This rendering does not include the entire published text

The full text is available to download as pdf at:
/translation/toh726.pdf

དེ་བཞིན་གཤེགས་པ་ཐམས་ཅད་ཀྱི་ཡུམ་སྒྲོལ་མ་ལས་སྣ་ཚོགས་འབྱུང་བ་ཞེས་བྱ་བའི་རྒྱུད།

The Tantra on the Origin of All Rites of Tārā, Mother of All the Tathāgatas
Deities

Sarvatathāgatamātṛtārāviśvakarmabhavatantranāma

de bzhin gshegs pa thams cad kyi yum sgrol ma las sna tshogs ’byung ba zhes bya ba’i rgyud

Toh 726

Degé Kangyur, vol. 94 (rgyud ’bum, tsha), folios 202.a–217.a

ᴛʀᴀɴsʟᴀᴛᴇᴅ ɪɴᴛᴏ ᴛɪʙᴇᴛᴀɴ ʙʏ

Chökyi Sangpo
Dharmaśrīmitra

Translated by Samye Translations
under the patronage and supervision of 84000: Translating the Words of the Buddha

First published 2022

Current version v 1.0.13 (2024)

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84000: Translating the Words of the Buddha is a global non-profit initiative to translate all the Buddha’s words into modern languages, and to make them available to everyone.

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co.

Summary

s.1

In this scripture of the Action Tantra genre, the Buddha gives instructions to the bodhisattva Mañjuśrī on the rituals and mantras associated with the goddess Tārā. The tantra includes a description of Tārā, a nine-deity maṇḍala and related initiations, and a litany of ritual practices associated with the four activities.

ac.

Acknowledgements

ac.1

Translated by Samye Translations under the guidance of Phakchok Rinpoche. The translation was produced by Laura Dainty with the assistance of Khenpo Tsöndrü Sangpo. Oriane Lavolé checked the translation against the Tibetan and edited it. Paul Thomas checked all the mantras and their variants. Stefan Mang and Oriane Lavolé wrote the introduction.

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

Introduction

i.1

The Tantra on the Origin of All Rites of Tārā, Mother of All the Tathāgatas (hereafter The Tārā Tantra), is a tantra of the Action Tantra (Kriyātantra) class that offers a wealth of instructions on the rites associated with the goddess Tārā. Tārā, whose name can be translated as “Savior,” is revered in diverse Buddhist communities for her ability to quickly respond to the needs of supplicants facing worldly and spiritual dangers. The worship of Tārā in India can be traced to at least the sixth century ᴄᴇ, and since at least that time Tārā has become one of the most popular deities in the Buddhist pantheon.1

The Translation

The Tantra on the Origin of All Rites of Tārā, Mother of All the Tathāgatas

Chapter 1

Introduction

[F.202.a]

1.1

Homage to noble Mañjuśrī!

Thus did I hear at one time. The Blessed One was residing in Tuṣita with Maitreya, Mañjuśrī, Kurukullā, Parṇaśavarī, Brahmā, Śakra, and countless other bodhisattvas, gods, and goddesses, who circumambulated him clockwise while holding up an array of offerings beyond count, including heavenly flowers such as lotuses, water lilies, and mandārava flowers, heavenly instruments such as conches, vīṇās, drums, clay drums, and śūrpavīṇās,9 and heavenly parasols, banners, flags, and the like. They worshiped him with clouds of diverse offerings.

Chapter 2

Offering

2.1

The bodhisattva Youthful Mañjuśrī then asked the Blessed One, “Blessed One, how should I meditate? How should I assiduously practice this?”

“Mañjuśrī,” replied the Blessed One, “apply your mind as follows. Mañjuśrī, you should meditate on the fact that all phenomena are unborn, all phenomena are unceasing, all phenomena are undefiled, and all phenomena are nirvāṇa and naturally pure.

Chapter 3

Praise

3.1

The Blessed One again addressed the bodhisattva Youthful Mañjuśrī, “Mañjuśrī, this mother is the mother of all the buddhas of the three times. Therefore, Mañjuśrī, memorize this praise used by all the buddhas of the three times.”

3.2

The Blessed One then recited this dhāraṇī-mantra of praise:16

3.3

“namaḥ sarva-tathāgatānāṃ tadyathā oṁ namaḥ sūkasaṃ17 namaḥ tārāyai tāramātā.18

3.4

“namas tāre ture vīre kṣana-dyuti-nibhekṣaṇe.19

trailokya-nātha-vaktrābja-vikasat-keśarodbhave.

Chapter 4

Deities

4.1

The bodhisattva Youthful Mañjuśrī then asked the Blessed One, “In what way should I earnestly focus on this dhāraṇī-mantra?” [F.205.b]

4.2

The Blessed One replied, “You should earnestly focus on this dhāraṇī while wishing to be free of suffering and pursuing the profound. You should then visualize light rays, streaming forth from the syllable tāṁ,26 that transform everything above and below into vajra. Next, Mañjuśrī, you should recite the mantra oṁ vajra jvala vajra tana hūṁ phaṭ.27 Then, visualize a white syllable e28 appearing from tāṁ. Above that, visualize a blue vaṁ,29 on top of which is a yellow laṁ, on top of which is a green yaṁ, on top of which is a red raṁ. All of these syllables emanate and reabsorb light rays.

4.3

“Mañjuśrī, while reciting this mantra generate the maṇḍala mansion: a square34 building sitting on a four-petaled, multicolored lotus and encircled by a fence of vajras. It has four gateways with eight pillars and is beautified by short and long garlands, tassels of jewels, and other festooned decorations. Generate the maṇḍala mansion in this way.

4.4

“In the center of the mansion, on the anthers of the lotus, sits a moon and lotus. Atop this lotus is a green syllable tāṁ, from which appears an utpala flower marked by tāṁ. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. Tārā appears from the utpala flower, green bodied and with one face and two arms. Her right hand makes the boon-granting gesture,35 and her left hand holds an utpala flower by the stem. Her gorgeous body is adorned with a long necklace, earrings, and armlets, all made of jewels, as well as many other types of ornaments. She is in the prime of youth, has a smiling face, [F.206.a] and is seated on a moon and lotus with her legs evenly crossed.

4.5

“On a moon and lotus in the east, visualize the syllable tāṁ transforming into a dark blue utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears a dark blue Tārā with two arms. She holds a trident in her right hand and an utpala flower, by the stem, in her left. Her gorgeous body is adorned with a long necklace, earrings, and armlets, all made of jewels, as well as many other types of ornaments. She is in the prime of youth, has a smiling face, and is seated on a moon and lotus with her legs evenly crossed.

4.6

“On a moon and lotus in the south, visualize the syllable re transforming into a yellow utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. The Tārā who appears from this utpala is the color of molten gold and has two arms. She holds a sword in her right hand and an utpala flower, by the stem, in her left. Her gorgeous body is adorned with a long necklace, earrings, and armlets, all made of jewels, as well as many other types of ornaments. She is in the prime of youth, has a smiling face, and is seated on a moon and lotus with her legs evenly crossed.

4.7

“On a moon and lotus in the west, visualize the syllable tu transforming into a red utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears a red Tārā with two arms. She holds a wheel in her right hand and an utpala flower, by the stem, in her left. [F.206.b] Her gorgeous body is adorned with a long necklace, earrings, and armlets, all made of jewels, as well as many other types of ornaments. She is in the prime of youth, has a smiling face, and is seated on a moon and lotus with her legs evenly crossed.

4.8

“On a moon and lotus in the north, visualize the syllable tāṁ transforming into a green utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears a green Tārā with two arms. She holds a parasol in her right hand and an utpala flower, by the stem, in her left. Her gorgeous body is adorned with a long necklace, earrings, and armlets, all made of jewels, and many other ornaments. She is in the prime of youth, has a smiling face, and is seated on a moon and lotus seat with her legs evenly crossed.

4.9

“On a moon and lotus at the eastern gate, visualize the syllable tāṁ transforming into an utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears Hook Tārā, white bodied and holding hooks in her two hands. Her wrathful form is adorned with a long necklace, earrings, and armlets, all made of jewels, and many other ornaments. She is in the prime of youth, has a slightly wrathful face, and is seated on a moon and lotus with one leg extended and the other drawn in.

4.10

“On a moon and lotus at the southern gate, visualize the syllable re transforming into an utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears Lasso Tārā, yellow bodied, one faced,36 and holding lassos in her two hands. [F.207.a] Her wrathful form is adorned with a long necklace, earrings, and armlets, all made of jewels, and many other ornaments. She is in the prime of youth, has a slightly wrathful face, and is seated on a moon and lotus with one leg extended and the other drawn in.

4.11

“On a moon and lotus at the western gate, visualize the syllable tu transforming into an utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears Shackles Tārā, red bodied and holding shackles in her two hands. Her wrathful form is adorned with a long necklace, earrings, and armlets, all made of jewels, and many other ornaments. She is in the prime of youth, has a wrathful face, and is seated on a moon and lotus seat37 with one leg extended and the other drawn in.

4.12

“On a moon and lotus at the northern gate, visualize the syllable re transforming into an utpala flower marked by the seed syllable. Light rays stream forth from it, filling the entire world with multicolored light so that the whole world is seen as an apparition, an illusion, a rainbow, a mirage, a reflection in water, and an image in a mirror. From that utpala flower appears Bell Tārā, green-blue in color and holding bells in her two hands. Her wrathful form is adorned with a long necklace, earrings, and armlets, all made of jewels, and many other ornaments. She is in the prime of youth, has a wrathful face, and is seated on a moon and lotus with one leg extended and the other drawn in.

“Mañjuśrī, visualize the circle of deities in this way.”

4.13

Mañjuśrī then asked, “Blessed One, what is meant by ‘apparition’ and so forth?”

The Blessed One replied, “Mañjuśrī, being afflicted is the basic constitution of the six classes of beings. Therefore, understand them to be like apparitions, illusions, rainbows, mirages, reflections in water, and images in a mirror.”

4.14

This was the fourth chapter, “The Deities.”

Chapter 5

Initiation

5.1

Mañjuśrī then asked, [F.207.b] “Blessed One, how are these deities to be empowered by deities?”

The Blessed One replied, “In the manner, Mañjuśrī, of apparitions, illusions, rainbows, mirages, reflections in water, and images in a mirror.”

Mañjuśrī then asked, “Blessed One, what is an ‘apparition’?”

5.2

The Blessed One replied, “An ‘apparition’ is something unreal that is mistaken by both.38 An ‘illusion’ is something mistaken by others.39 A ‘rainbow’ is empty. A ‘mirage’ is a mistaken, empty appearance. A ‘reflection in water’ is causal. An ‘image in a mirror’ is like a city of gandharvas. Mañjuśrī, this is delusion; this is the constitution of the afflicted. Therefore, Mañjuśrī, the empowerment of deities by deities is similar to this.

Chapter 6

Mantras

6.1

The bodhisattva Youthful Mañjuśrī then spoke these lines of praise for the Mother:

6.2

“Her moon-and-sun-like form,

Green in color and graceful in bearing,

Is poised atop a lotus and moon.

I salute and praise the mother of all the buddhas

And protector of all beings,

Who holds an utpala in her hand!”

6.3

He then asked, “Blessed One, how is the mantra of the Mother practiced?

The Blessed One replied, “Her dhāraṇī-mantra is as follows:

“oṁ namo ratna-trayāya | namas traiyadhva-sarva-tathāgatānāṃ namas tārāyai.

Chapter 7

The Pacifying Rite

7.1

“Mañjuśrī, the pacifying rite is as follows. Sprinkle scented water in a shrine chamber, arrange a white maṇḍala there, anoint it with water infused with white sandalwood,53 and scatter flower petals over it. In a white54 vase made of precious materials, place the five precious substances comprising gold, pearl, crystal, coral, and sapphire; the five types of incense comprising sandalwood, aloeswood, frankincense, camphor, and vetiver; the five types of grain comprising barley, wheat, pulses, rice, and sesame oil; and the five essences comprising molasses, honey, butter, salt, and sesame seeds. Wrap the vase in a clean piece of cloth that has its fringe intact and place it in the center. Arrange a further four full vases, [F.209.a] as well as four incense burners, four sets of flowers, and so on. Having completed these preparations, meditate as follows.

Chapter 8

The Increasing Rite

8.1

“Mañjuśrī, the rite for increasing is as follows. Smear the floor of a shrine chamber with the five substances of a red-brown cow and arrange a maṇḍala anointed with scented water. Pile heaps of flowers on it and set out an illustration for the increasing rite. Prepare twenty-one pills made from the five precious substances, grains, medicinal substances, and so on, place them in an amulet made of precious materials, and set the amulet in the center of the maṇḍala. Also arrange four incense burners, flowers, and so on. Then, cultivate the following meditation.

Chapter 9

The Enthralling Rite

9.1

“Mañjuśrī, the rite for enthralling is as follows. Practice this rite in a charnel ground, by a lone tree, on the bank of a large river, or in a temple. Smear the site with the five substances from a cow, and scatter flower petals over the maṇḍala that has been anointed with fragrant water. Arrange an image of the Mother, together with incense burners, flowers, and so forth. Fill an amulet made of precious materials with flowers, fruits, and other potent substances, and install it in the center of the maṇḍala. Then cultivate the following meditation.

10.

Chapter 10

The Aggressive Rite

10.1

“Mañjuśrī, if you wish to perform the aggressive rite you should do so in a charnel ground, by a lone tree, on the bank of a large river, or in a temple. Sprinkle the site with the five substances from a cow, arrange a maṇḍala anointed with fragrant water, set out an image, and so forth. Use neem water to draw an image of the king or other patron on birch bark, cloth, or other kind of bark, put the drawing inside a clay amulet atop the maṇḍala, and set the amulet on the maṇḍala. In addition, arrange incense burners and other offerings. Cultivate the following meditation.

11.

Chapter 11

The Rite for All Activities

11.1

“Mañjuśrī, the rite that can be used for all activities is as follows. It should be performed in a charnel ground, by a lone tree, before a stūpa, or on the bank of a large river. Smear the site with the five substances from a cow, scatter flower petals over a maṇḍala that has been anointed with fragrant water, and set out an image of the Mother. At the heart of a wax effigy, insert a piece of charnel-ground shroud inscribed with the ten-syllable mantra62 and the two sets of syllables63 appended with the target’s name, and place the effigy in the center of the maṇḍala. In addition, arrange incense burners, flowers, and so on. Then cultivate the following meditation.

12.

Chapter 12

The Mother of the Vajra Family

12.1

Mañjuśrī again asked the Blessed One, “How is the mother who gives birth to all buddhas also the mother who is the essential identity of the five families?”

The Blessed One explained, “Mañjuśrī, the mother of the vajra family has four faces and eight hands, is the color of a conch, and is in the prime of youth. Her four faces are white, black, red, and yellow. Her head is marked by the five families, and she has three eyes. Her four right hands hold a vajra, an arrow, and a short spear,64 while the lowermost hand is in the boon-granting gesture. In her left hands she holds an utpala flower, a bow, and a vajra hook, and she wields a lasso while making the threatening gesture. She sits in the vajra posture and is of dharmakāya nature.

13.

Chapter 13

The Mother of the Lotus Family

13.1

“Mañjuśrī, the mother of the lotus family has four faces and eight hands. Her main face is red like a bandhūka flower, as is her youthful body. Her right face is white, her left face black, and her rear face yellow. Each is marked on its crown with the four families and has three eyes. In her right hands she holds a lotus, an arrow, and a spear, while the lowermost hand is in the boon-granting gesture. In her left hands she holds an utpala flower, a bow, and a vajra hook, and she wields a lasso while making the threatening gesture. She sits in the vajra posture and is of dharmakāya nature.

14.

Chapter 14

The Mother of All the Tathāgatas

14.1

“Mañjuśrī, the mother of the tathāgata family has four faces and eight hands. Her body is yellow like molten gold and in the prime of youth. Her main face is yellow, her right face is white, her left face is red, and her rear face is black. Each is marked on its crown with the four families and has three eyes. In her right hands she holds a wheel, an arrow, and a spear, while the lowermost hand is in the boon-granting gesture. In her left hands she holds an utpala flower, a bow, and a vajra hook, and she wields a lasso while making the threatening gesture. She sits in the vajra posture and is of dharmakāya nature.

15.

Chapter 15

The Mother of the Jewel Family

15.1

“Mañjuśrī, the mother of the jewel family has four faces and eight hands. Her main face is dark blue, as is her youthful body. Her right face is white, her left face is red, and her rear face is yellow. Each is marked on its crown with the four families and has three eyes. In her right hands she holds a jewel, an arrow, and a spear, while the lowermost hand is in the boon-granting gesture. In her left hands she holds an utpala flower, a bow, and a vajra hook, and she wields a lasso while making the threatening gesture. She sits in the vajra posture and is of dharmakāya nature. [F.213.a]

16.

Chapter 16

The Mother of the Karma Family

16.1

“Mañjuśrī, the mother of the karma family has four faces and eight hands. Her main face is green, and she is in the prime of youth. Her right face is white, her left face is red, and her rear face is green. Each is marked on its crown with the four families and has three eyes. In her right hands she holds a sword, an arrow, and a spear, while the lowermost hand is in the boon-granting gesture. In her left hands she holds an utpala flower, a bow, and a vajra hook, and she wields a lasso while making the threatening gesture. She sits in the vajra posture and is of dharmakāya nature.

17.

Chapter 17

Fire Pūjā

17.1

Once these different types of rites had been taught, Youthful Mañjuśrī asked, “How should one earnestly perform the fire pūjā that completes all rites?”

The Blessed One replied, “Mañjuśrī, following these rites, a fire pūjā needs to be performed in order to bring them to fulfillment.

17.2

“To perform a fire pūjā for the first of the rites, the pacifying rite, do as follows. On the third day of the lunar month, build a small hut of the corresponding color80 and set out a white vajra. For firewood, use the wood of white sandalwood trees and the like. Light the fire, place an image before it, and incant rice, beautyberry, millet, and white sesame seeds with the following mantra, reciting it either seven or twenty-one times:

18.

Chapter 18

The Protective Circle for Pacifying Rites

18.1

The Blessed One then smiled and taught Youthful Mañjuśrī the procedures for the circles.

18.2

“In a circle with nine compartments, write oṁ and hā with the target’s name in between. Use the words rakṣaḥ rakṣaḥ87 for protection. In the surrounding compartments, write oṁ tāre tuttāre ture svāhā, with svāhā written between each syllable. Written on birch bark with saffron and then fastened to the upper arm, this serves as the best protection.”

19.

Chapter 19

The Protective Circle for Enthralling Rites

19.1

“For protection during enthralling rites, write oṁ and hā, with the target’s name in between, within a nine-compartment circle. Use the words rakṣaḥ rakṣaḥ for protection. In the surrounding compartments, write tāre tuttāre ture svāhā,88 with the syllable mu between each of those syllables. Write this on red birch bark with lac dye and fasten it to the navel so that it cannot be seen. This will be the best protection and will enthrall.”

20.

Chapter 20

The Protective Circle for Increasing Rites

20.1

“For protection during increasing rites, make an eight-spoked wheel and write oṁ tāre tuttāre ture on each of the eight spokes. In the center, write the target’s name appended with svāhā along with rakṣaḥ rakṣaḥ. Write it on birch bark with saffron and then fasten it to the upper arm or neck, and it will be the best protection.”

21.

Chapter 21

A More Elaborate Protective Circle for Increasing Rites

21.1

“For a protective circle that guards against all obstacles,89 use a triple-rimmed circle with eight compartments in the outermost circle. In its central compartment write svāhā appended to the target’s name along with rakṣaḥ. In the innermost rim, write u u u u u u u u.90 [F.214.b] In the outer, eight-compartment rim, write oṁ tāre ture tuttāre, bracketing each syllable with u. Draw this with saffron on birch bark or other bark. Tie it to the crown of the head or under the arm so that people cannot see it, and one will be freed from all harm. Recite the mantra as many times as you can.”

22.

Chapter 22

The Magical Protective Circle for Great Pacification

22.1

“Now for the circle that accomplishes all activities, on birch bark or cloth, draw a circle with nine compartments using water infused with white sandalwood. In the outermost rim, write a ā i ī u ū e ai o au ṛ ṝ ḷ ḹ aṃ aḥ. In the inner rim, write tāre tuttāre ture svāhā. Write rakṣaḥ śāntiṃ kuru svāhā91 between oṁ and hā in the upper part of the circle, and reverse the mantra in the lower part of the circle. Know that the vowels on the outside are to be reversed. In the center, write rakṣaḥ śāntiṃ kuru between oṁ and hā.”

23.

Chapter 23

The Pacifying Circle

23.1

“Next are the circles for the individual rites of the four activities. For pacifying, make a clay amulet with a lid, bake it, and color it white. Inside it, draw a circle with nine compartments. The mantra oṁ tāre tuttāre ture should be written in the eight surrounding panels as follows: ru ru oṁ ru ru | ru ru tā ru ru | ru ru re ru ru | ru ru tut ru ru | ru ru tā ru ru | ru ru re ru ru | ru ru tu ru ru | ru ru re ru ru. In the central compartment, write kuru śāntiṃ kuru svāhā. Close the amulet and place it, along with a white thread, on the maṇḍala. If you then worship at the three times with white flowers and the five kinds of offerings, the pacification will succeed.”

24.

Chapter 24

Great Pacification

24.1

“To accomplish the activity of great pacification, make a clay amulet with a lid. Make ink out of white sandalwood92 and use it to draw a nine-compartment circle with inner and outer sections. In the central compartment write the mantra svā śāntiṃ kuru hā.93 [F.215.a] Inside the inner rim, write eight sets of a a. Inside the outer rim, write a oṁ a | a tā a | a re a | a tut a | a tā a | a re a | a tu a | a re a. Tie a flower garland around the amulet and place it on the maṇḍala. Make offerings to it at the four times and recite the mantra without error for seven days. If you do, the great pacification will succeed.”

25.

Chapter 25

The Increasing Circle

25.1

“To perform the increasing rite, draw a nine-compartment circle with an inner and outer rim on birch bark, using either saffron or bezoar. In the central compartment write sarvapuṣṭiṃ kuru oṁ a,94 and in each of the eight inner compartments, write oṁ. In the eight outer compartments, write oṁ oṁ oṁ | oṁ tā oṁ | oṁ re oṁ | oṁ tut oṁ | oṁ tā oṁ | oṁ re oṁ | oṁ tu oṁ | oṁ re oṁ. Then place the circle inside a clay amulet and worship it with yellow flowers, such as the nāga flower, and the five offerings at the four times each day for seven days, starting on the full moon. Your lifespan and merit will thereby be increased.”

26.

Chapter 26

The Forceful Enthralling Circle

26.1

“If you wish to enthrall, draw a circle with nine compartments on a rhinoceros hide or an amulet using pigment made of the extracts of the bark of areca, cutch, and caragana trees.95 In the central compartment of the circle write the mantra a svā ca amogha a hrīḥ hā.96 In the eight compartments write a oṁ a | a tā a | a re a | a tut a | a tā a | a re a | a tu a | a re a. Then, place it inside a skull cup covered with a lid, and bind it with blue thread. When the moon is full, worship it during the four times using red flowers and the five offerings. If you do, everything will be enthralled.”

27.

Chapter 27

The Isolating and Enthralling Circle

27.1

“To enthrall, use blood from your ring finger, lac dye,97 charnel-ground charcoal, and gold98 to draw a circle with nine compartments on a charnel-ground shroud 99 or the clothes of a dead person. [F.215.b] In its central compartment write amogha hrīḥ ha.100 On the eight spokes, write oṁ de oṁ | tā va tā | re dat re | tut ta tut | tā a tā | re mo re | tu gha tu | re hriḥ re.101 Insert the circle into an amulet along with the head of a worm. Breaking it in two, conceal each part on opposite sides of a riverbank. If you do that, isolating and enthralling will be accomplished.”

28.

Chapter 28

The Banishing Circle

28.1

“If you wish to banish, use a mixture of the goat poison plant,102 blood, and indigo to draw two circles with nine compartments on a charnel-ground shroud. In the central compartment write ha sa u ca ha ha ha, and in the eight surrounding compartments write ha oṁ ha | ha tā ha | ha re ha | ha tut ha | ha tā ha | ha re ha | ha tu ha | ha re ha. Place the circle into a skull cup covered with a lid, bind it with blue thread, and conceal it in a charnel ground. The banishment will then be successful.”

29.

Chapter 29

The Isolating Circle

29.1

“To make an isolating circle, use ink made from a mixture of equal parts of charnel-ground charcoal, crow blood, owl blood, and poison to draw nine compartments with an inner and outer circle. In the central compartment write phaṭ svā devadatta103 hā phaṭ. In the eight inner compartments write phaṭ phaṭ phaṭ phaṭ phaṭ phaṭ phaṭ phaṭ. In the eight outer compartments write phaṭ oṁ phaṭ | phaṭ tā phaṭ | phaṭ re phaṭ | phaṭ tut phaṭ | phaṭ tā phaṭ | phaṭ re phaṭ | phaṭ tu phaṭ | phaṭ re phaṭ. Place it in a crow and owl egg and conceal it at the base of a waterfall. Isolating will thereby be successful.”

30.

Chapter 30

The Slaying Circle

30.1

“The circle for slaying is as follows. Use a mixture of equal parts of poison, blood, and mustard seed to draw a nine-compartment circle with inner and outer sections. In the central compartment write hūṁ svā māraya hā phaṭ.104 In the inner compartments write hūṁ phaṭ hūṁ | phaṭ hūṁ phaṭ | hūṁ phaṭ hūṁ | phaṭ hūṁ phaṭ | hūṁ phaṭ hūṁ | phaṭ hūṁ phaṭ | hūṁ phaṭ hūṁ | phaṭ hūṁ phaṭ. In the outer compartments write hūṁ oṁ phaṭ | hūṁ tā phaṭ | hūṁ re phaṭ | hūṁ tut phaṭ | hūṁ tā phaṭ | hūṁ re phaṭ | hūṁ tu phaṭ | hūṁ re phaṭ. [F.216.a] Write these on the skull of a childless man or woman, repeat the mantra many times, and then hide it in a charnel ground. If you do so, death will ensue.”

31.

Chapter 31

The Insanity-Inducing Circle

31.1

“To make a circle that will induce insanity, use water infused with datura to draw a nine-compartment circle with inner and outer sections on cloth or paper. In the central compartment write ha ha devadatta ha ha. In the inner compartments write hha hha hha hha hha hha hha hha. In the eight outer compartments write hha oṁ hha | hha tā hha | hha re hha | hha tut hha | hha tā hha | hha re hha | hha tu hha | hha re hha. Place the circle into a grass amulet and recite the mantra as fast as you can. Then conceal it at a crossroads105 and pile datura on it. Insanity will then be induced. To relieve the insanity, wash an effigy with butter, honey, and cow’s milk. The target will thereby recover.”

32.

Chapter 32

The Suppressing Circle

32.1

“The circle that suppresses is as follows. Draw a nine-compartment circle on slate. In the central compartment, use water infused with turmeric to write ga svā stambhaya | stambhaya ga hā.106 In the eight compartments, write ga oṁ ga | ga tā ga | ga re ga | ga tut ga | ga tā ga | ga re ga | ga tu ga | ga re ga. If the circle is folded and hidden at a crossroads, the target will be unable to move.”

33.

Chapter 33

The Great Suppression Circle

33.1

“For the great suppression circle, use ink made of turmeric to draw nine compartments with inner and outer circles inside a clay amulet. In the central compartment write this mantra: ṛga svā staṃbhaya staṃbhaya ṛga hā.107 In the inner compartments write ha ha ha ha ha ha ha ha eight times. In the eight outer compartments write ṛga oṁ ṛga | ṛga tā ṛga | ṛga re ṛga | ṛga tut ṛga | ṛga tā ṛga | ṛga re ṛga | ṛga tu ṛga | ṛga re ṛga and finalize it with the addition of the Ārya Tārā mantra.108 Conceal it in the direction from which the enemy is approaching, and it will grant protection. If you conceal it by the enemy’s door, they will be suppressed.”

34.

Chapter 34

The Circle That Suppresses the Sorcery of Vidyā-Mantra

34.1

“To make the circle that suppresses the sorcery of vidyā-mantra, draw the circle‍—a nine-compartment circle with inner and outer sections‍—with liquid turmeric on two slabs of either slate or mica. As for the mantras, in the central compartment write va svā staṃbhaya staṃbhaya hā.109 In the inner section write va va va va va va va va. In the outer section write va oṁ va | va tā va | va re va | va tut va | va tā va | va re va | va tu va | va re va. Then conceal the two circles separately, side by side, and the sorcery of vidyā-mantra will be suppressed.”

35.

Chapter 35

Teaching the Samayas and Vows

35.1

The bodhisattva Youthful Mañjuśrī then scattered an inconceivable110 array of flowers‍—mandārava flowers, lotuses, water lilies, and many others‍—over the Blessed One, while a symphony of divine music resounded. He asked the Blessed One, “How are the samayas to be fulfilled?”

The Blessed One replied:

35.2

“Those who maintain their respective samayas

And are connected to the circle of deities

Should abandon the killing of beings,

Not take what is not given,

36.

Chapter 36

The Conclusion

36.1

The vast gathering of countless gods‍—including the lord of gods Indra, Brahmā, and others‍—the bodhisattva Youthful Mañjuśrī, a countless retinue of other bodhisattvas, [F.217.a] and the world with its gods, humans, asuras, and gandharvas 111 rejoiced and praised what the Blessed One had said.

36.2

This completes “The Tantra on All Rites of Blessed Lady Tārā.”

Colophon

c.1

Translated by the Indian preceptor Dharmaśrīmitra and the Tibetan translator and monk Chökyi Sangpo.

ab.

Abbreviations

C	Choné
D	Degé
H	Lhasa (Zhol)
J	Lithang
K	Kangxi (Peking late 17th c.)
N	Narthang
S	Stok Palace
U	Urga
Y	Yongle

Notes

n.1

There have been a number of modern studies on the history of Tārā worship in India and Tibet. While scholars present varying theories on its origin, they commonly agree that the goddess’s worship gained increasing popularity in India from the sixth century onward. Tibetan histories recount the story of Tārā’s introduction to Tibet in the early seventh century in the form of a sandalwood statue included in the Nepalese princess Bhṛkutī’s dowry when she married the Tibetan king Songtsen Gampo (srong btsan sgam po, 617–50). A few texts dedicated to Tārā were translated into Tibetan in the following centuries, but Stephan Beyer (1978, pp. 5–13) argues that the worship of Tārā did not take firm root in Tibet until the eleventh century, when it was actively promoted by Atiśa (982–1054). Rachael Stevens provides a comprehensive introduction to Tārā in her 2010 dissertation.

n.2

Toh 724–31.

n.3

Lessing and Wayman 1983, pp. 126–27.

n.4

Skt. Namastāraikaviṃśatistotraguṇahitasahita, Tib. sgrol ma la phyag ’tshal nyi shu rtsa gcig gis bstod pa phan yon dang bcas pa. See Praise to Tārā with Twenty-One Verses of Homage (Toh 438), Samye Translations 2020. The Tibetan translators chose not to translate the praise into Tibetan but instead followed the common practice of rendering a dhāraṇī or mantra in a Tibetan transliteration of the Sanskrit. This untranslated transcription represents an important witness of the Sanskrit manuscript it was based upon, and it was deemed significant enough by Alex Wayman to be used as the basis of his own edition and translation of the praise (Wayman 2002, p. 443). Notably, in this tantra alone, and in no other version of the text, the praise is preceded by the mantra namaḥ sarvatathāgatānāṃ tadyathā oṁ namaḥ sūkasaṃ namas tārāyai pārantāre. Noteworthy also is that the translators treated the concluding colophon that follows the twenty-seventh verse of the praise as part of the incantation and rendered it in transliterated Sanskrit as well.

n.5

See also Willson (1996, pp. 44–49) for his summary of The Tārā Tantra.

n.6

Beyer 1978, p. 476.

n.7

Beyer 1978, p. 476, n. 53. See also Willson 1996, p. 49.

n.8

See Willson 1996, pp. 44–86.

n.9

This translation follows H, K, Y, N, and S in reading dgu po rgyud mang (Skt. śūrpavīṇā). D, C, K, J, and U have gau rgyud mangs.

n.16

What follows is the famous Praise to Tārā with Twenty-One Verses of Homage, which the Tibetan translators of The Tārā Tantra elected to preserve in transliterated Sanskrit. That practice has been followed here. In doing so, the standalone Tibetan translation of Praise to Tārā with Twenty-One Verses of Homage (Toh 438; see Samye Translations 2020) has been consulted, as well as the Sanskrit editions of the praise prepared by Wayman and Pandey. Though these witnesses are largely in agreement and without major variants, minor emendations to the Sanskrit text have been made here.

n.17

It is unclear what the correct Sanskrit for the Tibetan transliteration sūkasam might have been.

n.18

Tāramātā is a conjectural emendation. D, S: tA ra mi tA; N: tA ra ma mi tA; H: tA ra mi mi tA; Y, K: tA ra mi tA ra. This line is not included in the Tibetan translation (Toh 438) or Sanskrit editions of the praise.

n.19

Reading kṣana-dyuti-nibhekṣaṇe for kṣanair dyuti-nibhekṣaṇe, as the former rendering appears below and is supported by the published Sanskrit editions.

n.26

All the Tibetan editions of this text read taṁ throughout for the seed syllable of Tārā. However, it is consistently found in the Sādhanamālā, other Sanskrit sources, and the Tibetan tradition as tāṁ. Thus, we emend from taṁ to tāṁ when appropriate.

n.27

“Oṁ! Vajra, blaze! Vajra, expand! Hūṁ phaṭ!”

n.28

H, N, and S read a in place of e.

n.29

H and N read paṃ.

n.30

This reading follows H and N: pakṣa-viśuddha. D has prakṣa-viśuddha.

n.31

Vyutthāna is a conjectural emendation of bu thA na.

n.32

C, K, and U have samantaśuddha; Y has samantavidha.

n.33

“Oṁ, the purity of the realm of phenomena, hūṁ! Oṁ aṃ, the purity of the sphere, hūṁ! Oṁ, complete purity, hūṁ! Oṁ, the purity of the full moon, hūṁ! Oṁ, the purity of the revival of what has been damaged, hūṁ! Oṁ, homage to the maṇḍala of all tathāgatas, the complete purity, hūṁ!”

n.34

This translation follows S in reading gru chad bzhi dang ldan pa, rather than D: gru tshad bzhi dang ldan pa.

n.35

This translation follows H, N, and S in reading phyag g.yas kyis mchog sbyin. C, D, J, K, and Y read phyag g.yas pa mchod sbyin.

n.36

“One faced” (zhal gcig) is absent from H, N, and S.

n.37

“Seat” (gdan) is absent from H, N, and S.

n.38

The text does not clarify who or what “both” (Tib. gnyis ka) refers to. Willson (1996, p. 66) suggests that it refers to the person who conjures the apparition and the person witnessing it.

n.39

Here, Willson (1996, p. 66) conjectures that only the viewer is confused by an illusion, not the one who conjures it.

n.53

“Infused with white sandalwood (tsan+dan dkar po)” is absent from N and S.

n.54

“White” (dkar po) is absent from N and S.

n.62

The ten-syllable mantra referred to here is most likely the one associated with this rite: oṁ tāre ture tuttāre svāhā.

n.63

This is a speculative translation of gsal ba’i yi ge gnyis. The two sets of syllables would refer to vowels and consonants, i.e., the ali kali mantra.

n.64

This reading follows C, D, J, K, and Y in reading mdung thung (“short spear”). H, N, and S have mdung (“spear”).

n.80

It is unclear what the “corresponding color” (Tib. kha dog mthun pa) is. It is possible that the color of the hut is linked to the type of fire pūjā being performed.

n.87

“Protection, protection.”

n.88

In H, N, and S this mantra begins with oṁ, which is omitted in D.

n.89

H, N, and S read bar chod sel ba’i srung ba’i ’khor lo (“protective circle that dispels all obstacles”).

n.90

S reads u u u u.

n.91

“Protection! Pacify, svāhā!”

n.92

N and S read tsan+dan dmar po (“red sandalwood”).

n.93

N and S read hoḥ instead of ha here.

n.94

“Increase in all ways, oṁ, a!”

n.95

The Skt. equivalent of the Tib. term mdzo mo could not be identified, so the identification of the final tree in this list as caragana is conjectural.

n.96

“A svā ca, unfailing! A hrīḥ hā.”

n.97

“Lac dye” (rgya skyegs kyi khu ba) is absent from N and S.

n.98

H and N read khaṇḍaka (Tib. kan da ka, “molasses”) instead of kanaka (“gold”).

n.99

N and S read dur khrod kyi sol ba (“charnel-ground charcoal”) instead of dur khrod kyi ras here.

n.100

“Unfailing! Hrīḥ ha.”

n.101

According to N, re hriḥ re, rather than re hriḥ in C, D, J, K, Y, and U; or hriḥ re in H and S.

n.102

This is a conjectural translation of ra dug pa. H, N, and S omit ra.

n.103

As above, devadatta is a placeholder for the name of the person targeted by the rite.

n.104

“Hūṁ svā. Kill! Hā phaṭ.”

n.105

Y reads lam rgya gram du rong dang bcas par (“at a crossroads near a ravine”), and H, N, and S read lam rgya gram du dong dang bcas par (“at a crossroads with a ditch”).

n.106

“Ga svā, stun! Stun, ga hā!”

n.107

“Ṛga svā, stun! Stun, ṛga hā!”

n.108

“Finalize it with the addition of the Ārya Tārā mantra” is a conjectural translation as the Tibetan text is unclear here.

n.109

“Va svā. Stun! Stun! Hā.”

n.110

“Inconceivable” (bsam gyis mi khyab pa) is absent from H, N, and S.

n.111

H, N, and S omit “gandharvas” (dri za).

Bibliography

Primary Sources

Sanskrit

Bhattacharya, Benoytosh, ed. Sādhanamālā. 2 vols. Gaekwad’s Oriental Series 26. Baroda: Central Library, 1925.

Namaskaraikaviṃśatistotra. GRETIL edition input by Klaus Wille, based on the edition by Godefroy de Blonay: Matériaux pour servir à l’histoire de la déesse Tāra. Bibliothèque de l’École des Hautes Études 107. Paris: Émile Bouillon, 1895: 58–60.

Namaskaraikaviṃśatistotra. GRETIL edition input by members of the Sanskrit Buddhist Canon Input Project, based on the edition by Janardan Shastri Pandey: Bauddha Stotra Saṁgraha. Varanasi: Motilal Banarsidass, 1994: stotra no. 5.

Wayman, Alex. “The Twenty-One Praises of Tārā: A Syncretism of Śaivism and Buddhism.” In Buddhist Insight, edited by George Elder, 441–51. Delhi: Motilal Banarsidass, 2002.

Tibetan

de bzhin gshegs pa thams cad kyi yum sgrol ma las sna tshogs ’byung ba zhes bya ba’i rgyud (Sarvatathāgatamātṛtārāviśvakarmabhavanāmatantra). Toh 726, Degé Kangyur vol. 94 (rgyud, tsha), folios 202.a–217.a.

de bzhin gshegs pa thams cad kyi yum sgrol ma las sna tshogs ’byung ba zhes bya ba’i rgyud. 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), 2006–9, vol. 94, pp. 517–54.

de bzhin gshegs pa thams cad kyi yum sgrol ma las sna tshogs ’byung ba zhes bya ba’i rgyud. Toh 726, Stok Palace Kangyur vol. 107 (rgyud, ma), folios 195.a–237.a.

sgrol ma’i gzungs (Tārādhāraṇī). Toh 729, Degé Kangyur vol. 94 (rgyud, tsha), folio 222.a. English translation in Samye Translations 2021.

sgrol ma la phyag ’tshal nyi shu rtsa gcig gis bstod pa (Namastāraikaviṃśatistotra) [Praise to Tārā with Twenty-One Verses of Homage]. Toh 438, Degé Kangyur vol. 81 (rgyud, ca), folios 42.b–43.b. English translation in Samye Translations 2020.

chab mdo sa khul sman rstis khang. khrungs dpe dri med shel gyi me long [Mirror of stainless crystal]. Beijing: mi rigs dpe skrun khang, 1995.

Denkarma (pho brang stod thang ldan dkar gyi chos kyi ’gyur ro cog gi dkar chag). Toh 4364, Degé Tengyur vol. 206 (sna tshogs, jo), folios 294.b–310.a.

Phangthangma (dkar chag ʼphang thang ma). Beijing: mi rigs dpe skrun khang, 2003.

Contemporary Sources

Beyer, Stephan. The Cult of Tara: Magic and Ritual in Tibet. Berkeley: University of California Press, 1978.

Bokar Rinpoche. Tara: The Feminine Divine. Translated by Christiane Buchet. San Francisco: ClearPoint Press, 2007.

Ghosh, Mallar. Development of Buddhist Iconography in Eastern India: A Study of Tārā, Prajñās of the Five Tathāgatas and Bhṛikuṭī. New Delhi: Munshiram Manoharlal Publishers, 1980.

Herrmann-Pfandt, Adelheid. Die lhan kar ma: ein früher Katalog der ins Tibetische übersetzten buddhistischen Texte. Vienna: Verlag der österreichischen Akademie der Wissenschaften, 2008.

Landesman, Susan. “Goddess Tārā: Silence and Secrecy on the Path to Enlightenment.” Journal of Feminist Studies in Religion 24, no. 1 (Spring 2008): 44–59.

Samye Translations, trans. (2020). Praise to Tārā with Twenty-One Verses of Homage (Namastāraikaviṃśatistotra, Toh 438). 84000: Translating the Words of the Buddha, 2020.

‍—‍—‍—(2021). The Dhāraṇī of Tārā (Tārādhāraṇī, Toh 729). 84000: Translating the Words of the Buddha, 2021.

Martin, Dan. “Tibetan Vocabulary.” THL Tibetan to English Translation Tool. Version April 14, 2003.

Mitra, Debala. “Aṣṭamahābhaya Tārā.” Journal of the Asiatic Society: Letters 23, no. 1 (1957): 19–22.

Obermiller, Eugéne, trans. and ed. History of Buddhism (Chos ḥbyung) by Bu-ston. Vol 2, The History of Buddhism in India and Tibet. Materialien zur Kunde des Buddhismus 19. Heidelberg: O. Harrassowitz, 1932.

Roberts, Peter Alan. The White Lotus of the Good Dharma (Saddharmapuṇḍarīka, Toh 113). 84000: Translating the Words of the Buddha, 2018.

Roerich, George N., ed. The Blue Annals. 2 vols. Calcutta: Royal Asiatic Society of Bengal, 1949–53.

Sánchez, Pedro M. C. “The Indian Buddhist Dhāraṇī: An Introduction to Its History, Meanings and Functions.” MA diss., University of Sunderland, 2011.

Shaw, Miranda. Buddhist Goddesses of India. Princeton: Princeton University Press, 2006.

Shin, Jae-Eun. “Transformation of the Goddess Tārā with Special Reference to Iconographical Features.” Indo Koko Kenkyu: Studies in South Asian Art and Archaelogy 31 (2010): 17–31.

Stevens, Rachael. “Red Tārā: Lineages of Literature and Practice.” PhD diss., Oxford University, 2010.

Tāranātha. The Origin of the Tārā Tantra. Translated and edited by David Templeman. Dharamsala: Library of Tibetan Works and Archives, 1995.

Willson, Martin. In Praise of Tara: Songs to the Saviouress. Somerville, MA: Wisdom, 1996.

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

Acts with immediate retribution

mtshams med pa

མཚམས་མེད་པ།

ānantarya

g.2

Aggressive rite

drag po’i phrin las
drag po’i las

དྲག་པོའི་ཕྲིན་ལས།
དྲག་པོའི་ལས།

raudrakarman

g.3

Agni

me lha

མེ་ལྷ།

agni

g.4

Akṣobhya

mi ’khrugs pa
a k+Sho b+h+ya

མི་འཁྲུགས་པ།
ཨ་ཀྵོ་བྷྱ།

akṣobhya

g.5

Amitābha

a mi tA b+ha

ཨ་མི་ཏཱ་བྷ།

amitābha

Definition from the 84000 Glossary of Terms:

The buddha of the western buddhafield of Sukhāvatī, where fortunate beings are reborn to make further progress toward spiritual maturity. Amitābha made his great vows to create such a realm when he was a bodhisattva called Dharmākara. In the Pure Land Buddhist tradition, popular in East Asia, aspiring to be reborn in his buddha realm is the main emphasis; in other Mahāyāna traditions, too, it is a widespread practice. For a detailed description of the realm, see The Display of the Pure Land of Sukhāvatī, Toh 115. In some tantras that make reference to the five families he is the tathāgata associated with the lotus family.

Amitābha, “Infinite Light,” is also known in many Indian Buddhist works as Amitāyus, “Infinite Life.” In both East Asian and Tibetan Buddhist traditions he is often conflated with another buddha named “Infinite Life,” Aparimitāyus, or “Infinite Life and Wisdom,”Aparimitāyurjñāna, the shorter version of whose name has also been back-translated from Tibetan into Sanskrit as Amitāyus but who presides over a realm in the zenith. For details on the relation between these buddhas and their names, see The Aparimitāyurjñāna Sūtra (1) Toh 674, i.9.

g.6

Amoghasiddhi

don yod grub pa
a mo g+ha sid+d+hi

དོན་ཡོད་གྲུབ་པ།
ཨ་མོ་གྷ་སིདྡྷི།

amoghasiddhi

g.9

Assaulting

mngon spyod

མངོན་སྤྱོད།

abhicāra

g.10

asura

lha ma yin

ལྷ་མ་ཡིན།

asura

Definition from the 84000 Glossary of Terms:

A type of nonhuman being whose precise status is subject to different views, but is included as one of the six classes of beings in the sixfold classification of realms of rebirth. In the Buddhist context, asuras are powerful beings said to be dominated by envy, ambition, and hostility. They are also known in the pre-Buddhist and pre-Vedic mythologies of India and Iran, and feature prominently in Vedic and post-Vedic Brahmanical mythology, as well as in the Buddhist tradition. In these traditions, asuras are often described as being engaged in interminable conflict with the devas (gods).

g.11

Avalokiteśvara

spyan ras gzigs

སྤྱན་རས་གཟིགས།

avalokiteśvara

Definition from the 84000 Glossary of Terms:

One of the “eight close sons of the Buddha,” he is also known as the bodhisattva who embodies compassion. In certain tantras, he is also the lord of the three families, where he embodies the compassion of the buddhas. In Tibet, he attained great significance as a special protector of Tibet, and in China, in female form, as Guanyin, the most important bodhisattva in all of East Asia.

g.12

bandhūka

ban+du ka

བནྡུ་ཀ

bandhūka

g.13

Bell Tārā

sgrol ma dril bu ma

སྒྲོལ་མ་དྲིལ་བུ་མ།

g.15

blessed one

bcom ldan ’das

བཅོམ་ལྡན་འདས།

bhagavat

The male form of the epithet commonly applied to buddhas and other awakened beings. The Sanskrit word bhaga means, among other factors, “good fortune,” “happiness,” “prosperity,” and “excellence.” The suffix -vat indicates possession. A common English translation is thus “blessed one” or “fortunate one.” The three syllables of the Tibetan translation mean that the being has “overcome” or “conquered” (Tib. bcom), is “endowed [with qualities]” (Tib. ldan), and has “gone beyond [saṃsāra]” (Tib. ’das).

g.17

boon-granting gesture

mchog sbyin

མཆོག་སྦྱིན།

varada

g.18

Brahmā

tshangs pa

ཚངས་པ།

brahmā

Definition from the 84000 Glossary of Terms:

A high-ranking deity presiding over a divine world; he is also considered to be the lord of the Sahā world (our universe). Though not considered a creator god in Buddhism, Brahmā occupies an important place as one of two gods (the other being Indra/Śakra) said to have first exhorted the Buddha Śākyamuni to teach the Dharma. The particular heavens found in the form realm over which Brahmā rules are often some of the most sought-after realms of higher rebirth in Buddhist literature. Since there are many universes or world systems, there are also multiple Brahmās presiding over them. His most frequent epithets are “Lord of the Sahā World” (sahāṃpati) and Great Brahmā (mahābrahman).

g.20

charnel-ground shroud

dur khrod kyi ras

དུར་ཁྲོད་ཀྱི་རས།

śmaśānakarpaṭa

g.21

Chel Lotsāwa Chökyi Sangpo

dpyal lo tsA ba chos kyi bzang po

དཔྱལ་ལོ་ཙཱ་བ་ཆོས་ཀྱི་བཟང་པོ།

g.22

city of gandharvas

dri za’i grong khyer

དྲི་ཟའི་གྲོང་ཁྱེར།

g.23

clay drum

rdza rnga

རྫ་རྔ།

mṛdaṅga

g.24

constitution

khams

ཁམས།

dhātu

g.26

crystal

man shel

མན་ཤེལ།

śilā

g.27

dhāraṇī

gzungs

གཟུངས།

dhāraṇī

g.28

dharmakāya

chos sku

ཆོས་སྐུ།

dharmakāya

g.29

Dharmaśrīmitra

d+harma shrI mi tra

དྷརྨ་ཤྲཱི་མི་ཏྲ།

dharmaśrīmitra

g.33

enthralling

dbang du bsdu ba

དབང་དུ་བསྡུ་བ།

vaśīkaraṇa

g.35

fire pūjā

sbyin sreg

སྦྱིན་སྲེག

homa

The casting of a prescribed offering into a ritual fire. The practice of homa is first attested in pre-Buddhist Vedic literature and serves as a core, pervasive ritual paradigm in exoteric and esoteric rites in both Buddhist and non-Buddhist traditions into modern times. In Buddhist esoteric rites, the ritual offerings are made repeatedly, with each throw accompanied by a single repetition of the respective mantra.

g.37

five families

rigs lnga

རིགས་ལྔ།

pañcakula

g.38

five kinds of offerings

mchod pa rnam pa lnga

མཆོད་པ་རྣམ་པ་ལྔ།

g.39

five offerings

mchod pa lnga

མཆོད་པ་ལྔ།

pañcopacāra

g.40

five precious substances

rin po che lnga
rin po che rnam pa lnga

རིན་པོ་ཆེ་ལྔ།
རིན་པོ་ཆེ་རྣམ་པ་ལྔ།

pañcaratna

g.42

five substances from a cow

ba’i rnam lnga

བའི་རྣམ་ལྔ།

pañcagavya

g.43

four activities

las bzhi

ལས་བཞི།

catuṣkarman

g.44

four families

rigs bzhi

རིགས་བཞི།

catuṣkula

g.46

gandharva

dri za

དྲི་ཟ།

gandharva

Definition from the 84000 Glossary of Terms:

A class of generally benevolent nonhuman beings who inhabit the skies, sometimes said to inhabit fantastic cities in the clouds, and more specifically to dwell on the eastern slopes of Mount Meru, where they are ruled by the Great King Dhṛtarāṣṭra. They are most renowned as celestial musicians who serve the gods. In the Abhidharma, the term is also used to refer to the mental body assumed by sentient beings during the intermediate state between death and rebirth. Gandharvas are said to live on fragrances (gandha) in the desire realm, hence the Tibetan translation dri za, meaning “scent eater.”

g.48

goat poison

ra dug

ར་དུག

śṛṅgaka

g.49

god

ལྷ།

deva

g.53

Hook Tārā

sgrol ma lcags kyu ma

སྒྲོལ་མ་ལྕགས་ཀྱུ་མ།

g.54

increasing

rgyas pa

རྒྱས་པ།

pauṣṭika

g.55

Indra

brgya byin

བརྒྱ་བྱིན།

indra

g.57

initiation

dbang

དབང་།

abhiṣeka

g.60

jewel family

rin po che’i rigs

རིན་པོ་ཆེའི་རིགས།

ratnakula

g.61

karma family

las kyi rigs

ལས་ཀྱི་རིགས།

karmakula

g.65

Kurukullā

ku ru kul+le

ཀུ་རུ་ཀུལླེ།

kurukullā

g.66

lac dye

rgya skyegs kyi khu ba

རྒྱ་སྐྱེགས་ཀྱི་ཁུ་བ།

lākṣa

g.67

Lasso Tārā

sgrol ma zhags pa ma

སྒྲོལ་མ་ཞགས་པ་མ།

g.69

lotus family

pad+ma’i rigs

པདྨའི་རིགས།

padmakula

g.71

Maitreya

byams pa

བྱམས་པ།

maitreya

Definition from the 84000 Glossary of Terms:

The bodhisattva Maitreya is an important figure in many Buddhist traditions, where he is unanimously regarded as the buddha of the future era. He is said to currently reside in the heaven of Tuṣita, as Śākyamuni’s regent, where he awaits the proper time to take his final rebirth and become the fifth buddha in the Fortunate Eon, reestablishing the Dharma in this world after the teachings of the current buddha have disappeared. Within the Mahāyāna sūtras, Maitreya is elevated to the same status as other central bodhisattvas such as Mañjuśrī and Avalokiteśvara, and his name appears frequently in sūtras, either as the Buddha’s interlocutor or as a teacher of the Dharma. Maitreya literally means “Loving One.” He is also known as Ajita, meaning “Invincible.”

For more information on Maitreya, see, for example, the introduction to Maitreya’s Setting Out (Toh 198).

g.72

mandārava flower

man dA ra ba

མན་དཱ་ར་བ།

mandārava

Definition from the 84000 Glossary of Terms:

One of the five trees of Indra’s paradise, its heavenly flowers often rain down in salutation of the buddhas and bodhisattvas and are said to be very bright and aromatic, gladdening the hearts of those who see them. In our world, it is a tree native to India, Erythrina indica or Erythrina variegata, commonly known as the Indian coral tree, mandarava tree, flame tree, and tiger’s claw. In the early spring, before its leaves grow, the tree is fully covered in large flowers, which are rich in nectar and attract many birds. Although the most widespread coral tree has red crimson flowers, the color of the blossoms is not usually mentioned in the sūtras themselves, and it may refer to some other kinds, like the rarer Erythrina indica alba, which boasts white flowers.

g.73

Mañjuśrī

’jam dpal

འཇམ་དཔལ།

mañjuśrī

Definition from the 84000 Glossary of Terms:

Mañjuśrī is one of the “eight close sons of the Buddha” and a bodhisattva who embodies wisdom. He is a major figure in the Mahāyāna sūtras, appearing often as an interlocutor of the Buddha. In his most well-known iconographic form, he is portrayed bearing the sword of wisdom in his right hand and a volume of the Prajñāpāramitāsūtra in his left. To his name, Mañjuśrī, meaning “Gentle and Glorious One,” is often added the epithet Kumārabhūta, “having a youthful form.” He is also called Mañjughoṣa, Mañjusvara, and Pañcaśikha.

In this text:

Also called here Youthful Mañjuśrī.

g.76

mudrā

phyag rgya

ཕྱག་རྒྱ།

mudrā

g.78

nirvāṇa

mya ngan las ’das pa

མྱ་ངན་ལས་འདས་པ།

nirvāṇa

g.79

pacifying

zhi ba

ཞི་བ།

śānti

g.82

Parṇaśavarī

ri khrod lo ma can

རི་ཁྲོད་ལོ་མ་ཅན།

parṇaśavarī

g.83

pearl

mu tig

མུ་ཏིག

muktikā

g.85

Ratnasambhava

rin chen ’byung gnas
saM b+ha va

རིན་ཆེན་འབྱུང་གནས།
སཾ་བྷ་བ༹།

ratnasambhava

g.86

realm of phenomena

chos kyi dbyings

ཆོས་ཀྱི་དབྱིངས།

dharmadhātu

g.87

Śakra

brgya byin

བརྒྱ་བྱིན།

śakra

g.89

samaya

dam tshig

དམ་ཚིག

samaya

g.90

sapphire

mu men

མུ་མེན།

indranīla

g.92

Shackles Tārā

sgrol ma lcags sgrog ma

སྒྲོལ་མ་ལྕགས་སྒྲོག་མ།

g.93

shrine chamber

spos kyi khang pa

སྤོས་ཀྱི་ཁང་པ།

gandhakuṭi

Literally “perfumed chamber,” this was the name given to the Buddha’s personal room at the Jetavana monastery. The term was then later applied to the room in any monastery where an image of the Buddha was installed to signify his presence. In the context of an Action Tantra, the term seems to refer generically to a shrine chamber, perhaps one specifically enshrining the deity that is the focus of a given rite.

g.97

śūrpavīṇā

gau rgyud mangs

གཽ་རྒྱུད་མངས།

śūrpavīṇā

g.98

Tārā

sgrol ma

སྒྲོལ་མ།

tārā

g.99

tathāgata

de bzhin gshegs pa

དེ་བཞིན་གཤེགས་པ།

tathāgata

Definition from the 84000 Glossary of Terms:

A frequently used synonym for buddha. According to different explanations, it can be read as tathā-gata, literally meaning “one who has thus gone,” or as tathā-āgata, “one who has thus come.” Gata, though literally meaning “gone,” is a past passive participle used to describe a state or condition of existence. Tatha(tā), often rendered as “suchness” or “thusness,” is the quality or condition of things as they really are, which cannot be conveyed in conceptual, dualistic terms. Therefore, this epithet is interpreted in different ways, but in general it implies one who has departed in the wake of the buddhas of the past, or one who has manifested the supreme awakening dependent on the reality that does not abide in the two extremes of existence and quiescence. It is also often used as a specific epithet of the Buddha Śākyamuni.

g.100

tathāgata family

de bzhin gshegs pa’i rigs

དེ་བཞིན་གཤེགས་པའི་རིགས།

tathāgatakula

g.101

threatening gesture

sdigs mdzub

སྡིགས་མཛུབ།

g.103

Tuṣita

dga’ ldan

དགའ་ལྡན།

tuṣita

Definition from the 84000 Glossary of Terms:

Tuṣita (or sometimes Saṃtuṣita), literally “Joyous” or “Contented,” is one of the six heavens of the desire realm (kāmadhātu). In standard classifications, such as the one in the Abhidharmakośa, it is ranked as the fourth of the six counting from below. This god realm is where all future buddhas are said to dwell before taking on their final rebirth prior to awakening. There, the Buddha Śākyamuni lived his preceding life as the bodhisattva Śvetaketu. When departing to take birth in this world, he appointed the bodhisattva Maitreya, who will be the next buddha of this eon, as his Dharma regent in Tuṣita. For an account of the Buddha’s previous life in Tuṣita, see The Play in Full (Toh 95), 2.12, and for an account of Maitreya’s birth in Tuṣita and a description of this realm, see The Sūtra on Maitreya’s Birth in the Heaven of Joy, (Toh 199).

g.105

Vairocana

rnam par snang mdzad
bai ro tsa na

རྣམ་པར་སྣང་མཛད།
བཻ་རོ་ཙ་ན།

vairocana

g.106

vajra family

rdo rje’i rigs

རྡོ་རྗེའི་རིགས།

vajrakula

g.111

vetiver

pu shel tse

པུ་ཤེལ་ཙེ།

uśīra

g.113

vīṇā

pi bang

པི་བང་།

vīṇā

g.118

Youthful Mañjuśrī

’jam dpal gzhon nu

འཇམ་དཔལ་གཞོན་ནུ།

mañjuśrīkumārabhūta

The Tantra on the Origin of All Rites of Tārā, Mother of All the Tathāgatas Deities

Toh 726

Imprint

Text Body

The Tantra on the Origin of All Rites of Tārā, Mother of All the Tathāgatas
Deities