The Glorious Sovereign Tantra of Mahākāla
Chapter 6: The Practice
Toh 440
Degé Kangyur, vol. 81 (rgyud ’bum, ca), folios 45.b–86.a
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Table of Contents
Summary
The Glorious Sovereign Tantra of Mahākāla consists of a dialogue between Mahākāla and the Goddess on a broad range of topics including the consecration rites, deity generation practices, and rituals for attaining various siddhis associated with the deity Mahākāla. The opening section of the tantra focuses on topics related to the Unexcelled Yoga Tantras (yoganiruttaratantra, bla na med pa’i rgyud kyi rnal ’byor), such as how one generates the deity, how the consecration rites are performed, and how the advanced practitioner manipulates the vital winds of the subtle body to attain perfect spontaneous union as Mahākāla. The conversation then turns to ritual instructions for the attainment of siddhis as it integrates mastery of the two-stage union practices associated with the Unexcelled Yoga Tantras with those rituals more commonly associated with the Action Tantras (kriyātantra, bya ba’i rgyud) and Conduct Tantras (caryātantra, spyod pa’i rgyud).
Acknowledgements
This publication was completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
The text was translated, edited, and introduced by the 84000 translation team. Adam Krug produced the translation and wrote the introduction. Ryan Damron edited the translation and the introduction, and Laura Goetz copyedited the text.
We would like to thank Paul Hackett for providing copies of the two Sanskrit witnesses of the Mahākālatantrarāja held at the University of Tokyo and Péter-Dániel Szántó for providing a copy of the twelfth-century Sanskrit manuscript discovered in Tibet by Rāhul Sāṅkṛtyāyana and for pointing us in the right direction to access additional Sanskrit witnesses located in the Royal Asiatic Society’s Hodgson Collection and the Bibliothèque nationale de France. Thank you also to Wiesiek Mical for kindly sharing his list of materia medica from his translation of The Tantra of Caṇḍamahāroṣana (Toh 431).1
The generous donation that made the translation work on this text possible was dedicated to DJKR, HH Dodrupchen IV, Khenchen Pema Sherab, Choje Togdan, Gyalse Tulku, Dagpo Tulku, Dorje Bhum, Khenpo Hungtram, and Gakar Tulku by the sponsors Herlintje, Lina Herlintje, Hadi Widjaja, Ocean, Asia, Star and Gold Widjaja.
Text Body
Chapter 6: The Practice
At that point, the foremost goddesses such as Vajrabhūtinī and the others experienced doubt and were disheartened. They all asked the Blessed One, “Blessed One, please clear away our doubts. We have doubts about reaching accomplishment through song and the nine dramatic sentiments as explained in this chapter.58 What is the purpose of song and dance? What is conduct for one who is consecrated as the deity? How are they represented by the mudrās of anger and the like? How do you explain all the seed syllables in the chapter on mantras? What doubts have arisen about the seed syllables of these goddesses? What power do the seed syllables of the embodied beings have? Blessed One, how do samaya holders act?”
The Blessed One responded, “a ko yi gha ṇa pi ṭa ṭa yi ra hā hā kā re ma hā kā la | uccha la ya yi kakko le gha ṇa ḍa ma ru vajra ji yā yi | kā ru ṇe yā yi | na ro li yā yi | ta hiṃ ma hā māṃ sa ni ba bha re khā hi yā yi | pi ba yi ma ya ṇā ghaṇṭe | ha re kā li jñā ja ra pa yi sa yi bā yi yā yi | duṃ du ta ra mā ga pa i patte | ka stu ra kā ta tha ri sihla ca u sa ma lā gā bi yā yi | si li ni | bha ra māṃ sa kī ta hi la hi yā yi | nā ṭe gīṃ taṃ e ko na mu yi | lī lā bha ra ṇa mā lā gha ri yā yi | ta hiṃ pa ṇi yā yi | sa hā gā thi ṇa kun du ru pa yi yā yi | [F.50.b] ḍā ma ru nā da uccha li yā yi.59
“ ‘Dancing’ means to be in union with Mahākāla, in whatever manner is pleasing, at dawn and with a mind immersed in meditative concentration. The mind steeped in familiarity60 refers to nothing other than the mother yoginīs61 who are the suchness of all buddhas. These dances and songs give rise to supreme bliss. This is precisely what protects oneself and protects the gathering. It is the five ambrosias, and it is the mantra focused on power, the recitation of which effortlessly performs activities in the world.62 One should therefore always receive the siddhi.
“They should dance in the middle, over and over.63 The lord of the assembly himself first apprehends the smell of a vulture, and second the smell of Lakṣmī and Nārāyaṇa wafting toward his nose. Third, he enjoys the various smells of musk, saffron, and the like. This is the stage of a lord of yoga. After that, the song’s blessings create the sounds of bees, geese, cuckoos, and frogs. If one dances, all the sounds will be the same.64
“Then there is the song’s65 blessing for the assembly. External beings, beginning with kinnaras and Nārāyaṇa, should follow samaya.66 All the symbols should be continuously displayed at the edge of a town, in a grove, or in a forest. The siddhis will then be certain.”
“Blessed One,” the Goddess asked, “please explain how those who are interested in benefiting the beings of Jambudvīpa and those who are interested in practicing alchemy make correct use of the methods for enthralling rites and so forth.”
The Blessed One replied, “One must correctly understand the four mudrās of the goddesses. I will teach everything only after that.”
The Goddess again said, “Please give a trustworthy explanation of the correct stages. Blessed One, will this not allow beings to gain great benefit?” [F.51.a]
“Goddess, I will explain this beginning in chapter eight. Those dwelling among the five families are guaranteed to attain their siddhis every day.”
This is chapter six in The Tantra of Mahākāla, “The Practice.”
Colophon
This work was translated, edited, and finalized by the scholar Samantaśrī and the great editor and translator Ra Gelong Chörap, at the request of the at the request of the vagabond Pha in the miraculous great temple Ramoché in Lhasa.349
Abbreviations
C | Choné (co ne) |
---|---|
D | Degé (sde dge bka’ ’gyur) |
F | Phukdrak (phug brag) |
H | Lhasa (lha sa / zhol) |
J | Lithang (li thang) |
K | Kanxi (kang shi) |
N | Narthang (snar thang) |
S | Stok Palace (stog pho ’brang) |
Y | Yongle (g.yung lo) |
BnFS 84 | Bibliothèque national de France (Mahākālatantrarāja) |
---|---|
BnFS 85 | Bibliothèque national de France (Mahākālatantrarāja) |
ND 44-5 | NGMCP D 44-5 (Mahākālatantrarāja) |
RASH 47 | RAS Hodgson (Mahākālatantra) |
RST15 | Sāṅkṛtyāyana collection (Patna); Bandurski Xc 14/15 (Mahākālatantrarāja) |
UTM 286 | Tokyo No. 286 (Mahākālatantrarāja) |
UTM 288 | Tokyo No. 288 (Mahākālatantrarāja) |
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