This rendering does not include the entire published text

The full text is available to download as pdf at:
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ཡང་དག་པར་སྦྱོར་བ།

Emergence from Sampuṭa
Chapter 9

Sampuṭodbhavaḥ

ཡང་དག་པར་སྦྱོར་བ་ཞེས་བྱ་བའི་རྒྱུད་ཆེན་པོ།

yang dag par sbyor ba zhes bya ba’i rgyud chen po

The Foundation of All Tantras, the Great Sovereign Compendium “Emergence from Sampuṭa”

Saṃpuṭodbhavasarvatantranidānamahākalparājaḥ

Toh 381

Degé Kangyur, vol. 79 (rgyud ’bum, ga), folios 73.b–158.b

ᴛʀᴀɴsʟᴀᴛᴇᴅ ɪɴᴛᴏ ᴛɪʙᴇᴛᴀɴ ʙʏ

Gayādhara
Drokmi Śākya Yeshé

Translated by the Dharmachakra Translation Committee
under the patronage and supervision of 84000: Translating the Words of the Buddha.

First published 2020

Current version v 1.12.13 (2025)

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Warning: Readers are reminded that according to Vajrayāna Buddhist tradition there are restrictions and commitments concerning tantra. Practitioners who are not sure if they should read this translation are advised to consult the authorities of their lineage. The responsibility for reading this text or sharing it with others who may or may not fulfill the requirements lies in the hands of readers.

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co.

Summary

s.1

The tantra Emergence from Sampuṭa is an all-inclusive compendium of Buddhist theory and practice as taught in the two higher divisions of the Yoga class of tantras, the “higher” (uttara) and the “highest” (niruttara), or, following the popular Tibetan classification, the Father and the Mother tantras. Dating probably to the end of the tenth century, the bulk of the tantra consists of a variety of earlier material, stretching back in time and in the doxographical hierarchy to the Guhyasamāja, a text traditionally regarded as the first tantra in the Father group. Drawing from about sixteen well-known and important works, including the most seminal of the Father and Mother tantras, it serves as a digest of this entire group, treating virtually every aspect of advanced tantric theory and practice. It has thus always occupied a prominent position among canonical works of its class, remaining to this day a rich source of quotations for Tibetan exegetes.

ac.

Acknowledgements

ac.1

This translation was produced by the Dharmachakra Translation Committee under the supervision of Chökyi Nyima Rinpoche. Wiesiek Mical prepared the Sanskrit edition, translated the text into English, and wrote the introduction. James Gentry then compared the translation against the Tibetan root text, the Sampuṭodbhava Tantra commentaries found in the Tengyur, and Wiesiek’s Sanskrit edition, and edited the translation. Dharmachakra is indebted to Dr. Péter Szántó for his help in obtaining facsimiles of some manuscripts and other helpful materials.

The translation was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.

ac.2

Work on this translation was made possible by the generosity of a sponsor who wishes to remain anonymous, and who adds the following dedication: May all the sufferings and fears of mother sentient beings be pacified swiftly by the power of the truth of the Triple Gem.

Introduction

i.1

The tantra Emergence from Sampuṭa is so rich and varied in content, and its intertextuality so complex, that a truly comprehensive description would be difficult in the space of a brief introduction. Instead, we will here mainly focus on the specific issues that make this text stand out among other tantras, the unique quandaries it presents, and some of the problems we encountered as we prepared a Sanskrit edition and English translation of the complete text for the first time. Some prior awareness of these problems could prove helpful to anyone intending to read the translation presented here.

The Translation

The Foundation of All Tantras, the Great Sovereign Compendium
Emergence from Sampuṭa

Chapter 1

Part 1

[F.73.b]

1.1

Oṁ, homage to Vajraḍāka!

1.2

Thus did I hear at one time. The Blessed One was dwelling in the bhagas of vajra queens, which are the essence of the body, speech, and mind of all tathāgatas. There, he noticed Vajragarbha in the midst of eight hundred million lords of yogins, and smiled. As the Blessed One smiled, Vajragarbha immediately rose from his seat, draped his robe over his shoulder, and knelt on his right knee. With palms joined, he spoke to the Blessed One. {1.1.1}

Part 2

Part 3

Part 4

Chapter 2

Part 1

2.1

“I will now explain,

For the benefit of practitioners,

By what method the disciple is initiated,

And also the general ritual procedure. {2.1.1}

2.2

“First, the officiating yogin, assuming the identity of the deity, [F.83.a]

Should purify the ground,

Diligently making it into vajra by means of the syllable hūṁ.

He should next draw the maṇḍala. {2.1.2}

2.3

“In a garden, a secluded place,

The abode of a bodhisattva,

An empty enclosure, or a residence

He should delimit a splendid circle. {2.1.3}

2.4

“He should trace it with sublime powders.

Alternatively, he should do it with middling materials‍—

Powders of the five precious substances,

Rice flour, or something similar. {2.1.4}

Part 2

Part 3

Part 4

Chapter 3

Part 1

3.1

“Listen about the practice, as it really is,

Of generating Nairātmyā and Heruka,

One through which all wicked

And violent beings will be tamed.122 {3.1.1}

3.2

“The transformations effected by the ḍāka 123 and ḍākinīs‍—

All of them I will explain to you.

The vajra-holding Heruka, in his identity of Vajrasattva,

Will bring on the vajra-like state. {3.1.2}

3.3

“One should assume a wild form in a raging ring of flames;

It should be radiating all around.

One should next visualize a garland of seed syllables

In the center of a moon disk. {3.1.3}

Part 2

Part 3

Part 4

Chapter 4

Part 1

4.1

[Vajragarbha said:]

“I would like to hear, O Blessed One,

About the characteristics of the external signs.186

Please tell me, O great sage,

This secret of yogins and yoginīs.” {4.1.1}

4.2

The lord then entered the meditative absorption called “the power of ḍākinīs’ conquest” and explained the pledge signs of ḍākinīs. {4.1.2}

4.3

“The vajra (male sexual organ)187 is in Kollagiri

And the lotus (female sexual organ) is in Muṃmuni.

The rattle of the wood (hand-drum) is unbroken;

It sounds for compassion, not for quarrels.188 {4.1.3} [F.100.a]

Part 2

Part 3

Part 4

Chapter 5

Part 1

5.1

“Now I will teach

About the gathering of all sublime people.

There, one should consume a dish of good food,

Served in a dish with two compartments. {5.1.1}

5.2

Vajragarbha asked, “Blessed One, what places are places of gatherings?” {5.1.2}

The Blessed One said:

5.3

“There are pīṭhas and auxiliary pīṭhas,

And likewise, kṣetras and auxiliary kṣetras.

There are also chandohas and auxiliary chandohas,

Melāpakas and auxiliary melāpakas. {5.1.3}

5.4

“There are charnel grounds and auxiliary charnel grounds,

Pīlavas and auxiliary pīlavas.

These are the twelve types of meeting places. [F.103.a]

The lord of the ten bhūmis has not specified

Any places other than these twelve.” {5.1.4}

Part 2

Part 3

Part 4

Chapter 6

Part 1

6.1

[The goddess294 said:]

“I would be interested to hear, my lord,

What are the stages of self-consecration?

What is the purpose of secrecy?” {6.1.1}

6.2

The Blessed One said:

“Listen, O most compassionate Vajrasattva,295

With undivided attention!

I will now briefly explain the definitive meaning

Common to all tantras. {6.1.2}

6.3

“What is referred to with the letter e (the dharmodaya),

Is the place with imperceptible characteristics.

Going and coming with the elements,

Mind is always in motion.” {6.1.3}

6.4

[The goddess asked], “Why is the word elements being used?” {6.1.4}

The lord replied, “Regarding the secret sixteen syllables,296 the following has been said:

Part 2

Part 3

Part 4

Chapter 7

Part 1

7.1

[Vajragarbha said:]

“I want to hear, O Blessed One,

The description of secret code words.

What can be said about this twilight language?

Please speak conclusively, O Blessed One, {7.1.1}

7.2

“About this great pledge408 of the yoginīs

That cannot be deciphered by the hearers and others.

With the smiling, glancing,

Embracing, coupling, and so forth, {7.1.2}

7.3

“This twilight language has not been taught

Even in the four divisions of tantra.”

[The Blessed One said:]

“I will teach it, Vajragarbha;

Please listen with undivided attention. {7.1.3}

Part 2

Part 3

Part 4

Chapter 8

Part 1

8.1

Vajragarbha said:

“I want to hear, O Blessed One,

About the attributes signified by other things.

I do not know the four principles,

So please explain them, O Blessed One.” {8.1.1}

8.2

The Blessed One said:

“Listen, Vajragarbha, how it really is regarding

The attributes of delivery from saṃsāra:

The vajra scepter signifies the first principle,

And the bell, the second. {8.1.2}

8.3

“The third is the rosary, and the fourth is

The attribute of knowledge.

The waves of these four principles

Carry beings to the desired other shore. {8.1.3}

Part 2

Part 3

Part 4

Chapter 9

Part 1

9.1

Now the great bodhisattvas, headed by Vajragarbha, along with all the tathāgatas, made offerings and prostrated themselves to the Blessed One, then said: {9.1.1}

9.2

“Please give us, O Blessed One, O divine being,

A detailed exposition of the state of nirvāṇa.

In which place does one abide,

Playing within the animate and inanimate universes?” {9.1.2}

9.3

The Blessed One said:

“Listen! I will explain the nature of

The mind fixating on concepts as it really is.

This nature, which has already been taught earlier,

Is always present in everybody.981 {9.1.3}

9.4

“The body is said to be the maṇḍala,

With four doors, as has been described.

In the navel center there is a great lotus,

Which is famed to be the seat of omniscient gnosis. {9.1.4}

9.5

“In that place dwells the valiant one.

Without constituent parts he is indivisible.982

He plays within embodied beings, being himself

Beyond any embodiment and completely pure.983 {9.1.5}

9.6

“Possessed of the great magical power of all the buddhas,

He can magically transform himself‍—

Sometimes into the great bodhicitta,

Sometimes984 into the conduct that accompanies it. {9.1.6}

9.7

“Sometimes he dwells among the gods of the Tuṣita realm.

At some point he makes the supreme985 descent to earth.

At some point he takes a pure birth,

And at some point he definitively renounces worldly life. {9.1.7}

9.8

“At some point he makes a great peregrination for the sake of awakening,986

And at some point he defeats Māra.

At some point he attains complete and perfect awakening,

And at some point he turns the wheel of Dharma. {9.1.8}

9.9

“At some point he defeats in debate the followers of other creeds,

Using in his arguments truths acceptable to both parties.

At some point he becomes the master of all attainments,

And at some point he conquers the triple universe.987 {9.1.9}

9.10

“At some point he attains the unexcelled powers

Of accomplishment that last throughout all the ages.988

Such infinite and supreme acts as these and others

Are performed by those partaking of the nature of all buddhas,989 {9.1.10}

9.11

“Since990 they are free from both existence and nonexistence.

Thus, one should abandon all delusion. [F.151.a]

‘The set of vowels is the bee,’991 they say;

The bee is Vajrabhairava.992 {9.1.11}

9.12

“The set of vowels extends to the end of space,

Since by its nature it is the sphere of phenomena.993

It is the secret container of animate and inanimate elements

Of every being that has evolved a body.994 {9.1.12}

9.13

“It is the ‘ambrosia’ of the aggregates, the sense-fields, and the elements

That constitutes all their vital power.995

Therefore, one should draw all996 the ambrosia inward

And dissolve it in the middle of the root.997 {9.1.13}

9.14

“With the vajra sound of Bhairava,

Taking the form of the fluid of the completion yoga,998

One should join the seven winds and fires999

With the syllable of Vajrī.1000 {9.1.14}

9.15

“Surmounted with the anunāsika, this seed syllable

Is known as ‘the torrent of rain.’1001

One should hold at the center of the [lotus at the navel]

The first and original vowel (a).1002 {9.1.15}

9.16

“The consonant syllabary (kāli) is the flower king;1003

The flower is the body of vajra holders.1004

It is the origin of cyclic existence for all

And the mother all over the earth.1005 {9.1.16}

9.17

“In that ocean with the water of gnosis

There are sea monsters and fishes of insight.

Right in the middle of the swamp of nonduality

Sprouts the sprout of skillful means.1006 {9.1.17}

9.18

“This receptacle of honey and ambrosia1007

Resembles an open bandhūka flower.

The mixing of consonants with the ambrosia

Is like the mixing of ‘flower’ and ‘water.’1008 {9.1.18}

9.19

“Since the body is born from both1009 the blood and the semen,

The method of ‘ambrosia-water’ is supreme.1010

The ‘ambrosia-water’1011 is said initially

To have a fivefold nature.1012 {9.1.19}

9.20

“Fire imparts its heat through contact,1013

Wind is perceived as smoke,1014

Water has the nature of fluidity,

And because of the element earth, shapes can be discerned.1015 {9.1.20}

9.21

“Wisdom consecrated by the vajra

Becomes fivefold.1016

To elaborate, water can assume every shape;

Fire, for its part, brings destruction;1017 {9.1.21}

9.22

“Wind is the continual breathing;

And earth, for its part, is the nature of the witness.1018

All the yoginīs are pleased

With the song in the form of the syllable hūṁ.1019 {9.1.22}

“By chanting the following song, one will become a son of the victorious ones.

9.23

“ ‘O vajra, lord1020 of bliss,

Who perceives with the five eyes!

You are the nature of letters

Who plays in emptiness.1021 {9.1.23}

9.24

“ ‘Being devoid of existence and nonexistence,

You are known as the essence.

May you destroy all letters [F.151.b]

And all thoughts. {9.1.24}

9.25

“ ‘The practitioner of the coupling embrace,

Performed for the purpose of producing the fluids,

Attains the nondual Dharma,

Which, quintessentially, is liberation. {9.1.25}

9.26

“ ‘For the sake of those deluded by the pleasures of saṃsāra

You forestall your own liberation.

In the nature of emptiness1022

You play with the mantra of the yoginīs. {9.1.26}

9.27

“ ‘You show that the five yoginīs

Are in reality the five buddhas.

With magical displays of manifold forms

You bring beings to spiritual maturity. {9.1.27}

9.28

“ ‘The purpose of extending the vajra

Is to remove delusion about phenomena.

May you bow to this teaching, good in its essence,

For the sake of liberating the yoginīs.’1023 {9.1.28}

9.29

“By chanting this song, O sons of noble family, one will become a son of all the victorious ones‍—so said every blessed tathāgata.”1024 {9.1.29}

9.30

This concludes the first part of the ninth chapter, “The Genesis of Every Tathāgata.”

Part 2

9.31

“Listen, Vajragarbha, O mighty king,

About how to do the oblation ritual according to procedure.

One should delineate a circle of red sandalwood1025 paste

Measuring one cubit in diameter, {9.2.1}

9.32

“And then draw a white1026 triangle surrounding it. Along with the honors such as the welcome offering of water and flowers and the five articles‍—fish, meat, and so forth‍—one should include wine that inspires amorous passion. On the left side one should place all the ritual implements, and on the right, a dish with water. In front there should be the welcome-offering dish. Having purified all these substances with the five ambrosias,1027 one should enter the absorption of Vajrasattva or, alternatively, assume the identity of Heruka. {9.2.2}

9.33

“One should summon the wisdom ambrosia1028

By means of gesture and mantras, observing the ritual procedure.

One should offer red flowers,

Lamps, and so on, and also perfume.1029 {9.2.3}

9.34

“One should mentally summon all five ambrosias

To the lotus dish1030 marked with the syllable oṁ,

In particular through hūṁ, the principle of the tongue,1031

According to the divisions of the hooks of gnosis.”1032 {9.2.4}

[Vajragarbha asked:]

9.35

“What, O Blessed One, are the so-called ‘hooks of gnosis’?” {9.2.5} [F.152.a]

The Blessed One said:

9.36

“Prajāpati is said to be the first one.

The second in this listing is Tārā.

Pravarā is thought to be the third.

The fourth is Bahulojātā.

The fifth is Bālā.1033

9.37

“These names are mantras of the five families, following the division of the five wisdoms.1034 {9.2.6}

9.38

“These five great gnoses

Have been taught for your benefit.

One should employ them in all activities,1035

Following the division into the five ‘hooks of gnosis.’ {9.2.7}

9.39

“Should one wish these activities to occur incessantly,1036

One should please all the yoginīs,

But without sexual addiction;

One should not become attached to bliss. {9.2.8}

9.40

“In order to benefit all beings, the practitioner

Should arrange offerings of every kind.

That which is famed as the moon

Arises out of the thirteen vowels.1037 {9.2.9}

9.41

“Then, in the center of the moon, he should gratify all the deities with syllables, by uniting the vowels and the consonants.1038 {9.2.10}

9.42

“He should generate1039 a blaze of light

Distinguished by the arising of heat.

He should visualize it in the form of a crystal1040

And then distribute all of it.1041 {9.2.11}

9.43

“Having extracted the ambrosia in its1042 center,

He should have [the lord of the maṇḍala and his retinue] taste of it.

And with all the other articles, such as the remainder of ambrosia,

He should satiate the members of the outer maṇḍala.1043 {9.2.12}

9.44

“Holding the skull cup with the left hand,

He should display the gesture of wrath with the right.

With feet wide apart1044 and upward gaze,

The syllable pheṭ should emerge from his head.1045 {9.2.13}

9.45

“Making his offerings on the fourteenth day,

Or especially the eighth day, of the dark fortnight,

Or also on the tenth day of the bright fortnight,

He should himself become the inner offerings.1046 {9.2.14}

9.46

“Under1047 solitary trees, in charnel grounds,

Mountains, wilderness,

Caves, outskirts of villages,

Empty fields, or, especially, in empty houses‍— {9.2.15}

9.47

“In particular, in places containing living beings,

On dry land as well as on water‍—

He should invoke Black Rudra and Great Rudra

In union with their consort goddesses;1048 {9.2.16}

9.48

“Black Kapālin, Bībhatsa,

Nandātīta and Vināyaka;1049

Caṇḍālī,1050 [F.152.b] Ghorarūpā,

And Umādevī, in places all around;1051 {9.2.17}

9.49

“Jayā, Vijayā,

Ajitā and Aparājitā;

Bhadrakālī, Mahākālī,

And the yoginī Śūlakālī; {9.2.18}

9.50

“Indrī, Candrī, Ghorī, Duṣṭī,

Lampakī, Tridaśeśvarī,

Kambojī, Dipinī, Cūṣaṇī,

And the yoginīs dwelling in villages. {9.2.19}

9.51

“All these goddesses have terrible, huge forms.

Baring their formidable fangs, they each wear a garland of human skulls

And hold khaṭvāṅgas in their hands.

They are all endowed with great powers.1052 {9.2.20}

9.52

“They hold in their hands a sword,

An axe, a vajra scepter, and a bow.

He should also summon the five1053 ḍākinīs

Of the five great elements who accomplish every type of activity, {9.2.21}

9.53

“And the great queen1054 of the maṇḍala of the union,

Along with the mighty vajra lord.1055

In the great assembly of the tathāgatas

She1056 is the stainless emanation from the union.1057 {9.2.22}

“By the command of the vajra queen,1058 he should invoke all of them1059 from all their respective places. {9.2.23}

9.54

“He should recite:

“Oṁ, p-pp-pull, b-bb-bind, d-dd-devour! Kill, kill all the evil ones! S-ss-strike! Appease all negativity for such and such! Hūṁ hūṁ! Phaṭ phaṭ! Jaḥ, svāhā!10601061 {9.2.24}

9.55

“Relying on the contemplation of ambrosia1062 and filling thereby the mouths of the deities1063 with it, he should meditate on yogins and yoginīs as the executors of any activity he can think of. He will then succeed in every type of activity.1064 {9.2.25}

9.56

“The syllable ha removes the ambrosia’s ordinary1065 color,

The syllable ho neutralizes its ordinary1066 odor,

And the syllable hrī removes its ordinary1067 potency‍—

This is the prescribed order of reciting these three syllables. {9.2.26}

9.57

“Repeating these three syllables thrice,

He should meditate on them as the three deities.1068 {9.2.27}

9.58

“Padmeśvara (Amitābha) possesses the beauty and loveliness of gold;

The beautifully lucent one (Vairocana) possesses an incorruptible perfume;

And Vajrapāṇi (Akṣobhya) is the vajra lord of good flavor.1069

These three deities are known as the above three syllables. {9.2.28}

9.59

“ ‘See all phenomena here as pure!

Discard nihilist meditation!1070

Since brahmins, dogs, and outcastes are

Of the same nature, eat [everything]!’ {9.2.29}

9.60

“Reciting the lines of this verse, he should offer [the ambrosia oblation], [F.153.a]

And then display the gesture of “turning the lotus”1071 {9.2.30}

“With his left and right hands,

Playfully and with supreme grace.

He should proceed according to instruction

Through the practice of his personal deity.1072 {9.2.31}

9.61

“ ‘The Sugata’s teaching is priceless;

It is free from the stains of passion

And from grasping and non-grasping.

Let us pay homage to it with devotion.’1073 {9.2.32}

“With this verse, he should receive [the ambrosia]. This is the principle of the yogin’s proper practice, pure in every respect. {9.2.33}

9.62

“He should then recite the following as he wishes:

“ ‘Let us pay homage to the one who is free from becoming

And supplicate him that beings may reach pleasant destinies.

May they be adorned with the magical display

Of the coupling embrace, hūṁ hūṁ hūṁ!’1074 {9.2.34}

“He should sing this song of benediction

To the accompaniment of the bell. {9.2.35}

9.63

“Folding his hands in the vajra gesture of añjali,

He should position them at his heart.

Then, he should make a dedication

For the sake of all sentient beings, and so forth, reciting: {9.2.36}

9.64

“ ‘May all beings be happy!

May all beings be well!

May they traverse the path

By which they will attain awakening! {9.2.37}

9.65

“ ‘I will deliver those who have not been delivered.

I will release those who have not been released.

I will be compassionate toward them in their present condition,

Acting consistently with the teachings of yoga.’ {9.2.38}

9.66

“He should form the ‘vajra fist’ with both hands.

Placing the left fist at his heart,

He should extend the right one forward and,

Placing it on the ground, dismiss the deities1075 by saying: {9.2.39}

“Oṁ, Please remain in my body! Hūṁ svāhā!1076 {9.2.40}

9.67

“Subsequently, the deities1077 are absorbed

Into his body with his breath.

In an instantaneous union, he should make offerings,

Visualizing himself as the deity.1078 {9.2.41}

9.68

“He should recite:

“Oṁ, seize, seize the evil ones and depart! Hūṁ phaṭ!1079 {9.2.42}

“He should snap his fingers three times and dismiss the outer deities.”1080 {9.2.43}

9.69

This concludes the second part of the ninth chapter, about the offering of oblation.

Part 3

9.70

While the Blessed One, ever-present in every body,

Was abiding within the secret lotus, the pleasure realm of Sukhāvatī,

The goddess who, for her own part, abides in secrecy, [F.153.b]

Requested the following: {9.3.1}

9.71

“Please tell me everything, O lord!

Tell me about the hidden domain of sublime reality,1081

About the maṇḍala of all the tathāgatas,

And also about the wrathful ones and the deities. {9.3.2}

9.72

“I do know the ultimate reality

Which is present within myself,

But I am not certain regarding the methods

Of making the painting and writing the manuscript. {9.3.3}

“I do not know that, so please tell me, O Great Bliss!” {9.3.4}

9.73

The Blessed One said:

“The painter should be a young person with a pure heart,

Steadfast, gentle, and free of discursive thinking.

He should be free of deceit and anger, well trained,

Dexterous,1082 and full of faith and compassion. {9.3.5}

9.74

“Alternatively, to do the painting, one should commission a painter who has been given the samaya. Such a sublime practitioner should paint Tārā, Mārīcī, or Parṇaśāvarī on cloth from a fallen war hero, cloth that wrapped a corpse, cloth used during childbirth, cloth stained with human blood, or cloth soaked with menstrual blood. {9.3.6}

9.75

“This is the procedure to follow. Staying at a secret location, one should have a well-focused person do the painting; he should paint the frightening form1083 with a brush of a corpse’s hair, using the five colors as explained, mixed with olibanum, camphor, and other ambrosias, placed in a human skull.1084 {9.3.7}

9.76

“First, the teacher, well focused, united in embrace with the consort (prajñā), adorned with all manner of jewelry, and abiding in union with the glorious Sampuṭa, should take off his clothes, while visualizing himself as wearing bone ornaments.1085 {9.3.8}

“The wise should not have the painting done with leftover or impure materials.” {9.3.9}

9.77

[The goddess asked:]

“O Blessed One, if the paints are infused with olibanum (menstrual blood), how then would they not be impure?”1086 {9.3.10}

9.78

The Blessed One said:

“The first purity is the messenger lady,1087

Moon1088 is regarded as the second, [F.154.a]

And all the dainty foodstuffs together1089

Are said to be the third purity.1090 {9.3.11}

9.79

“These purities should be undertaken

By those who enjoy external yoga.1091

Should one’s mind become impure,

Of what use would be ritual ablutions?1092 {9.3.12}

9.80

“Anyone who lives by a perverse Dharma,

Desiring all kinds of sense pleasures,

Will be born one hundred times as a dog,

And later be reborn among the outcastes. {9.3.13}

9.81

“Just as someone who wants ghee

But naively churns water,

Does not obtain ghee

But only physical exhaustion, {9.3.14}

9.82

“So too will the concentration and veneration

Of those with other such aims be futile‍—

If it is for the sake of vitality,

They should rather resort to other types of yoga.1093 {9.3.15}

9.83

“Who would disparage the skull

That embodies the dharmakāya‍—

The skull arisen from the material cause

Common to the triad of conch, oyster shell, and pearl?1094 {9.3.16}

9.84

“The means of purification of those invested with the sacred cord

Is said to be their conduct1095 conforming to the true Dharma.

Since the purity is found in the glorious Heruka,

One should worship with all perseverance

Together with one’s consort (mudrā). {9.3.17}

9.85

“The practitioner should thus place his personal consort (mudrā) to his left. She should have a beautiful face and fine figure, be compassionately disposed, be graced with beauty and youth, and be fond of the practitioner. One should consecrate the brush and give it to the painter. {9.3.18}

9.86

“The painter should make a painting that inspires

Dread and bounteously grants all accomplishments.

It should be viewed by the painter and the practitioner,

Without being shown to anyone else. {9.3.19}

9.87

“Listen, O goddess of great fortune!

I will now teach you about the writing of the manuscript.

One who has been given the samaya

Should write it either on birchbark or palm leaf. {9.3.20}

9.88

“One should make the folios

Twelve fingers long

And use ‘great honey’1096 as ink.

It should be written with a stylus of human bone. {9.3.21}

9.89

“Should an inappropriate person see

Either the manuscript or the painting,

No accomplishment will be had in this life,

Nor in the domains of the afterlife. {9.3.22}

9.90

“One should never allow others

To see the samayasattva.1097 [F.154.b]

When in public view, one should hide

The book in one’s hair or under the armpit. {9.3.23}

9.91

“One can, however, lend it to those who share the same samaya,

So that they can copy it prior to performing the ritual.”1098 {9.3.24}

9.92

This concludes the third part of the ninth chapter, called “The Codification of the Painting and the Manuscript.”

Part 4

9.93

“Listen, O goddess, I will now teach the music1099

Characteristic (lakṣaṇa) of sampuṭa. {9.4.1}

9.94

“The mantra of Vajradhara1100 (as sampuṭa) and the others is:

“Ara ara, jeṁ jeṁ! Recollect recollect! Caṭa! Vaṁ, hoḥ hoḥ! Hulu hulu! Rulu rulu! Hūṁ, jaḥ jaḥ! Ala ala! Hūṇu Hūṇu! Hraṁ hraṁ hraṁ! Hū taṁ, ghai ghai, yai yai! Ta ṭa, gho gho, ṣeṁ ṣeṁ, taṁ taṁ, ghe ghe, hondo hondo, do! Hūṁ hūṁ! Kaka kaka, kau kau kau, vaiṃ vaiṃ, kaiṃ kaiṃ, krauṁ krauṁ krauṁ, vaiṁ! Vajra vajra, vajrīṁ vajrīṃ, vaiḥ, kaiṁ kaiṃ kaiṁ, hūṁ! Bhyo bhyo bhyo!1101 {9.4.2}

9.95

“The mantra of Līlāgati 1102 is as follows:

“Ṭaki, hūṁ, jaḥ jaḥ jaḥ!1103 {9.4.3}

9.96

“The mantra of Hayagrīva is:

“Taḍava taḍava!1104 To the steed, the steed!1105 {9.4.4}

9.97

“The mantra of Yamarāja is:

“Hrīṁ ṣṭrīṁ, hrīṁ ṣṭrīṁ, ṣṭrīṁ ṣṭrīṁ ṣṭrīṁ, hrīṁ ṣṭrīṁ, hrīṁ ṣṭrīṁ, hrīṁ ṣṭrīṁ!1106 {9.4.5}

9.98

“The mantra of Tārā is:

“Hrīṁ hrīṁ, kuṁ hrīṁ, kuṁ hrīṁ, khe khe, kheṁ kheṁ kheṁ, padmaṃ padmaṃ, hrīṁ, padmaṃ padmaṃ padmaṃ, trīṁ trāṁ, trīṁ trāṁ, trīṁ trāṁ, hrīṁ hrīṁ hrīṁ, hrī taṁ, hrī taṁ, hrīṁ hrīṁ hrīṁ!1107{9.4.6}

9.99

“I will now describe the characteristics of the small hand drum1108 used for these mantras.

“One should make this drum from the root of a sandal tree1109

Belonging to the red variety found in the Himālayas,1110

And also any other articles

That are pleasing to the mind.” {9.4.7}

9.100

Then the Blessed One specified the following measurements:

“It should be twelve or ten finger-widths in length,1111

With a drumhead that is six or five finger-widths in diameter.

It can also be nine or eleven finger-widths in length,

With the drumhead being half of that. {9.4.8}

9.101

“Optionally, to make a different kind of drum,

“One should stretch monkey skin on a human skull,

So that it forms its drumhead.

Inside each of the two hollows of the skull one should draw a lotus.

To make it beautiful, one should draw it with menstrual blood. {9.4.9}

9.102

“One should tie together the two pieces of skull bone

With a string twined from human hair recovered from a cemetery.

Then, using only ‘secret flower,’1112 one should draw a maṇḍala

On the pericarp of each of the two lotuses in the hollows of the skull. {9.4.10}

9.103

“One should go at nighttime to a crossroads and draw,

With the big toe of one’s left foot,

A vajra hook in each of the corners

Of a four-sided maṇḍala. {9.4.11} [F.155.a]

9.104

“Stepping there with one’s left heel, one should recite kheṁ hūṁ,

Preceded by the summoning formula with the target’s name.

While reciting kheṁ hūṁ,

One should stomp one’s left foot in the manner of a lapwing.1113 {9.4.12}

9.105

“In this way, all the six Kambojīs

Will be summoned without a doubt.1114

If they do not come,

All these ḍākinīs will die. {9.4.13}

“So they will certainly respond to the ritual;

There is no doubt about what I have said. {9.4.14}

“If the master plays the ḍamaru when agitated,1115 the ḍākinīs will cry a torrent of tears. {9.4.15}

9.106

“[The following is a password song to get admitted to a gaṇacakra feast:]

“ ‘Your samaya conduct shines brightly, O Blue Angry One!1116

In your hand you hold a staff set with precious stones.1117

Behold me, O hero, amidst the yoginīs, entering the door to the assembly,

The assembly that is the liberated saṃsāra.’1118 {9.4.16}

9.107

“Listen, O goddess, O greatly fortunate one,

About the excellent1119 things offered at the gaṇacakra.

If one partakes of them, the accomplishment will follow‍—

One that will bring the fulfillment of all wishes. {9.4.17}

9.108

“In a charnel ground, a mountain thicket,

On the shore of a great ocean,

In a deserted place or wilderness,

One should prepare the following articles of enjoyment: {9.4.18}

9.109

“Flowers, incense, and lamps,

And also hard and soft foodstuffs.

The liquor is said to be a playful woman;

The wine is said to be a wanton woman. {9.4.19}

9.110

“The rum is said to be the god of love;

This best of alcohols is ambrosia.1120

Through the outcaste of all buddhas,

Ambrosia is the eightfold path.1121 {9.4.20}

9.111

“The sweet grape wine1122 is the Sole Hero;

The oyster shell is the One with Harsh Desire.1123

The rice brew (masculine) is said to be a sensualist,1124

And the rice brew (feminine)1125 is said to be a female slave. {9.4.21}

9.112

“By having the good fortune to partake,

In this way, of such delicacies

As various foods, alcoholic beverages, and fish,

One will attain the level of glorious Vajrasattva. {9.4.22}

9.113

“Ripe mangoes, breadfruit,

Grapes, coconuts, plums, and so forth‍—

One should offer, at the gaṇacakra gathering,

An assortment of different fruits. {9.4.23}

9.114

“A special dance should be performed, along with gestures and singing: [F.155.b]

“Ka ka ka ka ka, hi hi hi hi, hīṁ hīṁ hīṁ hīṁ, hūṁ hūṁ hūṁ, hūṁ hūṁ hūṁ, hūṁ hūṁ hūṁ, hā hā hā hā, hā hā hā hā, hā hā hā hā, i hā hā, i hā hā, ḍā ḍā ḍā, jāṁ jāṁ jāṁ jāṁ, a i u, jaṁ jāṁ, iṁ jāṁ, iṁ jāṁ, iṁ iṁ, jeṁ jeṁ jeṁ, iṁ teṁ traṁ, hi hi hi hi, hīḥ hīḥ hīḥ, hi hi hi, hī hī hī, hī hī hī, hī hī hī, kajjaṃ, hi hī.1126 {9.4.24}

9.115

“Singing thus, an outcaste woman shakes to this song.

The dance, and in particular the ritual gestures,

Should be performed while in meditative union with Heruka. {9.4.25}

9.116

“Since the gazes correspond with the fist gestures,

And both are synchronized with the footsteps of the dance,

They express the stages of yoga

As performed by all the buddhas.1127 {9.4.26}

9.117

“The consort could be one’s mother,

Sister, younger sister, or niece.1128

One should worship them ardently,

And one will gain accomplishment at the gaṇacakra feast. {9.4.27}

9.118

“The pupil should present to his master, O fortunate lady,

A human skull cup made from a single piece of bone,

Filled with divinely1129 delicious wine.

Having made obeisance to him, he should drink of it himself. {9.4.28}

9.119

“He should hold it and offer it

With the same hand forming a lotus gesture.

The officiants should bow at this point

To the master again and again.” {9.4.29}

9.120

This concludes the ninth chapter of the glorious “Emergence from Sampuṭa” called “The King of the Essence of the Four Rituals.”

10.

Chapter 10

Part 1

10.1

“Listen, Vajrapāṇi, about the samaya that results

In the accomplishments of a vajra master.1130

Having prepared the Great Circle, which comes first,

One should summon the heart maṇḍala.1131 {10.1.1}

10.2

“Through one’s entering the first, the Great Circle,

And performing there the elaborate ritual of initiation and so forth,

One will attain the unequaled status

Of a vajra master, there can be no doubt. {10.1.2}

10.3

“For by being devoted to meditation upon what was learned,

One will attain the status of a vajra master.

One will fully succeed after reciting

The heart mantra of Vajrasattva, and so forth, 100,000 times. {10.1.3}

Part 2

Part 3

Part 4

Colophon

Tibetan Colophon

c.1

This king of tantras was translated by the paṇḍita Gayādhara and the great personage Drokmi Śākya Yeshé. Based on this, the venerable omniscient Butön subsequently [re-]wrote it by filling in the gaps and expertly revising it in consultation with Indian manuscripts of the basic text and commentaries.

ap.

Appendix

Sanskrit Text

app.

Introduction to This Sanskrit Edition

(For the sigla and abbreviations used in the critical apparatus, please consult the Abbreviations section.)

app.1

The default source followed in this edition is manuscript C (Shastri 1917), and the folio numbers of that manuscript (with letters indicating either verso or recto) appear in braces throughout. Textual variants are reported in the critical apparatus either when the reading in C was rejected in favor of another source or, in a minority of cases, when the reading in C was followed but the rejected variant is deemed significant.

ap1.

Chapter A1

Part 1

ap1.1

{C1v} oṁ namo vajraḍākāya1188 |

ap1.2

evaṃ mayā śrutam ekasmin samaye | bhagavān sarvatathāgatakāyavākcittahṛdayavajrayoṣidbhageṣu vijahāra | tatra khalu bhagavān aśītikoṭiyogīśvaramadhye vajragarbham avalokya smitam akārṣit | <Sz 1.1.3 (prose)→> samanantarasmite 'smin vajragarbha utthāyāsanād ekāṃsam uttarāsaṃgaṃ kṛtvā dakṣiṇaṃ jānumaṇḍalaṃ pṛthivyāṃ pratiṣṭhāpya kṛtāñjalipuṭo bhūtvā bhagavantam etad avocat || 1.1.1 ||

Part 2

Part 3

Part 4

ap2.

Chapter A2

Part 1

ap2.1

<H 1.10.1a→> athātaḥ sampravakṣyāmi sādhakānāṃ hitāya1312 vai |

śiṣyo 'bhiṣicyate yena vidhiṃ cāpi kathyate || 2.1.1 ||

ap2.2

vasudhāṃ śodhayed yogī prathamaṃ devatātmakaḥ |

hūṁ vajrīkṛtayatnena paścān maṇḍalam ālikhet || 2.1.2 ||

ap2.3

udyāne vijane deśe bodhisattvagṛheṣu ca |

śūnyamaṇḍapāgāramadhye1313 vartayen maṇḍalaṃ varam || 2.1.3 ||

ap2.4

divyena rajasā likhed athavā madhyamena tu |

pañcaratnamayaiś cūrṇair athavā taṇḍulādibhiḥ1314 || 2.1.4 ||

ap2.5

trihastaṃ maṇḍalaṃ kāryaṃ trayāṅguṣṭhādhikaṃ tathā1315 |

caturvidyās tatra praveṣṭavyā divyāḥ pañcakulodbhavāḥ <H 1.10.1d←> || 2.1.5 ||

Part 2

Part 3

Part 4

ap3.

Chapter A3

Part 1

ap3.1

śṛṇu tattvena nairātmyāherukotpattisādhanam |

yena sarvaduṣṭaraudrasattvā vinayaṃ yāsyanti || 3.1.1 ||

ap3.2

ḍākaḍākinīvikurvaṇaṃ tatsarvaṃ1448 kathayāmi te |

vajrasattvaṃ punarbhūya vajrī vajratvaṃ āvahet || 3.1.2 ||

ap3.3

jvālāmālākulaṃ raudraṃ visphurantaṃ samantataḥ |

candramaṇḍalamadhyasthāṃ bījamālāṃ tato nyaset || 3.1.3 ||

ap3.4

<H 2.5.19a→> tato vajrī mahārāgād drutāpannaṃ savidyayā1449 |

codayanti tato vidyā nānāgītopahārataḥ || 3.1.4 ||

ap3.5

uṭṭha bharādo karuṇamaṇḍa pukkasi mahuṃ paritāhi |

mahāsuha yojīeṃ kāma mahuṃ chaduhi suṇṇasahāvu || 3.1.5 ||

Part 2

Part 3

Part 4

ap4.

Chapter A4

Part 1

ap4.1

bhagavan śrotum icchāmi mudrābāhyaṃ tu lakṣaṇam |

rahasyaṃ yogayoginyāṃ kathayasva mahāmune || 4.1.1 ||

ap4.2

tatas tu bhagavān ḍākinīvijayabalaṃ nāma samāpadya ḍākinīsamayamudrām udājahāra || 4.1.2 ||

ap4.3

<H 2.4.6a→> kollaire ṭṭia bolā muṃmuṇire kakkolā |

ghaṇa kipiṭṭa ho vajjai karuṇe kiai na rolā || 4.1.3 ||

ap4.4

tahiṃ bala khājai gāṭeṃ maaṇā pijjai |

haleṃ kāliṃjara paṇiai dundruru vajjaai || 4.1.4 ||

ap4.5

causama kāthuri sihlā tahiṃ karpura rulāiai |

mālaiindhana śālia tahiṃ bharu khāiai || 4.1.5 ||

Part 2

Part 3

Part 4

ap5.

Chapter A5

Part 1

ap5.1

athātaḥ sampravakṣyāmi <Y 10.10b→> sarvasajjanamelakam |

caruṃ ca bhakṣayet tatra dvipātrāśeṣatatparam <Y 10.10d←> || 5.1.1 ||

ap5.2

<H 1.7.10 (prose)→> he bhagavan ke te melāpakasthānāḥ || 5.1.2 ||

ap5.3

bhagavān āha |

pīṭhaṃ caivopapīṭhaṃ ca kṣetropakṣetraṃ tathā |

cchandohaṃ copacchandohaṃ melāpakopamelāpakaṃ tathā || 5.1.3 ||

ap5.4

śmaśānaṃ caivopaśmaśānaṃ1576 ca pīlavopapīlavaṃ tathā1577 |

etā dvādaśa bhūmayaḥ |

daśabhūmīśvaro nātha ebhir anyair na kathyate || 5.1.4 ||

ap5.5

he bhagavan ke te pīṭhādayaḥ <H 1.7.12 (prose)←>| dvādaśabhūmayas tathā | kathayasva prasādena mahodārasambhavaḥ || 5.1.5 ||

Part 2

Part 3

Part 4

ap6.

Chapter A6

Part 1

ap6.1

śrutaṃ kautūhalaṃ deva svādhiṣṭhānakramaṃ katham1680 |

rahasyādi kiṃ prayojanam || 6.1.1 ||

ap6.2

śṛṇu tv ekamano bhūtvā vajrasattvo mahākṛpaḥ |

kathayāmi samāsena sarvatantrasya nirṇayam || 6.1.2 ||

ap6.3

ekāreṇa yat proktaṃ sthānam avyaktalakṣaṇam |

gatvānugamanaṃ caiva dhātūnāṃ cetaḥ sadā gatiḥ || 6.1.3 ||

ap6.4

dhātuśabda iti kutaḥ || 6.1.4 ||

ap6.5

bhagavān āha |

etāvad rahasye ṣoḍaśākṣare ity uktam |

rakāraṃ raktadhātuś ca hakāraṃ sparśayos tathā |

syekāreṇa śleṣmam ity āhuḥ pakāreṇa pittam1681 eva ca || 6.1.5 ||

Part 2

Part 3

Part 4

ap7.

Chapter A7

Part 1

ap7.1

bhagavan śrotum icchāmi vāgmudrāṇāṃ tu lakṣaṇam |

<H 2.3.53a→> sandhyābhāṣam kim ucyeta bhagavān brūhi niścitam || 7.1.1 ||

ap7.2

yoginīnāṃ mahāsamayaṃ śrāvakādyair na cchidritam |

hasitekṣaṇābhyāṃ tu āliṅgadvaṃdva-m-ādikais tathā || 7.1.2 ||

ap7.3

tantreṇāpi caturṇāṃ ca saṃdhyābhāṣaṃ na śabditaṃ |

vajragarbha ahaṃ vakṣye śṛṇu tvam ekacetasā || 7.1.3 ||

ap7.4

saṃdhyābhāṣaṃ mahābhāṣaṃ samayasaṃketavistaraṃ |

madanaṃ madyaṃ balaṃ māṃsaṃ malayajaṃ mīlanaṃ tathā || 7.1.4 ||

ap7.5

gatiḥ kheṭaḥ śavaḥ śrāyaḥ • asthyābharaṇaṃ niraṃśukaṃ |

āgatiḥ preṅkhaṇaṃ prāhuḥ kṛpīṭaṃ ḍamarukaṃ mataṃ || 7.1.5 ||

Part 2

Part 3

Part 4

ap8.

Chapter A8

Part 1

ap8.1

bhagavan śrotum icchāmi • aparair lakṣyalakṣaṇam |

catustattvaṃ na jānāmi kathayasva mahāsukha || 8.1.1 ||

ap8.2

bhagavān āha |

śṛṇu vajra yathātattvaṃ saṃsārottāraṃ lakṣaṇam |

vajratattvasya2129 pūrvasya ghaṇṭāṃ cāpi dvitīyakam || 8.1.2 ||

ap8.3

tṛtīyam akṣasūtraṃ tu caturthaṃ jñānalakṣaṇam |

catustattvataraṅgāni nīyate pāramīpsitam2130 || 8.1.3 ||

ap8.4

madhye vairocano nāthaḥ pūrve • akṣobhya • eva ca |

ratnaṃ2131 dakṣiṇasūcyāṃ tv amitābhaṃ paścime nyaset || 8.1.4 ||

ap8.5

uttare • amoghasiddhiṃ tu pañcasūcyābhidevatā |

padme • aṣṭasambodhyaṅgaṃ yathābhūmyaṃ tu sthāpayet || 8.1.5 ||

Part 2

Part 3

Part 4

ap9.

Chapter A9

Part 1

ap9.1

atha vajragarbhapramukhā mahābodhisattvā bhagavantaṃ sarvatathāgatāś ca2246 saṃpūjya praṇipatyaivam āhuḥ || 9.1.1 ||

ap9.2

ākhyāhi bhagavan deva nirvṛtipadavistaram |

kutra sthāne sthito bhūtvā krīḍate sacarācare2247 || 9.1.2 ||

ap9.3

bhagavān āha |

śṛṇu vakṣye yathānyāyaṃ kalpanācittadhāraṇām2248 | {C83r}

yad evaṃ kathitaṃ pūrvaṃ sarvātmani sadā sthitam || 9.1.3 ||

ap9.4

maṇḍalaṃ deham ity āhuś caturdvāraṃ yathoditam |

nābhimadhye mahāpadmaṃ sarvajñajñānābhikīrtitam || 9.1.4 ||

Part 2

Part 3

Part 4

ap10.

Chapter A10

Part 1

ap10.1

śṛṇu vajrapāṇe vajrācāryasya siddhisamayam |

kalpayitvā mahācakram ādyaṃ hṛdayamaṇḍalam || 10.1.1 ||

ap10.2

praviṣṭaṃ2382 svayam ādyaṃ tu svābhiṣekādivistaraiḥ |

vajrācāryatvam asamaṃ sidhyate nātra saṃśayaḥ || 10.1.2 ||

ap10.3

yasmāt {C88v} saṃśrutaṃ dhyānatatparatvād vajrācāryatāṃ vrajet |

vajrasattvahṛdādīnāṃ2383 lakṣajāpāt prasidhyate || 10.1.3 ||

ap10.4

ādyasiddho mahācāryaḥ sarvakalpāgraṃ2384 sidhyati |

vidhinānenāpi jinā bhavanti sattvā iti2385 kva saṃdehaḥ || 10.1.4 ||

ap10.5

nirdvandvāḥ sotsāhās2386 tattvasthā baddhasaṃnāhāḥ2387 || 10.1.5 ||

Part 2

Part 3

Part 4

ab.

Abbreviations

Abbreviations used in the introduction and translation notes

Commentaries:

Comm1	Āmnāyamañjarī, by Abhayākaragupta (Toh 1198)
Comm2	Ratnamālā, by Śūravajra (Toh 1199)
Comm3	Smṛtisaṃdarśanāloka, by Indrabhūti (Toh 1197)

Kangyur Editions:

Editions of the Tibetan Kangyur consulted through variant readings recorded in the Comparative Edition (dpe bsdur ma):

C	Choné
H	Lhasa (zhol)
J	Lithang
K	Peking Kangxi
N	Narthang
Y	Peking Yongle

Other:

MW	Monier Williams Sanskrit dictionary

Abbreviations used in the appendix – Sanskrit Text

Manuscripts (root text):

C	Asiatic Society of Bengal, Calcutta, no. 4854 (Shastri 1917)
R	Royal Asiatic Society, London, no. 37 (Cowell 1875)
T1	Tokyo University Library, New 427, Old 324 (Matsunami 1965)
T2	Tokyo University Library, New 428, Old 319 (Matsunami 1965)
W	Wellcome Institute Library, London, no. 63 (Wujastyk 1985)

Woodblock prints (commentaries):

Comm1	Āmnāyamañjarī, by Abhayākaragupta (Toh 1198)
Comm2	Ratnamālā, by Śūravajra (Toh 1199)
Comm3	Smṛtisaṃdarśanāloka, by Indrabhūti (Toh 1197)

Published works (root text)

S	Sampuṭodbhava (Skorupski 1996, 2001)

Published works or doctoral theses (Sampuṭodbhava parallels in source texts)

G	Guhyasamāja Tantra (Matsunaga 1978)
H	Hevajra Tantra (Snellgrove 1959)
K	Kṛṣṇayamāri Tantra (Samdhong 1992)
L	Laghuśaṃvara (Herukābhidhāna) Tantra (Pandey 2002)
N	Sampuṭodbhava Tantra (Noguchi 1986, 1987, 1988, 1995)
Ni	Sañcāranibandha, comm. on the Yoginīsañcāra (Pandey 1998)
P	Prajñopāyaviniścayasiddhi (Samdhong 1987)
SU	Samājottara, the 18th chapter of the Guhyasamāja (Matsunaga 1978)
Sz	Catuṣpīṭha Tantra (Szántó 2012 & Szántó 2010)
V	Vasantatilakā (Samdhong 1990)
VḌ	Vajraḍāka Tantra (Sugiki 2002 & Sugiki 2003)
Y	Yoginīsañcāra Tantra (Pandey 1998)

Critical apparatus

a.c.	ante correctionem
conj.	conjectured
em.	emended
om.	omitted
p.c.	post correctionem
rec.	reconstructed
←	(left arrow) – end of correspondence with a source text.
→	(right arrow) – beginning of correspondence with a source text

Notes

n.1

See Dharmachakra Translation Committee (2011).

n.2

The Tibetan translation is Toh 366, sangs rgyas mnyam sbyor mkha’ ’gro sgyu ma bde mchog gi rgyud phyi ma, Degé Kangyur vol. 77 (rgyud ’bum, ka), folios 151.a–193.a.

n.3

The Degé Tibetan reads sems dpa’ sangs rgyas kun gyi dngos / rdo rje sems dpa’ bde ba’i mchog / gsang ba mchog gi dgyes pa na / thams cad bdag nyid rtag tu bzhugs.

n.4

In the Tib. (73b.7–74a.1) this sentence reads, “What emerges from it signifies what is called the ‘meditative absorption of sampuṭa’ ” (/de las byung ba ni yang dag par spyor ba’i ting nge ’dzin ces bya ba’i don to/).

n.5

I.e., as being of the nature of insight and skillful means.

n.6

Instead of “sampuṭa,” the Tib. (74a.1–2) has “emergence from sampuṭa” (yang dag par sbyor ba las byung ba).

n.7

The translation of this verse follows one of several possible interpretations. Different variant readings and multiple possible interpretations of each of these readings are interpreted differently in different commentaries on the Sampuṭa, and, differently again, in the Catuṣpīṭha Tantra to which this passage can be traced.

n.8

“Before one became a practitioner” is missing from the Tib. of this verse (74b.2). Instead, “practioner” (yo gis) appears in the Tibetan as an agent in the verse that follows.

n.122

The Degé (91b.5) has “Through which beings will be tamed / By wicked and violent means” (/gang gis gdug pa drag po yis/ /sems can ’dul bar ’gyur ba yi/). Two other versions (N, H), however, have “Through which wicked and violent beings / Will be tamed” (/gang gis gdug pa drag po yi/ / sems can ’dul bar ’gyur ba yi/). All Tib. versions are missing “all.”

n.123

The words “ḍāka” and “ḍākinīs” being compounded in the Skt. text, it is impossible to tell if “ḍāka” should be singular or plural. However, as all the deities described in this section, apart from Heruka himself, are female, “ḍāka” probably stands for Heruka and was rendered as singular.

n.186

The Tib. (99b.6) and Comm2 (863–4) indicate that these are “verbal signs,” perhaps code words.

n.187

Whenever code words of the secret language are used in this and the following three verses, the actual meaning is here given in parentheses; the words in parentheses are not part of the original.

n.188

This and the following three verses are simply transliterated into the Tib., with significant variations between the Kangyur editions.

n.294

There seems to be much confusion in this sub-chapter regarding the identity of the Blessed One’s interlocutor. The form of address, deva (my lord / husband!) is consistent with its being spoken by the Blessed One’s consort, who, accordingly, is later addressed by him as devī (my goddess / mistress!). There is no doubt about her identity as the mistress, since she later inserts the Blessed One’s bola into her kakkola. The Blessed One is later identified as Vajrasattva and the goddess as Nairātmyā. Since most (perhaps all?) of chapter 6 seems to be a dialogue between the two of them, the text has been emended accordingly, against Comm2 and the Tib., which sometimes identify the Blessed One’s interlocutor as Vajragarbha.

n.295

The reading Vajrasattva seems to be anomalous for reasons explained in the previous note. Comm2 (913), however, reflects the reading Vajrasattva and identifies him as Vajragarbha.

n.296

The secret sixteen syllables are the syllables of the statement rahasye parame ramye sarvātmani sadā sthitaḥ.

n.408

The Tib. (118a.5) has “constant / permanent pledge” (rtag dam tshig), but both commentaries have “great pledge” (dam tshig che). Comm1 (527) simply glosses it as “concealed sign.” Comm2 (954) explains “great pledge” as “the stainless vow / conduct (sdom pa, Skt. saṃvara) that is the sign of buddhas and bodhisattvas.”

n.981

Comm2 (1019) interprets this as, “I will teach how conceptual mind, with its defilements of clinging / fixating, is the ultimate reality of luminosity, exactly as it is.”

n.982

In the Tib. (150b.3–4), this pāda reads, “[He is] stainless, free of stains” (/dri med dri ma rnam par spangs/). Comm1 (670) reflects in its interpretation the two meanings of kalā, “constituent part” and “semen virile,” and it elaborates, “He is without parts because the parts of joy and so forth are ultimately empty. He is free of parts because the parts of semen are also devoid of intrinsic nature.” Comm2 (1019–1020) possibly reflects the same reading as the Tib. (150b.3–4), and interprets it according to Yogācāra concepts: “As for ‘he is free of stains and free of concepts’ he is ‘free of stains’ means freedom from things with an imagined [nature]. He is ‘free of concepts’ means freedom from things with an other-dependent [nature.]”

n.983

The Tib. (150b.4) has, “Dwelling in the body and stainless, / He plays within all embodied beings” (/lus la gnas shing nag nog med/ /lus can kun la rnam par rol/). Comm1 (670) has, “He plays, conventionally. ‘In all embodied beings’ means he is connected to everyone in terms of being the nature of that [emptiness]. Ultimately, he is beyond the body, because he is free of the habitual tendencies of the body.” Comm2 (1020) has, “ ‘Stainless’ means great bliss of luminosity. ‘Playing’ amidst all embodied beings means since the mind is luminous it pervades all beings.”

n.984

Comm2 (1020) interprets kvacit (in some places / sometimes) throughout this section as “to some [he appears] as …” (“to some he is a bodhisattva,” etc.).

n.985

The Degé (150b.4) is missing “supreme” (mchog), but Y, K, N, and H have it.

n.986

The Tib. (150b.5) has instead “makes an offering for [the sake of] great awakening” (byang chub chen por mchod).

n.987

The Tib. (150b.6–7) has “becomes a valiant one who conquers the triple universe” (dpal ldan ’jig rten gsum las rgyal).

n.988

The meaning of this half-stanza is not very clear. The Tib. (150b.7) has, “At some point he [attains] the unexcelled mastery of attainments,/ The all-supreme wishfulfilling tree” (/kha cig tu ni dpag bsam shing mchog kun/ /dngos grub dbang phyug bla na med pa nyid/). It seems the Tibetan translators read kalpa not as “ages” or “eons,” but as “thought / wish,” part of a compound for the mythical “wishfulfilling tree” (kalpavṛkṣa). However, the reading of kalpa as “age / eon” is confirmed by the commentaries. Comm2 (675) interprets this as his manifesting as the nirmāṇakāya and being present as the dharmakāya for immeasurable eons for the benefit of beings. Comm2 (1020) is consistent with Comm1 in interpreting this as, “throughout all the ages / eons” (skal ba).

n.989

Comm1 (675) interprets this as, “So, since these actions follow upon some cause, they must (“must they”?) have a beginning? No, they are immeasurable, the actions of buddhas from time immemorial, and thus have no origin. Based on the dharmakāya, they are many. Because of this they are included in suchness, meaning the nature of all buddhas, and thus they are subsumed within their nature.”

n.990

The syntactical link (“since”) with the previous verse is here introduced based on the Tib. (150b.7).

n.991

There is a play on words in the Sanskrit, as āli / ali can mean both “vowel syllabary” and “bee.”

n.992

Comm1 (676) explains, “The ‘bee,’ because it takes and holds unparalleled bliss, is the vowels, which are semen … ‘Vajrabhairava’ means that the form of semen becomes a blessed one.” Comm2 (1021) has, “Connected to the gate of the central channel (avadhūtī), it touches the secret vajra, and is therefore called ‘bee.’ It experiences the three joys as a bee tastes honey. ‘The bee is Vajrabhairava’ means that [this experience] is realized to be bliss-emptiness.”

n.993

Comm2 (1021) adds, “ ‘The vowels reach the end of space’ means that bliss-emptiness has the nature of the all-pervading dharmadhātu.”

n.994

Instead of “body,” the Degé (151a.2) has “action” (las), but Y, K, and N have “body” (lus).

n.995

For the last three pādas (including the last pāda of the previous verse), the Tib. (151a.1–2) has, “It is the ambrosia of all the aggregates, constituents, sense fields, and faculties, and it is the generative principle of all bodies” (/phung po khams dang skye mched dang/ /dbang po kun gyi bdud rtsi dang/ /lus rnams thams cad skye ba nyid/).

n.996

Commenting on the word “all,” Comm1 (677) says, “Because the aggregates and so forth of all beings born through [ambrosia] are gratified through ambrosia, it is ‘all,’ meaning pervasive.”

n.997

Comm2 (1021) explains, “The ambrosia-like consciousness, which apprehends the aggregates … should be drawn away from them and brought into the middle of the root, meaning the avadhūtī.” Comm1 (677) clarifies that “the root” is “the root of the lotus at the navel.” Comm2 (1021) further elucidates, “Having blocked the nine gates, bring the life-force wind into the avadhūtī and hold the bodhicitta at the place of the navel.”

n.998

Comm2 (1021) interprets “the fluid” as seminal fluid, “bodhicitta”: “One should extract the substance of union, by means of the heat of yoga, which is the sound of Vajrabhairava, causing it to descend through the four cakras.”

n.999

Comm1 and Comm2 diverge in their interpretation of the Sanskrit phrase anilānalasaptatvam as, respectively, “the wind, the fire, and the seventh [element]” and “the seven winds and fires.”

n.1000

The translation here follows the interpretation of Comm2 (1021): “The meaning of ‘the seven fires and winds’ means the syllable ha. ‘Joined with the syllable of Vajrī’ means connected with the long [syllable] ū.” The interpretation in Comm1 (677), which interprets the “seventh” as semen, is equally plausible: “the seventh element, semen, which is joined with the ‘syllable of Vajrī,’ or Vajravārāhī, meaning [menstrual] blood.” The Tib. (151a.2) seems to reflect a misreading of vajrī (the goddess Vajrī) as vajrī (= vajrin, i.e., the vajra holder): “The meaning of ‘wind, fire, and the seventh should be joined to the vajra holder’s syllable’ ” (/rlung dang me dang bdun pa’i don/ /rdo rje can gyi sa bon sbyar/). The exact meaning of this verse and the details of the processes it describes are uncertain.

n.1001

Comm1 (677–678) interprets this in line with its earlier assumption that “seven / seventh” means “semen”: “ ‘The drop / bindu’ is the seventh element (semen) present in the cakra of great bliss. ‘Mere sound’ is the image of blood present at the navel. The ‘pressing together’ of the two is how they become one taste with one another, and if such happens, the bodhicitta descends in a ‘torrent of rain.’ ” Some of the quoted lemmata cannot be accounted for in the Skt. root text.

n.1002

Comm1 (678) identifies “the first vowel” as a, and understands “the center of” to refer to the lotus of the cakra at the navel.

n.1003

“The flower king,” according to Comm1 (678), is menstrual blood.

n.1004

Comm1 (678) explains, somewhat enigmatically, “A flower takes / receives in particular, meaning that the flower possesses the body, namely, the element of semen. The vajra holder distinguished by that means that the vajra of mind should be held.”

n.1005

Comm1 (678) explains, “ ‘Cyclic existence’ and so forth means everything, that which is pure and impure. That which serves as the basis, when you are born, is the blood from the mother and the sperm from the father. Through them, one should understand the presentation of the lotus and the vajra, female and male, and mother and father. Here, ‘of the mother’ means blood, and ‘father’ indicates the nature of semen. ‘All over the earth’ is throughout all the divisions of the world.” The Tib. (151a.3–4) reverses the order of pādas in this half-stanza and connects them: “The mother, the basis of all/ Gives birth to cyclic existence for all” (/ma mo kun gyi sa rnams kyang/ /kun la ’khor ba bskyed bar ’gyur/). The word “basis” found in the Tib and Comm1 appears unaccounted for in the Skt. root text.

n.1006

The Tib. (151a.4) has, “In this ocean with waters of gnosis / With its sea monsters of insight and its fish of vowels / Is the sprout in the form of [skillful] means / In the middle of the swamp of nonduality [there]” (/ye shes chu bo rgya mtsho ’dir/ /shes rab chu srin dbyangs kyi nyas/ /gnyis med ’dam gyi dbus su ni/ /thabs kyi rnam pa’i myu gu nyid/). Comm1 (679) clarifies that semen is means, and blood, the insight, and states, “In the swamp where those two mingle is the sprout, or seed, of consciousness.” Comm2 (1022) explains, “In the ocean of luminosity, there is a swamp of concepts with sea monsters, fish, and the like, in the middle of which is the insight that realizes emptiness, the nature of nonduality. From the seed of means [there], which is the four joys, grows the sprout of bliss-emptiness.”

n.1007

Comm1 (679) explains, “Honey is blood and ambrosia is semen; their receptacle is the navel (possibly ‘navel’ here just means ‘center,’ because the location spoken of seems to be not the navel, but the vagina) of the lotus of the womb, where they are developed.” According to Comm2 (1022), “Honey is nonconceptual bliss. Ambrosia is empty bliss.”

n.1008

Comm1 (679) has, “The flower and the water refer to blood and semen.” The Tib. (151a.4–5) is unclear; it says, “The consonants and the ambrosia / Turn / mix inside the water and the flower” (/kA li dang ni bdud rtsi nyid / /chu dang me tog nang du ’khor/).

n.1009

Comm2 (1022) has, “The body born from both means the body born from blood and semen.”

n.1010

The Tib. (151a.5) has, “The procedure of ambrosia-water is supreme, / [For] the body is born from both” (/bdud rtsi chu yi cho ga mchog/ /gnyis las lus ni skye bar ’gyur/). Comm1 (679) explains, “The sun and moon are thus born. The ‘procedure’ refers to the identity of the deity (deity yoga).”

n.1011

Here, “ambrosia-water” seems to refer to the early stages in the development of the fetus.

n.1012

There seems to be some confusion here, as, according to the earlier statements in the commentaries, “ambrosia” and “water” both refer to semen. Here, however, the Tib. (151a.5) treats them as two separate things: “The ambrosia and the water are said initially to have a fivefold nature” (/gang[=gong] du bdud rtsi dang ni chu/ /lnga yi bdag nyid du ni gsungs/).

n.1013

The Tib. (151a.5) has, “Fire is heat” (/me ni tsha ba nyid yin te/).

n.1014

The Tib. (151a.5) has, “Through contact wind is seen as smoke” (/reg pas rlung ni du bar lta/).

n.1015

Comm2 (1022–1023) seems to explain the five natures in terms of the experiences in the womb: “Initially, the body directly experiences five tactile sensations: the movement of smoke-like light is wind; the moist water is water; the tactile sensation of hardness is earth; and the blessing of vajra gnosis is blessing the root of nonconceptual emptiness-gnosis through reaching the gate of the central channel.” (The element of fire appears to be missing).

n.1016

The Tib. (151a.6) seems to agree with the Skt., in rendering this passage as, “Wisdom, consecrated by the vajra, / Produces a fivefold form” (/ye shes rdo rje byin brlabs pas/ /rnam pa lngar ni rab tu bskyed/). Comm3 (1022–23) explains, “ ‘Vajra-consecrated wisdom’ means that the channel of nonconceptual wisdom is consecrated, that is, established, through being connecting to the gate of the avadhūtī.”

n.1017

Comm1 (680) points out that the manner of this destruction is drying up.

n.1018

It is not completely clear what the “witness” is. It is perhaps what the Tib. (151a.6) calls “lord / force” (dbang po=Skt. indriya). The commentaries agree with the Tib. Comm1 (680) explains, “The nature of the lord means that it holds / fixes. This means that the element of earth being coarseness and hardness, it has the function of holding / fixing.”

n.1019

Comm1 (680) explains, “With the knowledge that assumes the form of the inner recitation of hūṁ, together with the concomitant pride, one consecrates the four elements. If one experiences the innate nature one does not recite.”

n.1020

“Lord” seems to be missing from the Tib. (151a.7), which has “branch / limb” (yan lag).

n.1021

The translation of this and the following Apabhraṃśa verses is problematic. In the Tib. (151a.7) this verse seems to be, “With [your] vision invoked / By the power of pleasuring the vajra limb / You play in emptiness / Which is the nature of letters/” (/rdo rje yan lag dgyes pa’i mthus/ /spyan gyis gzigs par mdzad pa yi[Y, K, N, H=yis]/ /yi ge’i dngos po rang bzhin ni/ /stong par rol pa nyid kyis ni/).

n.1022

The Degé (151b.2) has “the emptiness of all.”

n.1023

In the Tib. (151b.3) this line reads “Which contains / includes the liberation of yoginīs” (/rnal ’byor ma yi thar pa can/).

n.1024

The Degé (151b.3–4), when incorporating some variants, has, “ ‘O sons of noble family, by [chanting] this song of all the blessed tathāgatas one will become a son of all the victorious ones’‍—so said [the Blessed One].” (rigs kyi bu bcom ldan ’das de bzhin gshegs pa thams cad kyi glu ’dis rgyal ba tham cad kyi [Y, K, N, H=kyi; D=kyis] bdag nyid las skye bar ’gyur ba la ’di skad ces bka’ stsal to).

n.1025

The interpretation of raktagandha as “red sandalwood” is supported by Comm3 (1616). Comm1 (683) reflects “saffron” (gur gum).

n.1026

Comm3 (1616) interprets “white” as “white sandal,” which is one of the possible translations of the Skt. sita.

n.1027

Comm2 (1024) states, “All the substances should be purified into the five ambrosias.” Comm1 (683) offers more detail: “Purifying is done by adding pills of the five ambrosias or meditating on [the substances] as the nature of the five ambrosias.”

n.1028

“The wisdom ambrosia” supplied on the authority of Comm2 (1025).

n.1029

The Degé (151b.6–7) has “Incense made from red flowers” (me tog dmar pos bdug). Y, K, N, and H have “red flower incense,” or perhaps “red flowers [and] incense” (me tog dmar po bdug).

n.1030

I.e., a skull cup.

n.1031

These three lines are very unclear. Comm2 (1025) and Comm3 (1616–1617) have, “ ‘The tongue of hūṁ, by its principle’ means that oṁ causes [the substances] to blaze, āḥ melts [them], hūṁ increases [them], and with the light-ray straw of hūṁ, the wisdom ambrosia is brought forth and made to increase.” The Tib. (151b.7) and Comm1 (683), however, seem to reflect a different Skt. reading. Comm1 (683) has, “The suchness of the deity of reality, through its specifications, meaning through the nature of a five-colored light straw, or through the five tathāgatas, is enlisted to mentally invoke / summon [the wisdom ambrosia], and thereby satiate all the deities, such as the regnant deity and the rest.”

n.1032

Each hook belonging to its respective buddha family.

n.1033

Comm1 (683–684) links these five to Akṣobhya, Vairocana, Ratnasambhava, Amitābha, and Amoghasiddhi, in turn. Comm2 (1026) links them to Akṣobhya, Ratnasambhva, Amoghasiddhi, Amitābha, and Vairocana, in turn. Comm3 (1616–1617) has, “Here, the five hooks, the nature of the five families renowned in the world, are the five types of flesh associated with the five tathāgatas: … horse flesh, Amitābha; cow flesh, the nature of Amoghasiddhi; human flesh, Vairocana; elephant flesh, the nature of Akṣobhya; and dog flesh, the nature of the chief deity,” in turn. Comm3 also offers a gloss of the five according to the process of sexual yoga.

n.1034

The Skt. here is corrupt and the meaning is not clear. It is not certain whether the five names are meant to be the mantras, or the mantras are given elsewhere. The Tib. (152a.1–2) has, “These are the mantras of the five families / / Following the division of the five wisdoms” (/rigs lna rnams kyi sngags ’di dag/ /ye shes lnga yis rab dbye bas/). Comm2 (1026) has, “ ‘These are the mantras of the five wisdoms / According to the distinction of the five wisdoms’ means that one does invocation by enlisting the mantras of the five families.” Comm1 (684) does not have “mantra”; neither does Comm3 (1617), although it understands the five according to the five ambrosias, as linked with the five wisdoms.

n.1035

Comm2 (684) elaborates, “…such as pacifying, and so forth.”

n.1036

The Tib. (152a.2) has, “Should one wish to render a ritual act efficacious” (/gal te las la phan ’dod pas/). Comm1 (684) has “continual.” Comm2 (1026) has, “ ‘If one wishes for ritual action continually’ means should one wish to practice the activities at all times.”

n.1037

Comm2 (1026) has “the thirteenth vowel, a.” Comm3 (1617) has “the thirteenth syllable, oṁ.”

n.1038

In the Tib. (152a.3–4) this passage is in verse: “One should then satiate all deities / By joining the vowels and consonants / [That emerge] from the syllables at its (the moon’s) center” (/de’i dbus su sa bon gyi/ /A li kA li mnyam sbyar bas/ /lha kun de nas tshim par bya/). The commentaries seem to differ as regards details. Comm1 (684–685) says, “On top of the moon are the syllables of oṁ āḥ hūṁ, which transform into the vowels and consonants.” Comm2 (1026) has, “On top of the moon disk that emerges from the syllable a are the sixteen vowels and thirty-four consonants. Through the practice of radiating and absorbing light rays, the deities are satiated.” Comm3 (1617) has this line refer to breathing practices.

n.1039

The commentaries indicate that this refers to ejaculation.

n.1040

Rather than visualizing or generating it in the form of a crystal, Comm1 (685) speaks of the generated ambrosia being ejaculated “from the nature of the center of crystal.”

n.1041

In the Tib. (152a.4) this verse is, “A flame sparked / and especially brought to a boil / Should be generated in the form of crystal / And then everything should be distributed” (/’bud pa sbyar ba nyid dang ni/ /khyad par du ni bskol ba nyid/ /shel gyi gzugs kyis bskyed bya zhing/ /de phyir thams cad brtag par bya/).

n.1042

It is not clear whether this should be “in its,” “from its”, or perhaps “into its center.” The clues provided by the commentaries (please see the note at the end of this verse) differ.

n.1043

Comm1 (685) has, “Starting with the welcome-offering dish, the lord of the maṇḍala, along with his retinue, should be made to taste the ambrosia that is extracted from the center of the nature of crystal.” Comm2 (1026) has, “Imagining a straw of light at the center of the tongue, one should have the ambrosia tasted”; it does not specify who the taster is. Comm3 (1618) states, “ ‘Of it,’ and so forth, means that through the practice of the vajra channel, one should have [ambrosia] tasted in the center of the avadhūtī.”

n.1044

Possibly stepping with one foot forward.

n.1045

The Tib. (152a.5) has, “Pressing / stepping with the foot, one should gaze upward. / The form of [the syllable] pheṁ should emerge on / from one’s crown” (/rkang pas mnan cing steng du blta/ /spyi bor pheM gyi rnam pa ’byung/). Comm2 (685) describes the gesture spoken of in this verse as the “mudrā of summoning.” It also states, “One should summon reciting the mantra phaṭ.”

n.1046

The Tib. (152a.5–6) has, “By offering on the fourteenth of the dark fortnight, / And especially on the eighth of the dark fortnight / And the tenth of the bright fortnight, / One’s offerings become the epitome / nature of offerings” (/zla ba mar ngo’i bcu bzhi dang/ /khyad par du ni brgyad pa dang/ /yar gyi ngo yi bcu pa la/ /mchod pa mchod pa’i bdag nyid ’gyur/). Comm1 (685) explains, “ ‘Having offered’ refers to perfectly offering externally. ‘The epitome / nature / identity of offerings’ means that it is the nature / epitome of that which contains the inner offerings.”

n.1047

This verse begins in the Catuṣpīṭha Tantra, its source text, with oṁ; this reading is reflected in Comm2 (1027), which states, “That the syllable oṁ is announced at the beginning of the locations means these become verses of dedication to be accompanied by the ringing of the bell.”

n.1048

Comm1 (685) states, “ ‘Goddess’ means Devadatta, i.e., Varuṇa.” The Degé (152a.7) also has “goddess,” but J, K, C, and N have Devadatta (lha sbyin). Incidentally, “Devadatta” reflects the reading in the Catuṣpīṭha Tantra, the source text for this passage.

n.1049

The Tib. (152a.7) has “log ’dren” (vināyaka) in the plural (rnams).

n.1050

The Tib. (152a.7) has before “Caṇḍālī” rgan byed mo and drag mo. These seem to be “Cāmuṇḍā” and “Raudrī/-ā” respectively.

n.1051

The names in this and the following verses differ considerably from those in the source text, the Catuṣpīṭha Tantra.

n.1052

Most epithets used in this verse and the first half of the next could also be taken as proper names. The Tib., however, and Bhavabhaṭṭa’s commentary on the corresponding passage in the Catuṣpīṭha Tantra seem to indicate that they are intended as descriptions of the goddesses mentioned earlier.

n.1053

“Five” is missing from the Tib. (152b.3).

n.1054

This probably refers to Jñānaḍākinī.

n.1055

The Skt. edition and translation of this sentence have been influenced by the Tib. (152b.3) and Comm3 (1618). The Tib. reads, “The queen of the yoga maṇḍala, / And likewise, the exalted vajra lord” (/rnal ’byor dkyil ’khor rgyal mo che/ /de bzhin rdo rje’i dbang phyug gtso/). Comm3 states, “ ‘Great queen’ is wisdom in the form of Nairātymā. ‘Vajra lord’ is the element of gnosis. The main one (prabhu) is Vajrasattva.” The other two commentaries, however, differ in interpretation. Comm1 (687) has the “great queens,” in the plural, referring to a few sets of four goddess, such as “Pukkasī and so forth,” whereas it treats “the vajra ladies” (instead of “the vajra lord”) also in the plural, as referring to the four goddesses, “the Horse Faced One,” and so forth. Comm2 (1027) has this whole verse, including the second two lines and even the “vajra queen” in the next verse, as referring to the “five queens of the maṇḍala: the main vajra lady, Samantabhadrī; the body of the tathāgata, Locanā; the stainless (nirāmaya), Māmakī; the bestower, Pāṇḍaravāsinī; and the vajra queen (from the next verse), Tārā.”

n.1056

Jñānaḍākinī?

n.1057

The Tib. (152b.3–4) cryptically has “Among / from / within the great body of the tathāgata / [There is] the stainless dispenser / boon-granting lady / lord” (/de bzhin gshegs pa’i sku chen las/ /skyon med dbang phyug ’byin pa mo/). The Tib., Comm1, and Comm2 do not mention the “union” (yoga). The Skt. text does not make it clear whether she is an emanation from the union, or a dispenser of the union.

n.1058

Comm1 (687) explains, “ ‘Vajra lady’ refers to Jñānaḍākinī, or Vajra Pride, or Vajravārāhī, or Nairātymā.”

n.1059

Comm1 (687) understands “them” to refer to “the circle of wisdom deities.”

n.1060

Skt., oṁ ka kka kaḍḍana ba bba bandhana kha kkha khādana sarvadūṣṭānāṃ hana hana gha ggha ghātaya • amukasya śāntiṃ kuru hūṁ hūṁ phaṭ phaṭ jaḥ svāhā.

n.1061

In the Catuṣpīṭha Tantra , which is the source text for this passage, this mantra is oṃ ka kka kaḍḍhaṇa ba bba bandhana kha khkha khādana sarvaduṣṭānāṃ hana hana ghātaya ghātaya amukasya hūṃ hūṃ hūṃ phaṭ phaṭ phaṭ jaḥ svāhā .

n.1062

According to Comm1 (687) and Comm2 (1027), this refers to the visualization and mantra specifications.

n.1063

“Of the deities” supplied on the authority of Comm1 (687).

n.1064

The Tib. (152b.5) has, “Considering [their] activities and so forth, one should meditate upon the yogis and yoginīs. All [their] activities will [thus] be fulfilled.” (/las sogs bsams nas rnal ’byor dang/ /rnal ’byor ma ni bsgom par bya/ /las rnams thams cad rab ’grub ’gyur/).

n.1065

“The ambrosia’s ordinary” supplied on the authority of Comm1 (688).

n.1066

“Its ordinary” supplied on the authority of Comm1 (688).

n.1067

“Its ordinary” supplied on the authority of Comm1 (688).

n.1068

The Tib (152b.6) has, “By reciting these three [syllables] thrice, / One should satiate all deities through three” (/rnam gsum lan gsum brjod pas ni/ /gsum gyis lha rnams tshim par bya/).

n.1069

The three qualities of color, fragrance, and flavor, described here as the qualities of the deities, are the qualities that these deities give to the ambrosia.

n.1070

Comm1 (688) glosses this line as, “Therefore, discard meditation on nothing at all.” The Tib. (152b.7) has, “Have no doubt about what is gathered [here!]” (/’du ba rnams la the tshom med/). Comm3 (1620) has “Harbor no concept about what is gathered / assembled, … since it does not connect you with saṃsāra.” It seems that the Tib. and Comm3 reflect a different reading.

n.1071

The Tib. (152b.7–153a.1) translates this line as, “He should [do so] performing the ‘turning by desire’ ” (/rol bcas mchog tu rjes bskor bas/), reflecting a reading that is not kamalāvartaṃ, but kāmalāvartaṃ.

n.1072

The Degé (153a.1) has, “He should proceed by transforming accordingly / Through the practice of his personal deity” (/rang ’dod lha yi rnal ’byor gyis/ /ji ltar rab tu bsgyur bas ’jug/). Comm2 (1028) states that “ ‘through the practice of one’s person deity’ means samādhi.”

n.1073

The last two lines in the Tib. (153a.1–2) read “Devoid of apprehended object and apprehending subject. / May homage respectfully be paid to it!” (/gzung dang ’dzin pa rnam par spangs/ /gus pas de la phyag ’tshol cig/).

n.1074

In the Tib. (153a.3) hūṁ hūṁ hūṁ comes after the next line rather than with the verse.

n.1075

Bhavabhaṭṭa’s commentary on the corresponding passage in the Catuṣpīṭha Tantra explains that these deities are Jñānaḍākinī and her retinue.

n.1076

Skt., oṁ ātmani tiṣṭha hūṁ svāhā.

n.1077

Comm2 (1028) refers to the deity/-ies being absorbed simply as “samayasattva.”

n.1078

Comm2 (1028) explains, “ ‘In an instantaneous union, he should make offerings while visualizing his identity’ means that while visualizing himself as the glorious Heruka he should make offerings to the mundane ḍākinī.”

n.1079

Skt., oṁ sarvaduṣṭa gṛhṇa gṛhṇa gaccha hūṁ phaṭ.

n.1080

Bhavabhaṭṭa’s commentary glosses these deities as “outer lokapālas.”

n.1081

Comm2 (700) glosses the “hidden domain of sublime reality” as “concealed sublime intention, which is the domain of exalted, sublime intention.”

n.1082

Instead of “dexterous,” the Tib. (153b.3) seems to have “patience” (bzod).

n.1083

“The frightening form” is based on the Tib. (153b.5–6). The Skt. has gurupaṭaka, which could mean either “painting of the respectable / powerful one” or, possibly, “master’s portrait.”

n.1084

Comm1 (701) elaborates, “With [the colors] as explained according to the nature of the five tathāgatas, soaked with the five ambrosias such as menstrual blood, semen, and so forth.” Comm3 (1621) has “sihla is mentrual blood. Karpūra is bodhicitta (semen). Feces and urine are included in the ‘and so forth.’ ”

n.1085

The Negi dictionary (vol. 7, p. 2854) identifies niraṃśu as “bone ornament” (rus pa’i rgyan).

n.1086

Instead of “not be impure,” the Degé (153b.7) has “be impure” (ma dag pa lags), but N and H have “not be impure” (ma dag ma lags), thus corresponding better with the context.

n.1087

Comm1 (701) identifies the “messenger lady” (dūtī) as “vajrayoginī.”

n.1088

Comm1 (701) identifies “moon” as bodhicitta (seminal fluid). The Degé (153b.7) has “peace” (zhi ba), while J and C have “fourth” (bzhi par).

n.1089

The Tib. (154a.1) has “The food together in the vessel” (/snod gcig tu ni zas nyid ni/). Comm1 (701) explains, “ ‘The dainty / elegant feast’ is through meditating on the procedure of consuming the ambrosia.”

n.1090

Comm1 (701) explains, “The ‘female messenger’ is Vajrayoginī. The ‘moon’ is bodhicitta. ‘Together’ means together with the yoginīs in the place. The purity of the female messenger is through visualizing the form of the Blessed Lady. The moon is through visualizing Caṇḍālī. The exquisite feast is through visualizing the procedure for tasting the ambrosia. The purity of just this is to thoroughly enjoy by partaking of the delicacy (caru), which is the sexual fluid of the wisdom consort.”

n.1091

Comm1 (701) explains, “The purities of just these are to be undertaken through perfectly partaking of the delicacy (caru), the sexual fluid of the external wisdom consort.”

n.1092

The Tib. (154a.1) has, “What use would it be to observe [such a practice]” (/gnas ni ’di yis ci zhig dgos/). Comm1 (701) explains, “Therefore, one should act in accordance with such purifying forms only when the mind is pure; this does not involve ritual bathing, mouth cleansing, and the like. When one’s mind is stained with desire and such there is no fruition, meaning no purification.”

n.1093

The Tib. (154a.2–3) has, “There is likewise no other effect [to this practice], O fair lady, / Aside from concentration and veneration. / If it is for the sake of livelihood / vitality / There are other yogas / practices upon which to rely” (/’dzin dang mchod pa ma gtogs par/ /gzhan du bzang po don med ’gyur/ /’tsho ba’i thabs kyi rgyu yi phyir/ /rnal ’byor gzhan la brten pa nyid/). Comm1 (701) states, “the meaning of the example is introduced with anyasya, ‘of other,’ which expresses other views, such as those of Hari, Hārita, and so forth. ‘No effect’ means that without seeing reality not even a portion of one’s desire and so forth will be eroded.” This perhaps implies that the Tib. should be read, “Aside from [their adherence to] concentration and veneration / [The views] of others are futile, O fair lady!”

n.1094

Translated to conform with the Tib. (154a.3–4). Comm2 (1029) indicates that this verse is about the skull as the vessel for the paints, the skull that shares obvious features with conch shells, oyster shells, and pearls.

n.1095

Instead of “conduct” or “doctrine” (naya), the Tib. (154a.4) has “a stage / phase” (rim pa).

n.1096

Comm1 (703) states that “great honey” is “human liquefied butter” (possibly human fat, or another bodily substance). Snellgrove, however, translates mahāmadhu as collyrium (Hevajra 2.7.2).

n.1097

The Tib. (154a.7–154b.1) “[To others] one should give the samayasattva, / Allowing glimpses of it occasionally” (/dam tshig sems dpa’ sbyin par bya/ /res ’ga’ tsam zhig bstan pa’o/).

n.1098

The Tib. (154b.1) has only, “One should give the samayasattva” (dam tshig sems dpa’ sbyin par bya), reflecting the reading in some of the manuscripts.

n.1099

The Tib. (154b.1) has “cymbals” (sil snyan), but perhaps refers more broadly to “music.” Comm1 (703–704) has, “During accomplishment, one speaks musically to the elegant vajra maidens.” Just below in Comm1, music in general is indicated. Comm3 (1622) has, “In order to demonstrate the mantra letters of the different kinds of music.”

n.1100

“Vajradhara” here seems to be another name for Vajrasattva.

n.1101

It would be difficult, if not impossible, to reconstruct this and most of the following mantras with certainty, given the variety of textual variants in the Sanskrit manuscripts and the different editions of the Tibetan Kangyur. The mantra translated here is, in Skt., ara ara jeṁ jeṁ smara smara caṭa vaṁ hoḥ hoḥ hulu hulu rulu rulu hūṁ jaḥ jaḥ ala ala hūṇu hūṇu hraṁ hraṁ hraṁ hū taṃ ghai ghai yai yai ta ṭa ghe ghe ṣeṁ ṣeṁ taṁ taṁ ghe ghe hondo hondo do hūṁ hūṁ kaka kaka kau kau kau vaiṁ vaiṁ kaiṁ kaiṁ krauṁ krauṁ krauṁ vaiṁ vajra vajra vajrīṁ vajrīṃ vaiḥ kaiṁ kaiṁ kaiṁ kaiṁ hūṁ bhyo bhyo bhyo. In the Degé (154b.2–3) this mantra is given as raṭa vaṁ ho hulu hulu hūṁ jaḥ hūṁ jaḥ ala ala hūṇu hūṇu hūṇu | hraṁ hraṁ hraṁ hu taṁ ghai hu taṁ ghai ghai ghai ghai taṭa ghai ghai taṁ ṭa ghai ghaiṁ ta ghai ta ghai ta ghai hondo hando do hūṁ do hūṁ | ka ka ka ka | kau kau kau | kauṁ kauṁ kauṁ | vaiṁ kaiṁ vaiṁ kaiṁ vaiṁ kaiṁ | viṁ vajra vajrī vaiṁ vajra vajraṁ vaiṁ | kaiṁvaiṁ kaiṁvaiṁ kaiṁvaiṁ kaiṁvaiṁ hūṁ bhyo hūṁ bhyo hūṁ bhyo | rulu rulu rulu hūṁ bhyo hūṁ bhyo hūṁ bhyo.” Other versions have variations in all the mantras.

n.1102

Līlāgati, “One with a Graceful Gait”; could this possibly be another name of Hayagrīva?

n.1103

The Degé. (154b.3–4) has, “The [mantra] of Play is given as follows: ṭakki hūṁ jaḥ ṭakki hūṁ jaḥ takki jaḥ.”

n.1104

The Skt. word taḍava could perhaps refer to the pounding sound of the hooves of a galloping horse.

n.1105

Skt., taḍava taḍava vāhneṁ vāhneṁ. The Degé (154b.3–4) has taḍava taḍava vrahme vrahme.

n.1106

In the Tib. (154b.4) this mantra is given as hrīṁ ṣṭrīṁ hrīṁ ṣṭrīṁ hrīṁ ṣṭrīṁ ṣṭrīṁ ṣṭṛīṁ ṣṭrīṁ hrī ṣṭṛī hrī ṣṭrī hrī ṣṭrī.

n.1107

Skt., hrīṁ hrīṁ kuṁ hrīṁ kuṁ hrīṁ khe khe kheṁ kheṁ kheṁ padmaṃ padmaṃ hrīṁ padmaṃ padmaṃ padmaṃ trīṁ trāṁ trīṁ trāṁ trīṁ trāṁ hrīṁ hrīṁ hrīṁ hrī taṁ hrī taṁ hrīṁ hrīṁ hrīṁ. Again, this mantra differs in the Degé and other versions.

n.1108

Also known under its Skt. name, ḍamaru.

n.1109

The Skt. could also be interpreted as, “One should make the base of the drum from sandalwood.” The Tib. (154b.5) has, “root of vajriśirśa” (badzri shirsha rtsa ba). Y, J, K, and C all have śirṣa (shirSa). Comm1 (704) identifies vajrī as sandalwood (“vajrī is śirikhaṇḍa wood”). Comm3 (1622) has “root of dry śariṣa.”

n.1110

Comm3 (1622) has, “ ‘Red sandal grown on Malaya’ means it should be made with the five kinds of red sandalwood.”

n.1111

Comm1 (704) has, “twelve is for a long one, and the other [measures] are for shorter ones.”

n.1112

“Secret flower” seems to refer to menstrual blood.

n.1113

The Tib. (155a.1) has, “Standing there on the left side, / One should recite kheṁ hūṁ / Preceded by the name / And strike down with the foot bone of a ṭīṭibhi bird.” (/der gnas g.yon pa’i ngos su ni/ /ji ltar dang por ming bzung ba/ /kheṁ hūṁ zhes ni brjod nas ni/ /chu skyar rkang pa’i rus pas gdab/). Comm1 (704) explains, “Standing on / in the form of vajra holder (Vajradhara?) at the center of the four-sided maṇḍala / One should recite ‘so-and-so ākarṣaya such-and-such person hūṁ’ in the manner of summoning, with the heel of the one’s left foot positioned atop, like the foot of a ṭīṭibhi bird, and then one should stamp the maṇḍala under one’s foot.”

n.1114

“Without a doubt” is missing from the Tib. (155a.1).

n.1115

Instead of “agitated,” the Tib. (155a.2) has “angered” (khros pa). Comm3 (1622) has “with a wrathful gaze.”

n.1116

The Tib. (155a.2–3) (/khyod ni dam tshig la ni khro bo sngon po mdzes/) agrees with this reading, but Comm1 (704) has, “O exquisite / shining blue wrathful one! Your samaya is efficacious.” The reading “efficacious” is supported by one of the Skt. manuscripts.

n.1117

In the Tib. (155a.3) this line begins with “accomplishment” (dngos grub = Skt. siddhi).

n.1118

Apabhraṃśa, sohaï ṇīlakoddhu tuhūṁ samayahi ciddhu | pāṇihi dharaï daṇḍa māṇikkaṃhi baddhu | tojju pecchivi vīru mellu saṃsāruttāru | jāṃvi duvāra mellu mahuṃ joiṇi majhu. The translation of this verse has been influenced by the Tib. The Degé (155a.3) translates the second half-stanza as, “Admit / release me, O glorious hero, amidst the sky-adorning yoginīs, / Where saṁsāra, liberated, is subsumed into your assembly!” (kye dpal ldan dpa’ bo ’du bar ’khor ba sgrol ’khums /mkha’ mdzes rnal ’byor ma yi nang du bdag thong shig). Here the imperative thong (“admit / release”), however, could easily be a scribal error for mthong, “behold.” Y, K, and N have the imperative “subsume!” (khums). The commentaries vary in interpretation; Comm1 (704) has, “Behold me amidst the yoginīs … I will liberate … I will enter the gate.” Comm3 (1622) has, “Liberate from saṁsāra through bringing beings into your assembly … bring the bodies assembled amidst the yoginīs.”

n.1119

According to Monier-Williams, “excellence” (śobhana) can be a technical term for the burnt offering.

n.1120

The Degé (155a.5) has, “The essential ambrosia is wine” (/snying po bdud rtsi rgun chang yin/). N and H have (ro mchog = finest flavor) instead of (rgun chang = wine): “The essential ambrosia is the finest tasting [spirit].”

n.1121

Comm1 (705) explains that “ ‘outcaste’ means ‘symbol / code.’ ” This gives us the meaning, “According to the coded terms of all buddhas, ambrosia is the eightfold path.”

n.1122

Comm1 (705) breaks this into two items, “honey wine and grape wine.”

n.1123

It is not clear who is meant by the One with Harsh Desire (kharakāmuka). The Degé (155a.6) supports the Skt. with, “Oyster shell is the One with Harsh Desire” (/nya phyis rtsub pa’i ’dod pa can/). Comm1 (705) has, “Oyster shell, or cukra (śukra?), is the Lady with Harsh Desire.”

n.1124

The Tib. (155a.6) has “excrement” (bshang ba).

n.1125

The names of these two types of rice brew (kāñjika and kāñjikī) are distinguished by the grammatical gender to correspond with, respectively, the male and female characters they denote.

n.1126

This mantra song varies between the Skt. manuscript and the different versions of Kangyur. It would be difficult to reconstruct it reliably.

n.1127

The Tib. (155b.2–3) seems to be saying, “Since the gazes correspond with the fist-gestures, / Gaze and fist-gesture are danced in rhythm; / All buddhas perform these according to the stages of yoga” (/gang phyir lta stangs de khu tshur/ /lta stangs khu tshur rkang pas rkang/ /ji ltar rnal ’byor rim pa las/ /sangs rgyas kun gyis rnam par mdzad/). My rendering is largely conjectural.

n.1128

The Tib. (155b.3) has, “[The consort] could be [one’s] niece, mother-in-law, mother, or sister” (/sring mo’i bu mo sgyug mo dang/ /ma dang sring mo yin na yang/).

n.1129

“Divinely” is missing from the Tib. (155b.3).

n.1130

The Tib. (155b.5) has “about the signs of accomplishment / Of the samaya of the vajra master” (//rdo rje slob dpon dam tshig gi/ /grub rtags). Comm1 (707) explains this in terms of “practicing the samaya conduct to be performed for the sake of the accomplishments of that [vajra master],” referring to “the accomplishment of the Great Seal, through only being together with the consort.” Comm2 (1031) has “the samaya for accomplishing the vajra master.”

n.1131

The interpretation here follows Comm1 (707), which takes the “Great Circle” to be “the maṇḍala of Vajrasattva, which is first” and is “the form of the samayasattva,” “and the ‘heart maṇḍala’ to be the jñānasattva.” Comm3 (1624) has, “One should first visualize at one’s heart the maṇḍala of the Vajra of Bliss, and then draw the maṇḍala externally.”

n.1188

oṁ namo vajraḍākāya] em.; oṃ nāmo vajraḍākāya S; oṁ namaḥ śrīvajraḍākāya C; oṁ namaḥ śrīvajrasatvāya R

n.1312

hitāya] S; hitārthāya (unmetrical) C; hitārthaṃ R; maṇḍalasya yathākramaṃ H

n.1313

°madhye] S; °madhye ca C

n.1314

taṇḍulādibhiḥ] S; taṇḍulakādibhiḥ (unmetrical) C

n.1315

tathā] S; om. (unmetrical) C

n.1448

°sarvaṃ] N; om. (unmetrical) C

n.1449

drutāpannaṃ savidyayā] N; drutāpatyaṃ savidyāḥ C

n.1576

śmaśānaṃ caivopaśmaśānaṃ] C; pīlavaṃ copapīlavaṃ L

n.1577

°papīlavaṃ tathā] T2; °pīlavam eva ca C

n.1680

katham] T1; kathaṃ bhavet (unmetrical) C

n.1681

pittam] C; cittam T1

n.2129

tattvasya] C, R; abhiṣikta° T1

n.2130

The passage starting from this half-stanza up to the end of verse 8.1.16 is missing from the R, T1, and T2. In the R though, the first part of this passage (up to the first half-stanza of verse 8.1.5) has been added, in different hand, in the upper margin.

n.2131

ratnaṃ] em.; ratna C, R

n.2246

sarvatathāgatāś ca] T1; sarvatathāgatāḥ C; sarvatathāgatā R

n.2247

sacarācare] R; sarvacarācare (unmetrical) C

n.2248

°cittadhāraṇām] em.; cittadhāraṇāṃ T1; °cittadhāraṇā C, R

n.2382

praviṣṭaṃ] C; praviṣṭvā R

n.2383

hṛdādīnāṃ] R; hṛdayādīnāṃ (unmetrical) C

n.2384

kalpāgraṃ] em.; kalpāgra° C, R

n.2385

iti] C; om. R

n.2386

sotsāhās] em.; sotsāhā R; socchāhā C

n.2387

saṃnāhāḥ] em.; sannāhā C. R

Bibliography

Manuscripts of the Sampuṭodbhava used in preparing the accompanying Sanskrit edition

Asiatic Society of Bengal, Calcutta, no. 4854 (Shastri 1917). (C)

Royal Asiatic Society, London, Hodgson collection no. 37 (Cowell 1875). (R)

Tokyo University Library, New 427, Old 324 (Matsunami 1965). (T1)

Tokyo University Library, New 428, Old 319 (Matsunami 1965). (T2)

Wellcome Institute Library, London, no. 63 (Wujastyk 1985). (W)

Tibetan Translation

yang dag par sbyor ba zhes bya ba’i rgyud chen po (Sampuṭanāmamahātantra). Toh 381, Degé Kangyur, vol. 79 (rgyud ’bum, ga), folios 73.b–158.b.

yang dag par sbyor ba zhes bya ba’i rgyud chen po (Sampuṭanāmamahātantra). bka’ ’gyur (dpe bsdur ma) [Comparative Edition of the Kangyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 108 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House), 2006–2009, vol. 79, pp. 216–529.

Commentaries

Abhayākaragupta. dpal yang dag par sbyor ba’i rgyud kyi rgyal po’i rgya cher ’grel pa man ngag gi snye ma zhe bya ba, Śrīsampuṭatantrarājaṭīkāmnāyamañjarīnāma [The Extensive Commentary on the King of Tantras, the Glorious Sampuṭa, called the Bouquet of the Inherited Tradition]. Toh 1198, Degé Tengyur, vol. 7 (rgyud, cha), folios 1.b–316.a.
Also in: bstan ’gyur dpe bsdur ma [Comparative edition of the Tengyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 120 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House), 1994–2008, vol. 4, pp. 3–767. [“Comm1” in notes.]
Also in: bod yul dmangs khrod kyi rtsa chen dpe rnying phyogs bsgrigs, 藏区民间所藏藏文珍稀文献丛刊［精华版］(Series Rare and Ancient Tibetan Texts Collected in Tibetan Regions), 3 volumes. Compiled by the Institute of the Collection and Preservation of Ancient Tibetan Texts of Sichuan Province (四川省藏文古籍捜集保护编务院). Chengdu: Sichuan Nationalities Publishing House (四川民族出版社) / Beijing: Guangming Daily Press (光明日报出版社), October 2015.

Butön (bu ston rin chen grub). sampuṭa’i ’grel pa snying po’i de kho na nyid gsal bar byed pa [The Commentary on the Sampuṭa, Elucidation of the True Meaning]. In The Collected Works of Bu ston (gsung ’bum/ rin chen grub/ zhol par ma/ ldi lir bskyar par brgyab pa). 28 vols, edited by Lokesh Chandra from the collections of Raghu Vira, vol. 8, 217–947 (folios 1.a–365.b). Sata-pitaka Series. Indo Asian Literatures, vols. 41–68. New Delhi: International Academy of Culture, 1965–1971.

Indrabhūti. dpal kha sbyor thig le zhe bya ba rnal ’byor ma’i rgyud kyi rgyal po’i rgya cher ’grel pa yang dag par lta ba’i dran pa’i snang ba zhe bya ba, Sampuṭatilakanāmayoginītantrarājaṭīkāsmṛtisaṃdarśanālokanāma [The Extensive Commentary on the King of Yoginī Tantras, the Glorious Sampuṭatilaka, called the Light that Illuminates Tradition]. Toh 1197, Degé Tengyur, vol. 6 (rgyud, ca), folios 94.b–313.a. [Note: not to be confused with the Kangyur text also referred to as the Sampuṭatilaka, Toh 382; see the entry below.]
Also in: bstan ’gyur dpe bsdur ma [Comparative edition of the Tengyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 120 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House), 1994–2008, vol. 3, pp. 1088–1654. [“Comm3” in notes.]

Śūravajra. rgyud thams cad kyi gleng gzhi dang gsang chen dpal kun tu kha sbyor las byung ba’i rgya cher bshad pa rin po che’i phreng ba zhe bya ba, Ratnamālā [The Extensive Commentary on the Emergence from Sampuṭa, the Foundation and Great Secret of All Tantras, called the Jewel Rosary]. Toh 1199, Degé Tengyur, vol. 8 (rgyud, ja), folios 1.b–111.a.
Also in: bstan ’gyur dpe bsdur ma [Comparative edition of the Tengyur], krung go’i bod rig pa zhib ’jug ste gnas kyi bka’ bstan dpe sdur khang (The Tibetan Tripitaka Collation Bureau of the China Tibetology Research Center). 120 volumes. Beijing: krung go’i bod rig pa dpe skrun khang (China Tibetology Publishing House), 1994–2008, vol. 4, pp. 771–1055. [“Comm2” in notes.]

rgyud kyi rgyal po chen po dpal yang dag par sbyor ba’i thig le zhe bya ba, Sampuṭatilaka [The Great King of Tantras, called the Glorious Tilaka of Sampuṭa]. Toh 382, Degé Kangyur vol. 79 (rgyud ’bum, ga), folios 158.b–184.a. [Note: Despite being a Kangyur text, this is a commentary, sometimes referred to as the “eleventh chapter” of the Sampuṭodbhava. It is included in the Sanskrit manuscripts of the Royal Asiatic Society and the Wellcome Institute Library as their final part.]

General works, including those that share parallel passages with the Sampuṭodbhava

Bhavabhaṭṭa. Cakrasaṃvaravivṛtiḥ. (Commentary on the Herukābhidhāna Tantra). (See Pandey 2002).

Bhavabhaṭṭa. Catuṣpīṭhanibandha. (Commentary on the Catuṣpīṭha Tantra). (See Szántó 2012)

Cowell, E. B. and Eggeling, J. “Catalogue of Buddhist Sanskrit Manuscripts in the Possession of the Royal Asiatic Society (Hodgson Collection).” Journal of the Royal Asiatic Society of Great Britain and Ireland, Pt. 1: 1–56, 1875.

Dharmachakra Translation Committee. The Practice Manual of Noble Tārā Kurukullā (Āryatārākurukullākalpa, Toh 437). 84000: Translating the Words of the Buddha, 2011.

Durjayacandra. Mitapadapañjikā. (Commentary on the Catuṣpīṭha Tantra). Manuscript, Nepal-German Manuscript Preservation Project 23/14.

Elder, George Robert. The Saṃpuṭa Tantra: Edition and Translation, Chapters I–IV. (“Chapters I–IV” refers to the four parts of the first chapter.) (Unpublished PhD thesis at Columbia University, New York, 1978).

Farrow, G. W. and Menon, I. The Concealed Essence of the Hevajra Tantra, with the Commentary Yogaratnamālā. Delhi: Motilal Banarsidass, 1992.

Matsunaga, Yukei (ed.). The Guhyasamāja Tantra. Osaka: Toho Shuppan, 1978.

Matsunami, Seiren. Catalogue of the Sanskrit manuscripts in the Tokyo University Library. Tokyo: Suzuki Research Foundation. 1965.

Monier-Williams, Sir Monier. A Sanskṛit-English dictionary: etymologically and philologically arranged with special reference to Greek, Latin, Gothic, German, Anglo-Saxon, and other cognate Indo-European languages . Oxford: Clarendon Press, 1888.

Noguchi, Keiya. “The fundamental character of the Saṃpuṭodbhavatantra.” Journal of Indian and Buddhist Studies 32 (2) (1984): 726–727. [in Japanese].

Noguchi, Keiya. “The Saṃpuṭodbhavatantra I-i, with special reference to the title.” Journal of Indian and Buddhist Studies 34 (2) (1986a): 125–128. [in Japanese].

Noguchi, Keiya. “The Saṃpuṭodbhavatantra and the Pi mi siang king.” Buzan Gakuho: Journal of Buzan Studies 31(1986b): 39–63. [in Japanese].

Noguchi, Keiya. “The Heruka-maṇḍala in the Saṃpuṭodbhavatantra.” Mikkyogaku Kenkyu: The Journal of Esoteric Buddhist Studies 19 (1987a): 65–86. [in Japanese].

Noguchi, Keiya. “The Vajrasattva-maṇḍala in the Saṃpuṭodbhavatantra.” The Journal of Buddhist Iconography 5 (1987b): 1–14. [in Japanese].

Noguchi, Keiya. “The Saṃpuṭodbhavatantra III-iii, with special reference to the Nairātmyā-maṇḍala.” Journal of Indian and Buddhist Studies 36 (1) (1987c): 134–136. [in Japanese].

Noguchi, Keiya. “The Nairātmyā-maṇḍala in the Saṃpuṭodbhavatantra.” Buzan Gakuho: Journal of Buzan Studies 33 (1988): 75–92. [in Japanese].

Noguchi, Keiya. “On the inserted verses among the citations from the Prajñopāyaviniścaya-siddhi IV in the Saṃpuṭodbhavatantra II-ii.” Studies on the Buddhist Sanskrit Literature, edited by the Śrāvakabhūmi Study Group and The Buddhist Tantric Texts Study Group, 1995: 141–145. Tokyo: Institute for Comprehensive Studies of Buddhism, Taisho University, 1995.

Pandey, Janardan Shastri (ed.). (1998). Yoginīsancāratantram with Nibandha of Tathāgataraksita [sic] and Upadeśānusāriṇīvyākhyā of Alakakalaśa. Rare Buddhist Texts Series 21. Sarnath: Central Institute for Higher Tibetan Studies, 1998.

Pandey, Janardan Shastri. (2002). Śrīherukābhidhānam Cakrasaṃvaratantram with the Vivṛti Commentary of Bhavabhaṭṭa. 2 vols. Rare Buddhist Texts Series 26. Sarnath: Central Institute for Higher Tibetan Studies, 2002.

Samdhong Rinpoche and Vrajvallabh Dwivedi (eds.) (1987). Guhyādi-Aṣṭasiddhi Saṅgraha. Sarnath: Central Institute for Higher Tibetan Studies, 1987.

Samdhong Rinpoche and Vrajvallabh Dwivedi (1990). Vasantatilakā of Caryāvratī Śrīkṛṣṇācārya with Commentary: Rahasyadīpikā by Vanaratna. Rare Buddhist Texts Series 7. Sarnath: Central Institute for Higher Tibetan Studies, 1990.

Samdhong Rinpoche and Vrajvallabh Dwivedi (1992). Kṛṣṇayamāritantram with Ratnāvalī Pañjikā of Kumāracandra. Rare Buddhist Texts Series 9. Sarnath: Central Institute for Higher Tibetan Studies, 1992.

Sanderson, Alexis. “The Śaiva sources of the Buddhist Tantras of Śaṃvara,” Handout 4, Trinity Term, University of Oxford, 1998.

Shastri, Hara Prasad. A Descriptive catalogue of Sanskrit manuscripts in the government collection under the care of the Asiatic Society of Bengal. Calcutta: Asiatic Society of Bengal, 1917.

Siklós, Bulcsu. The Vajrabhairava Tantras. Tibetan and Mongolian Versions, English Translation and Annotations. Buddhica Britannica Series Continua VII. Tring: Institute of Buddhist Studies, 1996.

Skorupski, Tadeusz (1996). “The Saṃpuṭa-tantra, Sanskrit and Tibetan Versions of Chapter One.” The Buddhist Forum, vol. IV: 191–244. London: School of Oriental and African Studies, 1996.

Skorupski, Tadeusz (2001). “The Saṃpuṭa-tantra, Sanskrit and Tibetan Versions of Chapter Two.” The Buddhist Forum, vol. VI: 223–269. Tring: The Institute of Buddhist Studies, 2001.

Snellgrove, D. L. (ed.). The Hevajra Tantra: A Critical Study. 2 vols. London Oriental Series, vol. 6. London: Oxford University Press, 1959.

Sugiki, Tsunehiko (2002). “A Critical Study of the Vajraḍākamahātantrarāja (I)‍—Chapter 1 and 42.” Chizan Gakuho: Journal of Chizan Studies 51: 81–115.

Sugiki, Tsunehiko (2003). “A Critical Study of the Vajraḍākamahātantrarāja (II)‍—Sacred Districts and Practices Concerned.” Chizan Gakuho: Journal of Chizan Studies 52: 53–106.

Szántó, Péter-Dániel (2012). Selected Chapters from the Catuṣpīṭhatantra. (1/2) Introductory study with the annotated translation of selected chapters. (2/2) Appendix volume with critical editions of selected chapters accompanied by Bhavabhaṭṭa’s commentary and a bibliography. (Unpublished PhD thesis at Oxford University, Oxford).

Szántó, Péter-Dániel (2013). “Before a Critical Edition of the Sampuṭa: Tibet after Empire Culture, Society and Religion between 850–1000.” Proceedings of the Seminar Held in Lumbini, Nepal, March 2011. LIRI Seminar Proceedings Series, vol. 4: 343–366. Lumbini: Lumbini International Research Institute, 2013.

Szántó, Péter-Dániel (2016). “Before a Critical Edition of the Sampuṭa.” Zentralasiatische Studien 45, pp. 397–422. Andiast: International Institute for Tibetan and Buddhist Studies, 2016.

Ui, Hakuju, et al. Tōhoku Teikoku Daigaku Hobun Gakubu hen. Zaidan Hojin Saito Hoonkai hojo (Added t.p.: A catalogue-index of the Tibetan Buddhist canons (Bkaḥ-ḥgyur and Bstan-ḥgyur). Sendai: Tōhoku Teikoku Daigaku (Tōhoku Imperial University). Showa 9 [1934].

Vanaratna. Rahasyadīpikā (see Samdhong 1990).

Verrill, Wayne. The Yogini’s Eye: Comprehensive Introduction to Buddhist Tantra. Bloomington (IN): Xlibris Corporation, 2012.

Wujastyk, Dominik. A Handlist of the Sanskrit and Prakrit Manuscripts in the Library of the Wellcome Institute for the History of Medicine. Vol. 1. London: Wellcome Institute for the History of Medicine, 1985.

Glossary

Types of attestation for names and terms of the corresponding source language

Attested in source text

This term is attested in a manuscript used as a source for this translation.

Attested in other text

This term is attested in other manuscripts with a parallel or similar context.

Attested in dictionary

This term is attested in dictionaries matching Tibetan to the corresponding language.

Approximate attestation

The attestation of this name is approximate. It is based on other names where the relationship between the Tibetan and source language is attested in dictionaries or other manuscripts.

Reconstruction from Tibetan phonetic rendering

This term is a reconstruction based on the Tibetan phonetic rendering of the term.

Reconstruction from Tibetan semantic rendering

This term is a reconstruction based on the semantics of the Tibetan translation.

Source unspecified

This term has been supplied from an unspecified source, which most often is a widely trusted dictionary.

g.1

Abhedyā

mi phyed ma

མི་ཕྱེད་མ།

abhedyā

g.2

Acalaceṭa

mi g.yo mgon

མི་གཡོ་མགོན།

acalaceṭa

g.3

activity family

las kyi rigs

ལས་ཀྱི་རིགས།

karmakula

g.7

Ajitā

mi thub ma

མི་ཐུབ་མ།

ajitā

g.12

añjali

thal mo

ཐལ་མོ།

añjali

g.13

anunāsika

thig le

ཐིག་ལེ།

anunāsika

g.14

Aparājitā

gzhan mi thub

གཞན་མི་ཐུབ།

aparājitā

g.20

aspiration for awakening

byang chub kyi sems
byang chub sems

བྱང་ཆུབ་ཀྱི་སེམས།
བྱང་ཆུབ་སེམས།

bodhicitta

g.23

auxiliary chandoha

nye ba’i ts+tshan do ha

ཉེ་བའི་ཙྪན་དོ་ཧ།

upachandoha

g.24

auxiliary charnel ground

nye ba’i dur khrod

ཉེ་བའི་དུར་ཁྲོད།

upaśmāśana

g.25

auxiliary kṣetra

nye ba’i zhing

ཉེ་བའི་ཞིང་།

upakṣetra

g.26

auxiliary melāpaka

nye ’du ba
nye ba’i ’du ba

ཉེ་འདུ་བ།
ཉེ་བའི་འདུ་བ།

upamelāpaka

g.27

auxiliary pīlava

nye ba’i ’thung gcod

ཉེ་བའི་འཐུང་གཅོད།

upapīlava

g.28

auxiliary pīṭha

nye ba’i gnas

ཉེ་བའི་གནས།

upapīṭha

g.29

Bahulojātā

mang po skyes

མང་པོ་སྐྱེས།

bahulojātā

g.30

Bālā

stobs

སྟོབས།

bālā

g.31

Bhadrakālī

nag mo bzang mo

ནག་མོ་བཟང་མོ།

bhadrakālī

g.32

bhaga

bha ga

བྷ་ག

bhaga

g.33

Bhairava

’jigs byed

འཇིགས་བྱེད།

bhairava

g.37

bhūmi

ས།

bhūmi

g.38

Bībhatsa

’jigs rung

འཇིགས་རུང་།

bībhatsa

g.39

bindu

thig le

ཐིག་ལེ།

bindu

g.40

Black Kapālin

nag po thod pa can

ནག་པོ་ཐོད་པ་ཅན།

kṛṣṇakapālin

g.41

bodhicitta

byang chub kyi sems

བྱང་ཆུབ་ཀྱི་སེམས།

bodhicitta

g.42

bodhisattva level

ས།

bhūmi

g.43

bola

bo la
bo l+la

བོ་ལ།
བོ་ལླ།

bola

g.46

cakra

’khor lo

འཁོར་ལོ།

cakra

g.47

cakra of great bliss

bde chen ’khor lo

བདེ་ཆེན་འཁོར་ལོ།

mahāsukhacakra

g.49

Caṇḍālī

gdol ba mo
gtum mo

གདོལ་བ་མོ།
གཏུམ་མོ།

caṇḍālī

g.53

Candrī

zla mo

ཟླ་མོ།

candrī

g.56

central channel

dbu ma
kun ’dar ma

དབུ་མ།
ཀུན་འདར་མ།

avadhūtī

g.57

chandoha

ts+tshan do
tshan do
tshan do ha

ཙྪན་དོ།
ཚན་དོ།
ཚན་དོ་ཧ།

chandoha

g.58

charnel ground

dur khrod

དུར་ཁྲོད།

śmāśana

g.60

consort

phyag rgya
rig ma
shes rab
btsun mo
thabs

ཕྱག་རྒྱ།
རིག་མ།
ཤེས་རབ།
བཙུན་མོ།
ཐབས།

mudrā
vidyā
prajñā
yoṣitā
upāya

g.61

consort (female)

phyag rgya
rig ma
shes rab
btsun mo
dga’ ma

ཕྱག་རྒྱ།
རིག་མ།
ཤེས་རབ།
བཙུན་མོ།
དགའ་མ།

mudrā
vidyā
prajñā
yoṣitā
rati

The female element of the coupling pair in sexual yoga. In this translation the term “consort” has been used to render different terms with slighty different concepts of the female consort, the most important being mudrā, vidyā, and prajñā. Mudrā emphasizes the symbolic form of the female consort, while vidyā and prajñā emphasize the wisdom, or insight, aspect that the female principle embodies (see also “wisdom consort”).

g.62

consort (male)

thabs

ཐབས།

upāya

g.65

Cūṣaṇī

’jib byed ma

འཇིབ་བྱེད་མ།

cūṣaṇī

g.67

ḍāka

dpa’ bo

དཔའ་བོ།

ḍāka

g.68

ḍākinī

mkha’ ’gro ma

མཁའ་འགྲོ་མ།

ḍākinī

g.69

Ḍākinī

mkha’ ’gro ma

མཁའ་འགྲོ་མ།

ḍākinī

g.71

ḍamaru

cang te’u

ཅང་ཏེའུ།

ḍamaru

g.73

Dharma

chos

ཆོས།

dharma

Definition from the 84000 Glossary of Terms:

The term dharma conveys ten different meanings, according to Vasubandhu’s Vyākhyāyukti. The primary meanings are as follows: the doctrine taught by the Buddha (Dharma); the ultimate reality underlying and expressed through the Buddha’s teaching (Dharma); the trainings that the Buddha’s teaching stipulates (dharmas); the various awakened qualities or attainments acquired through practicing and realizing the Buddha’s teaching (dharmas); qualities or aspects more generally, i.e., phenomena or phenomenal attributes (dharmas); and mental objects (dharmas).

g.75

dharmadhātu

chos kyi dbyings

ཆོས་ཀྱི་དབྱིངས།

dharmadhātu

g.76

dharmakāya

chos kyi sku

ཆོས་ཀྱི་སྐུ།

dharmakāya

g.78

Dīpinī

mar me ma

མར་མེ་མ།

dīpinī
dipinī

g.81

Drokmi Śākya Yeshé

’brog mi shAkya ye shes

འབྲོག་མི་ཤཱཀྱ་ཡེ་ཤེས།

g.82

Duṣṭī

gdug pa can

གདུག་པ་ཅན།

duṣṭī

g.86

enthralling

dbang
dbang du bya ba
dbang du byed pa

དབང་།
དབང་དུ་བྱ་བ།
དབང་དུ་བྱེད་པ།

vaśya
vaśīkaraṇa

g.93

gaṇacakra feast

tshogs kyi dkyil ’khor

ཚོགས་ཀྱི་དཀྱིལ་འཁོར།

gaṇacakra

g.95

Gayādhara

sprin ’dzin

སྤྲིན་འཛིན།

gayādhara

g.98

Ghorarūpā

’jigs pa’i gzugs

འཇིགས་པའི་གཟུགས།

ghorarūpā

g.99

Ghorī

’jigs pa’i mkha’ ’gro ma
’jigs pa’i mkha’ ’gro

འཇིགས་པའི་མཁའ་འགྲོ་མ།
འཇིགས་པའི་མཁའ་འགྲོ།

ghorī

g.106

hearer

nyan thos

ཉན་ཐོས།

śrāvaka

Definition from the 84000 Glossary of Terms:

The Sanskrit term śrāvaka, and the Tibetan nyan thos, both derived from the verb “to hear,” are usually defined as “those who hear the teaching from the Buddha and make it heard to others.” Primarily this refers to those disciples of the Buddha who aspire to attain the state of an arhat seeking their own liberation and nirvāṇa. They are the practitioners of the first turning of the wheel of the Dharma on the four noble truths, who realize the suffering inherent in saṃsāra and focus on understanding that there is no independent self. By conquering afflicted mental states (kleśa), they liberate themselves, attaining first the stage of stream enterers at the path of seeing, followed by the stage of once-returners who will be reborn only one more time, and then the stage of non-returners who will no longer be reborn into the desire realm. The final goal is to become an arhat. These four stages are also known as the “four results of spiritual practice.”

g.107

heruka

he ru ka
khrag ’thung

ཧེ་རུ་ཀ
ཁྲག་འཐུང་།

heruka

g.110

Hevajra

kye’i rdo rje

ཀྱེའི་རྡོ་རྗེ།

hevajra

g.111

Himālaya

kha ba’i gnas
hi ma la ya

ཁ་བའི་གནས།
ཧི་མ་ལ་ཡ།

himālaya

g.116

Indrī

dbang mo

དབང་མོ།

indrī

g.117

insight

shes rab

ཤེས་རབ།

prajñā

g.121

Jayā

rgyal ma

རྒྱལ་མ།

jayā

g.122

jewel family

rin chen gyi rigs

རིན་ཆེན་གྱི་རིགས།

ratnakula

g.123

Jñānaḍākinī

ye shes mkha’ ’gro ma

ཡེ་ཤེས་མཁའ་འགྲོ་མ།

jñānaḍākinī

g.124

jñānasattva

ye shes sems dpa’

ཡེ་ཤེས་སེམས་དཔའ།

jñānasattva

g.126

kakkola

ka k+ko la

ཀ་ཀྐོ་ལ།

kakkola

g.130

Kambojī

g.yo ldan ma

གཡོ་ལྡན་མ།

kambojī
kāmbojī

g.140

khaṭvāṅga

khaT+wAM ga

ཁཊྭཱཾ་ག

khaṭvāṅga

g.146

kṣetra

zhing

ཞིང་།

kṣetra

g.154

Lampakī

lam pa kI

ལམ་པ་ཀཱི།

lampakī

g.156

Līlāgati

rol pa

རོལ་པ།

līlāgati

g.158

Locanā

spyan
spyan ma

སྤྱན།
སྤྱན་མ།

locanā

g.159

lokapāla

’jig rten skyong ba

འཇིག་རྟེན་སྐྱོང་བ།

lokapāla

g.160

lotus

pad+ma

པདྨ།

padma

g.161

lotus family

pad+ma’i rigs

པདྨའི་རིགས།

padmakula

g.163

Mahākālī

nag mo che

ནག་མོ་ཆེ།

mahākālī

g.171

Malaya

mA la ya

མཱ་ལ་ཡ།

malaya

g.172

Māmakī

mA ma kI

མཱ་མ་ཀཱི།

māmakī

g.176

Māra

bdud

བདུད།

māra

Definition from the 84000 Glossary of Terms:

Māra, literally “death” or “maker of death,” is the name of the deva who tried to prevent the Buddha from achieving awakening, the name given to the class of beings he leads, and also an impersonal term for the destructive forces that keep beings imprisoned in saṃsāra:

(1) As a deva, Māra is said to be the principal deity in the Heaven of Making Use of Others’ Emanations (paranirmitavaśavartin), the highest paradise in the desire realm. He famously attempted to prevent the Buddha’s awakening under the Bodhi tree‍—see The Play in Full (Toh 95), 21.1‍—and later sought many times to thwart the Buddha’s activity. In the sūtras, he often also creates obstacles to the progress of śrāvakas and bodhisattvas. (2) The devas ruled over by Māra are collectively called mārakāyika or mārakāyikadevatā, the “deities of Māra’s family or class.” In general, these māras too do not wish any being to escape from saṃsāra, but can also change their ways and even end up developing faith in the Buddha, as exemplified by Sārthavāha; see The Play in Full (Toh 95), 21.14 and 21.43. (3) The term māra can also be understood as personifying four defects that prevent awakening, called (i) the divine māra (devaputramāra), which is the distraction of pleasures; (ii) the māra of Death (mṛtyumāra), which is having one’s life interrupted; (iii) the māra of the aggregates (skandhamāra), which is identifying with the five aggregates; and (iv) the māra of the afflictions (kleśamāra), which is being under the sway of the negative emotions of desire, hatred, and ignorance.

g.183

melāpaka

’du ba

འདུ་བ།

melāpaka

g.186

mudrā

phyag rgya

ཕྱག་རྒྱ།

mudrā

g.191

Nairātmyā

bdag med ma

བདག་མེད་མ།

nairātmyā

g.192

Nandātīta

dga’ las ’das

དགའ་ལས་འདས།

nandātīta

g.195

nirmāṇakāya

sprul pa’i sku

སྤྲུལ་པའི་སྐུ།

nirmāṇakāya

g.196

oblation

gtor ma

གཏོར་མ།

bali

g.202

Padmeśvara

pad+ma’i dbang phyug

པདྨའི་དབང་ཕྱུག

padmeśvara

g.204

Pāṇḍaravāsinī

gos dkar mo

གོས་དཀར་མོ།

pāṇḍaravāsinī

g.206

Parṇaśavarī

ri khrod ma shing lo can

རི་ཁྲོད་མ་ཤིང་ལོ་ཅན།

parṇaśavarī
parṇaśāvarī

g.211

pīlava

’thung gcod

འཐུང་གཅོད།

pīlava

g.212

pīṭha

gnas

གནས།

pīṭha

g.214

Prajāpati

skye dgu’i bdag po

སྐྱེ་དགུའི་བདག་པོ།

prajāpati

g.218

Pravarā

rab mchog

རབ་མཆོག

pravarā

g.223

principle

de nyid

དེ་ཉིད།

tattva

g.225

Pukkasī

puk+ka sI

པུཀྐ་སཱི།

pukkasī

g.228

queen

btsun mo

བཙུན་མོ།

yoṣitā

g.235

Raudrī

rdo rje drag mo

རྡོ་རྗེ་དྲག་མོ།

vajraraudrī
raudrī
raudrā

g.236

Rudra

drag po

དྲག་པོ།

rudra

g.240

sage

drang srong

དྲང་སྲོང་།

ṛṣi

g.244

samaya

dam tshig

དམ་ཚིག

samaya

g.245

samayasattva

dam tshig sems dpa

དམ་ཚིག་སེམས་དཔ།

samayasattva

g.247

sambhogakāya

longs sku

ལོངས་སྐུ།

sambhogakāya

g.249

sampuṭa

yang dag par sbyor ba

ཡང་དག་པར་སྦྱོར་བ།

sampuṭa

g.250

Saṃvara

bde ba’i mchog
bde mchog

བདེ་བའི་མཆོག
བདེ་མཆོག

saṃvara
śaṃvara

g.259

self-consecration

rang byin blabs pa

རང་བྱིན་བླབས་པ།

svādhiṣṭhāna

g.264

siddhi

dngos grub

དངོས་གྲུབ།

siddhi

g.270

skillful means

thabs

ཐབས།

upāya

g.271

skull

thod

ཐོད།

yogapātra
kapāla

g.273

source of phenomena

chos kyi ’byung gnas

ཆོས་ཀྱི་འབྱུང་གནས།

dharmodaya

g.274

sphere of phenomena

chos kyi dbyings

ཆོས་ཀྱི་དབྱིངས།

dharmadhātu

g.279

subtle channel

rtsa

རྩ།

nāḍī

g.282

Śūlakālī

rtse mo nag mo

རྩེ་མོ་ནག་མོ།

śūlakālī

g.284

summoning

dgug pa

དགུག་པ།

ākarṣaṇa

g.290

Tārā

sgrol ma

སྒྲོལ་མ།

tārā

g.291

tathāgata

de bzhin gshegs pa

དེ་བཞིན་གཤེགས་པ།

tathāgata

g.296

Tridaśeśvarī

sum cu rtsa gsum dbang phyug ma

སུམ་ཅུ་རྩ་གསུམ་དབང་ཕྱུག་མ།

tridaśeśvarī

g.303

Umādevī

lha mo dka’ zlog

ལྷ་མོ་དཀའ་ཟློག

umādevī

g.310

Vairocana

rnam snang mdzad
rnam par snang mdzad

རྣམ་སྣང་མཛད།
རྣམ་པར་སྣང་མཛད།

vairocana

g.311

vajra

rdo rje

རྡོ་རྗེ།

vajra

g.313

vajra family

rdo rje’i rigs

རྡོ་རྗེའི་རིགས།

vajrakula

g.318

Vajraḍāka

rdo rje mkha’ ’gro

རྡོ་རྗེ་མཁའ་འགྲོ།

vajraḍāka

g.322

Vajragarbha

rdo rje snying po

རྡོ་རྗེ་སྙིང་པོ།

vajragarbha

g.337

Vajrasattva

rdo rje sems dpa’

རྡོ་རྗེ་སེམས་དཔའ།

vajrasattva

g.343

Vajravārāhī

rdo rje phag mo

རྡོ་རྗེ་ཕག་མོ།

vajravārāhī

g.346

vajrin

rdo rje can

རྡོ་རྗེ་ཅན།

vajrin

g.348

valiant one

dpa’ bo

དཔའ་བོ།

vīra

g.358

vidyā

rig ma

རིག་མ།

vidyā

g.361

Vijayā

rnam rgyal

རྣམ་རྒྱལ།

vijayā

g.363

Vināyaka

rnam par ’dren pa
log ’dren

རྣམ་པར་འདྲེན་པ།
ལོག་འདྲེན།

vināyaka

g.368

wisdom consort

rig ma
shes rab

རིག་མ།
ཤེས་རབ།

vidyā
prajñā

Emergence from Sampuṭa Chapter 9

Toh 381

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Emergence from Sampuṭa
Chapter 9