaµkåradhåraˆ¥, 170.
Vajramohin¥, 52.
Vajråm®takuˆ∂ali, 36.
Vajramusala, 98.
Vajramu∑†i, 91.
Vajranåga, 98.
Vajranaivedyå, 153.
Vajrånala, 77, 78, 98.
Vajranetr¥, 77.
Vajrånila, 98.
Vajrå∫kußa, 16, 34, 41, 42, 43, 44, 45, 46, 68, 78, 79, 82, 84, 90, 94, 97, 102, 108,
113, 143, 144, 157.
Vajran®tyå, 15, 34, 43, 45, 79, 107, 135, 143.
Vajråntacara, 49, 69.
vajrapadan®tya, 76, 94, 95.
vajrapadmådhi∑†håna, 120.

205
Vajrapadma, 109.
Vajrapalåla, 49.
Vajrapåˆi, 80, 82, 89, 91, 94, 112, 117, 148.
Vajråparåjita, 36.
vajraparya∫ka, 86, 97.
Vajrapåßa, 16. 34, 41, 43, 45, 46, 47, 69, 78, 79, 84, 94, 108, 143, 157.
Vajrapåtåla, 35, 36, 94.
Vajrapracaˆ∂a, 49.
Vajrapu∑på, 15, 34, 43, 79, 107, 143, 153.
Vajraråga, 34, 42, 44, 79, 83, 107, 143.
Vajraråja, 34, 42, 44, 45, 79, 83, 107, 143.
Vajrarak∑a, 34, 39, 42, 44, 56, 77. 78, 79, 83, 92, 107, 111, 125, 143, 145, 148, 152.
Vajrarasan¥, 52.
Vajraratna, 34, 42, 44, 79, 83, 88, 90, 91, 107, 109, 113, 114, 143, 149, 150.
Vajrasådhu. 34, 42, 79, 83, 96, 107, 143.
Vajrasandhi, 34, 39, 43, 45, 78. 79, 89, 91, 92, 107, 125, 143, 150, 152.
Vajråßani, 45, 69, 46, 49, 157.
Vajråßan¥, 52.
Vajrasattva, 16, 32, 41, 42, 44, 45, 46, 61, 72, 78, 79, 80, 81, 82, 83, 84, 85, 87, 88,
89, 90, 91, 92, 94, 95, 97, 103, 107, 109, 112, 113, 114, 117, 118, 119, 123, 124,
128, 136, 141, 143, 150, 151, 153, 154, 160, 168, 169, 173; sixteen, 34, 42, 97,
141.
Vajraßikhara, 78, 108.
Vajrasparßan¥, 52.
Vajraspho†a, 16, 34, 42, 43, 44, 45, 46, 47, 69, 78, 79, 84, 94, 107, 143, 157.
VajrasËrya, 101.
Vajratejas, 34, 42, 44, 79, 83, 107, 143.
Vajrat¥k∑ˆa, 34, 42, 79, 83, 107, 111, 143, 149.
Vajratråsan¥, 52.
Vajr円ahåsa, 45, 46, 47, 49, 69, 157.
Vajravajriˆ¥, 82, 134.
Vajravåråha, 98.
Vajravegavajriˆ¥, 98.
vajråveßa, 80.
Vajråveßa, 16, 42, 43, 45, 46, 47, 69, 78, 79, 81, 84, 90, 94, 103, 108, 143, 147, 157.
Vajravidåraˆa, 46, 46, 49, 69, 157.
Vajravidråpaka, 49, 68, 157.
Vajravijaya, 68.

206
Vajravika†å, 98.
Vajravikåsin¥, 53.
Vajravilåsin¥, 52.
Vajravinåyaka, 98.
vajravrata, 82, 117.
Vajraya∑†i, 78.
Vajrayak∑a, 23, 34, 37, 39, 42, 44, 45, 60, 61, 78, 79, 83, 92, 107, 108, 110, 125,
143, 152.
Vajro∑ˆ¥∑a, 35, 36.
vanav®k∑adevatå, 63, 64, 65.
vanayåtrå, 63.
Varada, 133.
Våråh¥, 130.
Vardhamåna, 133.
vardhamåna pråsåda, 59.
var∑asthål¥, 166, 167.
Varuˆa, 31, 35, 36, 37, 51, 59, 65, 98, 130, 131, 155, 156, 157, 174, 175.
Varuˆa Kolågiri, 175.
Varvara, 133.
våsanå, 153.
vase (kalaßa), 34, 35, 37, 41-45, 60, 131, 155; all-operative vase (sarva-
karmikakalaßa), 42.
Vaßitå, 32; ten, 33; 158, 166.
våstunåga, 50-53.
Vasudhå, 60, 99.
Våsuki, 51, 130, 174, 175.
Vasumat¥, 33.
Vasundharå, 60; vasundharådhi-vasana, 99-100.
våtåk∑a pråsåda, 58, 59.
Våyu, 31, 35, 36, 37, 58, 65, 98, 130, 131.
ved¥, vedikå, 60, 165, 166, 167.
Vemacitra, 98, 131.
Venus (Íukra), 35, 36, 66.
Vidråpaka, 46, 49, 68, 157.
vidyåbhi∑eka, 116.
Vidyådev¥, 152, 153, 155.
Vidyådhara, 67, 70, 155.
vidyåvrata, 120.

207
vighna, 20, 24, 25, 41, 77, 94, 105, 125; vighnak¥lanavidhi, 45-47.
vihåra, see monastery.
vihåraprati∑†hå, 136.
Vijaya, 45, 99, 157.
vijñåpana, 149.
Vimalå, 32.
vimalå bhËmi, 135.
vimok∑a, 158, 166, 167, 178.
viµßatiprakårapËjå, 79.
vimukti, 135, 168.
Vinåyaka, 25, 129, 139.
Vinayavastu†¥kå, 161.
vipra, 28.
viråga, 121, 122, 123.
v¥råsana, 98.
V¥ravikrånta, 46, 47, 68.
V¥ravikrama, 45, 68, 99, 157.
Virgo (Kanyå), 50, 52.
VirË∂haka, 133.
VirËpåk∑a, 133.
V¥rya, 32.
vißuddhi, 135, 165, 166, 167.
Vitteßvara, 38.
vivåha, 151.
vividhapËjå, 131.
vratådeßa, 150.
vratamok∑aˆa, 150.
v®k∑adevatå, 64, 65.
V®∑abha (Taurus), 51.
vyåkaraˆa, 118.
vyåkhyåna, 116.
window (gavåk∑a), 70-71, 155.
worship (pËjå), passim; preliminary, 21, 131; of deities, 32, 60; of vases, 43.
yak∑a, 22, 30, 67, 76, 148.
Yak∑ådhipa, 155.
Yama, 31, 35, 36, 37, 57, 59, 65, 100, 130, 131.
Yåma, 133.

208
Yamåntaka, 45, 46, 68, 157.
Yamåri, 99.
yamasËrya pråsåda, 58.
Yana, 133.
Yar klungs pa Grags pa rgyal mtshan, 3.
ya∑†i, ya∑†ikå, 63, 166, 167, 168.
Yava, 133.
Yoga Tantra, 9, 140.
yogin¥, 173, 174.
Yojaka Agni, 151.
yonisaµßodhana, 139-142.
Zodiac, 50, 51, 57.

209