Sarva Tathagata Tattva Samgraha: Compendium of All The Tathagatas

SARVA TATHAGATA TATTVA SAMGRAHA
COMPENDIUM OF ALL THE TATHAGATAS

A STUDY OF ITS
ORIGIN, STRUCTURE AND TEACHINGS
DO-KYUN KWON
THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

AT THE SCHOOL OF ORIENTAL AND AFRICAN STUDIES
UNIVERSITY OF LONDON
SCHOOL OF ORIENTAL AND AFRICAN STUDIES

LONDON, 2002
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Abstract
This thesis constitutes a study of the Sarva-tathagata-tcittva-samgraha, the

principal Buddhist tantra of the Yoga Tantra class. The thesis is based on the
original sources in Sanskrit, Tibetan, Chinese, Japanese and Korean. The text of
this tantra is preserved in the original Sanskrit, and in Tibetan and Chinese
translations. As for the commentaries, the thesis makes use of two commentaries
written by the Indian masters Anandagarbha and Sakyamitra, which are preserved
only in their Tibetan versions. In addition, the thesis incorporates the information
culled from the relevant works in Chinese by Amoghavajra and Donjaku, and
several Japanese and Korean works as indicated in the bibliography.
The Sarva-tathagata-tattva-samgraha is divided into five parts and twenty six
chapters. In conformity with this tantra's structure, the thesis is also divided in the
same way.
The thesis starts with a general introduction, and then proceeds step by step to
provide a textual study of the doctrinal, ritual, and other dimensions of the entire
tantra. In conformity with its structure, first there are provided expositions of each
part as a whole, and then there follow detailed studies of individual chapters
contained in each part. In the case of individual chapters, first there is explained
their overall structure, then, whenever appropriate, there are given translated
excerpts from the tantra, followed by an integrated interpretation of their doctrinal
and other aspects in the light of the commentaries. Since all chapters of this thesis
have similar structures, the overall presentation is somewhat repetitive. However,
this style reflects the structure of the tantra and its logical progression, and also the
style of its commentaries.
In terms of its teachings, the Sarvatathdgata-tattva-samgraha provides the
foundational exposition of the doctrines and practices of the Yoga Tantra. This
tantra class focuses predominately on meditation, visualisation of deities, and on
ritual activities performed in connection with mandalas. This tantra contains a
seminal treatment of the Yoga Tantra theories, but all such theories are not divulged
in an open and plain language, but are encoded in esoteric terminology, and cast in
visionary, meditational, and ritualised ways. The overall discourse is built around a
logically devised group of mandalas in connection with which the tantra explains
the meditational and ritual process leading to Buddhahood. According to this tantra,
Sakyamuni Buddha attained Buddhahood in the Akanistha abode, proclaimed the
Yoga Tantra on the summit of Mount Sumeru, and then returned to earth and re
enacted the state of enlightenment under the bodhi tree in Bodhgaya. His
enlightenment in the Akanistha and his proclamation of die Yoga Tantra on Sumeru
are recast in this tantra and revealed as a body of the Yoga Tantra teachings.
2
Contents
Abstract 2
Contents 3 -
List of Abbreviations 5
Bibliography 7
Introduction 13
1. Meaning of the title Sarvatathagatatattvasamgraha 13
2. Textual Classification of the Sarvatathagatatattvasamgraha 14
3. Sanskrit Version, Translations and Commentaries 17
4, Dates of the Texts 18
5. Origin of the Sarvatathagatatattvasamgraha 27
6. General Structure of the Sarvatathagatatattvasamgraha 32
7. Mandala derived from the Sarvatathagatatattvasamgraha 37
PART ONE
Mahayana Realisation of All the Tathagatas
Chapter 1. Vajradhatu Mahamandala 41
Chapter 2. Vajraguhya Vajramandala 96
Chapter 3. Vajrajnana Dharmamandala 107
Chapter 4. Vajrakarya Karmamandala 116
Chapter 5. Epilogue of Part One 124
A. Vajrasiddhi Caturmudramandala 124
B. Mahay anabhisamayamandala 131
PART TWO
Vajra-Pledge of All the Tathagatas
Chapter 6. Trilokavijaya Mahamandala 139
Chapter 7. Krodhaguhya Mudramandala 159
Chapter 8. Vajrakula Dharmajnanasamayamandala 168
Chapter 9. Vajrakula Karmamandala 175
Chapter 10. Epilogue of the Trilokavijaya 181
3
A. Trilokavijaya Caturmudramandala 181
B. Vajrahumkara Mandala 185
Chapter 11. Trilokacakra Mahamandala 189
Chapter 12. Sarvavajrakula Vajramandala 198
Chapter 13. Sarvavajrakula Dharmasamayamandala 201
Chapter 14-a. Sarvavajrakula Karmamandala 205
Chapter 14-b. Epilogue of the Trilokacakra 210
PART THREE
Dharma-Pledge of All the Tathagatas
Chapter 15. Sakalajagadvinaya Mahamandala 213
Chapter 16. Padmaguhya Mudramandala 225
Chapter 17. (Padmakula) Jnanamandala 232
Chapter 18-a. (Padmakula) Karmamandala 237
Chapter 18-b. Epilogue of Part Three 242
A. Padmakula Caturmudramandala 242
B. Sarvajagadvinaya Mandala 244
PART FOUR
Karma-Pledge of All the Tathagatas
Chapter 19. Sarvarthasiddhi Mahamandala 249
Chapter 20. Ratnaguhya Mudramandala 257
Chapter 21. (Manikula) Jnanamandala 264
Chapter 22-a. (Manikula) Karmamandala 269
Chapter 22-b. Epilogue of Part Four 272
A. Manikula Caturmudramandala 272
B. Sarvarthasiddhi Mandala 274
PART FIVE
Tantra, Uttaratantra and Anuttaratantra of the Mahayana Sutra
Called the Compendium of Truth of All Hie Tathagatas
Chapter 23. Upayasiddhitantra 279
Chapter 24, Guhyatantra 288
Chapter 25. Guhyottaratantra 294
Chapter 26-a. Anuttaratantra 299
Chapter 26-b. Epilogue 305
Appendix I 307
4
Abbreviations
BHS Buddhist Hybrid Sanslcrit Grammar and Dictionary, Franklin

Edgerton, 1953, (rp. Kyoto, 1985).
Cl. or Chinese 1 Jin-gang-ding-i-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-
da-jiao-wang-jing, Chinese translation of the STTS (chapter 1)
by Amoghavajra, (TSD. Vol. 18, No. 865, pp. 207-223-2-21).
C2. or Chinese 2 Fo-shuo-i-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-san-
mei-da-jiao-wang-jing, complete Chinese translation of the
STTS by Danapala, (TSD. Vol. 18, No. 882, pp. 341-445-2-
10).
DoC A Dictionary o f Chinese Buddhist Terms, compiled by William
Edward Soothill and Lewis Hodons, 1934, (rp. Taipei, 1975).
Kosalalamkdra Kosaldlamkdra-tattva-samgraha-tikd, originally written in
Sanskrit by Sakyamitra, Tibetan translation by Dharmasribhadra
and Rin-chen-bzang-po, (TTP. No. 3326, Vol. 70, pp. 190-305
& Vol. 71, pp. 2-94-2-6).
MW Sanslcrit-English Dictionary, Sir Monier Monier-Williams,
1899, (rp. Oxford, 1988).
OEAVS Outline o f Eighteen Assemblies o f the Vajrasekhara Sutra
(Chinese Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi-gui), Chinese
translation by Amoghavajra, (TSD. Vol. 18, No. 869, pp. 284-
3-9-287-3-14).
Recitation-sutra Recitation-sutra abridgedfrom the Vajrasekhara-yoga (Chinese
Jin-gang-ding-yu-qie-zhong-liie-chu-nian-song-jing), (TSD.
Vol. 18, No. 866, pp. 223-2-22-253-3-10).
S. or Sanskrit Yamada Isshi's edition o f the STTS.
STTS Sarva-Tathagata-Tattva-Samgraha Ndma Mahayana-Sutra.
T. or Tibetan Tibetan translation o f the STTS, by Sraddhalcaravarman and
Rin-chen-bzang-po, (TTP. Vol. 4, No. 112, pp. 218-283).
Tattvaloka Sarva-tathagata-tattvasamgraha-mahaydndbhisamaya-ndma-
tantra-vydkhya-tattvdlokakan-nama, originally written in
Sanslcrit by Anandagarbha, Tibetan translation by Thugs-rje-
5
chen-po and Thags-pa-shes-rab, (TTP. No. 3333, Vol. 71, pp.
134-301 & Vol. 72, pp. 2-152).
TTP, Tibetan Tripitaka Peking Edition, (D.T. Suzuki).
TSD. Taisho Shinshu Daizolzyd Edition o f the Chinese Buddhist
Canon, (J. Takakusu & K. Watanabe).
6
Bibliography
Sanskrit Sources
Chandra, Lokesh: Sarva-Tathdgata-Tattva-Sangraha, Sanskrit Devanagari edition
with introduction and illustrations of mandalas, Delhi, 1987.
Snellgrove, David L. and Chandra, Lokesh: Sarva-Tathdgata-Tattva-Sangraha,
facsimile reproduction of a tenth century Sanskrit manuscript from Nepal,
Sata-Pitaka series, Vol. 269, Delhi, 1981. This contains the introduction
written by David Snellgrove.
Yamada Isshi (ed.): Sarva-Tathagata-Tattva-Sahgraha Ndma Mahayana-Sutra, a
critical edition based on a Sanskrit manuscript and Chinese and Tibetan
translations, Sata-Pitaka series, Vol. 262, New Delhi, 1981.
Tibetan Sources
Anandagarbha: Sarva-tathdgata-tattva-samgraha-mahdydndbhisamaya-nama-
tantra-vydkhyd-tattvalokakan-nama, the Sanskrit original is missing,
Tibetan translation by Thugs-ije-chen-po and Thags-pa-shes-rab, (TTP.
No. 3333, Vol. 71, pp. 134-301 & Vol. 72, pp. 2-152).
Buddhaguhya: Tantrdrthavatara, the Sanskrit original is missing, Tibetan
translation by ’Jam-dpal-go-cha, (TTP. Vol. 70, No. 3324, pp. 34-73-4-7).
Sakyamitra: Kosalalamkara-tattva-samgraha-tlka, the Sanskrit original is missing,
Tibetan translation by Dharmasribhadra and Rin-chen-bzang-po, (TTP. No.
3326, Vol. 70, pp. 190-305 & Vol. 71, pp. 2-94-2-6).
Sraddhakaravarman and Rin-chen-bzang-po (trs.): De-bzhin-gshegs-pa thams-cad-
J<yi de-kho-na-nyid bsdus-pa zhes-bya-ba theg-pa chen-po ’i mdo, Tibetan
translation of the STTS, (TTP. Vol. 4, No. 112, pp. 218-283).
Chinese Sources
Amoghavajra (Chinese Bu-kong) (trs.): Dou-bu-tuo-luo-ni-mu, this text contains
some information of the STTS, (TSD, Vol. 18, No. 903, pp. 898-3-1-900-
1-19).
--------- (trs.): Jin-gang-ding-yi-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-da-
jiao-wang-jing, Chinese translation of the STTS (chapter 1), (TSD. Vol. 18,
No. 865, pp. 207-223-2-21).
(trs.): Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi-gui, this text provides the
outline of the structure of the STTS, (TSD. Vol. 18, No. 869, pp. 284-3-
9-287-3-14).
(trs.): Jin-gang-ding-yu-qie-hu-mo-yi-gui, this text focuses on the homa
rites relevant to the STTS, (TSD. Vol. 18, No. 908, pp. 916-920-2-16; No.
909, pp. 920-2-17-924-3-9).
— (trs.): Jin-gang-ding-yu-qie-liie-shu-san-shi-qi-zun-xin-yao, this text
contains the same joyful utterances (udanas) of the thirty-seven deities of
the Vajradhdtu-mandala as the STTS, (TSD. Vol. 18, No. 871, pp. 291-3-
18-297-3-7).
(trs.): Jin-gang-ding-yu-qie-san-shi-qi-zun-chu-sheng-yi, this text provides
brief explanation about the origin of the thirty-seven deities of the
Vajradhdtu-mandala, (TSD. Vol. 18, No. 872, pp. 297-3-8-299-1-22).
--------- (trs.): Liie-shu-jin-gang-ding-yu-qie-fen-bie-sheng-wei-xiu-zheng-fa-men,
this text provides some information about the thirty-seven deities of the
Vajradhdtu-mandala, (TSD. Vol. 18, No. 870, pp. 288-2-1-291-3-17).
Danapala (Chinese Shi-hu) (trs.): Fo-shuo-yi-qie-ru-lai-zhen-shi-she-da-cheng-
xian-zheng-san-mei-da-jiao-wang-jing, complete Chinese translation of the
STTS, (TSD. Vol. 18, No. 882, pp. 341-445-2-10).
Donjaku (Chinese Tan-ji): Jin-gang-ding-da-jiao-wang-jing-si-ji, (TSD. Vol. 61,
No. 2225, pp. 117-371-1-28).
Ennin (Chinese Yuan-ren): Jin-gang-ding-da-jiao-wang-jing-shu, (TSD. Vol. 61,
No. 2223, pp. 7-2-23-114-2-6).
Kulcai (Chinese Kong-hai): Jin-gang-ding-jing-kai-ti, (TSD. Vol. 61, No. 2221, pp.
1-5-2-26).
: Jiao-wang-jing-kai-ti. (TSD. Vol. 61, No. 2222, pp. 5-3-1-7-2-22).
Vajrabodhi (Chinese Jin-gang-zhi) (trs.): Jin-gang-ding-yu-qie-zhong-liie-chu-
nian-song-jing, this text shows the earliest stage of the STTS, (TSD. Vol.
18, No. 866, pp. 223-2-22-253-3-10).
Other Chinese Sources

Da-le-jin-gang-bu-kong-zhen-shi-san-mei-ye-jing, this text was translated by
Amoghavajra, and is also called Li-qu-jing (Japanese Ri-shu-kyo) in
Japanese Shingon tradition, (TSD. Vol. 8, No. 243).
Dai-zong-chao-zeng-si-kong-da-ban-zheng-guang-zhi-san-zang-he-shang-biao-
zhi-ji, (TSD. Vol. 52, No. 2120) & Zhen-yuan-xin-ding-shi-jiao-mu-lu,
(TSD. Vol. 55, No. 2157), these two texts contain the historical records and
documents of Amoghavajra.
Jin-gang-ding-jing-da-yu-qie-mi-mi-xin-di-fa-men-yi-jue, this text contains some
information about the origin of the STTS, (TSD. Vol. 39, No. 1798).
Japanese Sources
Matsunaga Yukei: Mikl<yd no Reldshi (Study of Tantrism) Kyoto, Heiralcuji shoten,
1969.
Sawa Ryuken (ed.): Miklcyo Jiten (Dictionary of Tantrism), Kyoto, Japan, 1975.
Toganoo Shdun: Kongochokyo no Kenkyu (Study of the STTS), Toganoo Sh5un
Zenshu, Extra Vol. Ill, Rinsen shoten, KySto, 1985.
— : Mandara no kenkyu (Study of Mandala), Koyasan Daigaku, 1927.
Tsuda Shiniclii (trs.): Kongdchdgyo, Japanese translation of the Sanskrit STTS
(chapter 1), Tokyo, Japan, 1995.
Korean Sources
Heo 11-Bum and Kim Young-Deok (trs.): Dae-il-gyung (Mahdvairocana sutra)
and Keum-gang-jung-gyung (Amoghavajra's version of STTS), etc.,
translated into modem Korean from the Goryeo Tripitaka written in
classical Chinese, Dopg-guk University Press, Seoul, Korea, 1994,
Mandala Sources
bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II,
Kodansha Ltd., Kyoto, Japan, 1983.
Chandra, Lokesh: A Ninth Century Scroll o f the Vajradhdtu Mandala, Sata-Pitaka
series, Vol. 343, New Delhi, 1986, (rp. 1997). This book contains the
whole Gobushinkan and its counterpart of the Nine Assemblies Mandala,
both of which are reproduced from the Chinese Buddhist Canon.
Jin-gang-jie-jiu-hui-da-man-tu-luo (Great Mandala of the Nine Assemblies of the
Vajradhdtu), TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp.
887-1004.
Li-duo-seng-nie-luo-wu-bu-xin-guan (Meditation on the Five Families of the Rta-
samgraha), TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 73-148.
This is called Gobushinkan (Chinese Wu-bu-xin-guari) in Japan.
The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by
Council of Religious Affairs of His Holiness the Dalai Lama, Gyosei Ltd.,
Tokyo, Japan, 1982.
Secondary Sources
Astley-Kristensen, Ian: The Riskukyo, Buddhica Britannica series III, The Institute
of Buddhist Studies, Tring, U.K., 1991.
Bharati, Agehananda: The Tantric Tradition, London, 1965, (rp. London, 1992).
Bhattacharyya, Benoytosh: An Introduction to Buddhist Esoterism, Motilal
Banarsidass, 1931.
9
Bu-ston: History o f Buddhism, translated by E. Obermiller, Part I, (The Jewellery
of Scripture), Heidelberg, 1931, Part II, (The History of Buddhism in India
and Tibet), Heidelberg, 1932.
Cabezon, Jose Ignacio & Jackson, Roger R, (ed.): Tibetan Literature; Studies in
Genre, Snow Lion Publication, USA, 1996.
Chandra, Lokesh: Tibetan-Sanskrit Dictionary, New Delhi, 1959, (rp. Kyoto,
1982).
Chattopadhyaya, Alaka: Atisa and Tibet, Indian Studies, Past & Present, 1967, (rp.
Delhi, 1996).
Chou Yi-liang: “Tantrism in China”, Harvard Journal of Asiatic Studies, Vol. 8,
March 1945, pp. 241-332.
Das, Chandra S.: A Tibetan-English Dictionary with Sanskrit Synonyms, Calcutta,
1902, (rp. Kyoto, 1985).
Dasgupta, Shashi Bhushan: An Introduction to Tantric Buddhism, Shambhala,
Berkeley & London, 1974.
Dayal, Har: The Bodhisattva Doctrine in Buddhist Sanslcrit Literature, Delhi, 1932,
(ip. Delhi, 1978).
Dowman, Keith (trs. and com.): Masters of-Mahdmudrd; Songs and Histories o f
the Eighty-Four Buddhist Siddhas, State University of New York Press,
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Eliade, Mircea (ed.): The Encyclopaedia o f Religion, 16 vols., New York and
London, 1987.
: Yoga] Immortality and Freedom, translated from the French by Willard R.
Trask, 1958, New York, (rp. Princeton University Press, 1990).
Hirakawa Akira: “Buddhist Literature] Survey o f Texts”, The Encyclopaedia of
Religion (ed. Mircea Eliade), Vol. 2, pp. 504-529.
------ -: A Buddhist Chinese-Sansbit Dictionary, The Reiyukai, Tokyo, 1997.
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10
Roerich, George N. (trs.): The Blue Annals, Royal Asiatic Society of Bengal,
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Destinies), Delhi, Motilal Banarsidass, 1983.
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11
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12
Introduction
7. Meaning o f the title Sarvatathagatatattvasamgraha

The Sanskrit title of the text Sarva-tathagata-tattva-samgraha-ndma-mahaydna-
sutra is translated into English as Mahaydna Sutra Called the Compendium o f
Truth o f All the Tathagatas} Although labelled a Mahayana sutra, being based on
the philosophy of Mahayana Buddhism, especially the Yogacara school,2 the text is
included among the tantras because it contains a body of tantric theories and
practices. At the time of compilation the term tantra was not widely employed for
this category of texts. However, it is notable that out of the five parts of this text, the
term tantra is used only in the title of the fifth part. The Sanskrit title of the fifth part
is called Tantra, Uttara-tantra and Anuttara-tantra o f the Sarva-tathagata-tattva-
samgraha-ndma-mahdydina-sutra. In this part, the term tantra seems to clearly
imply that it stands for the practical and concrete ways of accomplishing the various
kinds of attainments (siddhi). In a literal sense both sutra and tantra mean ‘thread’
or ‘continuous line’. In the case of the tantra, the ‘continuous line’ is open to
various interpretations, either as the lineage of master-disciple, or the continuity of
vows and pledges in the practitioner's stream of consciousness, or the continuity of
practice leading to the ultimate goal.3 Apart from the doctrinal and practical
differences between the two categories of texts, sutras and tantras differ with
regard to the speaker, the audience and the locations for their teaching. Whereas the
historical Buddha Sakyamuni teaches the sutras to human beings at various
geographical locations, the celestial Buddha Vairocana teaches the tantras to
1. According to the Japanese commentator Kukai (774-835 CE), the term sarvatathagata has two
meanings, namely, exoteric and esoteric. In its exoteric meaning, it indicates all the Buddhas in
the ten directions and the three times, and in its esoteric meaning, it indicates only the Five
Buddhas and the corresponding Five Wisdoms, i.e. Vairocana and Pure-Absolute-Wisdom,
Aksobhya and Mirror-like-Wisdom, Ratnasambhava and Equality-Wisdom, Amitabha and
Discriminating-Wisdom, and Amoghasiddhi and Active-Wisdom. (TSD. Vol. 61, No. 2221,
pp. 2-3-22-3-1-18).
2. Japanese scholars assert that Mahcivairocana sutra accepts the teaching o f the Madhyamika
school as its basic doctrine, but the STTS accepts the teaching of the Yogacara school as its
basic doctrine.
3. Alex Wayman, “Buddhism; Esoteric Buddhism”, The Encyclopaedia o f Religion, Vol. 2, p.
472-482; Joseph M. Kitagawa and Mark D. Cummings (ed.), Buddhism and Asian History, p.
241.
In tr o d u c tio n
Buddhas, bodhisattvas and gods in a variety of celestial palaces or Pure Lands.

According to the text, The Compendium o f Truth o f All the Tathagatas was
promulgated in the abode of the king of the Akanistha gods by die Lord Sakyamuni
through his Sambhogakaya as Vairocana.
2. Textual Classification o f the Sarvatathagatatattvasamgraha
The Buddhist tantras broadly divide into four categories or classes, namely,
Kriya (action)-, Carya (performance)-, Yoga (meditation)- and Anuttarayoga
(supreme meditation)-tantras.4 Within these four classes, the STTS is classified as
the principal text of the Yoga-tantras. The Tibetan monk and scholar Mkhas-grub-
ije5 divides the Yoga-tantras into three groups, namely, the fundamental tantra, the
explanatory tantras and the tantras which conform to respective sections of the
fundamental tantra.6 Within this classification, the STTS constitutes the
fundamental tantra and the Vajrasekhara tantra serves as the explanatory tantra?
The above classifications into four tantra categories, the fundamental and
explanatory tantras, appertain to the Indo-Tibetan tradition. By contrast in China,
Korea and Japan, the STTS is traditionally regarded as an integral part of the
Vajrasekhara sutra % It is important to indicate at this point that the title
Vajrasekhara sutra implies a completely different text from the Vajrasekhara
tantra mentioned above. Apart from including the STTS as an integral part of the
Vajrasekhara sutra, in a limited sense, the Far Eastern Buddhist tradition also
4. This kind o f categorisation is well attested in Tibetan sources but ultimately it originated in
India and it has been widely accepted by scholars. The Tibetan historian, Bu-ston (1290-1364
CE) also employed this classification in compiling the Tibetan canon. The Kriyd-tantras treat c
outer worship and ceremonies such as the building of temples, the erection o f images of gods,
etc. The Caryd-tantras give instructions for cultic rituals. The Yoga-tantras deal with the
practice o f yoga. The Annuttarayoga-tantras teach higher mysticism, (Maurice Wintemitz,
History o f Indian Literature, Vol. II, p. 375).
In contrast, a complete Hindu Tantra should consist of four parts according to four main
themes: firstly, Jhdna (knowledge) which comprises actual philosophical doctrines, sometimes
with a monotheistic bias but sometimes leaning towards monism,, and also a ‘confused’
occultism including the ‘knowing’ o f the secret powers of the letters, syllables, formulas and
figures (mantrasastra & yantrasastra); secondly, Yoga (meditation & concentration) especially
with a view to acquiring magical powers, hence also ‘magic’ (maydyoga); thirdly, Kriya (action)
including instructions for the making o f idols and the construction and consecration of temples;
finally, Caryd (conduct), such as rules regarding rites and festivals, and social duties. Although
all these four branches are not treated in every single one of these works, they do all contain a
medley o f philosophy and occultism, mysticism, magic, ritual and ethics. (Maurice Wintemitz,
History o f Indian Literature, Vol. I, pp. 560-561).
5. Mlchas-grab-rje, Rgyud-sde-spyi’i-rnam-par-gzhag-pa-rgyas-par-brjod, translated into English
under the title o f Introduction to the Buddhist Tantric Systems by F.D. Lessing and A.
Wayman, The Hague, 1968.
6. Ibid., p. 215.
7. Ibid,, p. 25.
According to Nakamura Hajime, the original name o f the Vajrasekhara tantra is the
Vajrasekhara-mahaguhyayogatantra. He maintains that this tantra is the second or third
section o f the Vajrasekhara sutra and is the explanatory tantra of the first section of the
Vajrasekhara sutra. (Nakamura Hajime, Indian Buddhism, p. 323, footnote).
8. Chinese Jin-gang-ding-jing.
14
In tr o d u c tio n
considers the Vajrasekhara siitra identical to the STTS. According to the two texts
translated into Chinese by Amoghavajra, and known only in their Chinese versions,
namely, Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi~gui9 translated as Outline o f the
Eighteen Assemblies o f the Vajrasekhara Sutra (hereafter abbreviated OEA VS) and
Dou-bu-tuo-luo-nUmu translatable as Eye o f the Dharani o f All the Families,10 the
Vajrasekhara sutra in its original form consisted of one hundred thousand gathas
and eighteen assemblies preached in the different places of the Buddhist heavens.11
Out of the eighteen assemblies, the STTS forms the first and, as such, the most
important and fundamental assembly. An analysis of these two texts provided in the
following paragraphs reveals a whole range of complex and tangled problems
concerning the origin and content of the Vajrasekhara sutra and its relationship to
the STTS.
The OEAVS provides a detailed description of the STTS as the first assembly, but
sheds very little information on the remaining seventeen assemblies. When
comparing the description of the first assembly in the OEAVS and the Sanskrit
version of the STTS, it is evident that the STTS was in existence during the time of
Amoghavajra. However, since the Vajrasekhara siitra in its complete version
describing the eighteen assemblies is not available, and since we have only rather
brief descriptions of the remaining seventeen assemblies, it is difficult to assume
that those seventeen assemblies mentioned in the OEAVS have ever existed.
Moreover the actual existence of the Vajrasekhara siitra remains uncertain. Some
Japanese scholars accept and affirm its real existence in the same way as the
Prajndparamitd siitra and the Mahdvairocana sutra consist of one hundred
thousand gathas. Other scholars disagree and maintain that instead of accepting its
9. TSD. Vol. 18, No. 869, pp. 284-3-9-287-3-14.

The Chinese title o f this text is literally translated into English as Outline o f the Eighteen
Assemblies o f the Vajrasekhara-sutra-yoga. In abbreviating it to OEA VS, I have omitted the
word yoga (Chinese yu-qie) on purpose because the word yoga is problematic. The OEAVS text
reads Vajrasekhara-sutra-yoga, but its footnote reads Vajrasekhara-yoga-sutra. According to
the first reading, either siitra-yoga contrasts with the tantra-yoga because o f the difference in the
method o f practice, or the word yoga is used because the Vajrasekhara-sutra was completely
different from the Mahayana sutras. However, according to the reading in the footnotes, the title
refers to a kind o f sutra called Vajrasekhara-yoga.
10. TSD. Vol. 18, No. 903, pp. 898-3-1-900-1-19.
11. According to the Japanese commentator Donjaku (1674-1742 CE) in his commentary on
STTS, in the Sanskrit text, thirty-two syllables become one slolca. (TSD. Vol. 61, No. 2225,
p. 128-2-5-6). Lokesh Chandra also asserts in a footnote on the STTS that “One hundred
thousand gathas does not mean that the STTS is written in verses. It is a classical way of
counting the syllables in a text. One gdtha (slolca) is thirty-two syllables. Thus the STTS
should have about three million two hundred thousand syllables.” (Lokesh Chandra, Sarva-
Tathagata-Tattva-Sahgraha, Introduction, p. 26. There are two Sanskrit Devanagari editions
o f the STTS published by Lokesh Chandra under the same title. The first was reproduced in a
facsimile and published jointly by Lokesh Chandra and David Snellgrove in 1981 and the
second was published by Lokesh Chandra alone in 1987. The first one contains an
introduction written by David Snellgrove and the second one contains an introduction written
by Lokesh Chandra. In order to avoid confusion, whenever the introduction of David
Snellgrove is quoted, the name o f Lokesh Chandra is omitted in the reference.)
15
I n tr o d u c tio n
historical existence containing a systematised exposition of the eighteen assemblies,

the Vajrasekhara sutra should be regarded as a kind of tantric Buddhist legend.
Those scholars assume the existence of various kinds of STTS lineage texts, on the
grounds that in OEAVS they can only find evidence for three out of the eighteen
assemblies in the Chinese and Tibetan canons. These three assemblies have been
regarded as the first, sixth and fifteenth assemblies in the Japanese tradition.12
According to the OEAVS, the first assembly is called STTS, the sixth is called
Truth-Yoga o f the Pledge o f Unceasing-Great-Joy (maha-sukha-amogha-samaya-
tattva-yoga) and the fifteenth is called Yoga o f the Secret Assembly (guhya-samaja-
yoga). Even though the sixth assembly appears to correspond with the text called
Li-qu-jing13 and although the fifteenth assembly has been regarded as
corresponding to the Guhyasamdja tantra,14 except for the first assembly, it cannot
be asserted that the other two assemblies have ever existed as fully developed texts
at the time of Amoghavajra, and the brief explanations concerning these two
assemblies as given in the OEAVS are not adequate to confirm their existence. The
original author of the OEAVS remains unknown, and only the name of
Amoghavajra is recorded as its translator. Two possible explanations relate to the
original author. Firstly, this text may have been composed or directly transmitted in
Sanskrit to Amoghavajra by his teacher Nagabodhi. Secondly, it may have been
compiled or composed in Sanskrit by Amoghavajra himself as an analysis or a
short essay on the STTS lineage texts which were in circulation at that time. This
possibility is based on the fact that there exists neither an original Sanskrit version
of the OEAVS, nor any Tibetan translation. As far as it is known, there is no Tibetan
text which mentions the Vajrasekhara sutra or the eighteen assemblies.
The second text, called Dou-bu-tuo-luo-ni-mu, consists of extracts from six
tantric texts, namely, the Vajrasekhara sutra, Mahdvairocana sutra, Susiddhi
sutra, Guhya-(tantra) siitra, Subdhupariprccha siitra and Trisamaya siitra. In
terms of the Vajrasekhara sutra, this text briefly explains only two assemblies out
of the eighteen assemblies, namely, the first assembly (STTS) and the third
assembly. The contents of both assemblies are mostly based on the OEAVS.
12. Some Japanese scholars have tried to find the existence of the other fifteen assemblies in the
Chinese and Tibetan canons. They believe that the 1st, 2nd, 3rd, 4th, 6th, 7th, 8th, 13 th,
15th and 16th assemblies are identifiable. For further details, see Matsunaga Yukei, Miklyd
no Rekishi, pp. 64-65 and its footnote; pp. 71-72.
13. The Far Eastern tantric tradition regards the sixth assembly as Li-qu-jing (Japanese Ri-shu-
Icyo), and when Li-qu-jing is mentioned in the Japanese Shingon tradition, it indicates a text
called Da-le-jin-gang-bu-kang-zhen-shi-san-mei-ye-jing translated by Amoghavajra. (TSD.
. Vol. 8, No. 243, pp. 784-1-786-2). Including this Chinese translation by Amoghavajra, there
are ten versions, one in Sanskrit, six in Chinese and three in Tibetan. Regarding Li-qu-jing,
see Ian Astley-Kristensen, The Rishulcyo, The Institute o f Buddhist Studies, 1991.
14. Versions o f the Guhyasamdja tantra exist in Sanskrit, Chinese and Tibetan. The Chinese
version was translated by Danapala in 1002 CE under the title of Fo-shuo-i-qie-ru-lai-jin-
gang-san-ye-zui-shang-mi-mi-da-jiao-wang-jing. (TSD. Vol. 18, No. 885, pp. 469-3-12-511-
2-18).
16
In tr o d u c tio n
Consequently, this text, like the first text, does not provide a positive proof for the
existence of the Vajrasekhara sutra and the eighteen assemblies.
3. Sanslcrit Version, Translations and Commentaries
The one and only extant Sanskrit manuscript of the STTS is preserved in the
National Archives in Kathmandu. This manuscript has been reproduced in a
Romanized version by Yamada Isshi and forms the basis of the present study.
Two major translations of the STTS are found in the Chinese canon. One is a
complete translation of the whole text made by Danapala (Chinese Shi-hu) called
Fo-shuo-yi-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-san-mei-da-jiao-wang-
jin g j5 which translated into English is The Sutra called the King o f the Great
Ordinance o f the Perfect Comprehension o f the Mahaydna, the Compendium of
Truth o f All the Tathagatas Preached by the Buddha, and reconstructed into
Sanskrit is Buddha-bhdsita-sarva-tathagata-tattva-samgraha-mahdydna-
abhisamaya-mahdkalpa-raja-sutra. The second Chinese translation by
Amoghavajra (Chinese Bu-kong) is earlier but incomplete, containing only chapter 1
which amounts to one fifth of die whole text, entitled Jin-gang-ding-yi-qie-ru-lai-
zhen-shi-she-da-cheng-xian-zheng-da-jiao-wang-jing,16 which translated into
English is The Sutra called the King o f the Great Ordinance o f the Perfect
Comprehension o f the Mahayana, the Compendium o f Truth o f All the Tathagatas
o f the Vajra-peak, and its Sanskrit reconstruction Vajra-sekhara-sarva-tathdgata-
tattva-samgraha-mahdydna-abhisamaya-mahdkalpa-raja-sutra.
There is one complete Tibetan version translated from Sanskrit by
Sraddhakaravarman and Rin-chen-bzang-po called De-bzhin-gshegs-pa thams-cad-
Icyi de-kho-na-nyid bsdus-pa zhes-bya-ba theg-pa chen-po 7 mdo.xl
Mkhas-grub-ije maintains that there are three primary commentaries on the STTS
written by Buddhaguhya, Sakyamitra and Anandagarbha,18 all of whom were well
known tantric masters in India. These three commentaries were originally written in
Sanskrit, but unfortunately none of the original Sanskrit versions survived. At
present they exist only in Tibetan translations preserved in the Tibetan canon. There
are no Chinese translations of these commentaries. Buddhaguhya’s commentary
called Tantrdrthavatdra was translated into Tibetan by ’Jam-dpal-go-cha under the
title of Rgyud-kyi don-la jug-paP Sakyamitra's commentary called
Kosalalamkara-tattva-samgraha-tikd was translated by Dharmasribhadra and Rin-
chen-bzang-po under the tide of De-kho-na-nyid bsdus-pa’i rgya-cher bshad-pa
ko-sa-la 7 rgyanP Anandagarbha's commentary called Sarva-tathagata-
15. TSD. Vol. 18, No. 882, pp. 341-445-2-10.

16. TSD. Vol. 18, No. 865, pp. 207-223-2-21.
17. TTP. Vol. 4, No. 112, pp. 218-283.
18. F.D. Lessing and Alex Wayraan (trs.), Introduction to the Buddhist Tantric Systems, p. 25.
19_ XTP V ol. 70i No. 3324, pp. 34-73-4-7.
20. TTP. No. 3326, Vol. 70 (pp. 190-305); Vol. 71 (pp. 2-94-2-6).
17
Introduction
tattvasamgraha-mahdydndbhisamaya-ndma-tantra-vydkhya-tattvdlokakari-ndma
was translated by Thugs-qe-chen-po and Thags-pa-shes-rab under the title of De-
bzhin-gshegs-pa thams-cad-Icyi de-kho-na-nyid bsdus-pa theg-pa chen-po mngon-
par rtogs-pa zhes-bya-ba ’i rgyud-kyi bshad-pa de-kho-na-nyid snang-bar byed-pa
zhes-bya-ba.21 While Buddhaguhya's commentary provides a broad exposition of
the theories and practices of the STTS, Sakyamitra's and Anandagarbha's
commentaries are very extensive and explain in great detail the entire text of the
STTS. Furthermore, in the introduction to his commentary, Anandagarbha gives an
outline of the structure of the STTS.
4. Dates o f the Texts
As the tantras are considered as being ‘Buddha-Word (Buddhavacana)’, they do
not have human authors who could be dated, and since the actual dates of their
compilations are not given either, it is difficult to establish the time of'their
appearance in either oral or written forms. However, taking into account the
scattered pieces of information, it is possible to establish at least an approximate
date for the compilation of the STTS. The STTS itself contains no information about
its author or the date of its compilation, and it does not contain any other
information which could be helpful in establishing the exact date of its compilation.
Nakamura Hajime maintains that Nagabodhi of South India is the author of the
STTS, or if not, at least he is the one who completed it.22 His opinion is based on
stories relating to Vajrabodhi, which will be assessed in the next section.
The Sanslcrit manuscript of the STTS which Yamada Isshi reproduced in a
Romanized version was discovered and photographed by David Snellgrove and
John Brough in Kathmandu, Nepal, in 1956. Snellgrove discusses the date of this
Sanslcrit manuscript in his introduction to the facsimile reproduction of the STTSP
Snellgrove argues that the discovered bundle of Indian palm-leaves written in
Brahrni-scnpt had its origin in the 9th-10th century Bihar. However, this argument
is only based on the antiquity of the manuscript.
While the Sanskrit version is difficult to date, it is relatively easy to date the
Chinese translations of the STTS. When the Chinese translations of the STTS were
made, they were dedicated to the emperors by the translators, and they included the
names of the translators and the dates when the translations were made. Taking into
account such information, we can attempt to estimate the dates of the first Sanskrit
edition of the STTS. The Chinese translation of the entire text of the STTS was
completed by Danapala between 1012 CE and 1015 CE during the Bei-song
dynasty. Its contents can be regarded as being basically the same as the available
Sanskrit version. So far as the biography of Danapala is concerned, there are no
21. TTP. No. 3333, Vol. 71 (pp. 134-301); Vol. 72 (pp. 2-152).
22. Nakamura Hajime, Indian Buddhism, p. 324.
23. David Snellgrove, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, p. 5.
18
In tr o d u c tio n
detailed records, but according to some Chinese sources, he arrived in China from
northern India in 980 CE.24 If this is the case, then the Sanskrit version acquired by
Danapala was composed at some date before 980 CE. The earlier and incomplete
Chinese translation was completed by Amoghavajra (705-774 CE) in 753 CE
during the Tang dynasty. His translation is very similar to the present Sanskrit
version, but it contains only the first chapter, which is, however, the longest and
most important of all the chapters. According to his biography, Amoghavajra25 left
China in 741 CE, visited Ceylon and India, and then returned to China in 746 CE.
During his stay in Ceylon and India, he is said to have learned not only about the
doctrines and rituals of the STTS, but also to have collected five hundred Sanskrit
texts, including the STTS and its lineage texts. If we accept this information as
reliable, then we can assume that the Sanskrit version of the STTS which he
acquired had been already in existence before 741 CE. This, in turn, leads to the
question whether the existing Sanskrit version is actually Amoghavajra's original
work, the answer to which is found in two Chinese sources. Firstly, there is a
letter26 dedicated to the emperor by Amoghavajra just before his death, in which, he
writes
"... I travelled the five regions (of India)27 across the South Sea (of
China). There I learned and collected not only the Vajrasekhara-
yoga text consisting of one hundred thousand gathas, but also all
the (five) families' mantras and sutras and commentaries which
amounted approximately to five hundred thousand gathas. I hoped
to translate them all in order to repay your benefits. However,
without accomplishing my hope, I have suddenly arrived at the
end of my life. This is my regret....”
24. See Takeuchi, K., “On the Translation o f Sutras in the Song period and Appendix: A
Chronological Catalogue o f the Translations”, The Mikkyo Bunka, Vol. 113, 1975, pp.
27-53.
25. Amoghavajra (705-774 CE) was bom in a North Indian brahman family and his father died in
his childhood. At fifteen, he became the disciple of Vajrabodlii (671-741 CE), and travelled
with him to Srivijaya (Sumatra) and then on to China in 720 CE. He learned about
Buddhism, especially about tantric doctrines and rituals under the instruction of Vajrabodhi,
until Vajrabodhi’s death in 741 CE. After Vajrabodhi's death, he visited Sihhala (Ceylon) and
India as the late Master had once ordered him to do. He learned about the doctrines o f the
tantras o f the STTS lineage and the rituals o f the Mahdvairocana sutra from the acarya,
Nagabodhi (Samantabhadra) in Ceylon. Then, he returned to China with five hundred
Sanskrit sutras and commentaries in 746 CE. From that time until his death, he spent most
of his time translating and performing rites for members of the imperial family. After he had
translated the Sanskrit texts into Chinese, he presented them (77 sections and 101 volumes)
to the emperor in 771 CE. All of them were then included in the Chinese canon. (Chou Yi-
liang, “Tantrism in China”, Harvard Journal o f Asiatic Studies, Vol. 8, pp. 241-332;
Orzech, Charles D., “Amoghavajra”, The Encyclopaedia o f Religion, Vol. 1, pp. 238-239;
Sawa Ryuken (ed.), Mikkyo Jiten, p. 589).
26. See Zhen-yuan-xin-ding-shifiao-mu-lu, TSD. Vol. 55, No. 2157, p. 890-2-12-15; Dai-zong-
chao-zeng-si-kong-da-ban-zheng-guang-zhi-san-zang-he-shang-biao-zhi-ji, TSD. Vol. 52, No.
2120, p. 846-2-14-18.
27. According to the D oC (p. 116), the five regions of India indicate the north, south, east, west
and central regions o f India.
19
In tr o d u c t io n
According to this letter, the whole collection of the Vajrasekhara sutra including
the STTS might have already been in existence. However, so far no one has
discovered the Sanskrit version of the Vajrasekhara sutra consisting of one
hundred thousand gathas and the eighteen assemblies which Amoghavajra brought
back from India and Ceylon. Furthermore, talcing into account the evidence
provided in his letter which suggests that Amoghavajra did not translate the whole
Vajrasekhara siitra or die complete STTS as its first assembly from Sanslcrit into
Chinese, it is rather difficult to believe in or affirm the existence of the
Vajrasekhara siitra and the complete STTS. However, different kinds of the STTS
lineage texts may have existed when Amoghavajra visited India, which he collected.
Furthermore, as already mentioned above, there is the evidence of the OEA VS text.
The present Sanskrit version of the STTS consists of five parts, but the first
assembly as described in the OEAVS consists of four parts. The OEAVS28 reads:-
“The first assembly is called King o f the Ordinance o f the
Compendium o f Truth o f All the Tathagatas (Sarva-tathdgata-
tattva-samgraha-kalpa-raja). It comprises four main parts: the
first is called Vajra-sphere,29 the second is called Conquest o f the
Three Worlds,30 die third is called Conversion o f the Entire
World31 and the fourth is called Universal Success.”32
Relying on this evidence, Japanese scholars, such as Matsunaga Yukei,33 argue that
Amoghavajra brought to China the Sanskrit version of the STTS consisting of only
four parts, and that the fifth part was probably added later. A comparison of the
above titles with the titles in the Sanskrit version shows they are not the same. The
main titles of the first assembly in the OEA VS are based on the names of the maha~
mandalas of the first four parts, but the main titles of the present Sanskrit STTS are
based on the four families, namely, Tathagata, Vajra, Dharma and Karma.
However, the subtitles of both texts focusing on the mandalas are mostly the same.
The fifth part of the present Sanslcrit STTS containing no mandala explains the
secret methods of the various attainments (siddhi) corresponding to the four
families, i.e. Tathagata, Vajra, Padma and Marti (or Ratna). This may be one of
reasons that the OEAVS divides the STTS into four parts because it focuses on the
mandalas in its analysis of the STTS. This classification of the STTS based on
mandalas is also employed by the Tibetan commentator, Mlchas-grub-qe
(1385-1483 CE).34
28. TSD. Vol. 18, No. 869, p. 284-3-9-18.

29. Vajradhdtu-mandala is described in S. part one (pp. 3-152).
30. Trilokavijaya-mandala: S. part two (pp. 153-313).
31. Sakalajagadvinaya-mandala: S. part three (pp. 314-381).
32. Sarvarthasiddhi-mandala: S. part four (pp. 382-434).
33. Matsunaga Yukei, Miklcyo no ReJdshi, p. 67.
34. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, p. 217.
20
So far as the subject matter of the first four parts are concerned, from a
comparison of the first assembly with the present Sanskrit STTS, the descriptions of
the four parts in the OEAVS are mostly the same as the four parts in the Sanskrit
version except for the fifth part. However, there are some indications of the
existence of the fifth part in the first assembly of the OEA VS. The closing section of
the first assembly also includes a brief description which can be found in the fifth
part of the present Sanskrit STTS. The OEAVS35 reads
“Next, (the text) completely explains the recitations of the verses
about the secret-assistance-means (updya)36 of each mandala
mentioned previously. Then it unfolds the enlightenment of the
eight events of the Buddha's life as a Transformation-body
(nirmdna-kdya) of the Buddha Sakyamuni manifested in
Jambudvipa, All of these are the illusory transformations of the
Bodhisattva Samantabhadra. All the Tathagatas praise again
Vajrasattva with the one hundred and eight names. The first
assembly has thus been explained.”
The fifth part of the Sanskrit STTS consists of four chapters, namely, chs. 23, 24,
25, 26-a and 26-b. Only chapter 23 contains the term updya in its title. In chapters
23, 24 and 25, the STTS explains the methods of gaining the various attainments
t (siddhiy), the secret-attainments (guhya-siddhi) and the higher secret-attainments
(guhya-uttara-siddhi), which are connected with the four families or the four main
mandalas described in the first four parts of the STTS. In addition, these three
chapters are mostly composed in verse. Chapter 26-a of the STTS entitled Supreme
Tantra (anuttara-tantra) is composed in prose and verse and deals with the rituals
devised for the attainments. In this chapter, we find a fourfold verse dealing with
the upaya-siddhi,37 which can be regarded as the corresponding part of the above
statement made in the OEA VS.
As in the above statement of the OEAVS, chapter 26-b, serving as an epilogue,
describes the story of Sakyamuni's Enlightenment as follows:-
“The Buddha Sakyam uni having become enlightened, approached
his Seat of Enlightenment (bodhi-manda) under the Bodhi-tree
from the summit of Mount Sumeru.... Having subjugated the Evil
Ones (mara), he gained complete Enlightenment (anuttara-
samyak-sambodhi). He praised firyn-Yajrapani residing in his
heart with one hundred and eight names.... Then all the Tathagatas
praised the Mahabodhisattva Vajrapani with one voice.”38
35. TSD. Vol. 18, No. 869, p. 286-1-21-25.

36. David Snellgrove asserts: “The term updya was firstly employed as a pair together with the
term ‘wisdom’ (prajha) in Mahayana Buddhism. Then in Tantric Buddhism the dual concept
of ‘two-in-one ’ expressed as Wisdom/Means, Voidness/Compassion, Female/Male,
Lotus/ Vajra, was developed as the fundamental symbol and practice o f the Tantric-yoga.”
(David Snellgrove, Indo-Tibetan Buddhism, pp. 281-288).
37. S. pp. 533-8-534-7, T. p. 279-1-6-2-3, C2. p. 440-2-10-24.
3S. S. pp. 556-563, T. pp. 282-2-2-283-2-1, C2. pp. 444-1-13-445-2-1.
21
In tr o d u c tio n
According to Donjaku in his commentary on the STTS from the Chinese translation
(of Danapala) and the OEAVS, the first assembly (the STTS) explains in its
concluding passages the skilful means {updya) of the secret-attainments of all the
families. Furthermore, Donjaku explains the Enlightenment of the eight events of
the Buddha's life as a (transformation) body of the Buddha Sakyamuni manifested
in Jambudvipa as the illusory transformations of the Bodhisattva Samantabhadra.39
Taking into account the matters discussed above, the Sanslcrit version acquired by
Amoghavajra should be regarded as a foil version closely corresponding to the
present Sanslcrit STTS. Whenever there are some differences40 between them, they
can be explained such differences by assuming that the present Sanslcrit version has
been revised at some later period and that its fifth part was subsequently expanded.
Therefore, the first edition of the STTS which basically corresponds to the present
Sanskrit version was completed in the early eighth century CE.
In addition to the translated versions of Danapala and Amoghavajra, extant in the
Chinese canon is the oldest Chinese version by Vajrabodhi (Chinese Jin-gang-
zhi),Al which shows the earliest stage of the STTS. The Chinese title of this text Jin-
gang-ding-yu-qie-zhong-liie-chu-nian-song-jingf2 is translated into English as
Recitation-sutra abridged from the Vajrasekhara-yoga. This Recitation-sutra was
translated from the Sanskrit into Chinese in 723 CE. The Sanskrit version of
Vajrabodhi definitely existed before 720 CE because Vajrabodhi brought this
version of the text into China in 720 CE. The contents of Vajrabodhi's version may
be compared briefly with those of Amoghavajra, Danapala and the present Sanskrit
versions. The Recitation-sutra begins with the following salutation:-
“... I salute the One (Vairocana) whose Body, Speech and Mind
Vajra penetrated into the three realms, and who became the
sovereign and expounded the Vajradhdtu, and I also salute
39. TSD. Vol. 61, No. 2225, p. 124-1-20-23.

40. The few minor differences between the OEAVS and the STTS are found in the STTS chapters 6
and 9. All such differences have been indicated in the relevant chapters. See footnote no. 34
o f chapter 6 and introductory section o f chapter 9.
41. Vajrabodhi (671-741 CE) was bom into a South Indian brahman family. He became a monk
in Nalanda Monastery at the age of ten and studied the sabdavidya under Master Santijnana.
At the age o f fifteen, he went to West India, where he studied Dharmaldrti's sastra for four
years, and then returned to Nalanda where he studied the sutras, abhidharma and so on. He
was ftilly ordained at the age o f twenty. Again he went to West India to study the Hinayana
treatises and the doctrine of yoga, ‘The Three Mysteries’ and dharani. Leaving India, he
travelled to Ceylon and Srivijaya (Sumatra), where he was apparently taught a Vajrayana
tradition distinct from that taught at Nalanda. From Srivijaya, he sailed to China and arrived
at the capital o f the Tang dynasty in 720 CE. He was accompanied by his soon-to-be-famous
disciple Amoghavajra. From that time to his death, he spent most o f his time in ritual
activity, in translating texts and in the production of esoteric art. (Chou Yi-liang: “Tantrism
in China”, Harvard Journal o f Asiatic Studies, Vol. 8, pp. 241-332; Orzech, Charles D.,
“ Vajrabodhi", The Encyclopaedia o f Religion, Vol. 15, p. 181; Sawa Ryuken (ed.): Mildtyo
Jiten, p. 241).
42. TSD. Vol. 18, No. 866, pp. 223-2-22-253-3-10.
22
Aksobhya, Amitabha, Vajrasattva, Akasagarbha, Avalokitesvara

and Visvakarma.”43
However, the Sanskrit STTS begins with the standard introductory statement, “Thus
have I heard, at one time, the Lord was staying in the abode of the king of the
Akanistha gods.” Throughout the entire Recitation-sutra, there is no indication of
the name of the speaker explaining the doctrine. However, Vajrabodhi learned the
doctrine of the STTS from his master Nagabodhi, so this Recitation-sutra might
have been composed by Nagabodhi.44
After the opening salutations, the Recitation-sutra continues as follows:-
“I will briefly explain the doctrine of the Supreme Secret of the
Truth gathered by all the Tathagatas, which is derived from The
Ordinance-ldng o f Great Yoga o f the Vajrasekhara consisting of
one hundred thousand gathas, for the purpose of guiding the
yoga-practitioner towards accomplishing the method of yoga.”45
Taking into consideration the above statement we can assume that the Recitation-
sutra constitutes an abridged version of the full Vajrasekhara sutra consisting of
one hundred thousand gathas. However, the Recitation-sutra does not mention the
eighteen assemblies. The statement that the Vajrasekhara sutra consists of eighteen
assemblies was mentioned not by Vajrabodhi, but by Amoghavajra. Furthermore,
the Recitation-sutra contains the descriptions of the thirty-seven deities 46 These
descriptions can be regarded as being mostly the same as found in the Sanskrit
STTS. In addition to that, the Recitation-sutra contains the same mantras as the
Sanskrit STTS employed in ‘the five consecutive stages of perfect enlightenment’
(panca-abhisambodhi). However, there are some differences between these two
texts. While the Sanslcrit STTS describes the five abhisambodhis following a
systematic structure which consists of five mantras only and brief accompanying
explanations, the Recitation-sutra inserts some mantras and mudrds both between
the third and fourth mantras and between the fourth and fifth mantras. Thus the
Recitation-sutra contains a more elaborate procedure and additional mantras in
connection with the five abhisambodhis. Finally, the Recitation-sutra appears to be
a kind of tantric manual rather than a standard sutra because it does not describe
any historical background and focuses mainly on the detailed exposition of tantric
rituals such as the construction mandalas, the performance of consecrations, as well
43. Ibid., pp. 223-2-26-3-11.

45. TSD. Vol. 18, No. 866, pp. 223-3-12-14.
46. TSD. Vol. 18, No. 866, pp. 227-3-9-236-3-16. Cf. S. pp. 11-58, C l. pp. 208-2-9-216-1-9,
C2. pp. 342-2-29-351-2-14, T. pp. 220-3-3-228-4-6.
The thirty-seven deities include the five Tathagatas, i.e. Vairocana, Aksobhya,
Ratnasambhava, Amitabha (or Lokesvararaja) and Amoghasiddhi, the sixteen
Mahabodhisattvas, the four Paramitas, the four Internal Offerings, the four External Offerings
and the four Guardians. With regard to the descriptions of the five Tathagatas, they are not the
same in the Recitation-sutra and the STTS. The former gives a more detailed explanation, but
the explanations o f the other thirty-two deities are largely the same.
23
In tr o d u c tio n
as the execution of homa rites. Furthermore, it seems that it employs a direct

method of teaching person to person, master to pupil. Therefore, it is possible that
the full version of the STTS might have developed gradually from tantric manuals
such as the Recitation-siitra and that eventually it reached its present format as a
standard sutra. Taking into account the similarities in many parts between the
Recitation-sutra and the STTS, most Japanese scholars assert that the Sanskrit
version of the Recitation-sutra may have been the earlier version of Amoghavajra's
Sanslcrit version, and that it should be considered as the oldest alternative version of
the STTS. However, this does not mean that it can be regarded as the first version of
the present STTS.
With respect to the date of the Tibetan translation of the STTS, most scholars
argue that it was translated in the early eleventh century because one of its two
translators was Rin-chen-bzang-po, who lived between 958 CE and 1055 CE.
The possible dates of the present STTS depend on assumed dates of the Indian
commentaries. As mentioned above, there are three major commentators
Buddhaguhya, 6akyamitra and Anandagarbha, from whose dates the date of the
fully developed version of the STTS can be deduced. Although the fully-fledged
biographies of these three commentators are not available, certain texts provide
biographical information.
Concerning Buddhaguhya, there is a general agreement between scholars that he
was a famous tantric master active in the eighth century. According to the Tibetan
Lama Taranatha,47 Buddhaguhya48 lived during die period of the Indian king
Dharmapala (770-810 CE or 775-812 CE),49 a contemporary of the Tibetan king,
Khri-srong-lde-btsan, who ruled from 755 CE to 797 CE.50 King Khri-srong-lde-
47. Taranatha, History o f Buddhism in India, pp. 274-283.

rGya-gar-chos- ’byung (History o f Buddhism in India) written by the Tibetan Lama Taranatha
in 1608 CE gives some information about the lives of Buddhist masters in India, particularly
those relevant to Tibetan teaching lineages.
48. The contemporaries o f Buddhaguhya included the great logician Kalyanagupta, Haribhadra,
Sundaravyuha, Sagaramegha, Prabhakara, Purnavardhana, the great vajracdrya
Buddhajnanapada and his disciple Buddhasanti, and in Kashmir, the acarya Padmakaraghosa,
the logician Dharmakaradatta and Simhamukha, the expert in Vinaya. Buddhaguhya and
Buddhasanti were disciples o f the acarya Buddhajnanapada. (Taranatha, History o f Buddhism
in India, pp. 276-277).
49. The above dates given for Dharmapala are provided by David Seyfort Ruegg. In his opinion,
Dharmapala ruled for thirty-seven or forty years. (David Seyfort Ruegg, The Literature o f the
Madhyamaka School o f Philosophy in India, p. 101 and footnote). But Taranatha says that
Dharmapala ruled for sixty-four years. (Taranatha, History o f Buddhism in India, p. 274).
50. Alaka Chattopadhyaya maintains that concerning the reigning period of the Tibetan king Khri-
srong-lde-btsan, there is a difference between Tibetan and Chinese historians. ’Gos lo-tsa-ba
(1392-1481 CE) asserts that Khri-srong-lde-btsan ruled from 755 CE to 780 CE, then his
son, Mu-ne-btsan-po ruled from 780 CE to 797 CE, and then Ju-tse-btsan-po ruled from 797
CE to 804 CE. (George N. Roerich (trs,), The Blue Annals, pp. 51-52). However, according
to Chinese annals, Khri-sron-lde-btsan ruled from 755 CE to 797 CE, and then Mu-ne-btsan-
po ruled from 797 CE to 804 CE. (Alaka Chattopadhyaya, Atisa and Tibet, pp. 212-265).
24
btsan invited Buddhaguhya to Tibet, but Buddhaguhya declined the invitation.51

Thus, it would seem certain that Buddhaguhya lived in the late eighth century CE,
and that the complete STTS was composed before that time since Buddhaguhya
wrote a commentary on it. However, Buddhaguhya's commentary is relatively brief
and deals mainly with doctrines of the five abhisambodhis and the thirty-seven
deities. Furthermore, it does not comment on the text, sentence by sentence, like the
other two commentaries, nor does it refer to or speak about the whole text like
Anandagarbha. Therefore, it cannot be assumed with any degree of certainty that the
STTS existed in his time in the format in which it was available to the other
commentators and in which it is now known to us. Thus, it is necessary to seek and
establish the dates of Sakyamitra and Anandagarbha whose commentaries provide
detailed expositions of the teachings of the whole STTS. Unfortunately, the dates of
these two commentators are not fixed and remain open to conjecture. Scholars have
different opinions regarding Sakyamitra and Anandagarbha. Alex Wayman
suggests that both Sakyamitra and Anandagarbha may be only tentatively placed in
the tenth century, just prior to the translation of their works into Tibetan.52 On the
other hand, there are scholars such as Matsunaga Yukei,53 who argue that all three
Indian commentators were contemporary masters of Yoga-Tantra schools in the
eighth century. Similar dates and explanations are given in the Mikkyo Jiten (p. 11).
This source also maintains that Anandagarbha was contemporary with
Buddhaguhya and Sakyamitra, and that all three of them lived in the eighth century.
According to the Tibetan historian Taranatha, there were two Sakyamitras. The first
Sakyamitra is said to have been a disciple of the acarya Nagaijuna,54 but no
concrete information is available about his life.55 The second Sakyamitra is the one
who wrote a commentary on the STTS. He lived during the reign of the Indian king
Devapala, and was a disciple of the acarya Sakyaprabha. According to Taranatha,
since Sakyamitra composed his commentary on the STTS in Kosala, he called it
Kosaldlamkdra. In the latter part of his life, he went to Kashmir and intensively
worked for the welfare of the living beings.56 Thus, in order to calculate the dates of
Sakyamitra, we need to establish the dates of the Indian king Devapala and of the
acarya Salcyaprabha. Taranatha says that king Devapala ruled for forty-eight years,
his son Rasapala ruled for twelve years, and Rasapala's son was Dharmapala
51. Taranatha, H istoiy o f Buddhism in India, p. 282.

52. F.D. Lessing and Alex Wayman (trs.), Introduction tothe BuddhistTantric Systems, pp.
24~25, footnote.
53. Matsunaga Yukei, Mikityo no Rekishi, p 68.
54. ’Gos lo-tsa-ba also gives the same information about Sakyamitra as adisciple o f Nagarjuna.
He mentions that the acarya Nagarjuna, who was adisciple of Saraha, had four chief
disciples, namely, Sakyamitra, Aryadeva, Nagabodhi and Candrakirti. (George N. Roerich
(trs.), The Blue Annals, pp. 359-360).
55. Taranatha, History o f Buddhism in India, p. 128.
56. Ibid., pp. 268-270.
25
In tr o d u c tio n
(770-810 CE or 775-812 CE) who ruled for sixty-four years.57 The acarya
Salcyaprabha lived during the time of Gopala who ruled prior to Devapala. In the
light of this information, Sakyamitra probably lived between the late seventh and
early eighth centimes. However, the veracity of Taranatha's chronology is
undermined by Bu-ston who states in his history that Devapala was the grandson of
Dharmapala and the father of Mahipala.58 Maurice Wintemitz states that Sakyamitra
is mentioned by Taranatha as a contemporary of Devapala of Bengal (about 850
CE).59 Keith Dowman also mentions that King Devapala ruled between 810 CE
and 840 CE.60 On the basis of this evidence, Sakyamitra was active in the middle of
the ninth century.
Concerning the dates of Anandagarbha, Toganoo Shoun61 argues that he lived in
the tenth century and wrote two commentaries on the STTS, the Tattvdloka, as
already mentioned above, and tire Vajradhatu-mahdmandalopdyikd,62 which
describes the rites that deal with the worship and consecration of the Vajradhdtu-
mandala. However, Taranatha claims Anandagarbha lived during the reign of
Mahipala who died in the same year as the Tibetan king Ral-pa-can (814-836 CE or
817-836 CE).63 Anandagarbha, therefore, belongs to the early ninth century. From
the above pieces of information about the dates of Sakyamitra mid Anandagarbha, it
is evident that there is no agreement between the available sources and scholars.
However, it seems reasonable to assume that both Sakyamitra and Anandagarbha
lived in the early ninth century because their commentaries cover the whole of the
STTS and are fully-fledged compositions, and are probably later than
Buddhaguhya's commentary. An additional argument is that when comparing the
commentaries of Sakyamitra and Anandagarbha, the latter was composed on the
basis of Sakyamitra's commentary.
Vajrabodhi's version of the STTS, which belongs to the late seventh century,
appears incomplete and Amoghavajra's version, which belongs to the middle of the
eighth century, is no more than the first compilation of the STTS. In addition,
Amoghavajra never mentions the three Indian commentaries by Buddhaguhya,
Sakyamitra and Anandagarbha, which were not translated into Chinese. There is a
57. Ibid., pp. 271-274.

5S. Ibid., p. 266, footnote; Bu-ston, History o f Buddhism, Part II, pp. 156-158.
59. Maurice Wintemitz, History o f Indian Literature, Vol. II, p 382.
60. Keith Dowman, Masters o f Mahamudrd, p. 50.
6h Toganoo Shoun, Kongocholcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 11—13.
62. TTP. Vol. 74, No. 3339, pp. 2-25-2-8.
63. Taranatha, History o f Buddhism in India, pp. 284-287.
According to Taranatha, Masuraksita, a son-in-law of king Dharmapala, ruled for about eight
years, Vanapala, a son o f king Dharmapala, ruled for about ten years, and Mahipala, the son
o f king Vanapala, ruled for fifty-two years. The time of the death of this king was the same as
that o f the Tibetan king Khri-ral (Ral-pa-can). The Tibetan king Ral-pa-can, from 814 CE to
836 CE according to ’Gos lo-tsa-ba, (George N. Roerich (trs.), The Blue Annals, pp. 52-53),
but in the Chinese annals he ruled from 817 CE to 836 CE. (Alaka Chattopadhyaya, Atisa
and Tibet, pp. 250-265).
26
possibility that there existed different persons who had the same names or that the
commentaries were composed by the disciples of the commentators under the
names of their masters.
5. Origin o f the Sarvatathagatatattvasamgraha
Just as the Prajhapdramita sutras are said to have consisted of one hundred
thousand gathas, similar legends regarding die STTS appear in the Chinese canon.
The account which describes the origin of the STTS is given in a text called Jin-
gang-ding-jing~da-yu-qie-mi-mi-xin-di-fa-men-yi-jue,64 translated into English as
Secret o f the Meaning o f the Doctrine o f the Esoteric Mind o f the Great Yoga o f
the Vajrasekhara sutra. The introductory paragraph of this text reads
"The Vajrasekhara sutra has an extensive version consisting of
one hundred thousand gathas. I65 (maybe Amoghavajra) have
never heard of it, and since it encapsulates aspects of the very
profound and esoteric phenomenal world of all the Buddhas and
Mahabodhisattvas, the Sravakas, Pratyekabuddhas, gods and men
cannot hear or understand it with their humble knowledge. The
two volumes of the Brahmajala sutra which originated from this
sutra contain only the most simple aspects (of the Vajrasekhara
sutra). The profound aspect (of the Vajrasekhara sutra) is
basically too difficult (for me) to understand. The abridged yoga-
text (of the Vajrasekhara sutra) was explained and handed down
by someone who was initiated in India, but its extensive version
was not transmitted. The version in one hundred thousand gathas
is the second short text in the Bodhisattva-pitaka. According to the
acarya (maybe Vajrabodhi), the large collection of the
Vajrasekhara sutra, whose size was as wide and as long as a bed
and whose thickness was approximately fifteen metres, contained
countless gathas. For several hundred years after the death of the
Buddha, it was preserved inside an iron stupa in Southern India,
which nobody could open due to it being sealed behind an iron
gate and locked with an iron key. However, when the influence of
64. TSD. Vol. 39, No. 1798, pp. 808-821.

65. The real author of this text will never be known. In its introductory part, an important word is
used, that is, the acarya (maybe Vajrabodhi), which may be closely related to the author of
the text. Toganoo Shoun (Kongochdkyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. m ,
pp. 3~4) maintains that Vajrabodhi translated this text (from Sanskrit into Chinese), and that
Amoghavajra wrote it down. In contrast, although the tradition (since Kukai) attributes the
dictation o f this text to Vajrabodhi and written down by Amoghavajra, Matsunaga Yukei
(Mikkyo no Reldshi, p. 65) asserts that it might have been composed by somebody else at a
later period because there is no mention o f this text in the biography o f Amoghavajra or other
related texts. One sentence in the introductory paragraph of the text states: “The abridged
yoga-text (o f the Vajrasekhara sutra) was explained and handed down by someone who was
initiated in India.” The author of the above text, therefore, could have been the master of
Vajrabodhi, i.e. Nagabodhi, and also that he could have been one o f the authors of the STTS.
Nakamura Hajime {Indian Buddhism, pp. 323-324) maintains that the STTS appeared in
South India later than the Mahdvairocana sutra and Nagabodhi of South India is said to be
its author or at least the one who completed it.
27
Buddhism declined in India, there lived a bhadanta.66 First of all,

this bhadanta recited the mantras of Mahavairocana, whereupon
the Buddha Vairocana appeared to him, manifested in his Body
and in many of his Bodies. Then, in the sky (Vairocana) explained
die doctrines and verses of this (Vajrasekhara sutra). Next,
(Vairocana) induced the bhadanta to write them down. As soon as
they were completely written down, Vairocana disappeared.
(These doctrines and verses) formed a single volume which
became known as ‘The Secret of the Recitation-Method of
Vairocana’. Through reciting the mantras, the bhadanta hoped to
open the stupa. He circumambulated the stupa for seven days
while reciting mantras. Then, he knocked at the gate of the stupa
with seven white mustard seeds, and at last it opened. However,
all the guardians inside the stupa were furious and prevented him
from entering it. He glanced inside the stupa, which was filled
with brightly lit lamps and contained various flowers, jewels and
gems. He also heard sounds of praise for this sutra-king. It was
then that the bhadanta sincerely repented for his sins and made a
great vow (to save all living beings). It was only then that he was
allowed to enter into the stupa. As soon as he entered, the stupa
closed. Although it seemed to him that he was there for a short
time, he spent several days and nights in the stupa praising an
extensive version (Vajrasekhara sutra consisting of one hundred
thousand gathas) of this sutraAdng wholeheartedly. He also
obtained teachings from all the Buddhas and Boddhisattvas, and
made an effort to memorise them all in order not to forget them.
As soon as the bhadanta came out from the stupa, the gate was
locked as before. He then wrote down all the teachings from
memory and they amounted to one hundred thousand gathas. This
siitra became named Vajrasekhara sutra, but the large collection
(consisting of countless gathas) inside the stupa which contained
the Bodhisattva-/?zta/ca became inaccessible to the world again,
although the brightness of the lamps inside the stupa has persisted
up until the present time.”67
66. According to the M W (p. 745), the Sanskrit term bhadanta is a term o f respect applied to a
Buddhist or a Buddhist mendicant. The BHS (p. 405) translates it as a venerable or reverend
person. According to the D oC (p. 88), it is translated as ‘Da-de’ in Chinese, which literally
means most virtuous and it is also used either as a title of honour for a Buddha or a title
applied to monks in the Vinaya.
67. TSD. Vol. 39, No. 1798, p. 808-1-17-2-14.
Based upon the above story and Vajrabodhi's story, the Japanese commentator, Donjaku,
states: “There were three versions of the Vajrasekhara sutra inside the iron stupa. The first
version was the large collection o f the Vajrasekhara siitra, containing countless gathas,
whose size was as wide and as long as a bed and whose thickness was approximately fifteen
metres; the second was the extensive version consisting o f one hundred thousand gathas
which was memorised and written down by a bhadanta', the third was an abridged version
consisting o f four thousand gathas which was brought into China by Vajrabodhi.” (TSD.
Vol. 61, No. 2225, pp. 123-2-13-124-1-5).
28
In tr o d u c tio n
The above legend provides two pieces of useful information. Firstly, the majority of
Japanese scholars argue that the STTS, which is regarded as a part of the
Vajrasekhara sutra, originated in Southern India. In addition, the commentator
Sakyamitra is said to have also learned the doctrines of the STTS at Konkana and
Sahya in Southern India.68 Thus, Southern India might have been die place where
the STTS originated and where there was a teaching centre which propagated the
doctrine of the STTS. Secondly, the Sanskrit term bhadanta (Chinese Da-de) is a
general term of respect which is given to honoured Buddhist mendicants and not a
proper name. According to the commentary of Donjaku,69 Vajrabodhi states: “After
the death of the Buddha, there was one bhadanta called Nagarjuna.70 He received
According to Adrian Snodgrass in The Matrix and Diamond World Mandalas in Shingon
Buddhism (pp. 111~113), based upon modem Japanese scholarly works such as Toganoo
Shoun's Mandara no kenkyu, there are several interpretations of the above legend in Japan.
According to Snodgrass, "Some Shingon scholars take the story literally and identify the iron
stupa with some actual Southern Indian stupa such as Amaravati, or they interpret it as an
illusion created by the divine powers o f Mahavairocana. A more traditional view sees the
story as an expression in symbolic form of the descending stages in the revelation of
Awakening. Mahavairocana personifies perfected Buddhahood as it abides immutable,
absolute, unconditioned and self-contained within its own nature in the Diamond World
( Vajra-dhatu). The stupa, as the samaya-form of Mahavairocana, equates to his Dharma
Body; it embodies the Awakening that is innate within the mind of living beings. The
bhadanta's entry into the iron stupa is the realisation of this innate Bodhicitta (Thought of
Enlightenment); it is the revelation o f his fundamental and inherent Buddha-Nature. The gate
o f the stupa represents the obstacles of ignorance, delusion and passion that obstruct the
realisation o f one's innate Buddhahood. The bhadanta's circumambulation o f the stupa is a
performance o f meditational rituals. The seven white mustard seeds which he used to knock at
the gate o f the stupa are the seeds of the Bodhicitta which, cultivated by the practice o f ritual,
grow to perfected Buddhahood; his entry into the stupa is a merging with the Dharma Body
of the Tathagata, and his re-emergence from the stupa is his return to the state of
‘fundamental Awakening’, the state in which Awakening is once more innate within his
mind. According to a complementary interpretation, the bhadanta's entry into the iron stupa
refers to esoteric meditational practices, in which the sadhaka visualises a symbol (in this
case the stupa) and draws it into his mind, where he merges it with his body: i.e., he literally
incorporates the symbol. The bhadanta's entry into the iron stupa is a meditational
visualisation o f this order. The iron stupa is the stupa o f the Dharma World (Dhanna-
dhdtu), created as an illusion by the divine power of Mahavairocana and used by the
bhadanta as am object o f meditation in order to gain the Knowledge of the Universal Dharma
World. Having attained this Knowledge in samadhi, the bhadanta recorded it in the esoteric
sutras
6S. Matsunaga Yukei, Mikkyo no Reldshi, p 68.
69. TSD. Vol. 61, No. 2225, p. 126-2-12-15.
70. According to the available information in the STTS and the Prajhdparamitd sutras, both texts
were discovered by Nagarjuna. According to Taranatha {History o f Buddhism in India, p.
110), Nagarjuna lived for either five hundred and twenty-nine years or five hundred and
seventy-one years. However, modem scholars, such as David S. Ruegg {The Literature o f
the Madhyamaka School o f Philosophy in India, pp. 4-9; pp. 104-108), argue that there were
two Nagaijunas. The first was bom in South-Central India perhaps in the second century and
was the founder o f the Madhyamaka school which is closely related with the Prajhdparamitd
sutras and the Madhyamiltasastra text. The second was a tantric master, the arya Nagarjuna,
who lived in the seventh century. He probably composed the Bodhicitta-vivarana, the
commentary on the Guhyasamdja (the Tantratika) and the Pahcalcrama. Benoytosh
Bhattacharyya (An Introduction to Buddhist Esoterism, pp. 62-68) also asserts that the tantric
Nagarjuna (645 CE) was a disciple o f the early tantric master, Sahara (633 CE).
29
In tr o d u c tio n
the consecration and empowerment of Sattva, memorised the secret doctrine, and
then proclaimed it to all human beings.” We can also infer from the next story who
could have been regarded as the bhadanta.
“At the age of thirty-one (702 CE), Vajrabodhi went to Southern
India where he met Nagabodhi who was seven hundred years old
and a disciple of Nagarjuna. Although seven hundred years old,
Nagabodhi looked young. Vajrabodhi attended on Nagabodhi as
his master for seven years and learned from him the
Vajrasekharayoga sutra, the doctrine of Vairocana-dharanl, the
Mahay ana sutras and the five sciences (pahca-vidya). Then he
received the fivefold consecration (panca-abhiseka)71 and could
understand completely all the esoteric doctrines of Buddhism.
After this, he returned to Central India.”72
Basing their studies on this story, scholars such as Nakamura Hajime73 and
Hirakawa Akira74 assert that the first version of the STTS was composed around
680-690 CE. This story has also generated a tradition among Japanese tantric
Buddhists that the doctrine of tantric Buddhism was transmitted from
Mahavairocana to Vajrasattva, and then in sequence through Nagaijuna to
Nagabodhi, Vajrabodhi, Amoghavajra and so forth. Following the Japanese tantric
tradition, we can assume that Nagaijuna, the master of Nagabodhi might in fact
have been the bhadanta mentioned in the above account. The Japanese commentator
Kukai also asserts that both the Vajrasekhara sutra (the STTS) and the
Mahavairocana sutra found or seen within the iron stupa were memorised and
written down by Nagarjuna.75 Donjaku also recognises it as a fact that Nagaijuna
opened the iron stupa, and was initiated by Vajrasattva personally while inside the
stupa 76 However, the Nagaijuna referred to by these scholars must be the second
tantric Nagaijuna who lived in the seventh century.
Concerning the age of Nagabodhi, there are two possibilities. The above text
reads
“At the age of thirty-one, Vajrabodhi went to Southern India,
where he met Nagabodhi who was seven hundred years old and a
disciple of Nagaijuna. Although Nagabodhi was seven hundred
years old, he looked young.”
7h The Sanskrit term pahca-abhiselca means consecrations of the five families of the Vajradhatu,
which consist of Buddha-, Vajra-, Padma-, Ratna- and Karma -families.
72. Zhen-yuan-xin-ding-shi-jiao-mu-lu. (TSD. Vol. 55, No. 2157, p. 875-2-9-14). This paragraph
was also translated into English by Chou Yi-liang. (“Tantrism in China”, Harvard Journal
o f Asiatic Studies, Vol. 8, Appendix F, pp. 313-314).
74. Hirakawa Akira, “Buddhist Literature', Survey o f Texts”, The Encyclopaedia o f Religion, Vol.
2, pp. 504-529.
75. TSD. Vol. 61, No. 2222, p. 7-1-8-10.
76. TSD. Vol. 61, No. 2225, p. 120-3-12-26; p. 126-1-20-28.
30
In tro d u c tio n
The first possibility is that the biographer made a mistake and recorded Nagabodhi
as being seven hundred years old instead of seventy years old because he confused
the tantric Nagaijuna who lived in the seventh century with the Madhyamaka
Nagarjuna who lived perhaps in the second century because there is no Sanskrit or
Tibetan record mentioning the fact that Nagabodhi lived for seven hundred years
unlike Nagaijuna whose age is recorded in some texts as six or seven hundred
years. It seems that there probably existed two Nagabodhis just as there existed two
Nagaijunas; the first Nagabodhi was a disciple of tire first Madhyamaka Nagaijuna
and the second Nagabodhi was a disciple of the second tantric Nagaijuna.
Concerning the biography of Nagabodhi, Taranatha mentions that “Nagabodhi was
bom into a brahman family of Bharigala in the east. He became a disciple of the
acarya Nagaijuna, received ordination, and became a master of the three pitaJcas.
He served the acarya Nagaijuna for as long as Nagaijuna lived. After the death of
his master, he sat in a deep cave and as a result of concentrated meditation for
twelve years, he attained the mahdmudrasiddhi. He had two different names,
Nagabodhi and Nagabuddhi (alias Nagamati).”77 According to ’Gos lo-tsa-ba, the
acarya Nagaijuna who was a disciple of Saraha had four chief disciples, namely,
Sakyamitra, Aryadeva, Nagabodhi and Candrakirti.78 According to Bu-ston,
Nagabodhi composed the Guhyasamdja-mandala-vidhi, the Panca-krama-tika and
many other works 79
The second possibility is that the biographer recorded the age of Nagabodhi as
seven hundred years old purposely in order to establish the origin of the STTS
within Mahayana Buddhism and to attribute the authority of their doctrine to
Nagarjuna who lived in the second century. David S. Ruegg argues “The Indo-
Tibetan records frequently identify some tantric masters, namely, the arya
Nagaijuna, Nagabodhi, Candraklrti-pada, Aryadeva-pada and (later) Santideva,
with the illustrious teachers of the earlier Madhyamaka school whose names they
bore, and to whom these records accordingly ascribe extraordinarily long life-spans.
However, at the same time, these records often differentiate very clearly between
distinct phases in these masters' teachings—such as the so-called Sutra-system and
Mantra-system—-so that the identification of these masters did not in fact
necessarily result in confusion by the doxographers of distinct doctrines.”80
Finally, there is another story which explains why Vajrabodhi did not succeed in
bringing the whole of the Vajrasekhara sutra into China.
“Vajrabodhi said: ‘Having started from South India, I was sailing
via the South Sea in a fleet of approximately thirty large ships. On
77. Taranatha, History o f Buddhism in India, p. 127.

7S. George N. Roerich (trs.), The Blue Annals, pp. 359~360.
-f 79. Bu-ston, History o f Buddhism, Part II, p. 132.
80. David Seyfort Ruegg, The Literature o f the Madhyamaka School o f Philosophy in India, p.
106.
31
In tro d u c tio n
each ship there were some five or six hundred people. One day,
while those ships were crossing the ocean, they met with high
winds. All the ships, along with the people on board, began to
sink into the sea, and the ship on which I found myself also
appeared to be sinking. In those days, I always carried the
collections of the two basic sutras (the Mahavairocana and
Vajrasekhara sutras) near me so as to be able to retain and
worship the Buddha's teaching. However, the Captain of the ship,
thinking that at any moment the ship would go completely under,
ordered everyone on board to throw everything into the sea. In that
instant, I was very frightened and forgot to hold onto the sutra-
texts. Therefore, (the Vajrasekhara sutra consisting of) one
hundred thousand gathas was thrown into the sea, and only its
abridged version remained on board. Then, in my mind, I decided
to perform the propitiatory rite (santika) in my mind whereupon
the high winds stopped. ... Subsequently, I arrived in China.’”81
If we accept the above story as a plausible fact, we could assume that the whole of
the Vajrasekhara siitra was already composed before Vajrabodhi's anival in China.
On the other hand if further compilations were still in progress in India, Vajrabodhi
could not have carried the whole text to China. Thus, Amoghavajra visited Ceylon
and India in order to search for the entire text in accordance with die will of
Vajrabodhi.
It is a well known pattern in Buddhist history that whenever new doctrines
distinct from the existing doctrines were established, their founders introduced
appropriate legends or stories in order to avoid having their doctrines regarded as
heterodox and also in order to establish their authority. There was no exception in
the case of the Yoga-Tantra. As the doctrine of the Yoga-Tantra developed on the
basis of the Madhyamika and Yogacara doctrines, the Yoga-Tantra Buddhists hied
to present their doctrine as an expanded form of Mahayana Buddhism having the
same authority as Mahayana Buddhism. Having accepted the theory of the Buddha-
bodies, they attributed the origin of their doctrine to Sakyamuni Buddha as
Vairocana.
6. General Structure o f the Sarvatathagatatattvasamgraha
The structure of the STTS is explained in the first section of the OEA VS and the
Dou-bu-tuo-luo-ni-muA2 These two texts, translated into Chinese by Amoghavajra,
provide similar expositions of the structure and basic content of the STTS. The
structural analysis given in these two works is correlated with the basic structure of
the Sanskrit and Tibetan versions of the STTS.
The OEA VS reads
81. Jin-gang-ding-jing-da-yu-qie-mi-mi-xin-di-ja-men-yi-jue, TSD. Vol. 39, No. 1798, p. 808-2-

15-25.
82. TSD. Vol. 18, No. 903, pp. 898-3-1-900-1-19.
32
In tro d u c tio n
"The first assembly is called King o f the Ordinance o f the

Compendium o f Truth o f All the Tathdgatas. It comprises four
main parts which are called:-
1. Vajra-dhatu (Fh/ra-sphere),83
2. Tri-loka-vijaya (Conquest of the Three Worlds),84
3. Sakala-jagad-vinaya (Conversion of the Entire World),85
4. Sarva-artha-siddhi (Universal Success).86
These four parts manifest the four knowledge-w?wt/ras (catur-
jhdna-mudra) f ’87
As already discussed, the first assembly of the OEA VS refers to the STTS in its
currently known format, and its title as given in the OEA VS may be reconstructed
into Sanskrit as Sarva-tathdgata-tattva-samgraha-kalpa-rdja. The title as given in
the Sanskrit version is Sarva-tathagata-tattva-samgraha ndma Mahayana-sutra.
As it can be seen instead of the words kalpa-raja, the Sanskrit title has Mahayana-
siitra. However, the words kalpa-raja88 are included in the titles of the first four
parts of the Sanskrit version. As already discussed above, the Sanskrit version
comprises the following five parts
I. Sarva-tathagata-mahdydndbhisamaya ndma Mahd-kalpa-rdja.
II. Sarva-tathdgata-vajra-samaya ndma Mahd-kalpa-rdja.
III. Sarva-tathdgata-dharma-samaya ndma Mahd-kalpa-rdja.
IV. Sarva-tathagata-karma-samaya ndma Mahd-kalpa-rdja.
V. Tantra, Uttara-tantra and Anuttara-tantra of the Sarva-
tathagata-tattva-samgraha ndma Mahayana-sutra.89
The title of the first part in the OEAVS refers to part one of the Sanskrit version
which is divided into five chapters. The title of this part as given in the OEAVS is
Vajradhdtu while in the Sanskrit version the title of part one is King o f the Great
Ordinance Called Mahayana Realisation o f All the Tathdgatas. The title given in
the OEAVS appears to be clearly derived from the first chapter of the Sanskrit
version, which in fact constitutes the major portion of part one, and which deals
with Vajradhdtu Mahdmandala. The next three chapters in the Sanskrit version
83. Vajradhatu-mandala: S. part one, pp. 3-152, T. pp. 218-239-2-8, C2. pp. 341-369-2-22.
84. Trilokavijaya-mandala: S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2. pp. 369-3-
1-399-1-2.
85. iSakalajagadvinaya-mandala: S. part three, pp. 314-381, T. pp. 254-4-2-261-1-7, C2. pp.
399-1-3-411-3-21.
86. Sarvarthasiddhi-mandala: S. part four, pp. 382-434, T. pp. 261-1-8-266-3-3, C2. pp. 411-3-
22-423-1-14.
87. TSD. Vol. 18, No. 869, p. 284-3-16-19.
88. According to David Snellgrove, the term raja is often added to the titles o f major tantras.
The term kalpa is clearly used in the same sense as in the last of the six Veddngas, namely as
‘that which lays down the ritual and prescribed rules for ceremonial and sacrificial acts’.
(David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, pp. 7-9).
89. See the contents o f Yamada Isshi (ed.), Sarva-Tathdgata-Tattva-Sangraha Ndma Mahdyana-
Siitra. Concerning the title of part five of the STTS, David Snellgrove omits ‘Tantra, Uttara-
tantra and Anuttara-tantra'. (David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha,
Introduction, p. 7).
33
In tr o d u c tio n
deal with Hie rites relating to Vajraguhya Vajramandala, Vajrajndna

Dharmamandala and Vajrakarya Karmamandala. The fifth and final chapter of
part one serves as an epilogue.
The title of the second part as given in the OEAVS refers to part two of the
Sanskrit version which in the Sanskrit version is called King o f the Great
Ordinance Called Vajra-Pledge o f All the Tathdgatas. Part two of the Sanskrit
version is divided into nine chapters. The name of this part as given in the OEA VS
broadly corresponds to the name of chapter 6 in the Sanskrit edition, which is
‘Extensive Rites o f the Great Mandala o f the Conquest o f the Three Worlds'.
The third part of the OEA VS refers to part three of hie Sanskrit version which is
called King o f the Great Ordinance Called Dharma-Pledge o f All the Tathdgatas.
Like in the previous parts, the name of this part as given in the OEAVS broadly
corresponds to the name of the initial chapter (marked as 15th) of part three in the
Sanskrit edition, which is called Extensive Rites o f the Great Mandala o f the
Conversion o f the Entire World.
Finally, the fourth part of the OEA VS refers to part four of the Sanskrit version.
Once again, its title corresponds to the initial chapter (marked as 19th) of part four
of the Sanskrit version. The title of part four of hie Sanskrit version is given as
King o f the Great Ordinance Called Karma-Pledge o f All the Tathdgatas, and the
title of its initial chapter as Extensive Rites o f the Great Mandala o f the Universal
Success.
The OEAVS does not refer to part five of the Sanskrit version as an independent
part because, as already discussed, this part of the Sanskrit text is considered as a
subordinate part in that it contains no main mandala and related rituals, but explains
the secret methods of the various attainments corresponding to the four families, i.e.
Tathagata, Vajra, Padma and Mani (or Ratna).
The Doihbu-tuo-luo-ni-mu explains the structure and content of the STTS in the
following way:-
“The Fundamental Sutra of Yoga consists of one hundred
thousand gathas and eighteen assemblies. The first assembly is
called The Compendium o f Truth o f All the Tathdgatas. This
siitra explains the five families, namely, the Buddha-family whose
Head is the Buddha Vairocana, the Vajra-family whose Head is
the Buddha Aksobhya, the Ratna-family whose Head is the
Buddha Ratnasambhava, the Padma-family whose Head is the
Buddha Amitabha and the Karma-family whose Head is the
Buddha Amoghasiddlii. The Head of each of the five families has
a retinue of four Bodliisattvas. They are positioned to the front,
right, left and rear (of each Head). Each of the four Internal
Offerings belongs to (each of) the four families according to a
specific order which needs to be known. (Each of) the four
External Offerings also belongs to (each of) the four families.
(Each of) the four Guardians, namely, Ahkusa, Pasa, Sphota and
34
I n tro d u c tio n
Avesa (belongs to each of) the four families according to a specific

order which needs to be known. In the four directions, there are
the sixteen Mahabodhisattvas of Bhadrakalpa?® They manifest all
the Bodhisattvas of the Bhadrakalpa.
There are also five groups of deities on the outside (of the
mandala). Each group consists of four gods and their consorts.
Thus, all together there are twenty gods and their consorts. The
five groups of deities consist of the four gods (and their consorts)
living in the upper-spheres, the four gods (and their consorts)
living in space (akdsa-cara), the four gods (and their consorts)
wandering in space (antarlksa-cara), the four gods (and their
consorts) living on the earth, and the four gods (and their
consorts) living beneath the earth.
There are four mandalas in the Yoga-family. The first is the
Vajradhdtu, the second is the Trilokavijaya, the third is the
Sakalajagadvinaya and the fourth is die Sarvarthasiddhi. These
four mandalas manifest the four Knowledge-Bodhisattvas inside
the Buddha Vairocana, namely, Vajra, Abhiseka, Padma and
Karma (respectively). These are regarded as the four Knowledges,
namely, Mirror-like-Wisdom (ddarsajhdna), Equality-Wisdom
(samatajhdna), Discriminating-Wisdom (pratyaveksandjhdna)
and the Active-Wisdom (krtyanusthanajndna). Furthermore, each
of the (main) mandalas establishes six mandalas, i.e. mahd-
mandala, samaya-mandala, dharma-mandala, karma-mandala,
catur-mudrd-mandala and eka-mudra-mandala. It is only
Trilokavijaya-mandala that contains ten mandalas', (each of) the
other (three main) mandalas contains six mandalas.
All the mudrds and all the essential factors of the Dharma are
completely included in the four KnowlvdgQ-mudrds. Maha-jndna-
mudrd refers to the attainment of the sva-deva-yoga by means of
the five abhisambodhis. Samaya-jhdna-mudrd refers to the
attainment of the mudrd generated from the vajra-bandha (vajra-
bond) by means of joining both hands. Dharma-jndna-mudrd
refers to the seed-syllable (bija) of the sva-deva, the samadhi of
the Dharmakdya and the meaning of the letters of all the sutras.
Karma-jndna-mudrd refers to the making of vajra-musti (vajra-
fist) with both hands as if firmly holding a weapon and pennant,
and to the holding of the body in a dignified posture.
In addition, there are four kinds of eyes91 in Yoga, namely, the
Dharma Eye which indicates subjugation (vasikarana), the
90. According to the BUS (p. 406), the term Bhadrakalpa means ‘a kalpa such as the present in
which five Buddhas are to appear (four, from Krakucchanda to Sakyamuni, and the fifth,
Maitreya)’.
91. The four kinds of eyes in this context indicate the four kinds o f homa rites, namely,
subjugation (vasikarana), attraction (alcarsana), destruction (abhicaralm) and pacification
(santika). However, according to the Sarvadurgatiparisodhana tantra, the four kinds of
35
I n tro d u c tio n
Effulgent Eye which indicates attraction (<akarsana), the Wrathful

Eye which indicates destruction (abhicaraka) and the
Compassionate Eye which indicates pacification (santika)”92
Taking into account the information provided above, the classification of the first
four parts of the Sanskrit STTS is based on the four knowledge-mwc/ras or four
families. However, the division of the OEAVS is dependent on the four mandalas.
In addition, David Snellgrove subdivides the second part of the STTS into two
sections: Trilokavijaya and Trilokacakra,93 Though the OEAVS explains the
additional four mandalas connected with Trilokacakra in the second part, it uses
only Trilokavijaya as the title of the second part.
As Amoghavajra has pointed out above, the first four parts of the STTS entitled
according to the names of the mandalas correspond to the following four
knowledge-mw^ras respectively: Great-knowledge-mwJra (mahd-jhana-mudrd),
Pledge-knowledge-mwt/ra {samaya-jhana-mudra), Dharma-knowledgQ-mudrd
{dharma-jhana-mudrd) and Action-knowledge-ra«<Ad {karma-jhana-mudra). In
addition, they are also closely connected with the four families, i.e. die Tathagata-
family, the Vajra-family, the Dharma or Lotus {Padma)-family and die Action
{Karma) or Gem {Ratna or Mam)-family. Donjaku also asserts that the first four
parts of the STTS correspond to the Buddha-family, the Vajra-family, the Lotus-
family and the Gem-family and in the homa rites, they respectively relate to
pacification {santika), destruction {abhicaraka), subjugation (vasikarana) and
acquisition of prosperity {paustika).94 The first part of the STTS shows ways of
subduing the Tathagata-family, whose presiding Buddha is Vairocana, the second
part shows ways of subduing the Vajra-family, whose presiding Buddha is
Aksobhya, the third part shows ways of subduing the Lotus-family, whose
presiding Buddha is Amitabha95 and the fourth part shows ways of subduing the
homa rites consist of pacification, acquisition of prosperity (paustika), subjugation and

destruction. (Tadeusz Skorupski, Sarvadurgatiparisodhana Tantra, pp. 68-72).
According to the Vajrasekharayogahomavidhi (Chinese Jin-gang-ding-yu-qie-hu-mo-yi-gid)
translated into Chinese by Amoghavajra (TSD. Vol. 18, No. 908, pp. 916-920-2-16; No.
909, pp. 920-2-17-924-3-9), there are five kinds of homa rites, i.e. pacification, acquisition
o f prosperity, destruction, attraction and subjugation.
According to the Mikltyo Jiten (ed. Sawa Ryuken, p. 367), there are four groups o f homa rites.
In addition to the above mentioned two groups of homa rites, there are two more groups.
There is one group o f three kinds o f homa rites which consist o f pacification, acquisition of
prosperity and destruction. There is a second group of six kinds o f homa rites which consist
o f pacification, acquisition of prosperity, subjugation, destruction, attraction and longevity.
92. TSD. Vol. 18, No. 903, pp. 898-3-7-899-1-8.
93. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 11.
Trilokavijaya-mandala: S. part two (pp. 153-252): Trilokacah'a-mandala: S. part two (pp.
253-313). Though David Snellgrove subdivides the second part into two sections, Mkhas-
grub-rje's division is the same as Amoghavajra's. (F.D. Lessing and Alex Wayman (trs.),
Introduction to the Buddhist Tantric Systems, p. 217).
94. TSD. Vol. 61, No. 2225, p. 157-1-12-25.
95. Sanskrit STTS employs the term ‘Lokesvararaja’ (S. p. 10, p. 45, p. 49, p. 53) or ‘Amitayus’
(S. p. 64, p. 89, p. 101, p. 117, p. 131, p. 143, p. 333, p. 334) instead of ‘Amitabha’. The
36
In tro d u c tio n
Gem-family, whose presiding Buddha is Ratnasambhava. The STTS only describes

four families, although there are actually five families. The presiding Buddha of the
Action-family is Amoghasiddhi. David Snellgrove asserts that the difference
between the four families and the regular five families is caused by the
amalgamation of both die Gem-family and the Action-family. This probably goes
back to an earlier stage of the development of Buddha-families, which began as
three, namely, the Tathagata-family, the Fo/ra-family and the Lotus-family, and
which only later became five.96
According to Amoghavajra's division, each of the four parts contains six
mandalas but exceptionally the second part has ten mandalas which include six
mandalas connected with the Trilokavijaya and four mandalas connected with the
Trilokacalcra. The first four mandalas in each part of the STTS also seem to relate
to the four knowledge-mnc/ras1. Thus, based on the four knowledge-mwdras', the
titles of the first four mandalas should respectively be maha-mandala, samaya-
mandala (alias dharani-mandala), dharma-mandala and karma-mandala. The
other two mandalas are catur-mudrd-mandala and eka-mudrd-mandala. Each of
the maha-mandalas occupies the first position in each of the four parts. However,
the maha-mandala of the Vajradhdtu is regarded as the most important because all
the other mandalas are dependent on it.
7. Mandala derivedfrom the Sarvatathagatatattvasamgraha
Three different types of mandala are known to be derived from the STTS. The
first mandala, which is regarded as the earliest, is found on a scroll called Li-duo-
seng-nie-luo-wu-bu-xin-guan (Japanese Ri-ta-so-gya-ri-go-bu-shin-kan),91 which
translates into English as ‘Meditation on the Five Families of the Rta-samgraha’. In
the title of this scroll, the Chinese term Li-duo-seng-nie-luo (Japanese Ri-ta-so-gya-
ri) is a transliteration of the Sanskrit term ‘Rta-samgraha’’ (Compendium of Truth),
which, as Lokesh Chandra98 points out, indicates Tattva-Samgraha, that is, the
STTS text, while the Chinese term wu-bu (Japanese go-bu) means the five families,
i.e. Tathagata-, Vajra-, Ratna-, Padma- and Karma-fsmiUQS. The Gobushinkan (i.e.
Chinese versions translate ‘Lokesvararaja’ as ‘Avalokitesvararaja’. Both ‘Amitabha’ and

‘Amitayus’ are interchangeable, and according to the Miklcyo Jiten (ed. Sawa Ryuken, p. 13),
Avalokitesvararaja is the alias of Amitabha. In his footnote on p. 45 o f his edition of the
STTS, Yamada Isshi states that Lokesvara was an epithet o f Siva. In Buddhism, the Tathagata
Lokesvararaja is the Buddha Teacher of Dharmakara. The latter, due to his Pranidhana,
becomes the Tathagata Amitabha (or Amitayus) in the Sukhdvati Buddhaksetra. However,
Avalokitesvara is one o f two Bodhisattvas who works under Amitabha and who succeeds him
after Amitabha's Nirvana.
96. David Snellgrove, Sarva-Tathagata-Tattva-Sahgraha, Introduction, p. 12.
97. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 73~148; Lokesh Chandra, ANinth
Century Scroll o f the Vajradhdtu Mandala, pp. 54~346; Toganoo Shoun, Kongochokyo no
Kenltyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 154~453.
98. Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 7—13.
37
I n tro d u c tio n
Ri-ta-s5-gya-ri-go-bu-shin-kan), several copies of which are extant in Japan," was

originally brought from China by Japanese monk Enchin (814-891 CE), who had
received it in 855 CE from the monk Fa-quan during his stay in China between 853
and 858 CE.100 The Gobushinkcin consists of six mandalas, which correspond to
the six mandalas of the Vajradhdtu described in the Sanskrit STTS, and contains
the four mudras of the deities, i.e. the bodily images of the deities holding symbols
(representing maha-mudrds), the hand gestures (representing samaya-mudrds and
karma-mudras), and the mantras (representing dharma-mudras), Thus, the most
important rituals explained in the first part of the Sanskrit STTS are illustrated in the
Gobushinkan. In addition, as it includes his portrait at the end, the Gobushinkan is
closely connected with Subhakarasimha (637-735 CE),101 who arrived in China in
716 CE and together with the monk Yi-xing (d. 727 CE) translated into Chinese the
Mahavairocana sutra.102
The second mandala called Jin-gang-jie-jiu-hui-da-man-tu-luo,m (Great
Mandala of the Nine Assemblies of the Vajradhdtu) was brought from China to
Japan in 806 CE by the Japanese monk Kukai (774-835 CE), the founder of the
Japanese Shingon sect. Several copies of the Nine Assemblies Mandala104 which
consists of nine squares are also extant in Japan. The first assembly, the Vajra-
dhatu-mahd-mandala (ch. 1 of the STTS), is positioned in the centre. Out of the
other eight mandalas which surround the Vajra-dhatu-maha-mandala, the second
assembly, the Vajra-guhya-vajra-mandala (ch. 2) is positioned in the lower-
middle, the third the Vajra-jhana-dharma-mandala (ch. 3) in the lower-left, the
Ibid., pp. 16-18.

I0°. Sawa Ryuken (ed.), Miklcyo Jiten, pp. 55-56 & p. 224.
101. Ibid., p. 440.
102. Mahavairocana sutra is an abbreviated title derived from the Sino-Japanese tradition. It is
called Vairocana-abhisainbodhi-t antra by the Indo-Tibetan tradition. Its fullest form, found
in the catalogues o f the Tibetan canon, is Mahdvairocana-abhisambodhi-vilcurvata-
adhisthdna-vaipulya-sutra~indra-ra.ja-nama-dharma-parya.ya.
103. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 887-1004.
104. Two mandalas have been regarded as the most important mandalas in Japanese Shingon
tradition, namely, the Garbhakosadhdtu-mandala, which is derived ffom the
Mahavairocana siitra, and the Vajradhatu-mandala, i.e., Nine Assemblies Mandala, which
is derived from the STTS. These two, known in Japanese as genzu, or ‘iconographic’
mandalas, were allegedly transmitted from India to China in the eighth century. The
Garbhakosadhdtu-mandala consists of twelve courts. A central divinity is the cosmic
Vairocana, whose essential quality is ‘principle’. The various other deities represent the
fragmentation o f this central unity. The Vajradhatu-mandala consists of a group o f nine
individual mandalas. The central assembly represents the Buddha's function to enlighten.
The central divinity is the cosmic Vairocana, who in this mandala represents ‘knowledge’.
(E. Dale Saunders, “Mandalas; Buddhist Mandalas”, The Encyclopaedia o f Religion, Vol.
.9, pp. 155-158. In this article, Dale Saunders makes an error, because he states that the
Garbhakosadhdtu-mandala represents ‘knowledge’ and the Vajradhatumandala represents
‘principle’. From the above this should be in reverse.) One of the main differences between
the Garbhakosadhdtu-mandala and the Vajradhatu-mandala is that the former consists of
three families, i.e. Tathagata-family, Vajra-family and Lotus-family, and the latter consists
o f five families, i.e. Tathagata-family, Vajra-family, Lotus-family, Gem-family and Action-
family-.
38
In tro d u c tio n
fourth the Vajra-karya-karma-mcindala (ch. 4 ).in the middle-left, the fifth the
Vajra-siddhi-catur-mudrd-mandala (ch. 5-A) in the upper-left, the sixth the Eka-
mudra-mandala or Mahaydnabhisamayamandala (ch. 5-B) in the upper-middle,
the seventh the Naya-mandala in the upper-right, the eighth the Triloka-vijaya-
mahd-mandala105 (ch. 6) in the middle-right, and the ninth the Krodha-guhya-
mudrd-mandala or Triloka-vaijaya-samaya-mandala (ch. 7) positioned in the
lower-right. Of these, only the seventh Naya-mandala is not derived from the
STTS, but from the Rishulcyd (Chinese Li-qu-jing).
Differing from the above two types of mandala having a characteristic Sino-
Japanese style, the third type of mandala, which is found in the Indo-Tibetan area,
has a characteristic Indo-Tibetan style. The specific difference between the Indo-
Tibetan mandalas and the Sino-Japanese mandalas is that all the deities face the
central Vairocana in the former but face the viewer of the mandala in the latter. In
addition, the former has clearly defined doors of the inner enclosure as well as the
outer enclosure, but the latter does not have doors.106 Two similar Vajradhdtu-
mahdmandalas are preserved in the eastern chapel of Chachapuri Monasteiy
(Tshatshapuri Gompa, Ladakh, India), and also four different Vajradhatu-
mahdmandalas and one Trilokavijaya-mahamandala (ch. 6 of the STTS) are
painted on the walls of Alchi Monastery (Alchi Gompa, Ladakh, India),107 which
was built, according to Toganoo Shoun,108 in the time of the Tibetan translator Rin-
chen-bzang-po (958~1055 CE). In addition, TheNgor Collection,109 which consists
of one hundred and thirty-nine Tibetan mandalas painted in the nineteenth century,
also includes two mandalas derived from the STTS, i.e. Vajradhatu-mahdmandala
and Trilokavijaya-mahamandala, each of which consists of thirty-seven deities and
one thousand Bhadrakalpa Bodhisattvas.
105. David Snellgrove [Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 13) regards the eighth

as the Triloka-vijaya-karma-mandala.
106. Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 24~25.
107. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council
o f Religious Affairs o f His Holiness the Dalai Lama, pp. 213~214.
108. Toganoo Shoun, Mandara no kenlcyu, pp. 201~203.
109. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha
Ltd., Kyoto, Japan, 1983.
39
Part One
Mahayana Realisation of All the Tathagatas
The first part of this study provides a detailed analysis of the structure and
content of part one of the STTS. The analysis as given below is based on the
relevant sections of both the first assembly in Amoghavajra's OEA VS1 and the
introductory section in Anandagarbha's Tattvdloka2 as indicated in the footnotes,
and on a detailed study, with extensive quotations, of the Sanskrit, Tibetan and
Chinese versions of the STTS. Part one of the Sanskrit STTS is divided into five
chapters, four of which provide expositions of four different mandalas and related
rituals, and chapter 5 deals with the perfect realisation of the Mahayana. The names
of the four mandalas used as the titles of its first four chapters are Vajradhdtu
Mahamandala, Vajraguhya Vajramandala, Vajrajnana Dharmamandala and
Vajrakdrya Karmamandala respectively. Though chapter 5 of the Sanskrit STTS
contains some information on two mandalas, i.e. Vajrasiddhi Caturmudrdmandala
and Mahay dnabhisamayamandala, it is regarded as an epilogue of part one in that
the two mandalas are employed for the purpose of the accomplishment of the
practices which have already been explained in the previous four chapters.
Therefore, it does not use the term mandala in its title. However, according to
Amoghavajra, part one comprises six mandalas j i.e. Vajradhdtu Mahamandala,
Dharammandala, Suksma Vajramandala, Sarvatathdgatavistarapuja Karma
mandala, Caturmudrdmandala and Ekamudramandala. Anandagarbha also
classifies part one as consisting of six mandalas, i.e. Vajradhdtu Mahamandala,
Dharanimandala, Dharmamandala, Karmamandala, Caturmudrdmandala and
Ekamudramandala. Concerning the classification of the six mandalas, the only
difference between the Sanskrit STTS and Amoghavajra (or Anandagarbha) is that
the former regards the last two mandalas as subordinate mandalas but the latter
regards them as main mandalas.
f OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-9-286-1-25.

2. TTP. Vol. 71, No. 3333, pp. 134-147-1-7.
3. OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-19.
P art One
Chapter 1. Vajradhatu Mahamandala

The first mandala is called the maha-mandala of the Vajradhdtu. Amoghavajra
provides the following outline of this chapter:-
“(This section of the tantra) describes the Enjoyment-body
(sambhoga-kdya) of the Buddha Vairocana, who has attained
complete enlightenment (samyak-sambodhi) by means of the five
consecutive stages of perfect enlightenment4 (panca-
abhisambodhi).5 Having become a Buddha, he generated the
thirty-seven knowledges through the vajra-samddhi.6 The text
extensively explains the rites of the mandala.1 For the benefit of
the pupil, the text sets forth the speedy-attainments8 of both the
Bodhisattva-fr/mmi and the Buddha-6/mmz'.”9
The structural analysis provided by Anandagarbha is more detailed than that of
Amoghavajra and it directly relates to specific passages of the Sanskrit text of the
STTS. At the beginning of his commentary, the Tattvaloka, he outlines the general
structure of the entire tantra, and then he proceeds to explain in detail the structure
and basic content of the individual parts. According to Anandagarbha, the
introductory scene (Tibetan glenggzhi) which opens with the words, “Thus have I
heard”10 teaches die nature of Vairocana and Mahavairocana and the excellent
qualities which benefit oneself and others. It is enunciated so that the trainees
should generate expectations towards the nature of the characteristics of Vairocana
and Mahavairocana and the excellent qualities which benefit oneself and others. In
order to induce the realisation of the nature of Vairocana and Mahavairocana in
those trainees who have generated such expectations, the rest of the tantra's text,
starting with the words, “Then this Buddha-field (became replete just like the husks
of sesame seeds) with all the Tathagatas”11 and concluding with the words, “The
4 According to a footnote in the OEAVS, the five stages are: ‘perceiving the mind’, ‘raising the
thought o f enlightenment (bodhi-cittaY, ‘perfecting the vq/Va-thought’, ‘realising the vajra-
body’, and ‘perfecting the Buddha-body’. Such are the perfections of the five knowledges.
5. S. pp. 7 -9 , T. pp. 219-4-2-220-2-1, C l. pp. 207-3-8-208-1-24, C2. pp. 341-3-18-342-2-12.
6. S. pp. 10-58, T. pp. 220-2-1-228-4-6, C l. pp. 208-1-24-216-1-9, C2. pp. 342-2-13-351-2-
14.
7. S. pp. 63-72, T. pp. 229-2-6-230-4-8, C l. pp. 216-3-21-219-1-15, C2. pp. 352-2-8-354-2-
27.
8. S. pp. 73-99, T. pp. 230-4-8-233-4-3, C l. pp. 219-1-15-223-2-21, C2. pp. 354-2-28-359-2-
19.
9. OEAVS, TSD. Vol. 18, No. 869, p. 284-3-20-24.
There are ten Bodhisattva-Bhumis which are as follows:-
Pramuditd (Joyful), Vimala (Pure), Prabhdkari (Illuminating), Arcismatl (Radiant), Sudurjayd
(Very-difficult-to-conquer), Abhimulcht (Face to face), Durahgama (Far-going), Acald
(Immovable), Sadhumatl (Stage o f the good Beings) and Dharmamegha (Cloud of the
Doctrine). The eleventh Bhumi is not a Bodhisattva-Bhumi but a Tathagata-Bhumi (Stage of a
Buddha). (Har Dayal, The Bodhisattva Doctrine in Buddhist Sansh'it Literature, chapter six).
10. evam mayd srutam: S. p. 3-2, T. p. 218-3, C l. p. 207-1-9, C2. p. 341-1-8.
V atha sarvatathdgatair idam buddhalcsetram (tadyathd tilabimbam iva paripurnam); S. p. 7-
2 -3 , T. p. 219-4-3-4, Cl.'p. 207-3-9, C2. p. 341-3-19-20.
41
P a rt One
Lord enunciated those words”12 teaches the expedients (updya) and the realisation
of their nature. In it there are taught the categories of the expedients among which
there are also samadhis which truly serve as expedients.13 After this outline of the
general structure of the tantra, Anandagarbha proceeds to provide a detailed
analysis of specific sections and shows how they fit together.
7, Introductory Scene: Nature o f Vairocana and Mahavairocana
As already stated above, the introductory scene unveils the nature of Vairocana and
Mahavairocana. The STTS opens in the traditional manner employed in the
Buddhist scriptures with the words
“Thus have I heard,14 at one time, the Lord15 was staying in the
abode of the king of the Akanistha gods.”
Concerning the word T , Japanese commentators such as Donjaku assert that since
Vajrapani (alias Vajrasattva)16 himself heard the doctrines of the STTS directly from
Mahavairocana and since the STTS text was assembled by Vajrapani, T in this
context should be regarded as Vajrapani.17 Anandagarbha also states that the STTS
was thoroughly understood, assembled and explained by Vajradhara residing in the
tenth bhumi.18 In this context, ‘at one time’19 indicates ‘a time’ just before the
Tattvalolca reads: “Then this Buddha-field of all the Tathagatas”.

12. idam avocad bhagavdn: S. p. 562-8, T. p. 283-1-8, C2. p. 445-1-26.
13. Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-1-6-2-5.
14. The Sanskrit and Chinese versions start with these words, but the Tibetan version prefixes one
sentence before it, i.e., “I bow before the Buddha and all the Bodhisattvas.”
15. Tibetan reads: “the great compassionate Lord Vairocana”, but Chinese 2 reads: “the Lord
Tathagata Mahavairocana”.
16. In the STTS, the three names, for example, Vajrasattva, Vajrapani and Vajradhara, ate
employed interchangeably because all of them can be regarded as being the same, even if all
o f them have slightly different literal meanings. With regard to these three names, David
Snellgrove (Indo-Tibetan Buddhism, p. 131) states:-
“The highest state o f all, in which all Buddha-emanations ultimately dissolve and
yet continually reemerge, is the Adamantine Being (Vajrasattva) and thus it is
defined as Vajra, meaning diamond or thunderbolt. As the weapon of the Vedic god,
Indra, transferred to the yaksa (local divinity) who acts as escort to Sakyamuni in the
earlier Buddhist period, ‘thunderbolt’ might suggest itself as a convenient
translation. Precisely as the wielder of this weapon this chief of yaksas, known as
Vajrapani (Thunderbolt-in-Hand), appears as chief of Boddhisattvas in several
tantras, for he has become the holder of the supreme symbol o f this whole latter
phase o f Buddhism. He is also referred to as Vajradhara (Thunderbolt-Holder) and
with this name becomes the supreme Buddha o f tantric traditions. He may also be
acclaimed as Vajrasattva (Thunderbolt-Being), but this is more logically understood
as a general appellation o f the highest state o f tantric being, a term formed on the
analogy of Bodhisattva.”
17. TSD. Vol. 61, No. 2225, pp. 162-3-10-164-1-24.
Donjaku also asserts: “Mahavairocana is the speaker and Vajrapani is the listener. Since
Vajrapani is Vairocana, Vajrapani's listening means Mahavairocana listening to himself.”
(TSD. Vol. 61, No. 2225, pp. 125-3-4-126-1-19).
1S. Tattvaloka, TTP. Vol. 71, No. 3333, p. 147-1-7-2-1.
19. Based upon Mkhas-grub-ije’s analysis, we can see that in relation to Sakyamuni’s life, there
are two different opinions concerning the time at which the STTS was proclaimed. The first
theory maintained by Sakyamitra and Buddhaguhya is that while the historical Sakyamuni's
42
P art One
historical Sakyamuni's perfect enlightenment. This is because the STTS text begins
with the moment of Sakyamuni's engaging in the imperturbable concentration
(asphanaka-scimadhita) as an endeavour for enlightenment on the bodhi-manda
and it ends with his returning from Mount Sumeru to Buddhagaya after his
complete enlightenment. Indian and Japanese commentators say that the term ‘Lord’
(bhagavari) is an epithet given to one who conquers the four evils (mara), namely,
afflictions (klesa), aggregates (skandha), death (mrtyu) and demi-god (devaputra).
The term ‘Lord’ in this context indicates the great compassionate (maha-krpo)
Vairocana.20 With regard to the abode of the king of the Akanistha gods,21 the
Japanese commentator, Ennin (793-864 CE) comments that the Akanistha heaven is
not the uppermost heaven (out of the seventeen heavens belonging to) the realm of
form (mpa-dhdtu), one of the three lands of existence, but that it is the splendid
thought-palace of the great innate thought of enlightenment (maha-bodhi-citta)
existing in the heart of Mahavairocana.22
Since the concept of Vairocana has been introduced in Yoga-tantra, the ultimate
goal described in the STTS is to attain perfect enlightenment by means of obtaining
tire five Wisdoms as the virtues of Vairocana. It is for this reason that in its
maturation body {vipaka-Myd) as Bodhisattva Sarvarthasiddha stayed on the bank of the

Nairanjana River, his mental body (manomaya-lcaya) was guided to the AJcanistha heaven by
the assembled Buddhas o f all the ten directions, and after completing the panca-
abhisambodhi, he became a Buddha as the Sambhoga-kdya o f Mahavairocana, after which he
proceeded to the summit o f Mt. Sumeru and pronounced the STTS. He then proceeded to the
world of men and re-entered his maturation body on the bank o f the Nairanjana. The second
theory maintained by Anandagarbha is that the STTS was pronounced when Sakyamuni was a
Bodhisattva o f the tenth stage in his last life. It seems that the first theory is the literal
interpretation based upon the STTS text itself but the second theory is a philosophical and
logical interpretation. (F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist
Tantric Systems, pp. 27-29).
20. Danapala's Chinese translation reads ‘Tathagata Mahavairocana’ instead o f *maha-Icrpo
Vairocana’.
21. STTS describes the abode of the king o f the Akanistha gods at the time o f Vairocana’s residing
in it in the following words:-
“It was attended, honoured and blessed by all the Tathagatas. It was studded with
great jewels and gems, and adorned with hanging bells of various colours, with
wind-fluttering silk pennants, wreaths, chowries, garlands, necklaces and moons. It
was attended by ninety-nine million Bodhisattvas along with the leading
Bodhisattvas, namely, Vajrapani, Avalokitesvara, Akasagarbha, Vajramusti,
Manjusrf, Sahacittotpada-dharmacakrapravartin, Gaganaganja and
Sarvamarabalapramardin, and it was also attended by Tathagatas as numerous as the
grains o f sand in the river Ganges. It was so crowded with countless Tathagatas that
they resembled sesame seeds on Jambudvipa. In addition to this, there appeared
countless and immeasurable Buddha-fields {buddha-lcsetra) from the body of every
individual Tathagata, and in these Buddha-fields, the Tathagatas were explaining this
very Dharma-doctrine.”
(S. pp. 3-9~4-6, T. p. 219-1-1-7, C l. p. 207-1-15-26, C2. p. 341-1-14-27).
22. TSD. Vol. 61, No. 2223, p. 14-2-9-11.
43
P a rt One
introductory part, the STTS explains the constituents of the virtues of Vairocana and
Mahavairocana. First of all, the virtues of Vairocana23 are as follows:-
“(a) The Lord was endowed24 with various distinctive kinds of
knowledge of the pledges (,samaya)25 and the va/ra-empowerment
(yajra-adhisthana) of all the Tathagatas.
(b) He was bestowed with the 26consecration27 of the Dhcirma-
sovereignty over the three worlds by means of the 28gem-diadem
of all the Tathagatas.
(c) He was the great yoga-lord29 of the omniscient knowledge of
all the Tathagatas.
(d) He was the accomplished one in the sameness of all mudrds30
of all the Tathagatas and the fulfiller of all wishes of the entire and
complete sphere of living beings by means of all possible
endeavours.
(e) He was the great compassionate Vairocana31 perpetually
persisting in the three times,32 the Tathagata33 and the complete
Body, Speech and Mind Vajra”34
Regarding the above descriptions of the virtues of Vairocana, Japanese
commentators35 such as Donjaku state that the above five paragraphs refer to the
five Wisdoms36 and to the five Buddhas as the personifications of the virtues of
23. The passages o f the STTS which explain the virtues of Vairocana and the names of the chief
Bodhisattvas are very similar to the opening section of Chinese Li-qu-jing (Japanese Ri-shu-
Icyo) which is regarded as the sixth assembly of the Vajrasekhara sutra, Cf. Ian Astley-
Kristensen, The Ri-shu-lcyo, pp. 39-40.
24. Chinese 1 reads: “accomplished”.
25. The Sanskrit term samaya literally means ‘coming together’. In Buddhist tantric
understanding, the term samaya becomes a ‘pledge’ of a ‘coming together’ of the divinity
with the image that represents him, the sacrificial offering that ‘embodies’ him, or with the
yogin or even the faithful worshipper who is one-pointedly intent upon him. (David
Snellgrove, Indo-Tibetan Buddhism, pp 165-166).
26. Chinese 2 inserts: “highest”.
27. Tibetan reads: “consecration-power” (dbang bshtr ba mnga).
28. Chinese 2 inserts: “extraordinary”.
29. Chinese 2 reads: “the great lord of union” (samprayulcta).
30. Chinese 2 reads: “all knowledge-mudras”.
31. Chinese 2 omits: “Vairocana”.
32. The Sanskrit reads: “at the time (samaya) of the three time-period”.
33. Chinese 2 omits: “Tathagata”.
34 S. p. 3-2-8, T. pp. 218-3-219-1-1, C l. p. 207-1-9-15, C2. p. 341-1-8-14.
Tibetan reads: “the Tathagata whose complete Body, Speech and Mind were transformed into
a Vajra".
35. Concerning the relationship between the five Wisdoms and the five Buddhas in the STTS, the
opinions o f Japanese commentators, led by Kukai, seem to be influenced by certain relevant
texts o f the STTS mostly compiled and translated by Amoghavajra.
36. Tantrdrthdvatara-vyakhydna, a commentary by Padmavajra on Buddhaguhya's
Tantrarthdvatdra, gives the following explanation o f the five Wisdoms:-
“Mirror-like-Wisdom is the higher cognition that appearances are devoid o f intrinsic
nature, Equality-Wisdom is the higher cognition that makes no distinction between
oneself and others, Discriminating-Wisdom is the higher cognition that is devoid of
intrinsic nature, Active-Wisdom is that which aims to benefit without differentiating
44
P a rt One
Vairocana.37 Paragraph (a) indicates Mirror-like-Wisdom and the character of

Aksobhya who is positioned to the east of Vairocana in the maha-mandala of the
Vajradhdtu, paragraph (b) indicates Eqnality-Wisdom and the character of
Ratnasambhava who is positioned to the south of Vairocana, paragraph (c) indicates
Discriminating-Wisdom and the character of Amitabha who is positioned to the
west of Vairocana, paragraph (d) indicates Active-Wisdom and the character of
Amoghasiddhi who is positioned to the north of Vairocana, and finally paragraph
(e) indicates Pure-Absolute-Wisdom and the character of Vairocana who is
positioned in the centre of the maha-mandala of the Vajradhdtu,38 Tire fifth Pure-
Absolute-Wisdom, different from the other four Wisdoms, is the supreme Wisdom
and seems to be attained as the result of an accumulation of the other four Wisdoms.
With regard to the relationship between the four Wisdoms and the four Buddhas,
Amoghavajra states that the four Buddhas are generated from the four Wisdoms.39
Concerning the above passage, Anandagarbha40 states that paragraph (a)
explains the perfect comprehension of the Tathagata-family and the knowledge of
pledges, paragraph (b) explains the perfect comprehension of the Gem-family and
the attainment of the consecrations, paragraph (c) explains the perfect,
comprehension of the Lotus-family and the transformation into the great yoga-lord
by means of the attainment of the perfection of wisdom, paragraph (d) explains the
perfect comprehension of the Action41-family and the perfection of all other goals.
between oneself and others, and Pure-Absolute-Wisdom is the location of the realm
of the other four Wisdoms as well as their object.”
(F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric
Systems, p. 222, footnote).
37. According to the Mildtyo Jiten (ed. Sawa Ryuken, pp. 220~221), only four Wisdoms are
explained in exoteric Buddhist teachings, but in esoteric Buddhist teachings, Pure-Absolute-
Wisdom is added as the virtue of Mahavairocana and it is regarded as the ultimate Wisdom
including the characteristics o f the other four Wisdoms. The Vajradhatu-mandala is also said
to be established on the basis o f these five Wisdoms. In relation to the theory of
consciousness, Pure-Absolute-Wisdom (dharmadhdtusvabhdvajnana) as Mahavairocana is
transformed and realised through the ninth pure-consciousness (amalavijhana), Mirror-like-
Wisdom (adarsajhdna) as Aksobhya is transformed and realised through the eighth store-
consciousness (alayavijndna), Equality-Wisdom (samatajhdna) as Ratnasambhava is
transformed and realised through the seventh ego-consciousness (klista-manas),
Discriminating-Wisdom (pratyavelcsanajhdna) as Amitabha is transformed and realised
through the sixth mental-consciousness (manovijhdna), and Active-Wisdom
(krtydnusthanajfidna) as Amoghasiddhi is transformed and realised through the five sense-
consciousnesses.
3S. TSD. Vol. 61, No. 2225, pp. 165-2-28-173-3-8.
Donjaku states that Vairocana abides in the Gate of Universal Dharma-dhdtu while sitting on
the Lion-seat, Aksobhya abides in the Gate of Enlightenment-thought {bodhicitta) while
sitting on the Elephant-seat, Ratnasambhava abides in the Gate of Blessed-viitues (punya)
while sitting on the Horse-seat, Amitabha abides in the Gate of Wisdom while sitting on the
Peacock-seat, and Amoghasiddhi abides in the Gate of Action (virya) while sitting on the
Garuda-seat. (TSD. Vol. 61, No. 2225, p. 121-1-4-10).
39. Lue-shu-jin-gang-ding-yu-qie-fen-bie-sheng-wei-xiu-zheng-j'a-men, TSD. Vol. 18, No. 870, p.
288-2-21. This text was translated by Amoghavajra.
40 Tattvaloka, TTP. Vol. 71, No. 3333, p. 147-3-4-5-3.
41. Ibid., p. 147-4-8. The word ‘Action’ seems to be missing.
45
P a rt One
Vairocana in paragraph (e) means the one who becomes completely illuminated by
means of the families such as the Tathagata-family and acquires power.
The STTS depicts the natures of Mahavairocana as follows:-
“(f) Then the Lord 42Mahavairocana, while perpetually abiding in
the sphere of the entire space with his Body, Speech and Mind,
became transformed into a Vajra.
(g) Due to his union43 with all the Tathagatas, he was the
knowledge-being that enlightened the entire Vajradhdtu, and the
knowledge-embryo issued from the vq/ra-empowerments as
numerous as infinite particles of dust in all regions of space.
(h) On account of the infinity of all the Tathagatas, he was the
consecration-gem of the great vq/ra-knowledge,44 and the
perfectly enlightened one with the completely comprehending
knowledge of suchness (tathatd) that penetrates the entire space.
(i) On accoimt of the pure self-nature of all the Tathagatas, he was
the one with all his dharmas pure by nature,45 and the pinnacle of
conduct that converts the entire and complete sphere of living
beings through the knowledge that beholds all forms diffused in
the entire space 46
(j) By means of executing the efficacious orders of all the
Tathagatas, he was the performer of the incomparable and highest
deeds.”47
With regard to Vairocana and Mahavairocana, when we consider the above
paragraphs (e) and (f), we can see that there is similarity between them in the sense
that both of them transcend time. However, they also slightly differ in the sense that
Vairocana has spatial limitations because he is considered as having a bodily form,
i.e., an Enjoyment-body (sambhoga-kdya) and because he abides in the Akanistha
42. Both Chinese versions insert: “Tathagata”.

43. Tibetan reads: “through the penetration into the sameness”.
44. Tibetan reads: “the great consecration-gem of the great va/ra-knowledge-gem”.
45. Tibetan reads: "the accomplished one with the pure nature of all dharmas”.
46. Tibetan reads: “in all spheres (dhdtu) of space”.
47. S. p. 4-7-16, T. p. 219-1-7-2-5, C l. p. 207-1-26-2-7, C2. p. 341-2-1-10.
Chinese 1 reads: “the universal and highest knowledge”.
Regarding the above quotations about the nature of Mahavairocana, the translation of Chinese
2 is slightly different from the other versions:-
“Then the Lord Tathagata Mahavairocana, due to his union with all the Tathagatas,
universally abided in the sphere o f the entire space with his Body, Speech and Mind
transformed into a Vajra. On account of the infinity of all the Tathagatas, he became
the knowledge-great being that enlightened the entire Vajradhdtu. He cultivated the
knowledge-embryo issued from the vq/ra-empowerments as numerous as infinite
particles o f dust in all regions o f space. He established the great consecration-gem of
the great vq/'ra-knowledge. He was the perfectly enlightened one with the completely
embracing knowledge o f suchness that penetrates entire space. Since the self-nature
o f the bodies o f all the Tathagatas is pure, the self-nature of all dharmas is pure. By
means o f executing the efficacious orders of all the Tathagatas, he manifested all his
forms diffused in entire space; he became the pinnacle o f all the conducts that subdue
completely all the realms of living beings; he completely performed the various
incomparable and highest deeds.”
46
P art One
heaven. In contrast, Mahavairocana as Dharma-body is pervasive in the sphere of

the entire space and abides in the hearts of all the Tathagatas. Anandagarbha
maintains that the essence of the five Tathagatas1 Bodies which became fully
enlightened in the abode of Akanistha, becomes Vairocana. On the other hand,
Mahavairocana is the one who is endowed with the qualities of the beginningless
and endless Dharmadhdtu which in turn through the nature (of the five Tathagatas'
Bodies) becomes the cause Qietu) of generating the non-dual thought and the virtues
(sila) of Vairocana, Vajrasattva and the rest, arisen from that (non-dual) thought.48
However, Sakyamitra49 regards Vairocana as the Body of Appearance (rupa-kaya).
On the basis of the STTS text, firstly, he defines the abode of the king of the
Akanistha gods as having the characteristic of the perfect equality of cause and
effect (nisyanda). Secondly, the aim of Vairocana is to bestow the enjoyment of the
Dharma upon the Bodhisattvas generated inside deity’s family. Finally, Vairocana
is considered as possessing and generating the splendid essence of absolute pure
knowledge as the equality of cause and effect (nisyanda) through the body which
has fully matured according to die five consecutive stages of perfect enlightenment
(pahca-abhisambodhi). In addition, he defines Mahavairocana in the following
way:-
“Mahavairocana is endowed with the nature of wisdom, becomes
completely delivered from the defilement known as afflictions
(klesa), and shows and accomplishes the splendid and pure
essence of all the substances.”
The above paragraphs (g), (h), (i) and (j) individually correspond to paragraphs (a),
(b), (c) and (d) respectively, in connection with the four Wisdoms.50 Paragraphs
(g), (h), (i) and (j) show the characteristics of the four Paramita Bodhisattvas who
epitomise the nature of Mahavairocana, and who closely surround Mahavairocana
on the maha-mandala of the Vajradhdtu. Amoghavajra maintains that the four
Paramita Bodhisattvas are generated from the four Tathagatas' Wisdoms and
become the Mothers who generate and raise all the Honoured Ones and Sages of
the three times.51 Donjaku also states that the four Buddhas emerge from the four
Wisdoms, and the four Buddha Wisdoms issue forth the four Paramitas,52
Paragraph (g) indicates that Vajra-paramita emerges from Mirror-like-Wisdom and
is positioned to die east of Mahavairocana, paragraph (h) indicates that Ratna-
paramita emerges from Equality-Wisdom and is positioned to the south of
Mahavairocana, paragraph (i) indicates that Dharma-paramita emerges from
Discriminating-Wisdom and is positioned to the west of Mahavairocana, and
48. Tattvaloka, TTP. Vol. 71, No. 3333, p. 148-4-5-7.

49. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 193-5-4-8.
50 TSD. Vol. 61, No. 2223, pp. 28-3-24-30-2-8.
51. Jin-gang-ding-yu-qie-san-shi-qi-zun-chu-sheng-yi, TSD. Vol. 18, No. 872, p. 298-1-21-22.
This text was translated by Amoghavajra.
52. TSD. Vol. 61, No. 2225, p. 185-2-25-28.
47
P a rt One
paragraph (j) indicates that Karma-paramita emerges from Active-Wisdom and is

positioned to the north of Mahavairocana. However, Sakyamitra maintains that
paragraphs (g), (h), (i) and (j) indicate the essences of the four main Bodhisattvas
out of the sixteen Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and
Vajrakarma. Furthermore, all the Tathagatas in this context indicate the Buddhas
and Bodhisattvas as explained in the mandala of the Vajradhdtu.5'5
2. Three Samddhis
According to Anandagarbha, the section starting with the words, “Then this
Buddha-field (became replete just lilce the husks of sesame seeds) with all the
Tathagatas”54 and ending with the words, “the Buddhas became merged into
one”,55 provides an exposition of the three samddhis, namely, the initial yoga, the
supreme mandala-king, and the supreme action-king. Anandagarbha states that
those who possess the pledges and consecrations should follow this expedient.56
The first samadhi called the initial yoga (adiyoga-samddhi) corresponds to the
five abhisambodhis in the STTS. The exposition of these five abhisambodhis is a
kind of preparatory stage for visualising the deities. Their detailed description is
given only once in the introductory part of the maha-mandala of the Vajradhdtu in
tire STTS. The initial yogas of all the other mandalas are essentially based on this
method. The second samadhi, called the supreme mandala-king (mandala-
paramaraja-samddhi), is the main stage of visualising and blessing the deities. The
practitioner has to visualise and summon the deities together with the appropriate
mantras and mudras. In the STTS, most of the mantras used for this second
samadhi contain the names which indicate the deities to be assembled. The third
samadhi called the supreme action-king {karmaparamardja-samddhi) is the last
stage of the threefold samadhi. It empowers the deities which have been assembled
and blessed.
a. Five Abhisambodhis
As Anandagarbha points out above, the purpose of the STTS is to enable the
sddhaka (practitioner) to realise the nature of Vairocana and Mahavairocana.
Consequently, the STTS explains the five abhisambodhis which Sakyamuni
received and experienced in the Almnistha abode:-
“The Lord Mahabodhicitta Mahabodhisattva Samantabhadra
resided in the hearts of all the Tathagatas. As a result, that Buddha-
field became replete with all the Tathagatas just like the husks of
sesame seeds. Then, all the Tathagatas gathered together in a great
53. Kosalalam kara, TTP. Vol. 70, No. 3326, p. 194-1-4-5-2.

54. at ha sarvatathagatair idam buddhalcsetram (tadyatha tilabimbam iva paripurnam): S. p. 7-
2 -3 , T. p. 219-4-3-4, Cl.'p. 207-3-9, C2. p. 341-3-19-20.
Tattvalolca reads: “Then this Buddha-field o f all the Tathagatas”.
55. buddhd hy ekatvam dgata iti: S. p. 60-9-10, T. p. 228-5-8, C l. p. 216-2-3, C2. p. 351-3-10.
48
P a rt One
conclave and approached the place where the Bodhisattva

Mahasattva57 Sarvarthasiddhi58 was seated on the spot of
enlightenment (bodhi-manda).59 On arrival, they revealed
themselves before the Bodhisattva in their sambhoga-kdyas, and
said: ‘O noble son, how will you gain the highest and complete
enlightenment, while attempting all these difficult tasks without
knowing the true nature60 of all the Tathagatas?’61 Then, the
Bodhisattva Mahasattva Sarvarthasiddhi, being admonished by all
the Tathagatas, abandoned the imperturbable concentration
(.dsphanaka-samadhi),62 bowed down before all the Tathagatas
and said: £0 Lord Tathagatas, please instruct me about the essence
of that nature63 and how I should accomplish it.’
(k) Upon this being said, all the Tathagatas spoke with one voice
to the Bodhisattva: ‘O noble son, accomplish it64 through the
meditation that discerns your mind and by reciting at will this self-
perfected mantra: OM CITTA-PRATIVEDHAM KAROMl (I
penetrate the mind.)’ Then, the Bodhisattva65 said this to all the
Tathagatas: ‘O Lord Tathagatas, just as instructed, I perceive in my
heart the form of a 66lunar disc.’ All the Tathagatas replied: ‘O
noble son, this mind is luminous by nature. When it is acted
upon,67 so it becomes, just as a white garment stained with dye.’
(1) Then, once again, in order to augment the knowledge of the
naturally luminous mind, all the Tathagatas directed the
Bodhisattva68 to raise the thought of enlightenment (bodhi-cittd)
with this self-perfected mantra: ‘OM BODHI-CITTAM
57. Chinese 2 omits: “Mahasattva”.

58. Ennin states that the Bodhisattva Mahasattva Sarvarthasiddhi indicates Vajrasattva. (TSD.
Vol. 61, No. 2223, p. 34-1-1-2).
59. Concerning the position o f the bodhi-manda, following the opinion of Anandagarbha, bodhi-
manda is a certain place located in the Akanistha heaven. However, the STTS text reads: “The
Buddha Sakyamuni having become completely enlightened, approached his Seat of
Enlightenment (bodhi-manda) under the Bodhi-tree from the summit o f Mount Sumeru.” (S.
p. 556). Therefore, according to the STTS, the bodhi-manda must be located at Buddhagaya
where the historical Sakyamuni attained enlightenment.
60. Chinese 2 reads: “the true knowledge and patience”.
61. Chinese 2 inserts: “Therefore, now you should raise the brave mind, and do what you have
to.”
62. Sakyamitra states in Kosalalamkara that Siddhartha had difficulties in becoming a Buddha by
means of the four dhyanas because the asphanaka-samadhi is a state of total isolation in
which the bodily and mental activities are suspended. By enteringsuch ameditation, he
became completely isolated and consequently unable to pursue activities for the benefit of
other living beings. This was the chief reason why Siddhartha failed in his efforts and was
awakened from his meditation. (Tadeusz Skorupski, Saltyamuni's Enlightenment according to
the Yoga Tantra, p. 90; Kosalalamkara, TTP. Vol. 70, No. 3326, p. 198-4-5-8).
63. Chinese 2 reads: “the true knowledge and patience”.
64. Chinese 2 reads: “the true patience”.
65. Tibetan adds: “Sarvarthasiddhi”.
66. Chinese 2 inserts: “pure”.
67. Tibetan reads: “As it is cleansed”.
6S. Tibetan reads: “Mahabodhisattva”.
49
P a rt One
UTPADAYAMI. (I raise the thought of enlightenment.)’ Then,

once again, having raised the thought of enlightenment just as
instructed by all the Tathagatas, the Bodhisattva said69: ‘That form,
I truly see it as a lunar disc.’70 All the Tathagatas said: ‘The
essence of all the Tathagatas has become manifested in you as the
Samantabhadra thought of enlightenment. You should duly attain
it.
(m) In order to stabilise71 the production of that thought as
Samantabhadra of all the Tathagatas, you should envisage a vajra-
form on the 72lunar disc inside your heart by means of this
mantra: OMTISTHA VAJRA, (Abide vajraX)'
(n) The Bodhisattva spoke up73: ‘O Lord Tathagatas, I behold a
vajra74 on the 75lunar disc.’ All the Tathagatas replied: ‘Make firm
this thought-76vq/ra as Samantabhadra of all the Tathagatas with
this mantra: OM VAJRATMAKO ’HAM. (I am of the vajra-
nature.)’ Then all the 77Fa/'ra-elements of the Body, Speech and
Mind of all the Tathagatas abiding throughout the whole of space
penetrated that being-vq/ra with the empowerment of all the
Tathagatas. Next, all the Tathagatas consecrated that Lord
Mahabodhisattva78 Sarvarthasiddhi with the vajra-name-
consecration,79 saying: ‘Vajradhatu, Vajradhatu.’
(o) Then, the Mahabodhisattva80 Vajradhatu said this to all the
Tathagatas: ‘0 Lord Tathagatas, I perceive81 myself as the Body82
of all the Tathagatas.’ All the Tathagatas replied: ‘Consequently, O
Mahasattva, you should envisage yourself, the being-vajra, as a
Buddha-form endowed with all the most excellent forms,83
reciting at will this self-perfected mantra: OM YATHA SARVA-
TATHAGATAS TATHAHAM. (I am just as all the Tathagatas are.)’
69 Chinese 2 adds: “to all the Tathagatas”.

70. Chinese 2 reads: “O Lord Tathagatas, that form o f a pure lunar disc, I also see it as a pure
lunar disc inside my heart.”
71. Chinese 1 adds: “like a diamond”.
73. Chinese 2 adds: “all the Tathagatas”.
74. Chinese 2 reads: “a subtle vajra form”.
76. Chinese 2 inserts: “true”.
77. Chinese 2 inserts: “great”.
7S. Chinese 1 reads: “Bodhisattva Mahasattva”.
79. Tibetan omits: “vajra” and “consecration”.
Chinese 2 reads: “the vajra-great-consecration”.
80. Tibetan omits: “Mahd” and Chinese 1 reads: “Bodhisattva Mahasattva”.
81. Tibetan inserts: “duly”.
82. Tibetan reads: “Dharma-Body” and Chinese 1 omits: “Body”.
83. Chinese 1 reads: “Consequently, O Mahasattva, all the being-va/ras have been endowed with
all the most excellent forms, and you should envisage yourself as a Buddha-form. Chinese 2
reads: “O Mahasattva, the being-vq/ra has been endowed with all the forms, and you should
envisage all the Buddha-forms.
50
P a rt One
Upon this being pronounced, the Mahabodhisattva84 Vajradhatu

himself became perfectly enlightened as a Tathagata, and bowing
down before all the Tathagatas said this: ‘Bless me, O Lord
Tathagatas,85 and make firm this state of enlightenment.’ Once he
had said this, all the Tathagatas became infused into the being-
vajra of the Tathagata Vajradhatu. Then, at that very moment, the
Lord Tathagata86 Vajradhatu became completely awakened to the
knowledge of the sameness of all the Tathagatas, penetrating into
the secret87 pledge of the 88knowledge-m^/ra89 of the vajra90-
sameness of all the Tathagatas,91 and becoming pure by nature in
the realisation of the knowledge of the sameness of the Dharma of
all the Tathagatas,92 and becoming the repository of the naturally
luminous knowledge of the complete93 sameness of all the
Tathagatas94 and thus he became a Tathagata, an Arhat and a
perfectly enlightened Buddha.”95
The above quoted passage constitutes the starting point of the main doctrinal
exposition in the STTS. The compiler or author of the STTS seems to have gained
his ideas and motives from die historic events of Saltyamuni's life as recorded in the
Buddhist Scriptures. Therefore, the STTS starts its story from the moment just
before Sakyamuni's enlightenment. According to the Buddhist Scriptures,
Sakyamuni used the method of controlled breathing as used in the method of the
imperturbable concentration (asphanaka-samadhi)?6 However, despite controlled
84. Chinese 1 reads: “Bodhisattva Mahasattva”.

85. Tibetan reads: “all the Tathagatas”.
86. Chinese 2 omits: “Tathagata” and reads: “Mahabodhisattva”.
87. Chinese 1 omits: “secret”.
88. Chinese 2 inserts: “supreme”.
89. Chinese 1 omits: “mudra”,
90. Chinese 1 omits: “vajra”.
91. Tibetan adds: “he penetrated the secret pledge of the knowledge-mwtfr'a o f the sameness o f the
vayra-jewel-consecration o f all the Tathagatas”.
92. Both Chinese versions read: “he realised that the knowledge o f the sameness o f the Dharma of
all the Tathagatas is pure by nature”.
93. Chinese 1 omits: “complete”.
94. Chinese 2 reads: “he accomplished the naturally luminous knowledge of the complete
sameness o f all the Tathagatas”.
95. S. pp. 7-1-10-6, T. pp. 219-4-2-220-2-5, C l. pp. 207-3-8-208-1-28, C2. pp. 341-3-18-342-
2-18.
Ennin asserts that the last section of the above quotations contains the five Wisdoms
resulting form the five abhisambodhis. He says:-
“The knowledge o f the sameness o f all the Tathagatas is Mirror-like-Wisdom, the
secret pledge o f the knowledge-mwcfra o f the va/ra-sameness o f all the Tathagatas is
Equality-Wisdom, the knowledge of the sameness of the Dharma of all the
Tathagatas is Discriminating-Wisdom and the naturally luminous knowledge of the
complete sameness of all the Tathagatas is Active-Wisdom.”
(TSD. Vol. 61, No. 2223, pp. 36-1-29-37-1-8).
96. Concerning the asphanaka-samadhi, the STTS contains a negative opinion. In contrast, the
Recitation-sutra, (TSD. Vol. 18, No. 866, pp. 223-2-22-253-3-10) which has been regarded
as the earliest version containing some elements of the STTS, accepts the asphanaka-samadhi
51
P a rt One
breathing and fasting, he could not attain enlightenment, so he used a new method
which had not been previously used by any ascetic.97 Thus, the author of the STTS
is suggesting that the five abhisambodhis represent a new method of spiritual
exercise which was used and performed by Sakyamuni for achieving
enlightenment.
The method of the five abhisambodhis of the STTS is a major contribution to
Tantric Buddhism. The five abhisambodhis are the most effective expedient
established in Yoga-Tantra Buddhism to attain perfect enlightenment, and the five
stages constitute the direct ways of obtaining the five Wisdoms as the virtues of
Vairocana. Therefore, paragraphs (k), (1), (m), (n) and (o) correspond to the above
paragraphs (a), (b), (c), (d) and (e) respectively. Donjaku states that the mantras of
the five abhisambodhis indicate the samddhis of the five Buddhas.98 Mkhas-grub-
tje states that the first abhisambodhi, which is paragraph (lc), is called Revelation-
Enlightenment resulting from Discrimination (pratyaveksand), the second
abhisambodhi, which is paragraph (1), is called Revelation-Enlightenment resulting
from the resolve for the highest enlightenment (paramabodhicittotpada), the third
abhisambodhi, which is paragraph (m), is called Revelation-Enlightenment
resulting from the firm thunderbolt (drdha-vajra), the fourth abhisambodhi, which
is paragraph (n), is called Revelation-Enlightenment resulting from thunderbolt
as the preparatory ritual before performing the five abhisambodhis. The term asphanaka-
samadhi is described twice in the Recitation-sutra:-
(i) “For the benefit o f converting innumerable living beings, the dhdrani-holdev
should perform the asphanaka-samadhi. Then, the method of entering into samadhi
is explained. One who wishes to enter into samadhi should not move his body, legs
or arms, should close the lips and teeth together, should close the eyes and should
think of the Buddha-image. If one wishes to enter into samadhi, one should think:
‘All the Buddhas are diffused in the entire space resembling oily sesame seeds on the
ground. The body and mind should be gloriously adorned in this way.”’ (TSD. Vol.
18, No. 866, p. 226-2-7-12).
(ii) “One should enter into contemplation, and stop breathing in and out. At first,
depending on dnapana (mindfulness of breathing) yoga, one should direct the mind
to (breathing) and cultivate (the mind). Then, one should not move the body, legs or
aims. This method is called asphdnalia-samadhi. The practitioner who has been in
0asphanaka-samadhi) for a long time should visualise his body in space and all the
Buddhas diffused in the Dharmadhatu, and the mudra of snapping the fingers makes
(him) rise up from his seat. The dharani-holder should think about and listen
carefully to what all the Buddhas say: cO noble son, you should gain the highest and
complete enlightenment quickly. But, how will you endure and attempt this difficult
task without knowing the true nature of all the Tathagatas?’ At this time, having
heard the words o f all the Buddhas, in accordance with the appropriate rite, he
should come out from samadhi, and bind the mudra of rising up from the seat.”
(TSD. Vol. 18, No. 866, p. 237-1-8-16).
97. Edward Thomas states: “From the scriptures, we leam that Gotama first sought instruction
under two religious teachers, found them unsatisfying, and for six years practised austerities
in the company o f five disciples. Then, abandoning his fasting and self-tortures, he thought
o f a new method of religious exercise and won enlightenment.” (Edward Thomas, The Life o f
Buddha as Legend and History, p. 62 and see pp. 61-80 for details of Sakyamuni's
enlightenment).
9S. TSD. Vol. 61, No. 2225, p. 126-3-5.
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composition (yajrcitmaka) and the fifth abhisambodhi, which is paragraph (o), is

called Revelation-Enlightenment resulting from equality with all the Tathagatas
(sarvatathagata-samata)." Ennin asserts that the first four stages out of the five
abhisambodhis constitute ‘the position of cause5 (i.e., progressive stages to
Buddhahood) and the final fifth stage constitutes ‘the position of fruition5 (i.e.,
Buddhahood).100 Anandagarbha regards the above quotations concerning the five
abhisambodhis as the first samadhi called the initial yoga.m Concerning the last
section of the above quotations, both Ennin and Donjaku assert that the knowledge
of the sameness of all the Tathagatas indicates Mirror-like-Wisdom, the secret
pledge of the knowledge-mwr/ra of the vq/ra-sameness of all the Tathagatas
indicates Equality-Wisdom, the knowledge of the sameness of the Dharma of all
the Tathagatas indicates Discriminating-Wisdom, and the naturally luminous
knowledge of the complete sameness of all the Tathagatas indicates Active-
Wisdom.102
b. Tathagata Vajradhatu
According to the STTS, after Sakyamuni attained perfect enlightenment through the
five abhisambodhis taught by all the Tathagatas manifested in their sambhoga-
kayas, he went to the topmost mansion made of vajras, jewels and gems on the
summit of Mount Sumeru together with all the Tathagatas. The STTS reads :-
“Then, all the Tathagatas, once again, having emerged from the
being-vajra of all the Tathagatas,103 performed the great precious
gem-consecration of AkaSagarbha. They generated the dharma-
knowledge of Avalokitesvara, and having become established in
the universal activity of all the Tathagatas,104 they went to the
topmost mansion made of vajras, jewels and gems on the summit
of Mount Sumeru. Having entered it, they empowered the
Tathagata Vajradhatu105 in the essence of all the Tathagatas,106 and
they placed him on the lion-seat of all the Tathagatas facing
towards all directions. Then the Tathagatas Aksobhya,
Ratnasambhava, LokeSvararaja107 and Amoghasiddhi empowered
themselves in the essence of all the Tathagatas, and sat down
" . F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp.
29-35.
100 TSD. Vol. 61, No. 2223, p. 12-1-10-11.
101. Tattvdloka, Vol. 71, No. 3333, p. 155-1-4-5.
102. TSD. Vol. 61, No. 2223, pp. 36-1-29-37-1-8; TSD. Vol. 61, No. 2225, pp. 208-3-2-209-2-
4.
103. Tibetan adds: “they generated the knowledge of the sameness of all the Tathagatas”.
104. Chinese 2 reads: “from the Dharma-knowledge of Avalokitesvara, they generated the various
activities”.
105. Ennin asserts that the Tathagata Vajradhatu indicates Vairocana. (TSD. Vol. 61, No. 2223, p.
37-2-29).
106. Tibetan adds: “they became merged together into an indistinguishable union”.
107. Tibetan and both Chinese versions read: “Avalokitesvararaja”.
53
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facing the four directions, upholding thus the sameness of all the
directions on account of the Lord Tathagata Sakyamuni's
penetration into the universal sameness.”108
Based upon the above quotation and other descriptions in the STTS, Toganoo
Shoun109 maintains:-
“With regard to the Vajradhatu-mandala, at first, the Buddha
(Yairocana) revealed it in tire abode of the king of the Akanistha
gods for the sake of the Bodhisattvas belonging to the Tenth Stage
{bhumi) such as Vajrapani and Avalokitesvara, and then in order
to supplement some key points omitted in that assembly, having
descended to the summit of Mount Sumeru, he revealed it once
again. The Vajradhatu-mandala (explained in the STTS) describes
the assemblage of the Buddha (Vairocana), and its style and
structure are almost identical with the mandalas revealed in the
Akanistha heaven and on the summit of Mount Sumeru.”
In order to support his view that the mandala revealed on the summit of Mount
Sumeru is the reproduction of the mandala revealed in Akanistha heaven, he quotes
a relevant passage from the commentary of Sakyamitra;-
“This mandala (of the Vajradhatu), which comprises a circle of
residents accomplishing the fruition of the Buddha and
Bodhisattva Dharma, was revealed in the engaging palace of
Akanistha heaven. However, (it was also revealed on the summit
of Mount Sumeru) in order that (Vairocana) could help those who
did not possess the blessing to be able to enter {Akanistha heaven)
but could enter (the summit of Mount Sumeru) instead; once they
had entered (the summit of Mount Sumeru) and had ripened their
intellectual powers gradually and completely, they obtained the
blessing to enter {Akanistha heaven).”110
In contrast, Ennin asserts: “Sumeru in this context is not the so-called Mount
Sumeru, but the name of the seat of Vairocana, which becomes the victorious seat
of the Dharmadhatu. Since this place of the Buddha-seat can be compared to a
mountain, it is called the summit of Mount Sumeru.”111 David Snellgrove regards
the palace of the king of gods in Almnistha heaven as the place understood to be on
the summit of Mount Sumeru.112 Donjaku states that Sakyamuni, having attained
complete enlightenment in the Akanistha heaven as (the state of) the fourth dhyana,
went to the summit of Mount Sumeru in order to turn the wheel of Dharma.113
Sakyamitra states that Sakyamuni having performed all kinds of activity previously
in the abode (of the Icing) of the Akanistha gods, went from Akanistha heaven to
108. S. p. 10-7-18, T. p. 220-2-5-3-3, C l. p. 208-1-28-2-8, C2. p. 342-2-19-28.

109. Toganoo Shoun, Mandara no kenkyu, pp. 195-196.
110 Kosaldlam kdra, TTP. Vol. 70, No. 3326, pp. 228-5-8-229-1-2.
1U. TSD. Vol. 61, No. 2223, p. 14-2-19-3-28.
112. David Snellgrove, Indo-Tibetan Buddhism, p. 120.
113. TSD. Vol. 61, No. 2225, p. 209-2-5-3-7.
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P a rt One
Sumeru in order to sit on the victorious lion-seat,114 Concerning the last paragraph
of the above quotation, he says that a Tathagata who has attained complete
enlightenment is endowed with the natures of the four Wisdoms, and the four
Wisdoms become the four Buddhas.115
c. Thirty-Seven Deities
The first part of the exposition of Vairocana begins with the explanation of the
thirty-seven deities who are generated and manifested through the vctjra-samddhi of
Vairocana. In the mandala-ntQ, they are drawn in the mandala, and play a major
role for the practitioner, such as providing the supernatural powers and the wisdom
of enlightenment. These thirty-seven deities include the five Tathagatas, namely,
Vairocana, Aksobhya, Ratnasambhava, Amitabha (or Lokesvararaja) and
Amoghasiddhi, die sixteen Mahabodhisattvas116 who are divided into sets of four
relating to the Buddha-families,117 the four Paramitas, i.e. Sattvavajri, Ratnavajri,
Dharmavajri and Karmavajri, the four Internal Offerings ffiujds), i.e. Vajralasya,
Vajramala, Vajragita and Vajranrtya, the four External Offerings, i.e. Vajradhupa,
Vajrapuspa, Vajraloka and Vajragandha, and the four Guardians, i.e. Vajrankusa,
Vajrapasa, Vajrasphota and Vajravesa. Among these thirty-seven deities, the four
Paramitas and the eight Offerings (four Internal and four External Offerings) are
regarded as female deities. The names of the thirty-two deities excluding the five
Tathagatas, express the characteristics and functions of the deities. Out of twenty-
eight mandalas in the STTS, the descriptions of the thirty-two deities appear only in
this section that deals with the maha-mandala of the Vajradhatu. The
characteristics of these thirty-two deities are explained in the STTS.
(1) Four Mahabodhisattvas of the Vajra Family:-
Vajrasattva is ‘Great Thought of Enlightenment {mahabodhicittdy, Vajraraja is
‘Pledge of Attracting all the Tathagatas (sarvatathagatakarsanasamayay,
Vajraraga is ‘Knowledge of Delighting all the Tathagatas {sarvatathagata-
114 Kosalalamkara, TTP. Vol. 70, No. 3326, p. 201-3-6-7.

115. Ibid., p. 201-5-3-5.
116. David Snellgrove states that the sixteen Mahabodhisattvas are presented as aspects of
Buddhahood, all ultimately arising from Vairocana's mental concentration (samadhi) in its
various aspects, as symbolised by sixteen primary Bodhisattvas and they are all conceived of
as manifestations o f the one Bodhisattva, variously named as Samantabhadra, Vajrapani and
Vajradhara. (David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 25).
117. The first group surrounding Aksobhya in the mahd-mandala o f the Vajradhatu is
Vajrasattva, Vajraraja, Vajraraga and Vajrasadhu; the second group surrounding
Ratnasambhava is Vajraratna, Vajratejas, Vajraketu and Vajrahasa; the third group
surrounding Amitabha is Vajradharma, Vajratlksna, Vajrahetu and Vajrabhasa; the fourth
group surrounding Amoghasiddhi is Vajrakarma, Vajraraksa, Vajrayaksa and Vajrasandhi,
Ennin asserts: “The reason that the STTS starts with explaining the samadhis of the four
Bodhisattvas surrounding Aksobhya in the east of Vairocana is that the Dharma of all
Buddhas at first shines in the east like the Sun rises from the east.” (TSD. Vol. 61, No.
2223, p. 52-1-19-24).
55
P a rt One
anuraganajnanay and Vajrasadhu is ‘Great Joy (mahdtustty. These are ‘Great

Pledge Beings of all the Tathagatas (sarvatathagatamahasamayasattvasy 3 18
(2) Four Mahabodhisattvas of the Ratna Family:-
Vajraratna is ‘Great Consecration {mahabhiseka)1, Vajratejas is ‘Fathom Circle of
Splendour (vyamaprabhamandala)\ Vajralcetu is ‘Goal of Great Beings119
(jmahasattvdrthay and Vajrahasa is ‘Great Rapture120 (mahdharsa) ’. These are
‘Beings of the Great Consecration of all the Tathagatas (sarvatathagata-
mahabhisekasattvasy.121
(3) Four Mahabodhisattvas of the Dharma Family:-
Vajradharma is ‘Knowledge of Fo/ra-Essence (vajradharmatdjhanay ,122
Vajratlksna is ‘Knowledge of Wisdom of all the Tathagatas (,sarvatathagata-
prajhdjhdna)V 23 Vajrahetu is ‘Knowledge of Revolving the Great Wheel124
(mahdcakrapravartanajhanay and Vajrabhasa is ‘Knowledge of Non-Diffusion of
Speech of all the Tathagatas {sarvatathdgatavdlprapahcavinivartanajhdna)5. These
are ‘Great Knowledge Beings of all the Tathagatas (sarvatathagata-
mahdjndnasattvas) 5.125
(4) Four Mahabodhisattvas of the Karma Family:-
Vajrakarma is ‘Activity of Extensive Rites of Worshipping all the Tathagatas
(sarvatathagatapujavidhivistarakarmay, Vajraraksa is ‘Strong Armour of Great
Heroism126 (mahdviryadrdhakavaca)’, Vajrayaksa is ‘Great Expediency of all the
Tathagatas (sarvatathagatamahopayay and Vajrasandhi is ‘Knowledge of 127all
the Mudrdsm {sarvamudrdjhand)\ These are ‘Beings of the Great Action of all
the Tathagatas {sarvatathdgatamahdkarmasattvasy .m
(5) Four Paramita Bodhisattvas:-
Sattvavajri is ‘Knowledge Pledge of all the Tathagatas (.sarvatathagata-
jnanasamayay, Ratnavajri is ‘Great Consecration {mahdbhisekd)% Dharmavajri is
‘Vajra Dharmahood (vajradharmatdy and Karmavajri is ‘All Worship
(sarvapujay. These are ‘Paramitas of all the Tathagatas {sarvatathagata-
p a ra m itd p \m ^
118. S. p. 19-1-3, T. p. 222-1-2-3, C l. p. 209-3-13-15, C2. p. 344-2-8-9.

119. Both Chinese versions read: “the Great Goal for Living Beings”.
120. Chinese 1 reads: “the Great Laughter” and Chinese 2 reads: “the Ko/m-Great Laughter”.
121. S. p. 26-10-11, T. p. 223-3-3, C l. p. 211-1-7-8, C2. p, 345-3-14-15.
122 Chinese 1 reads: “the Knowledge-Essence of Vajra-Dharma”, and Chinese 2 reads: “the
Knowledge o f Vajra-Great Essence”.
123. Chinese 2 omits.
124. Tibetan adds: “o f the Dharma
125. S. p. 34-9-11, T. p. 224-5-4-5, C l. p. 212-1-28-2-1, C2. p. 347-2-10-12.
126. Chinese 1 adds: “all the Tathagatas”.
127. Tibetan and Chinese 1 insert: “Binding”.
l2S. Chinese 1 adds: “all the Tathagatas”.
129. S. p. 42-17-19, T. p. 226-2-8-3-1, C l. p. 213-3-12-14, C2. p. 348-3-24-26.
130 S. p. 46-17-18, T. p. 227-1-2-3, C l. p. 214-2-6-7, C2. p. 349-3-4-5.
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(6) Eight Goddesses of Offering:-

Vajralasya is ‘Pledge of the Highest Pleasure and Satisfaction of all the Tathagatas
{sarvatathdgatdnuttarasukhasaumanasyasamayd)’, Vajramala is ‘Garland of all
the Tathagatas (sarvatathagatamala)’, Vajragita is ‘Melody of all the Tathagatas
(sarvatathagatagdthdy and Vajranrtya is ‘Highest Performance of Worship131 of
all die Tathagatas {sarvatathdgatdnuttarapujakarmakari)\ These are ‘Secret
Offerings of all the Tathagatas (sarvatathdgataguhyapujds) ’.132
Vajradhupa is ‘Entrance of Knowledge of all the Tathagatas (sarvatathagata-
jnandvesay, Vajrapuspa is ‘Accumulation133 of Qualities of Great Enlightenment
(mahabodhyangasamcaydy, Vajraloka is 'Dharma134 Lamp of all the Tathagatas
{sarvatathdgatadharmalokay and Vajragandha is ‘Scent of Moral Conduct,
Concentration, Wisdom, Emancipation and Vision of the Knowledge of
Emancipation {sttasamddhiprajhavimuktivimulctijhdnadarsanagandhdy. These are
‘Female Servants of all the Tathagatas {sarvatathdgatdjndkdryas) ’.135
(7) Four Guardians of the Mandala Gates
Vajrankusa, VajrapaSa, Vajrasphota and Vajravesa are ‘Attracting, Entering,
Binding and Subjugating 136all the Tathagatas (sarvatathagatasamdkarsana,
pravesa, bandha, vasikaranay respectively. These are ‘Beings who Execute the
Orders of all the Tathagatas {sarvatathdgatajhakarasy ,137
With regard to the essences of the thirty-seven deities, Sakyamitra explains:-
“The Lord Vairocana is endowed with the nature of the
Dharmadhatu and becomes the supreme teacher of the lords of the
mandala. He induces Samantabhadra and the five Tathagatas such
as Aksobhya, consecrates (them) by means of die mudra, the
activity of generating sattvas, the samadhi and die power of
empowerment, and makes (them) join in the activities.
The Lord Aksobhya is endowed with the nature of Mirror-like-
Wisdom and generates mudras and sattvas. The Lord
Ratnasambhava is endowed with the nature of Equality-Wisdom
and generates {mudras and sattvas). The Lord Amitabha is
endowed with the nature of Discriminating-Wisdom and generates
{mudras and sattvas). The Lord Amoghasiddhi is endowed with
the nature of Active-Wisdom and generates {mudras and sattvas).
These (Tathagatas) become induced and are ordered to release
mudras by the Lord Vairocana, they are then endowed with the
task of generating sattvas. Accordingly, the essences of the five
13 h Chinese 2 omits: “Worship”.

132. S. p. 50-15-17, T. p. 227-3-7-8, C l. p. 214-3-25-27, C2. p. 350-1-24-26.
133. Both Chinese versions read: “Pledge”, instead of “Accumulation”.
134. Chinese 1 omits: “Dharma”.
135. S. p. 54-16-18, T. p. 228-1-6-7, C l. p. 215-2-18-20, C2. p. 350-3-21-23.
136. Both Chinese versions insert: “the Pledge o f ’.
137. S. p. 59-1-2, T. p. 228-4-6, C l. p. 216-1-10-11, C2. p. 351-2-15-17.
57
P art One
Tathagatas become established and placed into the mandala

perfectly by the Buddha who consists of the five Dharmas.
The first Sattva, that is, the Lord Vajrasattva, is the essence of the
thought of enlightenment. Having generated the thought of
enlightenment, one should assemble living beings. Therefore, the
second Sattva is the essence of the four things of the assemblage
and becomes the means of assembling living beings. Having
generated the thought of enlightenment and then assembled living
beings, one should gratify those living beings. Therefore, the third
Sattva becomes the means of gratifying living beings and is the
essence of the passion which makes living beings mature and
liberated. One arouses passion in living beings, and after that, one
should delight one's spiritual friends in order to make one's mind
completely mature which is the Bodhisattva-6/zwmz. Therefore, the
fourth Sattva is the essence of making living beings rejoice. These
four (Sattvas) are the pledges of those who enter the method of the
mantra-pmcticQ concealed by this Mahayana (= the STTS),
Therefore, they are called the Pledge-sattvas. There is no other
way of becoming a bodhisattva other than by adhering to them.
He who says that one should rely on spiritual friends in order to
make one's mind completely mature, after having delighted (one's
spiritual friends), receives the consecration from those spiritual
friends. Therefore, the fifth Consecration-Sattva is the essence of
the wish-granting-gem (cintamani). Having attained the
consecration, one will hear and seize the equality of the disposition
of mind. Therefore, the sixth Sattva becomes the place of the
splendid wisdom of hearing and thinking, and becomes the place
of the mandala of brightness. After hearing, one should
accomplish the perfections (pdramitcif) such as giving. On
account of that, the seventh Sattva is the essence of the perfection
of giving (dana) because one accurately performs in accordance
with what is heard. After performing, one will generate
gratification and one rejoices hilly in the dharmas, because of the
pure vision which is acquired as the result of performing in
accordance with the dharma that is heard. Therefore, the eighth
Sattva is the essence of gratifying and rejoicing. Since these four
(Sattvas) are illustrated by means of the consecration, they are
known as the Sattvas of the consecration.
After Hie mind is gratified in die dharma, the body becomes
purified, and after the body is purified, happiness is felt, and after
happiness is felt, thought arrives at one pointedness. Therefore, the
ninth Sattva is endowed with the sign of samadhi. By means of
the one-pointed thought, one will perceive with pure vision.
Therefore, the tendi Sattva is the essence of wisdom and
knowledge. The devotee, who abides in thought which has been
transformed through analysing the dharmas with wisdom, and
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P a rt One
who then distinguishes (them) completely with knowledge, should

transform die mandala. Therefore, the eleventh Sattva is the
essence of transformation, or the essence of the knowledge
obtained after samadhi. Having arisen from samadhi, one explains
the things that have been perceived or one thoroughly examines
what exists in one's thoughts. Therefore, the twelfth Sattva is the
essence of speech. Since these (four Sattvas) originate from
knowledge, they are called the Knowledge-Sattva. In this way, the
devotee, who has gone through the door of the secret mantra,
remains in the pledge, is consecrated and completes yoga. When
being enacted, these performances are uninterrupted.
Next, therefore, the Action-Sattvas are explained. Action involves
the signs of worshipping the Buddhas and the signs to profit
living beings. Therefore, the thirteenth Sattva is the sign of
Activity-Sattva. In performing the activity, one can become
hindered and misled. Therefore, since one should protect oneself
from the (hindrances), the fourteenth Sattva is the essence of
diligence and affection. Since one should terrify the (hindrances),
the fifteenth Sattva is the essence of the means of possessing the
form to divert the (hindrances). There is no other way to be able to
accomplish all these actions except by assembling Body, Speech
and Mind Vajra of these (Sattvas) into one. Therefore, the
sixteenth Sattva is the secret essence of body, speech and mind.
Then, in order to seal the knowledge of each (Tathagata) family
with a mudra, the four A/Wra-Masters (i.e. Sattvavajri,
Ratnavajri, Dharmavajri and Karmavajri) should transform each of
the four mudras abiding in each quarter. The four Secret-
Offerings, namely, Vajralasya, (Vajramala, Vajragita and
Vajranrtya) are Pleasure in the Thought of Enlightenment, Garland
of all the Tathagatas, Melody of all the Tathagatas and Drama of
all the Tathagatas. Since these become the highest, they are placed
as the form having the nature of the Great Goddess of the family.
The four (External Offerings), namely, Vajradhupa, (Vajrapuspa,
Vajraloka and Vajragandha) are Very Purifying, the Flower of the
Qualities of Enlightenment, the Lamp of Knowledge and the Scent
of Moral Conduct. The four Guardians (i.e. Vajrankusa,
Vajrapasa, Vajrasphota and Vajravesa) are Heart, Affection
toward Living Beings, Exertion of Teaching and Perfection of
Wisdom.”138
d. Vajra-Samddhi
According to the STTS, the thirty-seven knowledges are regarded as the thirty-
seven deities manifested through the vajra-samadhi. Donjaku maintains that these
138. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 228-2-5^5-8.
59
P a rt One
thirty-seven deities possess the five Wisdoms.139 He also maintains that this section
of the STTS explains the samadhis and mantras of only thirty-two deities excluding
the five Buddhas because the samadhis and mantras of the five Buddhas have
already been demonstrated as the five samadhis and mantras of the five
abhisambodhis.i40 Anandagarbha regards the samadhi of attracting the thirty-two
deities as the second samadhi called the supreme mandala-king.141 In the context of
Mahayana Buddhism, we can understand these thirty-seven deities as referring to
the thirty-seven Bodhipalcsika dharmas.142 These Bodhipaksika dharmas contain
practices and principles to reach enlightenment in Mahayana Buddhism. Through
samadhi in tantric ritual, the STTS seems to transform the Mahayana dharmas into
personified deities.
The STTS in this section, except for the five Tathagatas, describes in detail all the
other thirty-two deities manifested through the Vajra-Samddhi of Vairocana. For
example, the Lord Vairocana enters into samadhi, and then he brings from his heart
the hrdaya of all the Tathagatas. The thirty-two hrdayas in the STTS indicate the
names of the thirty-two deities and there are different names of the samadhi in
accordance with the deities to be summoned. The samadhi called Being-
Empowerment- Vajra is performed for attracting the deities of the first group
(Vajrasattva, Vajraraja, Vajraraga and Vajrasadhu); the samadhi called Gem-
Empowerment- Vajra is for attracting the deities of the second group (Vajraratna,
Vajratejas, Vajraketu and Vajrahasa); the samadhi called D/zama-Empowerment-
Vajra is for attracting the deities of the third group (Vajradharma, Vajratiksna,
Vajrahetu and Vajrabhasa); the samadhi called Action-Empowerment- Vajra is for
attracting the deities of the fourth group (Vajrakarma, Vajraralcsa, Vajrayaksa and
Vajrasandhi); the samadhi called fayra-Empowerment is for the four Paramitas; the
samadhi called Vajra is for the eight Goddesses of Offering; and the samadhi
called Being- Vajra is for the four Guardians. The STTS gives a good example of
the methods used to attract one of the thirty-two deities in the case of Vajrasattva
“Then, immediately upon becoming completely enlightened, the
Lord Tathagata Vairocana assumed the Samantabhadra-essence of
all the Tathagatas,143 and became consecrated with the great
precious gem-consecration generated from the space of all the
139. TSD . V ol. 61, N o. 2225, p. 121-1-24-26.

14°. Ibid., p. 212-1-19-23.
141. Tattvdlolca, TTP. Vol. 71, No. 3333, p. 179-4-2-3.
142. For details o f the Bodhipaksilca dharmas, see Tadeusz Skorupski, The Practices Conducive
to Enlightenment, pp. 1-13; Har Dayal, The Bodhisattva Doctrine in Buddhist Sans b i t
Literature, pp. 8 0 -164.
143. Chinese 1 reads: “Then, immediately, the Lord Tathagata Vairocana became completely
enlightened the Samantabhadra-essence o f all the Tathagatas.” Chinese 2 reads: “Then,
immediately, the Lord Tathagata Mahavairocana became completely enlightened by means of
the Samantabhadra-essence o f all the Tathagatas.”
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P a rt One
Tathagatas. He acquired the highest144 perfection as the Dharma-

knowledge of all the Tathagatas (as) Avalokitesvara. He gained the
highest, all efficacious and captivating dispensation of the
universal and invincible activities of all the Tathagatas.145
Having thus become self-empowered with the essence of all the
Tathagatas, he entered the samadhi called the Vajra that empowers
the Being arisen from the pledge of the146 Mahabodhisattva
Samantabhadra of all the Tathagatas.147 He brought forth from his
heart this hr daya of all the Tathagatas called the Perfect
Comprehension of the Mahayana of all the Tathagatas:-
‘VAJRASATTVA’.
As soon as it was issued from the hearts of all die Tathagatas, this
very (hrdaya), as the Lord148 Samantabhadra, became transformed
and emerged as lunar discs. Having purified the great thoughts of
enlightenment of all living beings, they became established in all
the quarters of all the Tathagatas.149
Then, from those lunar discs there emerged the knowledge-vq/ras1
of all the Tathagatas, and they penetrated into the heart of the Lord
Tathagata Vairocana.150 Due to the Vajrasattva-samadhi having
the nature of Samantabhadra151 and of steadfastness, and through
144 Chinese 1 omits: “highest”.

145. Chinese 1 reads: “he gained the all efficacious and all pervasive dispensation o f the universal
activities o f all the Tathagatas, completed performance and completed the joy o f the m ind”.
Chinese 2 reads: “he completed the performance and joy o f the mind in the all efficacious
and uninterrupted dispensation o f the universal activities o f all the Tathagatas”.
According to Ennin, this section refers to the four Wisdoms. (TSD. Vol. 61, No. 2223, pp.
38-1-7-39-3-10.)
146. Tibetan adds: “so called”.
147. Both Chinese versions read: “He entered the Pledge o f the Mahabodhisattva Samantabhadra
o f all the Tathagatas, and generated the Vajra-Samadhi o f the Being-Empowerment.”
This difference between the Sanskrit or Tibetan version and both Chinese versions is not
because two Indian translators, namely, Amoghavajra and Danapala, translated the Sanskrit
original differently based upon the textual differences, but because the Japanese editors of
Taisho Shinshu Daizoltyo Edition o f the Chinese Buddhist Canon edited these Chinese
versions only linguistically without comparing them with the Sanskrit or Tibetan version.
Traditionally, since the classical Chinese texts did not use the commas and full stops in the
sentences or paragraphs, modem scholars can edit and translate the same sentence differently
in som e cases. Regarding the above sentence, the Japanese editors regarded the Chinese word
‘c h u -sh e n g which literally means ‘to generate’ and is used as the equivalent o f the Sanskrit
word '’sambhava’ in this context, not as a participle but as a verb, and divided one connected
sentence into two separate ones. Linguistically and grammatically, their editorial work is
correct. However, in Chinese the above sentence without a comma, confirms that the Indian
translators literally translated it according to the word order o f the Sanskrit original. This
kind o f mistake happens continuously in both Chinese versions. One interesting point is
that the Sanskrit word 1sambhava ’ Amoghavajra, differing from Danapala, translates into
Chinese as a verb in some pages, but in other pages as a participle even i f there is no
difference in Sanskrit.
148. Chinese 2 adds: “Mahabodhisattva”.
149. Chinese 1 reads: “all the Buddhas”.
150. Chinese 2 reads: “Mahavairocana”.
15 Tibetan omits: “the nature o f Samantabhadra”.
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P art One
the empowerment of all the Tathagatas, they became merged into

one, and pervaded the entire sphere of space with a ray beam
decorated with five crests. Having become visible as the Vajra-
form152 created153 by the Body, Speech and Mind Vajra of all the
Tathagatas,154 they emerged from the heart(s) of all the Tathagatas,
and became located on the hand155 (of the Lord).156
Then, from that vajra there emerged beams of multi-coloured and
vq/Ta-shaped rays,157 which with brightness penetrated all the
universes. From the tips of these vq/ra-shaped rays there emerged
the bodily forms of the Tathagatas as numerous and infinite as die
dust particles of all the universes. On account of their perfect
enlightenment to the intuitive wisdom that perceives the sameness
of all the Tathagatas, and that comprises the entire Dharmadhdtu,
encompassing the whole of the space-sphere,158 and prevailing
like ocean-clouds over all die universes, they generated the great
thoughts of enlightenment of all the Tathagatas, They
accomplished all kinds of practices of Samantabhadra, delighted
die families159 of all the Tathagatas, approached the seat of the
great enlightenment, vanquished all die Maras, and attained the
160great enlightenment161 of the sameness of all the Tathagatas.
They set in motion the wheel of the Dharma,162 liberated the entire
and complete sphere of living beings, acted for the benefit and
welfare of all, accomplished the highest attainment of
1“ knowledge and intuitive wisdom of all the Tathagatas, and
displayed all the other miraculous activities of all the Tathagatas.
Due to Vajrasattva's samadhi having the nature of Samantabhadra
and of steadfastness, they then became merged into one and
assumed the body of the Mahabodhisattva Samantabhadra. Then,
he became established in the heart of the Lord Vairocana, and
recited this joyful utterance
152 Tibetan reads: “ Vajradhatu”.

153. Tibetan reads: “resembling”.
154. Chinese 1 reads: “Having generated the vq/ra-form from the Body, Speech and Mind Vajra
o f all the Tathagatas”.
155 Tibetan reads: “both hands”. The Sanskrit term for ‘on the hand’ in this context is tpanau\
that is the locative singular form o f lp a n i\ but the Tibetan text read it as the dual. This
happens continuously.
156. Both Chinese versions add: “o f the Buddha”.
15?. Tibetan reads: “rays resembling that vajra”. Chinese 1 reads: “Then from that vajra there
emerged vq/ra-shaped various colours”.
158. Chinese 1 omits: “sphere”.
159. Both Chinese versions omit: “fam ilies”.
16°. Chinese 2 inserts: “highest”.
16 f Chinese 2 inserts: “fruit”.
162 Tibetan: “excellent Dharma”.
163. Chinese 2 inserts: “pledge”.
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P a rt One
‘Bravo! I 164am the self-existent Samantabhadra, the steadfast

being. Though without a body due to steadfastness, I assume a
being's165 body.5
Then, the body of the Mahabodhisattva Samantabhadra emerged
from the Lord's heart, and resting on the lunar disc in front of all
the Tathagatas, he solicited for instructions.
Then, having entered the samadhi called the Pledge- Vajra166 of
the Knowledge167 of all the Tathagatas,168 the Lord conferred
upon this Mahabodhisattva169 Samantabhadra the consecration
with the gem-crown and coloured cloth as the body of all the
Buddhas for setting in motion the wheel of all the Tathagatas, and
he placed into his hands the success-vq/ra of all the Tathagatas. He
did this in order to realise the goals that range from170 all the
Tathagatas' moral conduct, samadhi, wisdom, emancipation,
vision of the knowledge of emancipation, turning the wheel of the
Dharma, pursuing activities for the benefit of living beings, great
skilful means, powers, heroism, the pledge of great knowledge,171
liberation of the entire sphere of living beings, bestowing
sovereignty on all, experiencing complete pleasure and
satisfaction,172 and that conclude with the knowledge of the
sameness of all the Tathagatas, the highest intuitive wisdom and
the highest attainment of the complete comprehension of the
Mahayana. Next, all the Tathagatas consecrated him with the
vq/'ra-name-consecration, saying; ‘Vajrapani Vajrapani’. Then,
with the vajra-pride, the Bodhisattva Mahasattva Vajrapani waved
that vajra with his left hand173 and shook it at his heart (with his
right hand), and then holding it in a boastful manner,174 he recited
this joyful utterance:-
164. Chinese 2 adds: “the stainless”.

165. Chinese 2 reads: “Vajrasattva”, instead o f “being”.
166. Chinese 2 reads: “the Vajra-Samadhi”.
167. Tibetan reads: “the Pledge- Vajra o f the Samadhi and Knowledge”.
168. Chinese 1 reads: “the Knowledge-Pledge o f all the Tathagatas called the Vajra-Samadhi
169. Tibetan reads: “Bodhisattva Mahasattva”.
170. Both Chinese versions insert: “receiving for use”.
171. Chinese 2 reads: “generating the pledge o f great knowledge from the skilful means o f great
knowledge and the power o f great vigour”.
172. Chinese 2 reads: “letting the sovereign o f all gain happiness and sensual enjoyment”.
173. According to Sakyamitra, Vajrasattva hits his side with his left hand o f forming the vajra-
fist. {Kosalalamkara, TTP. Vol. 70, No. 3326, p.205-2-5~8). Anandagarbha comments that
Vajrasattva holds a bell with his left hand o f forming the va/ra-fist, and places it on his left
waist. ( Tattvaloka , TTP. Vol. 71, No. 3333, p. 157-4-5~6).
174. This phrase is m issing in Sanskrit.
Chinese 1 reads: “During the time o f consecration, the Bodhisattva Mahasattva Vajrapani
waved the vajra , m oving his left (hand) and making rhythmic m ovements with his right
(hand), and then he placed that vajra at his heart, keeping the energy in progress (that had
been generated by his actions).” Chinese 2 reads: “At this time, the Bodhisattva Mahasattva
Vajrapani looking arrogant, waved that vajra with the right hand, and placed (it) at his heart,
keeping the energy in progress (that had been generated by his actions).”
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P a rt One
‘This is the highest success-vq/ra of all the Buddhas.

The vajra placed in my hand and I abide in the vajra”’115
Among the thirty-two deities, Vajrasattva, who is the tantric transformation of the
Bodhisattva, is considered as the most important Mahabodhisattva. The relationship
between Vairocana and Vajrasattva can be understood as the fundamental substance
to the phenomenal function. Kukai asserts that in order to realise perfect
enlightenment, all living beings need to start with Vajrasattva's empowerment, so
Vajrasattva is called ‘the Thought of Enlightenment of all the Tathagatas5 and all the
thirty-seven deities are generated from this particular Bodhisattva.176 Donjaku also
maintains that Vajrasattva is the cause of Vairocana, and hence Vajrasattva is called
the Thought of Enlightenment of all the Tathagatas for this reason as well.177 Part
one of the Sanskrit STTS emphasises Vajrasattva who is the starting point of
enlightenment because this part focuses on enlightenment and propounds the tantric
methods such as the five abhisambodhis.
e. Supreme Action-King
Having introduced and explained the thirty-seven deities, the STTS proceeds to
explain the method of empowering the assembly of all the Tathagatas, which is
regarded as the third samadhi, and which Anandagarbha calls the supreme action-
king.178 The 'STTS reads:-
“Then having drawn the sign for the snapping of the m vajra~
fingers for empowering180 the assembly of all the Tathagatas,181
the Lord182 pronounced this hrdayam for empowering the
assembly of all the Tathagatas184:-
*VAJRASAMAJA5.
Then, in an instant, the Tathagatas were induced by the sign of the
fingers of all the Tathagatas being snapped. They, who prevail like
the ocean-clouds over all the universes and who are equal in
number to the infinite dust particles of all the universes, gathered
together in a conclave with the mandalas of the retinue of
Bodhisattvas. They then went to the topmost mansion of the
Lord,185 made of vajras, jewels and gems where the Lord
175. S. pp. 11-13, T. pp. 220-3-3-221-1-4, C l. p. 208-2-9-3-24, C2. pp. 342-2-29-343-1-20.

176. TSD. V ol. 61, No. 2221, p. 5-1-26-29.
177. TSD. Vol. 61, No. 2225, p. 159-1-4-6.
17S. Tattvaloka , TTP. Vol. 71, No. 3333, p. 180-3-7.
179. Chinese 2 omits: "vajra”.
18°. Chinese 1 omits: “empowering”.
18 f In this context, the hand gesture for empowering the assembly o f all the Tathagatas is that
w hile holding the two vo/'ra-fists, one makes two hooks with the two forefingers, and binds
a vajra in both hands. ( Tattvaloka , TTP. Vol. 71, No. 3333, p. 179-4-7—8).
182. Chinese 2 adds: “Tathagata Mahavairocana”.
183. Tibetan omits: 11hrday a”.
184. Chinese 2 omits: “all the Tathagatas”.
185. Tibetan and both Chinese versions omit: “Lord”.
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P a rt One
186Vairocana187 was abiding. On approaching, they pronounced

this (mantra):-
‘OM SARVA-TATHAGATA-PADA-VANDANAN KAROML (I
make a salutation to the feet of all the Tathagatas.)7
Having made a salutation to the feet188 of all the Tathagatas by
reciting at will this self-perfected mantra, they recited this joyful
utterance:-
‘Ah! This is the excellent activity of the Bodhisattva
Samantabhadra. Due to this, the Tathagata is luminous in the
middle of the wheel189 of the Tathagatas.7
Then having pronounced this, all the Tathagatas, who had
assembled from the ten directions of all the universes, entered the
heart of the Lord190 Vairocana191 through the empowerment of all
the Tathagatas together with the mandalas of the retinue of the
Bodhisattvas. From these hearts of all the Tathagatas, there
emerged the mandalas of the retinue of their own Bodhisattvas,
and they formed a mandala on every side of the topmost mansion
of the Lord,192 made of vajras, jewels and gems. Having entered
and positioned (themselves), they recited this joyful utterance:-
‘Ah! This is indeed the beginningless powerful193 birth of all the
Buddhas. Due to this, the Buddhas, numerous as all the atoms,
became merged into one.57,194
3. Extensive Rites o f Entering All the Mandalas
According to Anandagarbha, the section of the tantra starting with the words,
“Then all the Lords Tathagatas”195 and ending with the words, “The sound HE
should be uttered for the one whose name is bestowed77,196 explains the activities of
the master and the extensive rite of entering all the mandalas.197
a. One Hundred and Eight Invocations
After the preliminary activities such as the three samadhis have been performed, the
final action prior to the mandala-ritual is the invocation-ceremony. In this context, it
consists in reciting the names of one hundred and eight deities to invoke their
186 Tibetan and both Chinese versions insert: “Tathagata”.

187 Chinese 2 reads: “Mahavairocana”.
188. Chinese 1 omits: “feet”.
189. Both Chinese versions insert: “mandala”.
19°. Chinese 1 omits: “Lord” and inserts: “Buddha”.
191. Chinese 2 reads: “Tathagata Mahavairocana”.
192. Chinese 1 adds: “Buddha Vairocana”.
193. Tibetan and both Chinese versions read: “great” instead o f “powerful”.
194 S. pp. 59-3-6 0 -1 0 , T. p. 2 2 8-4-6-5-8, C l. p. 216-1-12-2-3, C2. p. 35 1 -2 -1 8 -3 -1 0 .
195. atha bhagavantah sarvatathdgatdh : S. p. 60-11, T. p. 228-5-8, C l. p. 216-2-4, C2. p. 351-
3-11.
196. yasyayan nama kuryat tasya he-sabdah prayolctavya iti: S. p. 72-16, T. p. 230-4-8, C l. p.
219-1-14, C2. p. 354-2-26.
197. Tattvaloka , TTP. V ol. 71, No. 3333, pp. 135-2-7-8.
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manifestation. According to the STTS, before the Lord explains the main mandalas,
all the Tathagatas gather together in a conclave and invoke the Lord with one
hundred and eight names. Thus, the invocation-ceremony of reciting the one
hundred and eight names is introduced before every main mandala is explained.
The invocation-ceremony with one hundred and eight names appears in the STTS
six times: part one, pp. 60-62 (ch. 1); part two, pp. 154-156 (ch. 6); part three, pp.
315-317 (ch. 15); part four, pp. 383-385 (ch. 19); part five, pp. 549-551 and pp.
559-561 (ch. 26-b). Each part of the STTS contains a different set of deity-names.
These one hundred and eight tantric deity-names can be interpreted as
corresponding to one hundred and eight Buddhist sufferings taught by the Buddha
Sakyamuni, and the practitioner can eliminate the one hundred and eight sufferings
by means of reciting the same number of deity-names.
Concerning the names of one hundred and eight deities listed in die Sanskrit
STTS pages 60-62, there is a difference of opinion between Sakyamitra and
Anandagarbha. Sakyamitra maintains that the number of one hundred and eight
names in this context means only an approximately counted example. Therefore, an
exact total of the names described in the STTS is not 108 but exactly 112. These one
hundred and twelve names are divided into sixteen groups, and the sixteen groups
represent the characteristics of the sixteen Mahabodhisattvas. Each group starts with
the name of one of the sixteen Mahabodhisattvas. In addition, each group consists
of seven names, which symbolise the distinguishing characteristics of each
Mahabodhisattva.198 However, Anandagarbha199 explains that the names listed in
the STTS are one hundred and eight in number. He makes some adjustments in the
four cases by merging two separate names into one, for example, Pramodyaraja and
Vajragrya as Pramodyaraja-vajragrya,200 Akasagarbha and Vajradhya as
Akasagarbha-vajradhya,201 Suviryagrya and Duryodhana as Suviryagrya-
duryodhana,202 and Vajramusti and Agrasamaya as Yajramusti-agrasamaya.203
b. Structure o f the Vajradhatu Mahdmandala
The Vajradhatu Mahdmandala is regarded as the principal mandala throughout the
whole of the STTS because all the other mandalas explained in the STTS are
19S. Concerning the meanings o f the seven names that each group contains, Sakyamitra
comments: the first is a characteristic established by means o f the mantra ; the second is a
characteristic established by means o f the mudra; the third is a common characteristic
established by means o f all the Tathagatas; the fourth is a characteristic transformed into
another by means o f activity; the fifth is a characteristic transformed by means o f the maha-
mudra ; the sixth is a characteristic transformed by means o f the name-consecration; the
seventh is a characteristic transformed by means o f acting for the welfare o f living beings.
CKosaldlamkdra , TTP. Vol. 70, No. 3326, p. 230-1-7-2-1).
199. Tattvaloka , TTP. Vol. 71, No. 3333, pp. 180-5-3-182-2-5.
200. Ibid., p. 181-2-1.
201. Ibid., p. 181-2-6.
202 Ibid., p. 182-1-5.
203. Ibid., p. 182-2-4.
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P art One
derived from it. The mahd-mandala which constitutes the supreme maha-mudra
focuses on the Body of Vairocana. According to Sakyamitra, the term *Vajradhatu-
mandala’ originates in the mandala being manifested by the Bodhisattva
Vajradhatu.204 The Vajradhatu Mahdmandala is explained by the Lord Vajradhara.
The method of constructing the mandala is described in the STTS:-
“Now, I will explain the supreme Mahdmandala (of the
Tathagata-family).205 It resembles the Vajradhatu, so it is called
‘Vajradhatu (Ka/ra-sphere)’.
According to the rule, one should sit in the centre of the mandala,
and contemplate and empower die maha-mudra of the
Mahasattva. Having been engaged in the mudra, one should rise
(from the mudra) and gaze at every direction. Then, one should
walk around with pride, pronouncing; ‘Vajrasattva’.
The mandala should be measured by learned men in accordance
with (their) power using a new, well-made, well-measured and
beautiful thread. (The mandala) has its four comers embellished
with four gates and four arched doorways, joined together by four
lines and adorned with silk pennants, wreaths and garlands.
The external mandala should be drawn, inlaid with vajras and
gems in every part of each comer and between the gates and
doors. When the internal castle, symbolised by the wheel, is
entered, it is surrounded by the vajra-line and adorned with eight
pillars. The boundary of the vu/ra-pillars is decorated with five
lunar discs.
One should position an image of the Buddha (Vairocana) in the
centre of the central mandala. In the centre of the discs on all die
sides of the Buddha, the four chief Pledges (referring to the four
Paramitas) should be drawn in correct order.
After one approaches with the vayra-impulse, all the four
Buddhas, i.e. Aksobhya and the others, should be positioned in
the four mandalas.
The mandala of Aksobhya should be duly arranged with
Vajradhara and the others.206 The mandala of Ratnasambhava is
filled with Vajragarbha and the others.207 The mandala of
204 Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 253-5-1.

Toganoo Shoun asserts that since Vajradhatu is another name o f the Tathagata
Mahavairocana and since, according to the STTS, the Tathagata Mahavairocana is called the
Tathagata Vajradhatu who consists o f the elements (dhatu) o f knowledge, solid and
unbreakable like a diamond (vajra), the Vajradhatu-mandala is the mandala revealed by the
Tathagata Vajradhatu. (Toganoo Shoun, Mandara no kenlzyu, p. 196).
205. Tibetan reads: “vajra-mandala ” instead o f “mahd-mandala”.
206. The mandala o f Aksobhya includes Vajradhara (or Vajrasattva), Vajrakarsa (or Vajraraja),
Vajradhanu (or Vajraraga) and Vajraharsa (or Vajrasadhu).
207. The mandala o f Ratnasambhava includes Vajragarbha (or Vajraratna), Vajraprabha (or
Vajratejas), Vajrayasti (or Vajraketu) and Vajrapriti (or Vajrahasa).
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P a rt One
Amitayus is purified with Vajranetra and the others.208 The

mandala of Amoghasiddhi should be drawn with Vajravisva and
the others.209
The (four) Phyra-goddesses should be drawn in the comers of the
(central) circle. The (four) Female Offerings of the Buddha should
be drawn in the comers of the external mandala. The four Door-
guardians should be positioned in the centre of all the gates. The
Mahasattvas should be placed in the (four) directions of the
external mandala.”210
The above passage from the STTS gives only the basic positions of the thirty-seven
deities in the mandala, without their details such as postures, body-colours and
symbols. The detailed descriptions paraphrased below of the thirty-seven deities
positioned in the Vajradhatu Mahdmandala are taken from Anandagarbha's
commentary.
(1) Vairocana: His body is white. He holds a five-pronged vajra in the mudra of
supreme enlightenment. He sits cross-legged on a lion-seat which is positioned on
top of a lotus and a lunar-disc. He wears upper and lower garments made of cotton
endowed with the brightness of the sun. He is endowed with the consecration of the
gem-diadem and silk-omaments. His first face out of four looks to the east.
(2) Aksobhya: His body is blue. He sits vo/ra-cross-legged on a lotus and a moon
resting on a elephant-seat. He forms the mudra of earth-touching and also the
mudra of vajra. He is endowed with the sun-brightness-disc, and with the
consecration of die gem-diadem and silk-omaments. His face is turned towards
Vairocana.
(3) Ratnasambhava: His body is yellow. He sits va/'ra-cross-legged on a lotus and a
moon resting on a horse-seat. He forms the mudra of supreme giving and also the
mudra of vajra-gem. He is endowed with the sun-brightness-disc, and with the
consecration of the gem-diadem and silk-omaments. His face is turned towards
Vairocana.
(4) Amitabha: His body is red. He sits vayra-cross-legged on a lotus and a moon
resting on a peacock-seat. He forms the mudra of supreme samadhi and also the
mudra of vajra-lotus. He is endowed with the sun-brightness-disc, and with the
consecration of the gem-diadem and silk-omaments. His face is turned towards
Vairocana.
(5) Amoghasiddhi: His body is green. He sits va/ra-cross-legged on a lotus and a
moon resting on a Garuda-seat. He forms the mudra of fearlessness and also the
mudra of universal-vq/ra (yisva-vajra). He is endowed with the sun-brightness-
208. The mandala o f Amitayus includes Vajranetra (or Vajradharma), Vajrabuddhi (or
Vajratiksna), Vajramanda (or Vajrahetu) and Vajravaca (or Vajrabhasa).
209. The mandala o f Amoghasiddhi includes Vajravisva (or Vajrakarma), Vajramitra (or
Vajraraksa), Vajracanda (or Vajrayaksa) and Vajramusti (or Vajrasandhi).
210. S. pp. 6 3 -5 -6 4 -1 0 , T. p. 229-2-8-4-1, C l. pp. 216-3-24-217-1-22, C2. p. 352-2 -1 1 -3 -1 2 .
68
P art One
disc, and with the consecration of the gem-diadem and silk-omaments. His face is
turned towards Vairocana.
In addition to the above descriptions of the five Tathagatas, Anandagarbha further
explains:-
“One should draw and position these five Tathagatas while
reciting the hrdaya called the Vajradhatu which is common to the
five Tathagatas. One should induce the five Tathagatas visualised
in space to descend into die mandala and to merge into one with
the forms of the five Tathagatas drawn inside the mandala. Thus,
while reciting the hrdayas from Sattvavajri up to Vajravesa, one
should draw and position the deities from Sattvavajri up to
Vajravesa, and one should induce the forms of the thirty-two
deities visualised in space to descend into the mandala and to
merge into one with the forms of the thirty-two deities drawn
inside the mandala
(6) Sattvavajri: She holds a red five-pronged vajra, and sits on a lotus and moon
seat.
(7) Ratnavajri: She holds a five-pronged vajra attached with the top of the wish-
granting-gem, and sits on a lotus and moon seat.
(8) Dharmavajri: She holds a five-pronged vajra at the entrance to the repository of
a whitish-red sixteen-petalled lotus with eight petals turn downwards and eight
petals turn upwards. She sits on a lotus and moon seat.
(9) Karmavajri: She holds a crossed-vayra made of five colours and twelve prongs,
i.e. its centre is white, its fore-part is blue, its right part is yellow, its back part is red
and its left part is like emerald. She sits on a lotus and moon seat.
Regarding the seats of the Bodhisattvas, Anandagarbha comments that the
Bodhisattvas from Vajrasattva up to the Bhadrakalpa Bodhisattvas sit on the sattva-
seats above lotuses and moons because it is said that the leading Chiefs, such as
Vajrasattva, should sit on the half-vo/ra-seats, and be differentiated in different
ways.”
(10) Vajrasattva: His body is white. His left hand holds a bell with the vajra-fist
positioned next to his body with the vay'ra-pride, while his right hand holds a first
five-pronged vajra with his middle finger placed in the khatvdnga-mudrd
positioned next to his heart.
(11) Vajraraja: His body is the colour of gold. He sits while assembling all the
Tathagatas by means of the vcz/ra-hook.
(12) Vajraraga: His body is red. He performs the ritual of piercing all the Tathagatas
with a bow and an arrow.
(13) Vajrasadhu: His body is emerald in colour. He sits while delighting all the
Tathagatas by producing ‘the sadhu-sounds’ as well as making the vajra-fist with
both his hands.
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P a rt One
(14) Vajraratna: His body is yellow. He sits with the vajra-pride and as his
distinguished characteristic, he holds with the vajra-fist of his left hand a gem-
studded-bell at his forehead and with the vajra-fi st of his right hand he holds a five
pronged vajra together with the wish-granting-gem.
(15) Vajratejas: His body is the colour of the sun. In his right hand he holds the
disc of the vajra-sun and illuminates the Tathagatas, and he touches the seat with
his left hand.
(16) Vajraketu: His body is the colour of die sky. He holds the banner of the wish-
granting-gem in his right hand, while touching the seat with his left hand.
(17) Vajrahasa: His body is white like a tortoise-shell and lotus root. In his right
hand he holds an object which is certainly connected with the smile of the
Tathagatas — it has two rows of teeth and a vajra at the top. He touches the seat
with his left hand.
(18) Vajradharma: His body is reddish white. In his left hand, he holds a vajra-
lotus against his ribs and he opens its petals at his heart with his right hand.
(19) Vajratiksna: His body is blue and pure like the sky. In his left hand he holds a
book of Prajnapdramitd at the heart and a sword in his right. He sits confidently in
the posture of striking all the Tathagatas.
(20) Vajrahetu: His body is the colour of gold. With his right hand he turns an
eight-spolced wheel with his middle finger, and he touches the seat with his left
hand.
(21) Vajrabhasa: His body is the colour of copper. He speaks to the Tathagatas
while holding the vajra-tongue in his right hand, and he touches the seat with his
left hand.
(22) Vajrakarma: His face is white. His waist and both his hands are light-blue.
From below his face to his waist, he is pale red. His thighs are light yellow, and
from his calves to his feet, he is white. His left hand holds the imiversal-vayra-bell
with the vajra-fist and the vajra-pride, and by means of praise, the middle-fmger of
his right hand holds the universal-va/>*a over his heart.
(23) Vajraraksa: His body is the colour of gold. His hands hold the va/ra-cuirass,
and he sits giving an impression of armouring all the Tathagatas.
(24) Vajrayaksa: His body is black and he has a large belly. He sits and grins while
holding with his vo/'ra-fists the ends of the tusks protruding from his mouth.
(25) Vajrasandhi: His body is yellow. He sits while inserting and pressing a vajra
into the middle of his pledge (6,amaya)-formed-fists.
(26) Vajralasya: Her body is white. She holds two five-pronged vajras with the
vajra-fists. Having proudly displayed them with the vcy'm-contempt, she points
both vajras slightly towards the left.
(27) Vajramala: Her body is yellow. She consecrates the Tathagatas with a garland
of gems.
(28) Vajragita: Her body is pale red. She plucks a vind.
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P art One
(29) Vajranrtya: Her body is of the same colour as Vajrakarma's body. She holds a
three-pronged vajra while making it dance with both her hands.
(30) Vajradhupa: Her body is white. She satisfies the Tathagatas with the vajra-
incense-vessel.
(31) Vajrapuspa: Her body is yellow. She holds a vq/Wz-flower-vessel in her left
hand, and she scatters particles of flowers with her right hand.
(32) Vajraloka: Her body is pale red. She holds the wick of a lamp and worships
the Tathagatas delighted by the lamp's brightness.
(33) Vajragandha: Her body is variegated just like the bodies of Vajranrtya and
Vajrakarma. She holds the dharma-shell of scent in her left hand, and worships the
Tathagatas with a scent-cloud held in her right hand.
(34) Vajrankusa; His body is white. He attracts the Tathagatas with the vq/ra-hook.
(35) Vajrapasa: His body is yellow. He induces the Tathagatas to enter the mandala
with the vajra-noose.
(36) Vajrasphota: His body is pale red. He binds the Tathagatas with the vajra-
chain.
(37) Vajravesa: His body is variegated. He subjugates the Tathagatas. He holds the
vq/'ra-bell in his right hand while touching the seat with his left hand.
Anandagarbha concludes the description of the deities:-
"All the Tathagatas are endowed with a state of tranquillity and the
postures of tranquil vision. They smile and are adorned with
ornaments. The eyes of Vajrasattva and the others are wide open
with supreme joy. They (Vajrasattva and the other Bodhisattvas)
are endowed with a state of grace and smile. They are consecrated
with the diadems and silk scarves of the five Buddhas, and
adorned with all kinds of ornaments.”211
In addition to the thirty-seven deities, the Mahasattvas are placed towards the four
directions of the external mandala. In this context, the Mahasattvas refer to the
Bodhisattvas of the Bhadrakalpa.212 As in the sixth part of the introduction,
Amoghavajra states that there are the sixteen Bhadrakalpa Mahabodhisattvas213
211. Tattvaloka, TTP. V ol. 71, No. 3333, pp. 185-3-8-186-3-4.

This long passage is modified based upon Anandagarbha's commentary, and literally
translated from Tibetan into Japanese by Toganoo Sh5un. (Toganoo Shoun, Mandara no
Jcenlcyu, pp. 2 31-240).
212. Tattvaloka , TTP. V ol. 71, N o. 3333, pp. 185-3-7-8.
Toganoo Shoun (.Mandara no Icenltyu, p. 209) argues that the number o f Nirmanabuddhas
manifested by the five Buddhas who are residing in the abode o f the king o f the Akanistha
gods should be counted as three thousands in total which represent the past, the present and
the future. However, only the present exists in the Pure Land o f Vairocana, so the Buddhas
o f the Bhadrakalpa refer to one thousand Buddhas. In this context, the number ‘one
thousand’ sym bolises countless and immeasurable Nirmanabuddhas. These one thousand
Buddhas o f the Bhadrakalpa can be simplified as the sixteen principal Bodhisattvas such as
Maitreya.
213. According to Sarvadurgatiparisodhana Tantra (Tadeusz Skorupski, pp. 9 -1 0 ), the names o f
the sixteen Bhadrakalpa Mahabodhisattvas are:-
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positioned towards the four directions (of the external mandala). Concerning these
Bhadrakalpa Mahabodhisattvas, Anandagarbha comments :-
“Maitreya and the others in the east hold vajras like Vajrasattva.
Those in the south hold vczyra-gems like Vajraratna, those in the
west hold va/ra-lotuses like Vajradharma, and those in the north
hold crossed-vfl/ras like Vajrakarma. Their particular distinction is
that they are possessed of the consecration with gem-diadems.”214
When Anandagarbha's detailed explanation and the brief description of the STTS are
compared with the existing three types of the mandala which have been dealt with
in the introduction, some differences are apparent. According to the Vajradhatu
Mahdmandala of the Gobushinkan,215 i.e. each of the five Tathagatas out of the
thirty-seven deities is seated on seven animals, i.e. Vairocana is seated on seven
yellow lions, Aksobhya on seven blue elephants, Ratnasambhava on seven red
horses, Amitabha on seven light green peacocks and Amoghasiddhi on seven- red-
yellow Garudas, and each of the other thirty-two deities is seated on a lotus placed
on an animal. In addition, Vairocana and the thirty-two deities all wear gem-
diadems except for the four Tathagatas, i.e. Aksobhya, Ratnasambhava, Amitabha
and Amoghasiddhi. However, each of the thirty-seven deities drawn in the
Perfected Body Assembly of the Nine Assemblies Mandala216 is seated on a lotus.
This mandala also contains the external kh/Va-families, i.e., the twenty Hindu
deities drawn in the external mandala, which appear not in the Vajradhatu
Mahdmandala but in the Trilokavijaya Mahdmandala of the Sanskrit STTS (ch. 6).
In the eastern chapel of Chachapuri Monastery Vairocana sits in the centre of a
Vajradhdtu-mahamandala, encircled in the four directions by the four Tathagatas,
each of whom are encircled in turn by four Mahabodhisattvas. The four comers are
occupied by the four Paramitas. The second enclosure consists of the sixteen
Bhadrakalpa Mahabodhisattvas, and the third enclosure consists of the one
thousand Bhadrakalpa buddhas. In the four outermost comers are the four Internal
Offerings, and within each of the four gates the four Guardians. However, the four
External Offerings are omitted in this mandala. At Alchi Monastery, Vairocana sits
in the centre of a Vajradhdtu-mahamandala, encircled by the four Tathagatas in the
four directions, and by the four Paramitas in the four comers. The next circle
contains the sixteen Mahabodhisattvas. The four comers outside of the circle are
Maitreya, AmoghadarSin, Sarvapayajaha, Sarvasokatamonirghatanamati, Gandhahasti,

Suramgama, Gaganaganja, Jnanaketu, Amrtaprabha, Candraprabha, Bhadrapala, Jaliniprabha,
Vajragarbha, Aksayamati, Pratibhanakuta and Samantabhadra. Detailed information about
these deities is also given in this text (pp. 29~31).
214 Tattvaloka, TTP. V ol. 71, No. 3333, pp. 186-3-4-6.
215. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 7 5 -9 3 ; Lokesh Chandra, A Ninth
Century Scroll o f the Vajradhatu Mandala , pp. 54-127; Toganoo Shoun, Kongocholtyo no
Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 153-227.
216. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 893-907; Lokesh Chandra, Sarva-
Tathdgata-Tattva-Sahgraha, Introduction, p. 29; Adrian Snodgrass, The Matrix and
Diamond World Mandalas in Shingon Buddhism, p. 577.
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occupied by the four Internal Offerings. In the outer perimeter, there are the four
Guardians in the four directions, the four External Offerings in the four comers,
and the sixteen Bhadrakalpa Mahabodhisattvas.217 According to the Vajradhdtu-
mahamandala of The Ngor Collection,2iS Vairocana has four faces pointing
towards the four directions, and the four Paramitas are drawn not as their bodily
images but as their four symbols, i.e. vajra, gem, lotus and crossed vajra. In
addition, each of the four Guardians consists of a pair, and the four pairs of
Guardians are drawn in the four inner gates and the four outer gates.
c. Entry into the Mandala
c-L Master's Rite
According to the ritual of entering the Vajradhatu Mahdmandala as described in
the STTS, it is essential for the vajra-master to enter himself into the mandala just
before guiding his pupil to enter it. The vq/ra-master's activity in the mandala
involves sitting in the centre of the mandala and visualising as well as assembling
all the deities drawn in the mandala by means of pronouncing the appropriate
mantras, binding the appropriate mudras and finally controlling all the deities. The
ritual of the vq/ra-master's entry into the maha-mandala is taught in the STTS in the
following way:-
‘‘Having made, according to the rite, the mudra (gesture) of the
chief Samaya (-Being), the vq/ra-master enters (the mandala), and
takes possession of (divine knowledge) by means of the mudra of
(Vajra-) Sphota. Now this is the hrdaya of taking possession of
all: lA IT .
By making this demand, he is empowered, (consecrated and
worshipped). Having achieved this, he should pronoimce his
(consecrated) name, and then he should direct (the deities) with the
vajra. Having made the {mudra of) the Sattva Vajrankusa, the
vq/ra-master should assemble all the Buddhas by repeatedly
snapping his fingers. At the same moment, all the Buddhas and
those who appertain to all the mandalas together with Vajrasattva
enter the assembly in the mandala. Then while meditating on the
maha-mudra of Vajrasattva,219 he should pronounce once the
supreme one hundred and eight names. Then, having been
gratified by the assembly, the Tathagatas become steadfast. The
self-perfected Vajrasattva stands close by in friendship. Then,
having performed the rite with (Vajra-) Ahkusa, (Vajrapasa,
Vajrasphota and Vajravesa-mudras) at all the gates, the vq/ra-
master should lead the Samayas with the mudras of the highest
o f R eligious Affairs o f His Holiness the Dalai Lama, pp. 213~214.
218. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection ), V ol. I & II, Kodansha
219. Only the Sanskrit reads: “Vajradhara”.
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mahd-karma. As with the mudras of the chief Samayas, so with

the mudras of Sattvavajri, (Ratnavajri, Dharmavajri and
Karmavajri), he should attain the status of Mahasattva,
pronouncing; 'JAH HUM VAMHOH. Then, the Buddhas and the
other deities as well as all the Mahasattvas are summoned, drawn
in, bound and brought under his control. Then, having satisfied
these eminent beings with the secret Offerings, he should
command them, (saying); ‘You should act for the benefit of all
living beings and for their complete attainments.’”220
According to the above explanation, the vq/ra-master begins this ritual by binding
the mudra of the chief Samaya. Sakyamitra states that the chief Samaya in this
context indicates Sattvavajri, and the mudra of Sattvavajri is made by stretching out
the two middle fingers of the va/ra-bond.221 Anandagarbha identifies ‘the mudra of
the chief Samaya’ as ‘the samaya-mudra of Vajrasattva’, because he states that
while reciting: ‘Vajrasattva’ and clasping a garland of flowers with the samaya-
mudra of Vajrasattva, one should approach the mandala with the vq/ra-impulse
(yajra-vega).222 ‘Meditating on the maha-mudra of Vajrasattva’ means that one
conceives of oneself as Vajrasattva. Concerning the four syllabled seed-mantras,
i.e., JAH HUM VAMHOH, the STTS states that this is the hrdaya of summoning,
drawing in, binding and subduing the Mahasattvas.223 The secret Offerings in this
context refer to the eight Offerings (Pujds), i.e. Vajralasya, Vajramala, Vajraglta,
Vajranrtya, Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha.
c-2. Pupil's Rite
In this section the STTS224 provides a long description of the rite of the pupil's entry
into the mandala. The first stage involves the pupil making four separate salutations
to the four families, i.e. to Vajra-, Ratna-, Dharma- and Jftzrma-families. He forms
the vajra-anjali and at the same time pronounces their appropriate mantras.
“Now, from Hie beginning (the pupil) should make the four
respectful salutations to all the Tathagatas in such manner:-
220 S. pp. 64-11-65-15, T. p. 2 29-4-1-8, C l. p. 21 7 -1 -2 3 -2 -1 4 , C2. pp. 352-3-13-353-1-3.

221. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 2 3 3 -4 -3 -7 .
Concerning the va/ra-bond, the STTS explains: “The palms o f the hands (anjali) are held
firmly, and all the fingers are bound together. This is called the vajra-anjali. A s it is w ell
bound, it is the va/ra-bond. A ll samaya-mudras are generated from this va/ra-bond.” (S. p.
8 3 -2 -4 , T. p. 2 3 1 -5 -5 -6 , C l. p. 2 2 0-3-2 4 -2 6 , C2. p. 356-3-2-4).
222. Tattvaloka, TTP. Vol. 71, No. 3333, p. 186-3-8.
223. S. p. 8 0 -1 1 -1 2 , T. p. 231-3-8, C l. p. 22 0 -2 -1 0 -1 1 , C2. p. 356 -1 -4 -5 .
David Snellgrove explains: “The four Door Guardians represent the four stages o f
introducing the divinities into the mandala , which are effected by the mantra: JAH HUM
VAM HOH. The mantra JAH indicates Vajrankusa who summons the divinities, HUM
indicates VajrapaSa who draws them in, VAM indicates Vajrasphota who binds them, and
H OH indicates Vajravesa who completes the pervasion o f the mandala by wisdom .” (David
Snellgrove, Indo-Tibetan Buddhism, pp. 2 2 2 -2 2 3 ).
224. S. pp. 67-7-7 2 -1 6 , T. p. 230-1-3-4-8, C l. pp. 217-3-17-219-1-14, C2. pp. 353-2-2-354-2-
26.
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He should prostrate himself (on the ground) with his whole body,
stretching out the vajra-anjali and (pronouncing) this mantra
'OM SARVATATHAGATA PUJOPASTHANAYATMANAM
NIRYATAYAMI SARVATATHAGATA VAJRASATTVA-
ADHITISTHASVA MAM. (I dedicate myself to the worship of and
to die attendance on all the Tathagatas. O Vajrasattva of all the
Tathagatas, empower me!)’
Then, having stood up and placed the vajra-anjali over his heart,
he should prostrate himself (on the ground) with his forehead,
(pronouncing) this mantra:-
'OM SARVATATHAGATA PUJABHISEKAYATMANAM
NIRYATAYAMI SARVATATHAGATA VAJRARA TNA-ABHISINCA
MAM. (I dedicate myself to the worship and to the consecration of
all die Tathagatas. O Vajraratna of all the Tathagatas, consecrate
me!)’
Then, having stood up as before and placed the vajra-anjali on his
head, he should prostrate himself (on the ground) with his face,
(pronouncing) this mantra
'OM SARVATATHAGATA PUJAPRAVARTANAYATMANAM
NIRYATAYAMI SARVATATHAGATA VAJRADHARMA-
PRAVARTAYA MAM. (I dedicate myself to the worship of all the
Tathagatas and to set <the Wheel of the Dharma> in motion. O
Vajradharma of all the Tathagatas, set it in motion for me!)’
Then, having stood up as before, and having lowered the vajra-
anjali from his head and placed it over his heart, he should
prostrate himself (on the ground) with his forehead, (pronouncing)
this mantra
‘OM SARVATATHAGATA PUJAKARMANE ATMANAM
NIRYATAYAMI SARVATATHAGATA VAJRAKARMA KURU
MAM. (I dedicate myself to the worship of all the Tathagatas and
to action. O Vajrakarma of all the Tathagatas, act for me!)”’
These four consecutive salutations refer to the means of gathering the accumulation
of merit. The first salutation is made towards the eastern quarter (the mandala of
Aksobhya) in order to receive the empowerment to gain the complete purification of
the thought of enlightenment and the steadfastness of the pledge. The worship of all
the Tathagatas means the generating of the thought of enlightenment of both means
(updya) and wisdom (prajna). During this salutation, the pupil meditates upon
Vajrasattva while conceiving that a five-pronged vajra enters the lunar disc in his
heart. The second salutation is made towards the southern quarter (the mandala of
Ratnasambhava) in order to be consecrated. During this salutation, the pupil
meditates upon Vajraratna while conceiving that a vajra-gem enters the lunar disc in
his forehead. The third salutation is made towards the western quarter (the mandala
of Amitabha) in order to set in motion the wheel of the Dharma. During this
salutation, the pupil meditates upon Vajradharma while conceiving that a vq/ra-lotus
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P a rt One
enters the lunar disc in his throat. The final salutation is made towards the northern
quarter (the mandala of Amoghasiddhi) in order to pursue actions such as
worshipping. During this salutation, the pupil meditates upon Vajrakarma while
conceiving that a crossed vajra enters the lunar disc in his crown.225 Donjaku226
regards the above four salutations as the means of inducing the manifestation of the
four Wisdoms, i.e. Mirror-like-Wisdom, Equality-Wisdom, Discriminating-
Wisdom and Active-Wisdom respectively.
The second stage involves the pupil covering the face and clasping a garland.
Since the red colour symbolises the Tathagata-family, the pupil wears a red upper
garment and covers his face with a red bandage. Then he binds the appropriate
mudrds and at the same time pronounces the appropriate mantras.
“Then, (the pupil) who wears a red upper garment and whose face
is covered with a red bandage should form the mudrd of
Sattvavajri while (pronouncing) this hrdaya:-
‘SAMAYAS TVAM. (You are the pledge.)’
Then, after he has clasped a garland with his two middle fingers,
(the vq/ra-master) should guide him to enter (the mandala) while
(pronouncing) this hrdaya:-
‘S A M A Y A H U M '
This section deals with the preliminary activities for entering the family of all the
Tathagatas, which indicates the family of the five Tathagatas. The mudrd of
Sattvavajri is introduced at this stage on the principle that all the Tathagatas by
nature are generated from Sattvavajri and the other three Paramita Bodhisattvas. In
connection with the yoga, David Snellgrove interprets the first mantra, ‘SAMAYAS
TVAM" as ‘You are now the union of your own human body and the
supramundane element of Buddhahood.’227 The second mantra, ‘SAMAYA H U M
is interpreted as the means for taking possession of the (five) Wisdom of all the
Tathagatas.228
The third stage involves the pupil to enter the mandala and take the vows with
the vow-hrdayas.
“Then, when (the pupil) enters (the mandala), (the vq/ra-master)
should say: ‘Now, you have entered the family229 of all the
225. Kosalalamkdra , TTP. Vol. 70, No. 3326, p. 236-1-7-2-4; Tattvaloka , TTP. Vol. 71, N o.
3333, p. 190-1-6-4-1.
According to the Kosalalamkdra, the above four salutations are made facing the w est, the
north, the east and the south respectively instead o f facing the east, the south, the west and
the north. It can be understood that the four salutations are made facing the west on the
mandala o f Aksobhya, facing the north on the mandala o f Ratnasambhava, facing the east
on the mandala o f Amitabha and facing the south on the mandala o f Amoghasiddhi. In
contrast, Sarvadurgatiparisodhana Tantra (Tadeusz Skorupski, p. 14) and Tattvaloka both
support the above explanation.
226. TSD, V ol. 61, No. 2225, pp. 323-2-24-325-1-4.
227. David Snellgrove, Indo-Tibetan Buddhism , p. 220.
229. Chinese 2 reads: “mandala”, instead o f “family”.
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Tathagatas, I shall generate within you the vq/ra-knowledge,230

and you will obtain the attainment of all the Tathagatas through
this knowledge as well as all the other attainments. But231 you
should not tell anyone who has not seen the (Vajradhatu)
Mahamandcila, otherwise your pledge will fail.’
Then, the vq/ra-m aster himself, having made the mudrd of
Sattvavajri from the forehead down towards the mouth,232 and
having placed it on the head of the vajra-pupil, should say:-
‘This is your pledge-vq/ra 233 If you divulge it to anyone, it will
split your head.’
Then, (the vq/ra-master) blesses some water with the samaya-
mudra (while pronouncing) the vow-hrdaya only once, and then
he should induce his pupil to drink it Now this is the vow-
hrdaya:-
‘Now, Vajrasattva himself abides in your heart. If you speak of
this precept, you will be destroyed immediately.’234
233‘ VAJRODAKA THAH. (Fq/ra-water!)’
Then, (the vq/ra-master) should say to his pupil
‘From now on, I am your Vajrapani. If I say to you, ‘Do this’, it
should be done. And you should not despise me, otherwise you
will die without avoiding misfortune and you will fall into hell.’
Having spoken thus, (the vq/ra-master) orders (his pupil) to say:-
‘May all the Tathagatas empower (me)! May Vajrasattva enter
me!”’236
Tantric rituals emphasise the making of a vow in the rite of initiation. In this case,
according to the above rite, when the pupil enters the mandala and is consecrated,
some vows are given to him by his master. Sakyamitra states that the vajra-
knowledge in this context indicates Vajravesa (Kq/ra-Enchantment),237 who is one
of the four Guardians and completes the pervasion of the mandala by wisdom.
Anandagarbha regards the vq/ra-knowledge as the imperishable knowledge which
is endowed with the nature of the bhumisP8
In the fourth stage, the pupil receives the empowerment. By means of this
empowerment, the pupil gains the supernatural knowledge (abhijnd).
“Then, the vq/ra-master, having hastened to form the mudrd of
Sattvavajri, should say this:-
23°. Tibetan omits: “vajra”.

23 k Tibetan inserts: “when such knowledge is generated”.
232. Chinese 2 omits: “from the forehead down towards the mouth”. Chinese 1 reads: “turning
back”. Tibetan reads: “showing it towards the inside o f the mouth and outside”.
233. Tibetan reads: “your vo/ra-pledge”.
234. Both Chinese versions transliterate this verse without translating it.
235. Tibetan inserts: “OM”.
236. Only Chinese 2 transliterates this verse without translating it.
237. K osalalam kdra , TTP. Vol. 70, No. 3326, p. 236-3-1.
238. Tattvaloka , TTP. Vol. 71, No. 3333, p. 190-4-8-5-1.
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‘This pledge~vq/ra239 is recalled as Vajrasattva. May the highest

va/ra-kno wledge enter you this very day.’240
241‘VAJRAVESA AH:
Then, having closed his fist in anger, (the vq/ra-master) should
burst open the mudrd of Sattvavajri (of his pupil), and then
enunciate at will the Mahdydndbhisamaya (intuitive
comprehension of the Mahayana) with the va/ra-sound.242 Then it
enters (the pupil). As soon as it enters, the divine knowledge is
generated (within him).243 Through this knowledge (the pupil) is
aware of others' thoughts. He knows all the activities of the past,
future and present. His heart becomes steadfast in the instructions
of all the Tathagatas, all sufferings disappear and all fears244 cease.
He is inviolable among all living beings. All the Tathagatas
empower (him) and all attainments are present in such a (pupil).
Unprecedented pleasures, which consist of spontaneous acts of
joy, happiness and satisfaction, are generated. Through these
pleasures, the samadhis are accomplished by some people, the
dhdranis are accomplished by others, all wishes are fulfilled for
some and even the reality of all the Tathagatas is made real for
others. Therefore, having made the mudrd (of Sattvavajri), (the
pupil) should release it over his heart245 by (pronouncing) this
hrday a
‘TISTHA VAJRA DRDHO ME BHAVA, 5A&VATO ME BHAVA,
HRDAYAM ME \DHITISTHA, SARVA-SIDDHIM CA ME
PRAYACCHA HUM, HA HA HA HA HOH. ( Vajra abide! Make
me steadfast! Make me perpetual! Empower my heart! Bestow all
attainments upon me!)”’
In this rite, ‘closing the fist in anger (krodhamustif means the gesture of making a
hook with the forefinger of the left hand.246 By means of this hook, the mudrd of
Sattvavajri is pulled and opened. Anandagarbha247 states that there are two different
views concerning the term 'Mahdydndbhisamaya’. According to the first view, it is
regarded as indicating the mantra: ‘VAJRASATTVA AH AH AH.’, which should be
239. Tibetan reads: “va/ra-pledge”.

240. Both Chinese versions transliterate this verse without translating it.
241. Tibetan inserts: “OM”.
242. Tibetan reads: “he should recite the words o f the Mahdydndbhisamaya at w ill”. Chinese 1
reads: “he should recite the one-hundred-letter mantra o f the Mahdydndbhisamaya with the
vajra -sound at w ill”.
243. According to Anandagarbha, when the Lord Vajrasattva enters (the pupil) and pervades him,
the excellent knowledge such as the five supernatural knowledges w ill be generated within
him. ( Tattvaloka , TTP. Vol. 71, No. 3333, p. 191-3-1-3).
244 Chinese 1 reads: “misfortunes”.
245. Chinese 1 reads: “(The vay'ra-master) having bound this mudrd , releases it over the pupil's
heart.” Chinese 2 reads: “(The vq/ra-master) having bound this mudrd, places it over his
heart and releases it for the pupil.”
246. Kosalalam kdra , TTP. Vol. 70, No. 3326, p. 236 -4 -2 -3 .
247. Tattvaloka, TTP. V ol. 71, No. 3333, p. 191-2-8-3-1.
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recited one hundred times with the vq/ra-sound. According to the second view
which is supported by Sakyamitra and Amoghavajra,248 it refers to the hrdaya
consisting of one hundred letters, which makes human beings steadfast. Donjaku249
adds that *Mahdydndbhisamaya’ refers to the one-hundred-letter vidyd of the
Vajra-family, mid. Mahdydndbhisamaya is another name of Vajrasattva. Sakyamitra
and Donjaku250 both state that ‘vq/ra-sound’ means soundless.
In the fifth stage, the pupil throws the garland into the mandala in order to
choose his deity and to gain the power of that deity.
“Then (the pupil) should throw his garland into the mahd-
mandala while (pronouncing) this hrdaya:-
‘PRATICCHA VAJRA HOH. (Accept, O VajraXy
Then, the spot where it falls down indicates the area in which (the
pupil) will be successful.251 Then, having seized that garland, (the
vq/ra-master) should bind it round the head of his (pupil) while
(pronouncing) this hrdaya:-
'OM PRATIGRHNA TVAM IMAM SATTVAM MAHABALAH.
(You should seize this being. O Mighty One!)’
It is by means of that bond that (the pupil) becomes accepted by
that Mahasattva, and becomes rapidly successful.”252
By means of throwing the garland, the pupil's deity is chosen and indicated by the
spot of the mandala where the garland falls down.253 Then the pupil is empowered
by means of binding round his head the garland which symbolises his chosen deity.
Next the pupil's face-cover is removed and he beholds the mandala in order to
gain the supernatural ‘vq/ra-eyes’.
“Then, (the vq/ra-master) should remove the face-covering (of his
pupil). When (the pupil) is thus accepted, he (pronounces) this
hrdaya:-
‘OM VAJRASATTVAH SVAYAM TE 'DYA CAKSUDGHATANA
TAT PARAH UDGHATAYATI SARVAKSO VAJRACAKSUR
ANUTTARAM. (Today Vajrasattva himself is eagerly engaged in
opening your eyes. One who casts his eyes everywhere opens the
highest Kq/ra-eyes.)’
**'HE VAJRA PASTA. (He-vajra, see!)’
Then, (the vq/ra-master) should show the Mahdmandala (to his
pupil) in the appropriate order. As soon as (the pupil) sees the
maha-mandala, he is empowered by all the Tathagatas, and
248. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-4-4; TSD. Vol. 18, N o. 865, p. 2 1 8 -2 -7 -8 .
249. TSD. V ol. 61, No. 2225, p. 327-1-24-26.
250 Kosalalam kdra , TTP. Vol. 70, No. 3326, p. 236-4-4; TSD. Vol. 61, N o. 2225, p. 327-1-
2 3 -2 4 .
25b Both Chinese versions read: “Then where the garland falls down, there (the pupil) w ill be
successful in the deity.”
253. TSD. Vol. 61, N o. 2225, p. 328-2-28-3-1.
254. Chinese 1 inserts: “then one recites the seeing -mantra”.
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P a rt One
Vajrasattva remains in his heart. He sees extraordinary

occurrences and miraculous activities like the manifestations of the
distinctive and exceedingly splendid mandala, etc. Due to (the
pupil) being empowered by all the Tathagatas, sometimes the Lord
Mahavajradhara also manifests himself in his bodily form or die
(other) Tathagatas. Henceforth, all wishes, all thoughts, all
pleasing activities, all attainments and even the essence of
Vajradhara or the essence of the Tathagatas become
accomplished.”
According to Sakyamitra, the mahd-mandala should be shown to the pupil in the
order which starts with Vajranlcusa and ends with Vairocana.255 The Sanskrit term
for ‘extraordinary occurrences’ is ‘prdtihdrya\
The final stage consists of three consecrations, namely, water-consecration,
vayra-consecration and vayra-name-consecration.256
“Then, having shown the mahd-mandala (to tire pupil), (the vajra-
master) should consecrate (his pupil) with perfiimed-water, which
comes from the vq/ra-empowered vase, while (pronouncing) this
hr daya:-
257‘VAJRABHISINCA. (O Vajra, consecrate!)’
Then, having bound the garland with one particular mudrd, and
having placed a (pupil's) appropriate emblem onto (the pupil's)
hand, (the vq/ra-master) should say the following
‘Now, you have been conferred upon you the vq/ra-consecration
by the Buddhas. This is your Buddha essence. Seize the vajra for
the purpose of complete attainment!’258
'OM VAJRADHIPATI TVAM ABHISINCAMI TISTHA VAJRA
SAMAYAS TVAM. (I consecrate you as a Fq/ra-commander.
Abide, O Vajra! You are the pledge!)’
Then, (the vq/ra-master) should confer upon (his pupil) the vajra-
name-consecration while (pronouncing) this hrdaya:-
‘OM VAJRASATTVA TVAM ABHISINCAMI VAJRA-
NlMABHISEKATAHHE VAJRA NAMA. (O Vajrasattva, I confer
upon you the Fq/ra-name-consecration with the name of He-
vajra.y
The sound ‘HE’ should be uttered for the one whose name is
bestowed.”
255. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236 -5 -5 -6 .

256. Advayavajra, one o f the eighty-four Great Adepts, states: "There is the Jar (or Vase)
Consecration, which is characterised as six jar-consecrations, for example, those o f water,
crown, vajra, bell, name and master. The water-consecration corresponds to the Mirror-like-
W isdom o f Aksobhya, the crown-consecration to the Equality-Wisdom o f Ratnasambhava,
the vq/ra-consecration to the Discriminating-Wisdom o f Amitabha, the royal-consecration to
the Active-W isdom o f Amoghasiddhi, the name-consecration to the Pure-Absolute-Wisdom
o f Vairocana and the master-consecration to Vajrasattva. (David Snellgrove, Indo-Tibetan
Buddhism , p. 229).
252 Tibetan inserts:
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The reason for guiding the pupil into the Vajradhatu Mahdmandala is, in a narrow
sense, as Toganoo Shoun points out, to open the pupil's ‘heart's-eyes’ called the
vajra-Qyes, which enable the pupil to see the real Buddha world,259 In a broad
sense, as the STTS explains, it is to enable the pupil to accomplish the special goals
such as the liberation of the entire and complete sphere of living beings, to work for
the benefit and welfare of all and to realise the highest attainment (of
enlightenment).260
4. Mudrd Rites
The tantric rituals in the STTS basically start with samddhi, proceed through to
mandala and end with mudrd. The mudrd,261 in a broad sense, can be interpreted
as the symbolic aspect of sealing a tantric ritual. However, in a narrow sense, it
refers to the four mudras, namely, mahd-mudra, samaya-mudrd, dharma-mudrd
and karma-mudrd. By means of these mudras, the sddhaka can rapidly attain his
goals.
a. Function o f the Four Mudras
The metaphysical meaning of the four mudras and their implications relating to the
mandala can be summarised in the following way. The maha-mudrd refers to the
body of deity and is manifested as the bodily images of deities in the mandala', the
samaya-mudrd refers to the mind of deity and is manifested as the attributes of
deities in the mandala', the dharma-mudrd refers to the speech of deity and is
manifested as the seed-syllables (bija) of deities in the mandala or as a five-
pronged-vajra which symbolises the knowledge and in the centre of which each
deity sits cross-legged and holds its own attribute at the heart; and the karma-
mudrd refers to the conduct of a deity and is manifested as the female images of
deities in the mandala which symbolise the activities of worshipping. These four
mudras can be also defined as referring to particular types of tantric practices. The
karma-mudra refers to different activities on the experimental level; the dharma-
mudrd refers to becoming aware of the Absolute itself; the samaya-mudrd refers to
the unity of the divine and the mimdane; and the mahd-mudra is identified with the
Great Bliss.262 Together with the mudras, the pupil should perform the evocation-
ritual (sadhana), which means using visualisation to realise his own deity, in order
to gain the power of his own deity and to be able to use that power to benefit living
beings.
b. Mudrd-Knowledge o f the Four Attainments
259. Toganoo Sh5un, Mandara no kenlzyu, pp. 2 5 6-262.

26°. S. p. 6 6 -3 -5 , T. p. 22 9 -5 -1 -2 , C l. p. 217-2-26-27, C2. p. 3 5 3 -1 -8 -1 0 .
261. Dale Saunders defines the mudrd as the three categories, i.e. (1) seal or the mark made by a
seal, (2) manner o f holding the fingers, (3) counterpart (salcti) o f a god. (E.Dale Saunders,
Mudrd', A Study o f Symbolic Gestures in Japanese Buddhist Sculpture, p. 7).
262. Tadeusz Skorupski, Sarvadurgatiparisodhana Tantra, p. 112.
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According to Anandagarbha, in the case of those who have already obtained the
pledge and the consecration in the mandala, the master should explain the
knowledge of whatever attainments are wished for.263 Thus, the section of the
Sanskrit STTS (pages 73-76), which follows after the section of the mandala-rite,
describes the various methods of the samadhi for gaining the four categorised
attainments. After pupils enter the mandala and are consecrated, as a result of the
mandala-rite, they can be divided into two groups, namely, those who have seen
something in the mandala and those who have not seen anything in it. For the first
group, the mwJra-knowledge is taught to gain the four kinds of attainments
(,siddhis), namely, the mwc/ra-knowledge of generating the attainment of wishes
(arthasiddhi), the mudm-luiowledge of generating the attainment of supernatural
vo/ra-powers (■vajrarddhisiddhi), the rawt/ra-lcnowledge of generating the
attainment of the supernatural powers of Vajravidyadhara (yajravidyadharasiddhi),
and the /iwc&fz-knowledge of generating the supreme attainment of all the
Tathagatas (sarvatathdgatottamasiddhi). The second group of pupils who are on
the level {bhumi) of the transcendental world, can attain the highest perfect
enlightenment by degrees.264 The STTS describes the four categorised attainments
in the following way:-
b-1. The Attainment o f Wishes (.Arthasiddhi)
“One should visualise an image of a vajra stored in the treasure in
the heart. While visualising it, one sees the treasure troves stored
in the ground.
Having drawn an image of a vajra, one should visualise it in the
sky. If one sees where it may fall, one can locate a treasure there.
A wise man should visualise an image of a vajra on his tongue. It
exists in reality through his words: ‘Here it is.’
One should visualise an image of a vajra in one's whole body. (If
one sees) where it has entered and may fall, one can locate a
treasure there.”265
In this context, the attainment of wishes refer to gaining precious stones such as
gold. According to Sakyamitra, when the sddhaka consecrates himself by means of
the above methods, he joins in the meditation of a whole day during one month or
up to four months and worships (his deity) by offering articles of scent, flowers
and perfume, etc.266 Since the above rite of yoga is performed by means of
meditating upon the means {updya) such as the vajra, it is called the knowledge of
the mudrd. The various methods of gaining treasures are explained in part four of
263. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 135-2-8-3-3.

264. Kosalalam kdra, V ol. 70, No. 3326, p. 237-2-3-4.
265. S. p. 7 3 -7 -1 4 , T. p. 23 0 -5 -2 -4 , C l. p. 2 1 9 -1-19-26, C2. p. 3 5 4 -3 -5 -1 2 .
266. Kosalalamkdra, Vol. 70, No. 3326, p. 2 37-2-6-8.
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the STTS which deals with the Gem-family because the Gem-family specialises in
the gaining of wealth.
b-2. The Attainment o f Supernatural Vajra-powers (Vajrarddhisiddhi)
“When one enters die state of the vajra-possession (vajrdvesa),
one should concentrate on water267 as reflecting an image of a
vajra. If one is successful quickly, one can walk on the surface of
water.
When one enters the state of the (vajra-) possession in like
manner, whatever form one visualises as oneself, that itself
becomes even a form of the Buddha.
When one enters the state of the (vajra-) possession in like
manner, one should visualise oneself as being equal to the space.
As long as one wishes, one can enter a state of invisibility.
While being in a state of the vq/ra-possession, one should
visualise oneself as a vajra. As long as one ascends to a position,
one can fly in the space.”268
In terms of the mudras, this rite is regarded as the mahd-mudra. In this context, the
vq/ra-possession means that one meditates on the subtle-vq/ra and makes it
steadfast.269 In the statement, “one should visualise oneself as a vajra”, a vajra
indicates Vajrasattva.270 The various methods of attaining the supernatural powers
are explained in part three of the STTS which deals with the Lotus-family because
the Lotus-family focuses on the supernatural powers.
b-3. The Attainment o f Vajravidyddhara (Vajravidyddharasiddhi)
“Having drawn an image of the moon (in the mind), one should
ascend to the summit of the sky. Visualising a vajra in the hand,
one can possess the power of Vajravidyadhara.
Having ascended to an image of the moon (in the mind), one
should visualise a vajra-gem. As long as one wishes oneself as
pure, one can fly instantly.
One should ascend to an image of the moon (in the mind).
Visualising a vq/ra-lotus existed in the hand, one can be given by
Vajranetra the position of Vajravidyadhara.
Sitting on the centre of a lunar disc, one should visualise an action-
vajra. From possessing the universal vajra, one can quickly
possess the power of the universal formula.”271
The term ‘Vajravidyadhara’ means the holder of the formula which is exhibited by
means of the vajra or which accomplishes the vajra-mudra. The mudrd of
Vajravidyadhara consists of the four mudras, i.e. mahd-mudra, samaya-mudrd,
267. Chinese 2 reads: “va/ra-water”.

268. S. p. 74-2~9, T. p. 230 -5 -5 -8 , CL p. 21 9 -2 -1 -8 , C2. p. 35 4 -3 -1 9 -2 6 .
269 Kosalalamkdra, Vol. 70, No. 3326, p. 237-3-8.
270 Ibid., p. 2 3 7 -4 -7 -8 .
271. S. p. 7 5 -3 -1 0 , T. p. 23 1 -1 -1 -3 , C l. p. 219-2-12-19, C2. p. 3 5 5 -1 -5 -1 2 .
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dharma-mudrd and. karma-mudra212 According to Anandagarbha, having

performed the deity-yoga (which is united with the chosen deity in samadhi), the
sddhaka should visualise as himself the four Mahabodhisattvas abiding in the lunar
discs, namely, Vajrasattva, Vajraratna, Vajradharma and Vajrakarma respectively,
while reciting the relevant hrdayas, i.e. VAJRADHARA, RATNADHARA,
DHARMADHARA and KARMADHARA.273
b-4. The Supreme Attainment o f All the Tathagatas (Sarvatathdgatottamasiddhi)
“Having entered the entire vajra-samadhi274 in the spheres of
space, as long as one wishes oneself as a vajra, one can fly
instantly.
Joining in the entire pure samadhi,215 one attains the supreme five
supernatural knowledges, and becomes quickly accomplished in
knowledge.
Recollecting ‘Entire space consists of Vajrasattva.’, if one makes
the recollection steadfast, one can become oneself as Vajradhara
instantly.
Having released the entire Buddha-image in the spheres of the sky,
one will attain the Buddha-essence in the samddhis of all the
Buddhas.”276
In this context, ‘All the Tathagatas’ means the Buddhas and Bodhisattvas.277 The
term ‘entire vajra-samddhV means the samadhi of meditating on the entire vajra
which symbolises the Bodhisattva Mahasattva exhibited by means of a crossed-
vajra containing twenty tops.278 The five supernatural knowledges (abhijhd)
consist of (1) divine eyes (divyacalssus), (2) divine ears (divyasrotra), (3) mind
reading (paracittajhdna), (4) recollection of the previous existence
(purvanivdsanusmrti) and (5) miraculous powers (.rddhi).279 According to
Sakyamitra,280 the above four sentences correspond to four attainments related to
the four families, i.e. Karma-, Dharma-, Ratna- and Tathagata-families
respectively. The above rite reflects a method, by which the sddhaka gradually
272. Kosalalamkdra, V ol. 70, No. 3326, p. 2 3 7 -5 -1~3 .

273. Tattvaloka , TTP. Vol. 71, No. 3333, p. 197-1-5-3-1.
274. Chinese 2 reads: “universal vajra-samadhi”.
275. Chinese 2 reads: “samadhi o f purifying the beings”. Tibetan reads: “samadhi o f purifying all
actions.”
276. S. p. 7 6 -3 -1 0 , T. p. 23 1 -1 -4 -7 , C l. p. 219-2-23-3-1, C2. p. 3 5 5 -1 -2 0 -2 7 .
211. Kosalalamkdra, V ol. 70, N o. 3326, p. 238-1-8,
27S. Tattvaloka , TTP. V ol. 71, No. 3333, p. 197-3-2-3.
279. Kosalalamkdra, V ol. 70, N o. 3326, p. 2 38-2-7-8.
In addition, there is the sixth supernatural knowledge called knowledge o f the destruction of
the passions ( asravalcsayajnana). (For details about six kinds o f supernatural knowledges,
see Ulrich Pagel, The Bodhisattvapitaka, pp. 216-240; Har Dayal, The Bodhisattva
Doctrine in Buddhist Sanslcrit Literature, pp. 110-134).
280. Kosalalamkdra, V ol. 70, No. 3326, p. 238-2-1-3-7. .
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reaches from the attainment of the lower level to the highest level, that is, the
attainment of Buddhahood.
In conclusion, the samadhi-rites for attaining the above four types of
supernatural powers are introduced here in order to develop the intrinsic ability of
the sddhaka and in order to encourage him to achieve the ultimate goal, that is,
complete enlightenment.
c. Secret Rite
According to the STTS,m the secret rite in this section consists in three activities,
i.e. taking vows, binding the secret mudras and performing a secret sadhana.
Firstly, taking vows is essential particularly in the secret rites because all the secret
rites described in the STTS involve sexual practices which are regarded as
heterodox. At this stage, the pupil receives a vow-hrdaya2n and takes vows.
Secondly, the rite of binding the secret mudras is performed in the state of
generating the v^/ra-possession283 through samadhi, and it consists of four
movements of hand gestures: (1) clapping gently the hands forming the vajra-
anjali, (2) clapping gently the hands forming the vajra-bond, (3) stretching out the
hands forming the vajra-bond and clapping equally the tips of the two forefingers,
(4) placing equally all the fingers and releasing the vajra-bond. Finally, the rite of
performing a secret evocation (guhya-sddhana) is described in the following way:-
“One should enter the orifice (bhaga) of a female or a male body.
Having entered it completely with the mind, (one should imagine
that) one embraces its entire body equally.”284
According to Anandagarbha, these four hand gestures are also used for the
evocation rite together with the four relevant mantras,285 This yoga-rite is one of
the rapid ways of attaining Buddhahood, and is suitable especially for those who
have a passionate nature.286 Since this secret method requires a perfect union in
samadhi between the sddhaka and his deity, it is expressed symbolically as the
sexual union between the sddhaka and the female deity.
2S1. S. pp. 7 7 -7 8 -8 , T. p. 231-1-7-2-5, C l. pp. 219-3-5-220-1-8, C2. p. 3 5 5 -2 -6 -2 8 .

282 “OM VAJRASATTVAH SVAYAM TE 'DYA HRDAYE SAMAVASTHITAH, N1RBHIDYA
TA TKSANAM YA YAD YADIBR UYADIDAN NA YAM ”
This vow -hrdaya has already appeared in the third step o f the previous pupil's mandala-rite,
However, in the previous, it has been regarded not as a mantra but as a verse.
283. Concerning “generating the vayra-possession”, Sakyamitra states that it means “performing
the yoga o f Vajrasattva”. (.Kosalalamkdra , Vol. 70, No. 3326, p. 238-4-6). Anandagarbha
regards it as a kind o f secret yoga, which refers to the union with a female deity such as
Sattvavajri. ( Tattvaloka , TTP. Vol. 71, N o. 3333, p. 198-1-3-5).
284 S. p. 7 8 -2 -3 , T. p. 2 3 1-2-4-5, C l. p. 22 0 -1 -5 -6 , C2. p. 355-2-22-23.
285. According to Anandagarbha (Tattvaloka, TTP. Vol. 71, No. 3333, p. 198-3-6-5-3), the four
mantras are VAJRA VARA HOH, VAJRA VEÂ AH, VAJRAHANA HUM and VAJRAHARA
HAM respectively. The Sanskrit STTS (S. p. 7 8-5-8) slight differently reads: "VAJRAVASA,
VAJRA VISA, VAJRAHANA and VAJRAHARA”.
286 Tattvaloka , TTP. Vol. 71, No. 3333, p. 198-1-2.
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d. Rites o f the Four Mudras

The STTS287 explains the preliminary rites of binding the four m udras of the thirty-
seven deities of die Vajradhatu Mahdmandala. In addition, each mudrd section
includes a common method of accomplishing the mudras of the deities and the
benefits acquired as the result. When examined carefully, diere is no major
difference between the benefit of the mahd-mudra of a deity and the benefits of the
other three mudras. The benefits of the four mudras of Vajrasattva are an example:-
“One can accomplish (the status of) Vajrasattva by binding the
mudrd of Sattva (which indicates the maha-mudra of
Vajrasattva288),”289
“If one forms (the hand gesture of) Sattvavajri, one can become
identical to Vajradhara.”290
“If one says: ‘SAMAYAS TVAM (which is the dharma-mudrd of
Vajrasattva), one can become the ruler of all mudras.”291
“Having made firmly the vajra-pride (which indicates the karma-
mudrd of Vajrasattva292), one can gain die pleasure of
Vajrasattva.”293
According to the commentary of Anandagarbha on this four mudras section:
“The desired attainments and other matters are to be achieved by the sddhaka
through generating deity-yoga by means of the self-blessing and so forth, together
with the benefits so that the sddhaka should also generate cheerfulness (Tibetan
spro ba).”294 Since the pupil's own deity is chosen after the mandata-ritual, it is
enough for the pupil to practise only the four mudras of his chosen deity, and not
all those belonging to the other thirty-six deities. The pupil identifies with his deity
as the result of performing the rites of the four mudras of his deity. However, these
four mudras are efficacious only for those who have already obtained the pledge
and the consecration in the mandala because, according to the STTS,295 they are
meaningless and ineffective without seeing the mahd-mandala.
d-1. Mahdrnudrd Rite
The mahd-mudra representing the body of deity can be defined as visualising the
image of the deity in samadhi. Thus, the evocation-ritual (sadhana), which guides
the sddhaka to visualise the image of his deity effectively, is essential to this maha-
287. S. pp. 7 8 -9 -9 1 , T. pp. 231-2-5-232-5-8, C l. pp. 220-1-9-222-2-18, C2. pp. 355-3-1-358-1-

29.
288. Tattvaloka , TTP. V ol. 71, N o. 3333, p. 203 -3 -6 -7 .
289. S. p. 81-13, T. p. 231-4-4, C l. p. 220-2-24, C2. p. 356-1-19.
290 S. p. 85-6, T. p. 232-2-1, C l. p. 2 2 1-2-2 -3 , C2. p. 357-1-10.
291. S. p. 87-4, T. p. 232-2 -8 -3 -1 , C l. p. 221-2-27, C2. p. 357-2-7.
292 Kosalalam kdra , Vol. 70, No. 3326, p. 248 -4 -2 -3 .
293. S. p. 90-15, T. p. 232-5-2, C l. p. 222-1 -2 5 -2 6 , C2. p. 358-1-8.
294. Tattvaloka , TTP. Vol. 71, No. 3333, p. 135-3-3-4.
295. S. p. 7 8 -1 2 -1 4 , T. p. 2 3 1-2-6-7, C l. p. 2 2 0 -1-11-12, C2. p. 3 5 5 -3 -3 -4 .
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mudrd rite. The method of evoking all the five Tathagatas begins with the five
abhisambodhis
“Beginning with examining thought, one should meditate upon
Vajrasurya {Vajra-sun). While (uttering) ‘Vajradhatu'1, one should
transform oneself into an image of the Buddha.”296
The phrase “beginning with examining thought” refers to “the five
abhisambodhis” . 297 Thus, the means of the five abhisambodhis, the sddhaka, at
first, should recognise the nature of the five Tathagatas. Then, he should bind the
karma-mudrd of Vajrasurya (alias Vajratejas) and visualise a luminous circle which
is called the sun-mandala. Concentrating on it, he should diffuse its brightness up
to the space-realm.298 Finally, he should visualise the five Tathagatas1bodily images
as himself while reciting the mantra “VAJRADHATU’ which is regarded as a
common mantra to all the five Tathagatas. According to Anandagarbha, before the
sddhaka visualises the five Tathagatas' bodies, he should form the hand gestures
{samaya-mudrd) of the five Tathagatas.299 As the result of the above rite, the
sddhaka can attain knowledge, longevity, power, youth, omnipresence, and even
Buddhahood.300
The method of evoking Vajrasattva, which is originally entitled “Mahamudra-
Bond of Evoking Vajrasattva” (Vajrasattva-sddhana-mahdmudra-bandha) focuses
on the visualisation of the image of Vajrasattva who holds a bell in his left hand and
a vajra in his right hand,301 and realising the union with Vajrasattva:-
“While waving the vajra of pride, one should generate the vajra-
pride (in one's mind). Then by means of the body, speech and
mind vajra, one should transform oneself into Vajrasattva.”302
Sakyamitra regards the term “vq/ra-pride (’vajra-garva)” as referring to die maha-
mudra of Vajrasattva. He adds that “the vajra of pride” means “placing with pride
die vajra-f\st of the left hand on the side of body and holding a five-pronged vajra
in the right hand”.303 Slightly differing from Sakyamitra's view, Anandagarbha
describes the left hand of Vajrasattva holding a bell with the vny'ra-fist.304 In terms
of the body, speech and mind vajra, the body-vajra means abiding in the realm of
Vajrasattva by imitating the (Vajra-) Sattva's posture of sitting cross-legged; the
speech-vo/m means pronouncing VAJRASATTVA, while visualising a white five
296. S. p. 79-2-3, T. p. 231-2-8-3-1, C l. p. 220-1-15-16, C2. p. 355-3-8-9.

297. Kosalalamkdra, Vol. 70, No. 3326, p. 239-4-3-4; Tattvaloka, TTP. Vol. 71, No. 3333, p.
199-4-7-5-4.
298. Kosalalamkdra, Vol. 70, No. 3326, p. 239-4-4-6.
2" . Tattvaloka, TTP. Vol. 71, No. 3333, pp. 199-5-8-200-1-2.
300 S. p. 79-4-5, T. p. 231-3-1-2, C l. p. 220-1-17-18, C2. p. 355-3-10-11.
30f Cf. the previous two sections including some descriptions about the image of Vajrasattva.
( Vajra-Samddhi and Structure of the Vajradhatu Mahdmandala).
302 S. p. 79-9-10, T. p. 231-3-2-3, C l. p. 220-1-21-22, C2. p. 355-3-13-14.
303. Kosalalam kdra, Vol. 70, No. 3326, p. 239-5-4—7.
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pronged vajra on the tongue from the letter HUM; the mind-vajra means meditating
upon Vajrasattva.305 By means of the body, speech and mind vajra, the sddhaka
realises the nature of Vajrasattva. According to the STTS,306 the images of all the
other deities from Vajraraja up to Vajravesa holding their symbols can also be
visualised by means of using the method of the body, speech and mind vajra.
Having empowered himself with one of the above rites corresponding to his
deity, the sddhaka performs the following rite in order to perfect the maha-mudra
of his deity:-
“(a) Having generated (in samadhi) die state of vay'ra-possession
(vajra-avesa)301 and having bound the mahd-mudra in
conformity with die rite, one should visualise the Mahasattva
(Vajrasattva) in front of oneself. Having seen this as Jnanasattva,
one should visualise it in one's body. Having summoned, drawn
in, bound and subdued it, one can be successful.
In this case, these are the hr dayas
‘VAJRASATTVA, AHd '
This is the hrdaya of the vq/ra-possession.
‘VAJRASATTVA, DR&YAV
This is the hrdaya of recollecting die Mahasattva.
UAH HUM VAM HOH. ’
This is the hrdaya of summoning, drawing in, binding and
subduing the Mahasattva,
(b) Having proclaimed: 'SAMAYAS TVAM.\ one should enter the
lunar (disc) behind, (which is drawn in one's mind). Then one
should visualise oneself as (Vajra-) Sattva, while saying:
lSAMAYAS TVAM, AHAM. (You are the pledge, I [am you].)’.
(c) One should visualise oneself as the mudrd of any (Maha-)
Sattva, and should accomplish the perfecting of all the mudras
through vq/ra-recitation.
(d) Furthermore, the superior evocation (is accomplished), if one
can lead all the Buddhas into (one's) body by means of the efficacy
(sadhu) of mind while reciting: UAH HUM VAM HOH.5”308
This rite is explained as focusing 011 Vajrasattva out of the thirty-seven deities,
because the mahd-mudras of the other deities can be accomplished through
realising the nature of Vajrasattva.309 The rite is defined as referring to deity-
yoga,310 by which the sddhaka attains complete union with Jnanasattva.311
305. Ibid., p. 200-2-2-3.

306. S. p. 79-13-14, T. p. 231-3-4, C l. p. 220-1-25-26, C2. p. 355-3-17-18.
307. According to Anandagarbha, the way of generating the status of vq/ra-possession is that the
sddhaka binds the (samaya-) mudrd of Vajravesa while pronouncing: ‘VAJRAVESA’, and
then he leads a vajra into his heart while reciting: 'A H \ (Tattvalolca, TTP. Vol. 71, No.
3333, p. 201-3-8-4-1).
308. S. pp. 80-2-81-6, T. p. 231-3-6-4-2, C l. p. 220-2-3-17, C2. pp. 355-3-24-356-1-12.
310 Ibid., p. 240-4-5.
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Paragraph (a) describes the process of cognition of the sddhaka in connection with
the objects. The sddhaka begins with visualising ‘a five-pronged vajra inside the
moon’ which symbolises the lack of essence in dharmas, and recognises
Vajrasattva as himself generated from the vajra. Then he realises Jnanasattva
abiding in the nature of Vajrasattva, and leads it into his body. Paragraph (b)
explains the way of making steadfast the union between the sddhaka and
Jnanasattva as Vajrasattva. The mantra: ‘SAMAYAS TVAM.'' together with the
samaya-mudrd helps the sddhaka to generate the mandala in his mind. In this
mandala which is drawn in the mind, he transforms the actual deity known as
Jnanasattva into the symbol of the deity known as Samayasattva.312 Then he
realises Vajrasattva abiding in the mandala as himself. Paragraph (c) denotes the
method of perfecting the mahd-mudras of the other deities ranging from Vajraraja
up to Vajravesa. The way of perfecting the maha-mudra of Vajraraja, for example,
begins with the sddhaka meditating upon a vq/ra-hook which symbolises Vajraraja,
and recognising Vajrasattva as himself generated from the vajra-hook. Then he
realises Vajraraja as himself in the nature of Vajrasattva, and leads him into his
body. Paragraph (d) refers to the way of perfecting the mahd-mudras of all the five
Tathagatas. The purpose of this mahdmudrd rite in brief is that by means of
visualising the image of deity, one is identified with the deity, and eventually attains
enlightenment with the support of the deity.
d-2, Samayamudra Rite
The samaya-mudrd representing the mind of the deity is manifested as forming the
hand gesture. Thus, in the samaya-mudrd rite, the sddhaka forms a peculiar hand
gesture which symbolises his deity's mind. According to the STTS ,313 all the hand
gestures described in the samaya-mudrd rite begin with forming the vq/ra-bond
(■vajra-bandha). This vq/ra-bond is defined as the well bound vajra-anjali. The
way of forming the vajra-anjali is that the palms of the hands (anjali) are held
firmly, and all the fingers are boimd together.
The methods of binding the samaya-mudrds of the five Tathagatas out of the
thirty-seven deities are quoted from the STTSil4 as examples:-
“(1) Vairocana: Making firmly (the mudrd of) Sattvavajri315
(which is formed by) raising the middle fingers (of the vajra-
bond) like a sprout symbolises (the mudrd of the first Buddha).
(2) Aksobhya: Drawing together the middle fingers (of the vajra-
bond) inward symbolises (the mudrd of) the second Buddha.316

312 Concerning the relationship between Jnanasattva and Samayasattva, see David Snellgrove,
Indo-Tibetan Buddhism, p. 131 & p. 222.
313. S. p. 83-2-4, T. p. 231-5-5-6, C l. p. 220-3-24-26, C2. p. 356-3-2-4.
314. S. p. 83-6-9, T. p. 231-5-6-7, C l. pp. 220-3-28-221-1-2, C2. p. 356-3-6-9.
315. Only Tibetan reads: “vcyra-bond”, instead of “Sattvavajri”.
316. Chinese 2 adds: “Aksobhya”.
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(3) Ratnasambhava: (Making a form of) a jewel with the middle

fingers and the thumbs317 (of the vajra-bond) symbolises (the
mudrd of the third Buddha).
(4) Amitabha: Shrinking together the middle lingers (of the vajra-
bond) like a lotus symbolises (the mudrd of the fourth Buddha).
(5) Amoghasiddhi: Bending the forefingers (of the vo/ra-bond) in
like manner symbolises the mudrd of the fifth Buddha.”318
The STTS319 outlines a common way of perfecting these five samaya-mudrds
and the other thirty-two samaya-mudrds
“One places the (samaya-) mudrd of one's (deity) at (one's) heart
while joining in the vajra-samadhi of (Vajra-) Sattva.320”
From this description it is significant that the activity of binding the samaya-mudrd
is a meaningless hand gesture, unless accompanied by concentration upon an object
such as a vajra or the moon. In the light of the commentaries,321 if the sddhaka
binds and places the samaya-mudrd of his deity at his heart while joining together a
five-pronged vajra and the moon visualised in his heart, he will be successfLil. As
the result of this rite, the sddhaka is identical to his deity and so gains the power of
the deity.
d-3. Dharmamudrd Rite
The dharma-mudrd representing the speech of the deity focuses on sound and is
displayed as a form of mantra. Thus, all the dharma-mudrds are generated from
the tongue. This section of the STTS322 contains information about the dharma-
mudrds, which are manifested as mantras and refer to the thirty-three deities
excluding four Paramitas.323 For example, the dharma-mudrd common to all the
five Tathagatas is manifested as the mantra ‘ VAJRAJNANAMj324 which gathers all
the five Tathagatas to make steadfast the Vajradhatu?15
According to the STTS, the means of perfecting the dharma-mudrds of the
thirty-seven deities is by meditating on a vajra on the tongue.326 Thus, the dharma-
317. Tibetan omits: “thumbs”.

318. According to Anandagarbha, the samaya-mudrds described in (3), (4) and (5) correspond to
Ratnasambhava and Ratnavajri, Amitabha and Dharmavajrf, and Amoghasiddhi and
Karmavajri respectively. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 204-3-5—4-3).
319. S. p. 85-2, T. p. 232-1-7-8, C l. p. 221-1-27-28, C2. p. 357-1-6.
320. Tibetan reads: “Vajrasattva-samadhi".
205-4-7-5-3.
322. S. pp. 87-88, T. p. 232-2-8-3-8, C l. p. 221-2-24-3-23, C2. p. 357-2-4-3-5.
323. The STTS in this section omits the dharma-mudrds of four Paramitas (i.e. Sattvavajri,
Ratnavajri, Dharmavajri and Karmavajri) because their names are identical to their dharma-
mudrds. {Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-3-8).
324. Sanskrit and Chinese 2 do not regard this VAJRAJNANAM as a mantra.
325. Sakyamitra interprets the term Vajradhatu as the Vajradhdtu-mandala. {Kosalalamkdra,
Vol. 70, No. 3326, p. 246-1-6-7). However, Anandagarbha regards it as the Body, Speech
and Mind Vajra o f all the Tathagatas. {Tattvaloka, TTP. Vol. 71, No. 3333, p. 206-4-7-8).
326 S. p. 88-12, T. p. 232-3-7, C l. p. 2 2 1 -3-23,C2. p. 357-3-5.
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mudrd rite consists of two activities, namely, reciting the appropriate mantra and
meditating on a vajra on the tongue. For example, the method of accomplishing the
dharma-mudrd of all the five Tathagatas is when the sddhaka thinks himself as
pure by nature and meditates on a white five-pronged vajra on his tongue while
reciting the mantra VAJRAJNANAM, then his body, speech and mind become a
vajra,327
d-4. Karmamudra Rite
The karma-mudra representing the conduct of the deity, in a narrow sense, is
defined as imitating the posture and especially the hand gesture of the deity. Both
the samaya-mudrd and the karma-mudra are displayed as a form of hand gesture,
the difference being that the latter consists in the hand gestures made by the thirty-
seven deities, which appear in the mandala. In addition, all the hand gestures of the
samaya-mudrds are generated from the vq/ra-bond (yajra-bandha), but all the hand
gestures of the karma-mudras are generated from the two separated vq/ra-fists
(vajra-musti). According to the STTS on the preliminary activity of the karma-
mudras, having made a va/ra-fist firmly, one should divide it into two while
performing the yoga (of his deity). From making the two vajra-mudrds (which
refer to the two separated vajra-fists made by the hands), die binding (of all the
karma-mudras) begins.328 The karma-mudras of the five Tathagatas are as follows
in the STT&™\-
“(1) Vairocana: The vayra-(fore) finger of the left hand is raised
and seized by the right (vn/'ra-fist). This hand gesture called
supreme enlightenment bestows die enlightenment of the Buddha.
(2) Aksobhya: The hand gesture of Aksobhya is known as earth-
touching (which is made by sitting cross-legged, placing the left
vajra-fist on the hip, stretching out the right vajra-fist towards the
right knee and touching the earth a little with the fingertips330).
(3) Ratnasambhava: The hand gesture of Ratnasambhava is known
as wish-granting (which is made by sitting cross-legged, placing
the left vajra-fist on the hip, and forming a gesture of giving by
stretching out all the fingertips of the right vayra-fist331).
(4) Amitabha: The hand gesture of Amitayus (alias Amitabha) is
known as supreme samadhi (which is made by sitting cross-
legged, placing the two vajra-fists on the hip, joining together the

328. S. p. 89-2-3, T. p. 232-3-8-4-1, C l. p. 221-3-24-26, C2. p. 357-3-7-8.
329. S. p. 89-4-7, T. p. 232-4-1-2, C l. pp. 221-3-26-222-1-1, C2. p. 357-3-9-12.
330 K osalalam kdra, Vol. 70, No. 3326, p. 247-2-7-8; Tattvaloka, TTP. Vol. 71, No. 3333, p.
207-4-8-5-1.
331. Kosalalamkdra, Vol. 70, No. 3326, p. 247-2-8-3-2; Tattvaloka, TTP. Vol. 71, No. 3333, p.
207-5-2-3.
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fingernails of the two bent forefingers, and meeting each tip of the
two thumbs downwards with each of the two forefingers332),
(5) Amoghasiddhi: The hand gesture of Amoghasiddhi is known
as granting fearlessness (which is made by sitting cross-legged,
placing tire left vajra-fist on the hip, and forming a gesture of
granting fearlessness by stretching out all the fingertips of the right
vnyra-fist333).”
The means of perfecting the karma-mudras of the thirty-seven deities is by
meditating on a crossed vajra in the heart.334 While meditating on a crossed vajra in
his heart, the sddhaka forms the karma-mudra of his deity to gain the power of his
deity.
In conclusion, even though the STTS arranges and explains the four mudras in
the sequence: mahd-, samaya-, dharma- and karma-mudras, Anandagarbha
rearranges them as the following: samaya-, dharma-, karma- and mahd-mudras,
and asserts that the sddhaka accomplishes with the samaya-mudrd, arranges with
the dharma-mudrd, attends to marvellous action with the karma-mudra, and
stabilises in the manner of consecration with the mahd-mudra?35 In addition, to
summarise the origins of each of the four mudras: while the original cause (Tibetan
gzhi) of the four mudras is the mahd-mudra, the original causes of the mahd-
mudras, the samaya-mudrds, the dharma-mudrds, and the karma-mudras are the
mind, the vajra-bond whose origin is the vajra-anjali, the tongue, and the separated
vayra-fists whose origin is the vajra-fist of the samaya-mudrd respectively.336
d-5. Rite o f Discharging the Four Mudras
According to the commentary by Anandagarbha337: “When the mind becomes tired
of recitations and meditation, during each interval between meditational sessions,
the sddhaka should perform the rite of discharging each of the mudras of his deity,
and ask his deity to leave. Next there follows the section which explains a relevant
rite, starting with the words, ‘Now comes an extensive rite of liberation common to
all the mudrds'33% and ending with the words, ‘This has been said by the Lord
332 Kosalalamkdra, Vol. 70, No. 3326, p. 247-3-3-4.

Anandagarbha explains that this hand gesture is formed by stretching out all the fingers of
the two va/'ra-lists, and making the tips of the (two) thumbs meet each other like holding an
alms-bowl. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-5-4).
207-5-5-6.
334. S. p. 90-8, T. p. 232-4-7-8, C l. p. 222-1-18-19, C2. p. 358-1-1.
335. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp.
235-237.
337 Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-4-5-7.
33S. atha satvamudrdnam sdmanyo moksavidhivistaro bhavati: S. p. 96-1, T. p. 233-2-4-5, C l.
p. 223-1-5-6, C2. p. 358-3-22.
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Samantabhadra’”339 The method of discharging the mudrd which is common to all

the four mudras is explained in the STTS
“(a) At first, one should discharge (each of all) the mudras from
where it has been generated with the hrdaya: ‘ VAJRA MUET.340
(b) Then, one should consecrate (all the mudras) by placing the
mudrd of Ratnavajri341 arisen from (one's) heart at the
consecration-region of one's (body). After that, one should make
the armour, on which the garland is tied, with the two forefingers
together with the following hrdaya (and put the armour on all the
mudras):-
‘OM 342RATNA-VAJRABHISIMCA. (Ratnavajra, consecrate!)’
‘SARVA-MUDRA ME DRDHI-KURU VARA-KAVACENA VAM.
(Make steadfast all the mudras to me with the encircling armour!)’
(c) Then, when one discharges the armour on which the garland is
tied, by making the palms equal, one should satisfy343 (all the
mudras) with the hrdaya'. ‘ VAJRA TUSYA HOHT
Those whose mudras are discharged, bound and satisfied with
this rite344 will obtain the vq/Az-essence, and become identified
with Vajrasattva.
Reciting: ‘Vajrasattvah’ once gives the joy that is wished for. As
soon as one recites it, one is successfril, as Vajrapani has said.”345
Paragraph (a) explains that each mudrd is discharged at its own particular region
between the heart and the crown of the head, where it is generated. In the case of
Vairocana, for instance, while reciting: ‘ VAJRADHATU, the sddhaka binds the
samaya-mudrd of Vairocana at the crown of his head which is considered the
abode of Vairocana. Then, while reciting: *VAJRA M U H \ he discharges it at his
crown, and meditates on discharging all the mudras of Vairocana.346 Paragraph (b)
deals with the methods of consecrating and making steadfast all the mudras.
Concerning the method of the consecration, Anandagarbha347 explains that the
sddhaka binds the samaya-mudrd of Akasagarbha at his heart, and places it
between his eyebrows. Then, if he consecrates all the mudras with the hrdaya:
iVAJRARATNA-ABHISINCA\ all the mudras are consecrated by the gem-diadem of
339, aha bhagavan samantabhadrah: S. p. 97-3, T. p. 233-2-8-3-1, C l. p. 223-1-20, C2. p. 359-

1- 12 .
34°. According to Sakyamitra, the hrdaya: ‘ VAJRA MUTT is used only for the Tathagata-family
and the Fb/Va-families. For the Padma-family, the hrdaya: ‘PADMA MUTT, and for the
itaftia-family, the hrdaya: ‘RATNA MUIR are used. (Kosalalamkdra, Vol. 70, No. 3326, p.
251-3-8-4-1).
341. Both Chinese versions read: “mudrd o f Vajraratna”.
3 4 2 . Tibetan and both Chinese versions read: “VAJRA-RATNA”, instead o f “RATNA- VAJRA’.
343. Chinese 2 reads: “makes the vajra-satisfaction”.
344. Chinese 2 reads: “if one discharges the consecration-bond with this mudrd and vidya, and
makes (the mudrd of) satisfaction”. Chinese 1 regards “rite” as “vidya".
345. S. pp. 96-2-97-2, T. p. 233-2-5-8, C l. p. 223-1-7-19, C2. pp. 358-3-23-359-1-11.
347. Ibid., p. 210-4-8-5-2.
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all the Tathagatas. The means of making steadfast all the mudras is for the sddhaka
to make the mudras of the armour and the garland with his two forefingers, and
then putting and tying them onto his deity in samadhi. Paragraph (c) explains the
final activity of this rite, that is, the means of satisfying the deity, which is invoked
by the sddhaka, by drawing the palms together. As the result of this rite, the body,
speech and mind of the sddhaka becomes a vajra, and he becomes identical to
Vajrasattva.
5. Conclusion
Before proceeding to the next chapter, it is important to note drat this chapter
contains not only a unique rite, namely, the five abhisambodhis, but also the
various basic and essential methods of tantra, which are closely related to the rituals
described in the other chapters. This is one of the reasons that Amoghavajra gives
priority to only this part of the STTS and translates it from the Sanskrit' into
Chinese.
Some distinguishing features drawn from die exposition of the five
abhisambodhis indicate a new way of attaining enlightenment. The rite of the five
abhisambodhis consists of the five stages which correspond to the five Wisdoms
and the five Tathagatas representing the five families. From die point of view of
religious practices, this rite introduces a more developed form of yoga involving
visualisations and recitations than die traditional yoga consisting of controlled
breathing and simple concentration. The method of visualising the object, either the
vajra or the moon, is the preliminary and essential practice for deity-yoga.
The Vajradhatu Mahdmandala constitutes the foundation and structure for all
twenty-seven mandalas described in the STTS. The exposition of die Vajradhatu
Mahdmandala begins with the thirty-seven deities manifested by the vajra-samadhi
of Sakyamuni as Vairocana on the summit of Mount Sumeru. These thirty-seven
deities symbolise the thirty-seven knowledges. The significance of the mandala-
rites such as constructing and entering the mandala is, in a broad sense, to show
not only the externally manifested Universal-Buddha-World but also the internally
existing individual-Buddha-nature. In a narrow sense, the mandala-rites are
considered a means by which the pupil is initiated and by which his deity is chosen.
The mudrd-rites of the Vajradhatu Mahdmandala contain all kinds of tantric-
mediodological elements which are adopted by die other mandalas. In terms of the
mudrd-knowledge and the four mudras, the /m/d/fi-knowledge is die means of
developing the innate supernatural faculties of the sddhaka, and the four mudras are
the means of generating the deity-yogu, by which the sddhaka invokes his deity and
gains the deity's power. The ultimate purpose of both the mwdWz-knowledge and the
four mudras is to reach enlightenment by training the body and mind of the
s adhaka.
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Finally, the rites described in the section of the mwJm-knowledge of the four
attainments are composed in four sets of four verses ending with four
corresponding mantras. These mantras which comprise of a few key words
summarising the relevant rites serve two functions, namely, empowering the rite
and helping the sddhaka to memorise the rite.
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Chapter 2. Vajraguhya Vajramandala

Since most basic and essential ritual methods are introduced and explained in the
Vajradhatu Mahdmandala as the key mandala, the expositions of the five other
mandalas of the Vajradhatu are relatively brief. The exposition of Vajraguhya
Vajramandala (or Vajraguhya Mahavajramandala)348 begins with the second
samadhi called the supreme mandala-king, because the first and third samddhis in
the STTS appear only once in the samadhi-section of the Vajradhatu
Mahdmandala. This second samadhi in this chapter enumerates the names of the
five Tathagatas, the sixteen Mahabodhisattvas, and so forth.349 The five Tathagatas,
for instance, are manifested in the form of vidyd, i.e. Vajradhatvisvari, Vajravajrinl,
Ratnavajrinl, Dharmavajrini and Kamiavajrim, and correspond to the five
Tathagatas, namely, Vairocana, Aksobhya, Ratnasambhava, Amitabha and
Amoghasiddhi respectively. According to Amoghavajra, this mandala contains
thirty-seven deities, all of whom abide in the fonn of Paramita (Bodhisattvas).350
The Vajraguhya Vajramandala like the Vajradhatu Mahdmandala has the same
number of deities but they are female and have different appearances. The thirty-
seven female deities of this mandala are the consorts of the thirty-seven deities of
the Vajradhatu Mahdmandala. The images of these female deities are shown in the
Vajradhatu Guhyadharanlmandala of the Gobushinkan,351 which contains the
female images of thirty-four deities in total, i.e., Vairocana (though Vajradhatvisvari
is the counterpart of Vairocana) and the thirty-three female deities excluding the
four Internal Offerings described in the Sanskrit STTS. Each of the female deities
drawn in this mandala sits on a lotus and holds her own symbol. In addition, one
of the four Vajradhatu Mahdmandala352 at Alchi Monastery also consists of all the
34S. S. chapter 2. pp. 100-115, T. pp. 233-4-3-235-1-8, C2. pp. 359-2-20-362-3-3.

349. The sixteen Mahabodhisattvas in this mandala are divided into four family groups, i.e.
Vajradhdranis, Ratnadhdranis, Dharmadhdranls and Sarvadharanis (or perhaps
Kam i ad ha ran is). Vajradhdranis include (1) Samantabhadra, (2) Tathagatankusi, (3)
Ratiraga, (4) Sadhumati. Ratnadhdranis. include (5) Ratnottama, (6) Ratnolka, (7)
Dhvajagrakeyura, (8) Hasavati. Dharmadhdranls include (9) Vajrambuja, (10) Adharani, (11)
Sarvacakra, (12) Sahasravarta. Sarvadharanis include (13) Siddhottara, (14) Sarvaraksa, (15)
Tejahpratyaharini, (16) Dharanimudra.
In addition, there are enumerated the names of the four Paramitas, i.e. Guhyasattvavajri, ’1 T
Guhyaratnavajri, Guhyadharmavajri and Guhyakarmavajri, and the four Internal Offerings, ' ( ( ,
i.e. Vajraguhyaratipujasamaya (Vajralasya), Vajraguhyabhisekapujasamaya (Vajramala),
Vajraguhyagitapujasamaya (Vajragita) and Vajraguhyanrtyapujasamaya (Vajranrtya). Though ^ ^
the mandala described in this chapter contains thirty-seven deities like the Vajradhatu
Mahdmandala, the STTS does not provide the names of the four External Offerings and the c L,c' % ^
four Guardians.
350. OEAVS, TSD. Vol. 18, No. 869, p. 284-3-24-25.
351. TSD. Tu-xiang-ba (Iconographic Section), Vol. 2, pp. 93-110; Lokesh Chandra, A Ninth
Century Scroll o f the Vajradhatu Mandala, pp. 128-195; Toganoo Shoun, Kongochdlcyo no
Kenkyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 229-297.
of Religious Affairs o f His Holiness the Dalai Lama, p. 214.
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deities having a female appearance, though it cannot be definitely assumed that this
mandala is exactly the same as the Vajraguhya Vajramandala.
Though the mandala explained in this chapter of the Sanskrit STTS is known as
Vajraguhya Vajramandala (or Vajraguhya Mahavajramandala),353 Amoghavajra
and Anandagarbha name this mandala, which constitutes the supreme samaya-
mudrd354 and focuses on the Mind of Vairocana, Dhdranlmandala (of the
Vajradhatu).355 The thirty-seven female deities manifested by the samadhi, who
symbolise the minds of the deities of the Vajradhatu Mahdmandala, are shown as
symbols in the Vajraguhya Vajramandala of the STTS and in the Samaya
Assembly of the Nine Assemblies Mandala.356
The section of the mudrd-rites of the Vajraguhya Vajramandala includes the
methods of attaining the four goals, which are entitled mwr/rd-knowledge, i.e.
subjugation, attraction, destruction and pacification. The sddhaka attains these four
goals by means of his body, vision, speech and mind. The means of binding the
four mudras are briefly explained in this chapter. Significantly the maha-mudrds
referring to the images of the deities are replaced in the Vajraguhya Vajramandala
by those referring to the hand gestures, because this mandala represents the
supreme samaya-mudrd and comprises the symbols instead of the images of the
deities. The means of discharging the four mudras are almost the same as the
previous ones described in the Vajradhatu Mahdmandala.
1. Structural Analysis o f Chapter 2
(1) The first section of chapter 2 of the STTS starting with the words, “Then the
Lord”357 and ending with the words, “They are positioned in the four comers of the
lunar disc”,358 provides an exposition of the second samadhi called the supreme
mandala-king of the Vajraguhya Vajramandala.
(2) The next section starting with the words, “Then Vajrapani once again
announced this Great Vajramandala called Vajraguhya (Kq/ra-secret)”359 and
353. Sakyamitra defines the term vajra-guhya as the instruction of the attainment of the secret
purposes, and the term mahavajramandala indicates the mandala o f the Lord Vajrasattva.
(Kosalalamlcara, Vol. 70, No. 3326, p. 255-3-7-8). Regarding the term vajra-guhya ,
Anandagarbha adds that the vajra refers to what is originated from the mind o f the
indubitable Jnanasattva, and it is called the guhya because of being endowed with the nature
o f dhdranl. (Tattvaloka, Vol. 71, No. 3333, p. 213-5-8).
355. Alex Wayman argues that the word idharanV o f the dharani-mandala means ‘memory1, i.e.,
retention in the Mind. (F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist
Tantric Systems, p. 225, footnote).
356. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 908-922; Adrian Snodgrass, The
Matrix and Diamond World Mandalas in Shingon Buddhism, p. 645.
357. atha bhagavdm: S. p. 100-2, T. p. 233-4-3, C2. p. 359-2-21.
35S. cakramandalakonacatustaye sthapyaly. S. p. 104-19, T. p. 234-1-8, C2. p. 360-3-8.
359. atha vajrapanih punar api idam vajraguhyan ndma mahdvajramandalam abhasat: S. p.
105-1-2, T. p. 234-1-8, C2. p. 360-3-17-18.
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P a rt One
ending with the words, “One should teach the knowledge of the va/rfz-secret-
mudrd”,360 explains the mandala-rites of the Vajraguhya Vajramandala.
(3) The next section starting with the words, “Thus, at first, one should teach the
knowledge of the vuyra-secret-body-mwbra”361 and ending with die words,
‘‘VAJRA - GUHYA -SAMA YA HAM”,362 explains the murira-knowledge for the four
attainments, i.e. subjugation, attraction, destruction and pacification. This section
also explains the secret-mudrd rite.
(4) The next section starting with the words, “Then, one should teach the binding of
the mahd-mudras of the Thyra-secret”363 and ending with the words, “Whatever is
the supreme pledge should be divided into two in exactly the same way”,364 briefly
describes the rite of binding the four mudras of the Vajraguhya Vajramandala.
(5) The next section starting with the words, “Then, I will explain the way of
perfecting these (four mudras)”365 and ending with the words, “They should not
abandon their own husbands”,366 explains a common method of perfecting all the
four mudras of the Vajraguhya Vajramandala.
(6) The next section starting with the words, “Then, there are the actions such as the
binding of all these mudras and others”367 and ending with the words, “OM
GUHYA-SAMAYA-TALA SAH”,36Hexplains the rite of discharging the four mudras
of the Vajraguhya Vajramandala.
(7) The final section, “While reciting: ‘VAJRASATTVA’ at will, if one performs
in this pledge {-mandala) all the activities (explained in this) mandala, one can
become a supreme doer of all attainments.”,369 includes a summary and concise
description for accomplishing all the mudrd-rites of the Vajraguhya
Vajramandala316
2. Samadhi o f the Vajraguhya Vajramandala
360. vajraguhyamudrdjnanam silcsayet: S. p. 107-8, T. p. 234-3-2, C2. p. 361-1-24.

36k tatra prathaman tavad vajragiihyakdyamudrdjndnam silcsayet: S. p. 107-9-10, T. p. 234-3-
2, C2. p. 361-1-25.
362. S. p. 111-14, T. p. 234-5-3, C2. p. 362-1-13.
363. tato vajraguhyamahdmudrabandham silcsayet: S. p. 112-1, T. p. 234-5-3, C2. p. 362-1-14.
Sanskrit omits: “mahd”.
364 ydvadyah samayagryo vai dvidhilcrtya tathaiva ca: S. p. 113-5, T. p. 235-1-1, C2. p. 362-2-
8.
365. athdsam sddhanam valcsye: S. p. 113-6, T. p. 235-1-1-2, C2. p. 362-2-9.
366. ma tyajeyuh patin nijam iti: S. p. 113-11-12, T. p. 235-1-3, C2. p. 362-2-14.
Tibetan and Tattvaloka both read: “They should abandon their eternal husbands.”
367. athdsam sarvamudranam bandhaditi karmani bhavanti: S. p. 113-13, T. p. 235-l-3~4, C2.
p. 362-2-15.
368. S. p. 114-12, T. p. 235-1-7, C2. p. 362-3-1.
369. vajrasattvo rucir jdptah sarvamandalakarmasu, prayolctavyo 'tra samaye sarvasiddhikarah
param iti: S. p. 114-13~ 15, T. p. 235-1-7-8, C2. p. 362-3-2-3.
370 j i ie above divisions and analyses of the Sanskrit STTS are reconstructed on the basis of
Anandagarbha's commentary focusing on the textual sequence and the ritual procedure. Cf.
Tattvaloka, TTP. Vol. 71, No. 3333, p. 136-1-2-3-5.
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The main purpose of the second samadhi called the supreme mandala-king is to
evoke all the deities, particularly the thirty-seven deities, for the mandala rites.
Thus, the second samadhi constitutes the doctrinal basis of the mandala because
each mandala described in the STTS is constructed on the basis of its second
samadhi. Thus, the mandala is defined as the manifested form of the second
samadhi. The following characteristics relating to the Vajraguhya Vajramandala
can be examined on the basis of information provided by the samddhi-section of
this mandala?11
(1) The STTS reads>
“The Lord Vajrapani entered the samadhi called cVajra Generated
from All the Vajradhdranl-Samayas372 of All the Tathagatas’. In
this samadhi, he conceived and emitted the Goddesses of the
Samaya-mudrd of the Vajradhdrani from the hearts of all the
Tathagatas and he also brought forth the knowledges of the
Vajradhdrani of all the Tathagatas and of all the Buddhas in all
the universes.”
Evidently the term dharani-mandala, which is employed by Amoghavajra and
Anandagarbha, originates from this quotation and this mandala consists of the
female deities who exist in the mandala in symbolic forms.
(2) The STTS reads
“The Lord transformed himself into the symbols of the Samaya-
mudrds of all the Tathagatas.”
Thus, this mandala consists not of images but of die distinguishing symbols (sva-
cihna) of the deities, for instance, stupa, five-pronged vajra, gem, lotus and crossed
vajra.
(3) The STTS reads
“The Lord rested on the lunar discs in conformity with entering the
Vajradhatu Mahdmandala of all the Tathagatas.”
Once again it is clear from this quotation that the positions of the symbols are
exactly the same as the positions of the deities in the Vajradhatu Mahdmandala,
because the symbols of the thirty-seven deities replace their images in the
Vajraguhya Mahavajramandala, These characteristics are implemented in the
construction of this mandala.
3. Mandala Rites
The major function of all the mandala-rites described in the STTS is to provide the
sddhaka with the pledge and the consecration. In terms of the relationship between
371. S. p. 100, T. p. 233-4-3-7, C2. p. 359-2-21-3-1.

372. Concerning the meaning o f the samayas (pledges) in this context, Sakyamitra asserts that
they are the hrdayas, mudras and mandalas. {Kosalalamkdra, Vol. 70, No. 3326, p. 253-5-
7). However, Anandagarbha asserts that they are the Bodies of the Dharam-GoddessQS.
{Tattvaloka, Vol. 71, No. 3333, p. 212-3-7).
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P a rt One
the mandala-rite and the mudrd-rite, they are inseparable from each other, and the
former is a kind of preliminary activity for accomplishing the latter.
a. Structure o f the Vajraguhya Vajramandala
This mandala symbolises the original vow of the deities of the Vajradhdtu
Mahdmandala represented in their samaya-forms. These samaya-forms are
represented either by objects or symbols characteristic of each deity, or by their
ordinary attributes. This mandala also corresponds almost exactly to the
Vajradhdtu Mahdmandala in its general disposition and placement.373
“The supreme Vajramandala (of the Tathagata-family) has the
basic design of the Vajradhdtu (Mahdmandala) and is called
‘ Vajraguhya (Kq/ra-secret)’. The whole mandala should be
designed in conformity with the (Vajradhdtu) Mahdmandala.
One should draw the (five) Buddha-mudrds in the centres of
every mandala. A stupa (caitya), well placed on the seat
(paryahka), is called Vajradhdtvlsvarl (Queen of the Vajradhdtu).
A vajra above a vajra on the seat is named Vajracintd (Vajra-
thought),374 A vajra-gem on the seat is named Svabhiseka (Self
consecration), A vq/>a-lotus on the seat is named Ayudha (Long-
life-holder). An action-vq/ra (or crossed vajra) on the seat is
named Sarvavajra (Univers al-vq/ra). These (vajras) are drawn
above the lotuses and placed inside the luminous mandalas.
On the seats (of die eastern quarter), one should draw (1) a vajra,
(2) two375 erect hooks, (3) a vajra reposing upon a vajra, and (4)
two forms of the sadhidcdra (literally good-makers). (On the seats
of the southern quarter), one should draw (5) a fiery gem, (6) a
mn-mudrd, (7) a banner whose top is surrounded by flames, and
(8) a set of teeth between two vajras.376 (On the seats of the
western quarter), one should draw (9) a lotus in the centre of the
vajra, (10) a sword surrounded by flames, (11) a vajra-wheel
having a vq/ra-spoke,377 and (12) a tongue emitting blazing rays
of light. (On the seats of the northern quarter), one should draw
(13) a vajra in every direction, (14) a pair of cuirasses, (15) a
vq/ra-tusk, and (16) a fist-mudrd consisting of two hands.
One should draw Sattvavajri and the others in accordance widi the
{Vajra-) Dhatu (Mahd-) mandala.37S One should draw the
characteristic mudrds in the mandala of Vajralasya and the others.
One should also draw the distinguishing symbols on the outer
parts following the appropriate order. One should draw the
373. Lokesh Chandra, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 36.

374. Tibetan reads: “Vajrasattva”. Chinese 2 reads: “ Vajra of the Vajra-family”.
375. Chinese 2 omits: “two” and inserts: “vajra".
376. Chinese 2 reads: “Vajrahasa”, instead o f “between two vajras”.
377. Chinese 2 reads: “a vq/ra-great-fire-wheel”.
378. Chinese 2 reads: <<‘mahd-mandala”-
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distinguishing symbols of Maitreya and the others, in the way one

likes”379
The first segment of this quotation shows that die basic design such as
measurement and lines are based upon die construction-method of the mahd
mandala of the Vajradhdtu. The difference is that the deities' symbols replace their
images in this mandala. The term £Vajramandala* is defined as the mandala
comprising the symbols signified by a vajra.™ The second segment describes the
five symbols and names drawn on the seats of the five Tathagatas. The phrase 'a
vajra above a vajra' denotes die symbol of Aksobhya, which is the image of a
vertical five-pronged vajra standing on a horizontal five-pronged vajra.™ The third
segment describes the symbols of the sixteen Mahabodhisattvas, which correspond
to the sixteen symbols of the Mahabodhisattvas from Vajrasattva to Vajrasandhi.
The phrase ‘two forms of the sddhukara’ refers to the symbol of Vajrasadhu,
which is the image of the two hands whose wrists bear a vajra?'?'2 The final
segment does not actually provide concrete information about die symbols of the
odier deities. Concerning the four symbols of the four Paramitas, a five-pronged
vajra is drawn for Sattvavajri; a five-pronged vajra attached to the top of a wish-
granting-gem is drawn for Ratnavajri; a five-pronged vajra at the entrance to the
repositoiy of a sixteen-petalled lotus is drawn for Dharmavajri; a crossed-vq/ra
made of twelve prongs is drawn for Karmavajri. Anandagarbha adds: “A vajra
with five prongs at both ends is drawn for Lasya; the garland of Mahavajraratna is
drawn for Mala; a vajra-vind is drawn for Gita; the hand gesture of two hands,
drawn up to the wrist and holding a three-pronged vajra, is drawn for Nrtya. An
incense-vessel is drawn for Dhupa; a vase filled with the vq/rn-flowers is drawn for
Puspa; the wick of Vajraloka is drawn for Aloka; the conch of Vajragandha is
drawn for Gandha. The hook of Vajrankusa is drawn for Vajrankusa; a vajra-
noose is drawn for Pasa; a vq/ra-chain is drawn for Sphota; a vajra-bell is drawn
for Vajravesa. In addition, four vajras are drawn for four Bhadrakalpa
Mahabodhisattvas in the east; four vajra-gems are drawn for those in the south;
four vo/'ra-lotuses are drawn for those in the west; and four crossed-vqy'raj are
drawn for those in the north.”383
The Samaya Assembly of the Nine Assemblies Mandala™ displays not only the
symbols of the thirty-seven deities and the sixteen Bhadrakalpa Mahabodhisattvas,
379. S. pp. 105-106, T. p. 234-1-8-2-7, C2. pp. 360-3-11-361-1-15.

3S0. Tattvdloka, Vol. 71, No. 3333, p. 214-1-4.
38 f Adrian Snodgrass explains the horizontal five-pronged vajra as symbolising innate
Bodhicitta; the sets o f five prongs at either end represent the identity o f the five Knowledges
in beings and in the five Buddhas. The vertical five-pronged vajra symbolises the
quickening of the Bodhicitta in beings. (The Matrix and Diamond World Mandalas in
Shingon Buddhism; pp. 651-652).
382. Tattvdloka, Vol. 71, No. 3333, p. 214-3-3.
3S3. Ibid., p. 214-4-1-5-2.
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P a rt One
but also the symbols of the twenty Hindu deities positioned in the external
mandala, which appear not in this Vajraguhya Vajramandala.
b. Entry into the Mandala
The rite of entering this mandala is a simplified version of the ritual of entering the
Vajradhdtu Mahdmandala as is evident from the following:-
“At first, the vq/ra-master binds the mudrd of Sattvavajri by
himself, and enters (the mandala). Upon entering it, he should
turn to the right.385 After presenting the mudrd to the Lord
Vajrapani, he should duly release it over his heart.386 Having
correctly performed the actions at the four gates with the karma-
mudrdsm of Vajrankusa and the others (Vajrapasa, Vajrasphota
and Vajravesa), he should step forward. Having done this, he
should induce (his) pupil388 to enter (the mandala) following the
method of entering the Vajradhdtu Mahdmandala. Once (his
pupil) has entered, he should give (his pupil) a vq/ra-emblem
(vajra-cihna) of the secret attainment which has been concealed
inside (his) fist.389 Then, he should teach (his pupil) the mudrd-
knowledge of the Vajraguhya (Vajramandala).”390
According to Salcyamitra, the master himself should enter the mandala before his
pupil enters because some people are forgetful and may transgress the pledge.
Furthermore, this should be done in order to establish the mudrds perfectly at the
tune of invoking but not seeing the deity, in order to be captivated completely by the
Buddhas and Bodhisattvas when accomplishing the mandala and in order to be
approved by the Lord.391 In the light of the commentaries of Sakyamitra and
Anandagarbha, the rite is simplified and summarised in order to avoid repetitions
because die most details have already been described in the section on the
Vajradhdtu Mahdmandala. The main procedure of the rite conforms to the rite of
the Vajradhdtu Mahdmandala.
4. Mudrd Rites
a. Mudrd-Knowledge o f the Four Attainments

As already mentioned, the main purpose of the mwrira-lcnowledge of the Vajra
guhya392 explained in this chapter is to achieve the four attainments, i.e. subjugation
385. Tibetan reads: “turn round once”.

386. Chinese 2 reads: “reciting the self-hrdaya”,
387. Tibetan omits: “karma-mudrds”.
388. Tibetan reads: “vq/ra-pupils”.
389. Chinese 2 reads: “Having released the fist (of his pupil) in accordance with the rite, he should
give the vq/ra-sign of secret attainment (to his pupil).”
390. S. p. 107-2-8, T. p. 234-2-7-3-2, C2. p. 361-1-17-24.
391. Kosaldlamkara, Vol. 70, No. 3326, p. 256-1-3—5.
392. Vajra-guhya in this context indicates the Vajraguhya Vajramandala. (Tattvdloka, Vol. 71,
No. 3333, p. 215-2-8).
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(vasikarana), attraction (akcirsana), destruction (<abhicdraka) and pacification

(,sdntika), which are closely related to the four Aoma rites. In order to gain these
attainments four kinds of mudrds are performed in this mandala, including the
body, vision, speech and mind mudrds of the Vajraguhya Vajramandala with each
mudrd consisting of four kinds of rites. In this context, the term mudrd refers to an
additional aid to gain the desired attainments. Out of the following four kinds of
mudrds, the methods of making the four body-mudrds and the four vision-mudrds
are illustrated in the Vajradhdtu Guhyadhdrammandala of the Gobushinkan ,393
a-1. Body-Mudra o f the Vajra-Secret (Vajraguhyakayamudrd)
“One makes one's hands and feet like the posture of salutation
{ahjali) (sitting) in the centre of a lunar disc. Then if one visualises
a vajra whilst (imagining) the mouth is gaping,394 one can gratify
even Vajrini.
If one visualises a vajra on one's head whilst bending one of one's
arms like a hook and making a sharp noise (like snapping fingers)
by the other one's hand,395 one can summon even Afikusl.396
One makes the gesture of shooting an arrow. Then if one
(imagines) that one gapes at (one's female deity) and pierces (her)
heart (with an arrow), one can gratify even Rativajra herself with
passion (mdra).397
If one encircles one's heart by crossing one's both arms and
(imagines putting the armour on) oneself by means of the vajra-
armour398 (of Vajraraksa), one can protect even the Buddha
himself.”399
This first segment describes the means of subduing or gratifying the sddhaka's
chosen deity, who is manifested as a goddess and drawn as a symbol hi the
mandala, by imitating and visualising the posture and image of Vajrasattva who sits
cross-legged, holding together the palms of his hands over the crown of his head,
and gaping at his consort Vajrinl. The way of attracting or invoking a goddess
explained in the second segment is achieved by means of the sddhaka's imitating
393, TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 107-108; Lokesh Chandra, A Ninth
Century Scroll o f the Vajradhdtu Mandala, pp. 185-189; Toganoo Shoun, Kongocholsyo no
394 Chinese 2 reads: “if one visualises a vajra in the centre of a pure lunar circle while making
one's hands, feet, fingers and face tremble intensively”.
395. According to Anandagarbha, the sddhaka bends his left arm like a hook and makes a sharp
noise o f snapping fingers with his right hand. (Tattvdloka, Vol. 71, No. 3333, p. 215-4-
7-8). However, Sakyamitra states that the sddhaka bends his right arm like a hook and calls
the name o f the deity (Vajrankusa) while snapping the fingers of his left hand.
(Kosaldlamkara, Vol. 70, No. 3326, p. 256-4-3-5).
396. Chinese 2 reads: “If one bends one's arms like the posture of holding a hook and visualises a
vajra on one’s head while making a noise with clapping one's hands, then while visualising
Vajrankusa one attracts (one's female deity).”
397. Chinese 2 translates the Sanskrit words ‘mara-yogena’ as ‘as if killing all evils’.
398. Chinese 2 reads the Sanskrit words ‘vajra-varma’ as ‘vajj-a-dharma’.
3" . S. p. 107-11-18, T. p. 234-3-2-5, C2. p. 361-1-26-2-4.
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and visualising the posture and image of Vajraraja (alias Vajrankusa) who bends
his arm like a hook and calls his consort Ahkusi by means of snapping his lingers.
The way of destruction (abhicdraka) explained in the third segment is achieved by
means of the sddhaka,'s imitating and visualising the posture and image of Vajraraga
who gapes at his consort Rativajra and pierces her heart with an arrow. The way of
pacification or protection explained in the final segment is achieved by means of the
sddhaka imitating and visualising the posture and image of Vajraraksa (alias
'5
Vajrakavaca) who encircles his heart by crossing his arms. These four rituals are
called ‘secret5because in this mandala the sddhaka visualises himself as one of the
four deities, i.e. Vajrasattva, Vajraraja, Vajraraga and Vajraraksa corresponding to
the four attainments and then in samddhi unites with his chosen female deity
chosen.
a-2. Vision-Mudra o f the Vajra-Secret (Vajraguhyadrstimudra)
“If one beholds any female (deity) with one's widely open eyes,
(which is known as) ‘vryra-vision’ (vajra-drsp) generating the
extreme joy of passion, one can subdue her perpetually.
One can attract all living beings by blinking one's eyes and pulling
the eyelashes to and fro, which is known as ‘flaming-vision’
{dipta-drsti).
If one concentrates on ‘wrathfiil-vision’ (krodha-drsti) which
refers to closing the eyes as soon as there is an extreme frown and
wrinkles, one can destroy even the three worlds.
One can eliminate evil beings such as Jvara and Graha by holding
one's eyes without blinking like a rock on Mount Meru, which is
known as ‘friendliness-vision’ (maitri-drsti)Jm
These four rituals focus on the eyes' movements which are made by the sddhaka in
samddhi. When the sddhaka visualises and beholds his chosen female deity in this
mandala, he uses one of the four types of eye movements in order to unite with his
female deity and to gain her power.
a-3. Speech-Mudrd o f the Vajra-Secret (Vajraguhyavdhmudra)
“If one recites distinctly the wzyra-word (vajra-vac)\ ‘HOH HOH
HOH H O H , one can gratify all living beings as soon as the word
is revealed.
If one recites distinctly the wrathful-word (Izrodha-vdc)401: ‘JJAH
JJAH JJAH JJA H , one can attract all living beings like
Vajradhara.
If one concentrates on (reciting) distinctly the sound-word (sabda-
vdc)402: iHUM HUM HUM HUM*, one can kill all living
beings403 like falling rocks on Mount Meru.
400 S. p. 108-7-14, T. p. 234-3-6-8, C2. p. 361-2-11-18.

40 f Chinese 2 reads: “sound-word”.
402. Chinese 2 reads: “wrathful-word”.
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If one recites distinctly the subtle-word (,suksma-vdc): ‘HAM

HAM HAM H AM , one can protect this whole world and even the
Victor having the va/ra-nature.”404
These four rituals focus on the four seed-syllables {blja), i.e. HOH, JJAH, HUM
and HAM, as the means of gaining the four attainments. Three of the four mantras
are borrowed from the four syllabled seed-mantras explained in the Vajradhdtu
Mahdmandala, i.e. JAH HUM VAM HOH, whose functions are summoning,
drawing in, binding and subduing the Mahasattvas respectively. A seed-syllable
‘H AM added in this ritual has the function of protection. Each of these four seed-
syllables, which is pronounced four times, is an additional aid in the deity-yoga.
a-4. Mind-Mudrd o f the Vajra-Secret (Vajraguhyacittamudrd)
“If one visualises oneself as Vajrapani who is endowed with all
the most excellent forms, one can subdue all the Buddhas.
If one visualises oneself as Vajragarbha who is endowed with all
the most excellent forms, one can attract Vajrapani.
If one visualises oneself as Vajranetra405 who is endowed with all
the most excellent forms, one can destroy all the dharmas,406
If one visualises oneself as Vajravisva who is endowed with all
the most excellent forms, one can protect the Universal Vajra.”407
These four segments explain the four attainments by means of meditating on the
four representative Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and
Vajrakaima respectively, as if in this mandala each bears the same thirty-two major
marks and eighty minor marks as the Buddha Sakyamuni. The word ‘destroying’
from the outside of the tantra signifies ‘gaining the attainments (siddhi)’ 408
b. Secret Rite
The fifth land of mudrd rite included in the section of the mudra-knowledgQ is the
meditation on the four Paramitas, i.e. Sattvavajri, Ratnavajri, Dharmavajri and
Karmavajri respectively. The sddhaka meditates on these four Paramitas while
beholding them with the four types of eye movements as previously described. This
rite is called the (secret-) mudrd of the Vajra-secret (Vajraguhyamudrd):-
“If one meditates on Sattvavajri in one's heart, and beholds her
with the va/ra-vision, one can take possession of the whole world.
If one meditates on Ratnavajri in one's heart, and beholds her with
the flaming-vision, one can subdue all.
403. Chinese 2 reads: “all evil beings”.

404 S, p. 109-7-14, T. p. 234-4-1-3, C2. p. 361-2-25-3-4.
405. Tibetan reads: “Dharmanetra”.
406. Tibetan reads: “one can gather all the dharmas”, Chinese 2 reads: “one can destroy evil
beings with all the dharmas".
407. S. p. 110-2-9, T. p. 234-4-4-7, C2. p. 361-3-11-18.
408. Tattvdloka, Vol. 71, No. 3333, p. 217-4-2-3.
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If one meditates on Dharmavajri in one's heart, and beholds her

with the wrathful-vision, one can destroy the whole world.
If one meditates on Karmavajri in one's heart, and beholds her
with the friendliness-vision, one can protect this whole world.”409
In this rite, the sddhaka in his samddhi unites the four representative
Mahabodhisattvas visualised as himself with the corresponding four Paramitas.
Through this perfect union between partners, the sddhaka gains the four
attainments.
c. Mahdmudra o f the Vajraguhya Vajramandala
The STTS410 describes briefly the methods of binding the four mudrds of the deities
of the Vajraguhya Vajramandala, This section includes only of the mahd-mudras
of the five Tathagatas and the sixteen Mahabodhisattvas described as the female
deities in this mandala, because the mahd-mudras of the four Paramitas correspond
respectively to those of the four Tathagatas excluding Yairocana, and the mahd-
mudras of the eight Offerings and the four Guardians are the same as their samaya-
mudrds of the Vajradhdtu Mahdmandala. The binding of the mahd-mudras in this
mandala consists not in visualising the images of the thirty-seven deities, but in
making the hand gestures referring to the deities, because the STTS in this section
defines the vajra-ahjali as the cause of generating all the mahd-mudrds of the
Vajraguhya Vajramandala. Therefore, the mahd-mudras referring to the five
Tathagatas are enumerated as (1) joining together both thumbs, bending both
forefingers, and uniting the joints of both middle fingers, (2) making a vajra with
both middle fingers, (3) making a gem with both middle fingers, (4) making a lotus
with both middle fingers, ring fingers and little fingers, (5) stretching out all the
fingers. Each of these five hand gestures begins with forming a vajra-ahjali.
5. Conclusion
The Vajraguhya Vajramandala which constitutes the supreme samaya-mudra
represents the Mind of Vairocana, which is revealed by the thirty-seven female
deities who are manifested through the samddhi of Vajrasattva or Vajrapani and are
replaced by their symbols in the constructed mandala. These thirty-seven female
deities, who symbolise the minds of the thirty-seven deities of the Vajradhdtu
Mahdmandala and the Buddha's infinite love, generate the love or passion inside
the sddhaka}s mind, the power by which the sddhaka gains the four attainments, i.e.
subjugation, attraction, destruction and pacification.
409 S. p. 111-2-9, T. p. 234-4-8-5-2, C2. p. 362-1-1-8.

410 S. pp. 112-113-5, T. pp. 234-5-3-235-1-1, C2. p. 362-1-14-2-8.
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Chapter 3. Vajrajnana Dharmamandala

Chapter 3 of the STTS411 explains the significance of assembling the Vajrajnana
Dharmamandala (or Vajrasuksma Jhanamandala) which constitutes the supreme
dharma-mudrd and focuses on the Speech of Vairocana. Anandagarbha and
Sakyamitra name this mandala, which also contains the main thirty-seven deities,
Dharmamandala (of the Vajradhdtu). A common characteristic of the names of die
sixteen Mahabodhisattvas412 manifested through the second samddhi of the
Vajrajnana Dharmamandala is that each of the sixteen Mahabodhisattvas isgiven
the name of a ‘Knowledge-Symbol’ (jhanamudrah). Since their names are
compounds and masculine in form, the word ‘Symbol’ occurs at the end of each as
mudrah and not in the typically feminine form as mudrd 413
According to Amoghavajra, the specific characteristic of this mandala, which he
names Suksma (SubtlQ)-vajra-mandala, is that each of the thirty-seven deities is
drawn in the centre of a vajra, and has its own samddhi-mudra.w Since the rites
of entering this mandala are performed on the basis of those of die Vajradhdtu
Mahdmandala, the STTS chapter mentions only the following difference:-
“Having executed an extensive rite of entering (this mandala) in
conformity with the (Vajradhdtu) Mahdmandala, (the master)
should place a knowledge-emblem (jnana-cihna)415 into both
hands (of his pupil).”416
The section of the m«rin:7-knowledge of the Vajrajnana Dharmamandala is
devoted to the various skills exercised in meditation. According to Amoghavajra,417
this section explains the suksma-vajra-samadhi of the sddhaka in practising the
four dhydnas, four brahma-vihdras (perfect-states) and three vimoksa-mukhas
41!. S. chapter 3. pp. 116-129, T. pp. 235-1-8-236-4-8, C2. pp. 362-3-4-365-2-2.

412. The sixteen Mahabodhisattvas in this mandala are divided into four-family groups, i.e.
Sarvatathdgata-mahdvajra-samadhis, Sarvatathdgata-ratna-samddhis, Sarvatathagata-
dharma-samddhis and Sarvatathagata-karma-samadhis. Sarvatathagata-mahavajra-
samadhis include (1) Vajrasattva-jnana-mudrah, (2) Sarvatathagata-samajadhisthana-jnana-
mudrah, (3) Sarvatathagatanuragana-jnana-mudrah, (4) Mahatusti-jnana-mudrah.
Sarvatathdgata-ratna-samddhis include (5) Sarvatathagata-vajrabhiseka-jnana-mudrah, (6)
Mahaprabhamandalavyuha-jnana-mudrah, (7) Sarvatathagatasaparipurana-jnana-mudrah, (8)
Sarvatathagata-mahahasa-jnana-mudrah, Sarvatathagata-dharma-samadhis include (9)
Sarvadharma-samata-jnana-mudrah, (10) Sarvatathagata-prajna-jnana-mudrah, (11) Mahacakra-
praveSa-jnana-mudrah, (12) Sarvatathagata-dharmavagnihprapanca-jnana-mudrah.
Sai'vatathdgata-karma-samadhis include (13) Sarvatathagata-visvakarma-jnana-mudrah, (14)
Duryodhana-virya-jnana-mudrah, (15) Sarvamara-mandala-vidhvamsana-jnana-mudrah, (16)
Sarvatathagata-bandha-jnana-mudrah.
414 OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-27-285-1-1.
415. Tibetan reads: "jndna-nnidrd". Chinese 2 reads: “mahd-jndna-cihna”.
Anandagarbha and Sakyamitra both regard a knowledge-emblem as the vajra-suksma as
small as a barleycorn. (Tattvdloka, Vol. 71, No. 3333, p. 224-3-3; Kosaldlamkara, Vol. 70,
No. 3326, p. 262-3-2).
416. S. p. 123-2-3, T. p. 236-1-7, C2. p. 364-1-15-16.
417. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-2-4.
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(emancipation-entrances). As a result of these practices in meditation, the mind

endures, the mind becomes gently harmonious, and the mind is liberated.
Lord once again entered the samddhi called Mandala-Empowerment of the Pledge
of the Knowledg§-Mudrd of the Subtle- Vajra of All the Tathagatas”418 and ending
with the words, “They entered the samadhis of their own hearts, and remained
there”,419 provides an exposition of the second samddhi called the supreme
mandala-king of the Vajrajnana Dharmamandala.
(2) The next section starting with the words, “Then, Vajrapani once again
enunciated this Vajrasuksma Jhanamandala for the purpose of accomplishing the
samddhi, the knowledge and the supernatural knowledge of all the Tathagatas”420
and ending with the words, “(The master) should place the sign of knowledge into
both hands (of his pupil)”,421 explains the mandala-rites of the Vajrajnana
Dharmamandala.
(3) The next section starting with the words, “(The master) should teach the
knowledge of the mahd-mudrd which makes one's own mind endure”422 and
ending with the words, “One can accomplish the universal action”,423 explains the
mw^ra-knowledge consisting of the meditative practices, which are common to the
Abhidharma and Mahayana Buddhism, i.e. the four dhyanas, four brahmavihdras,
four drupyasamdpattis and three vimoksamukhas. This section also contains a
secret rite known as the secret mwf/ra-knowledge of the truth of all the Tathagatas.
(4) The final section starting with the words, “Then, one should teach the mudrd-
knowledge of the samddhi called the empowerment of the knowledge-va/ra of all
the Tathagatas”424 and ending with the words, “Having divided (it) into two, one
should reunite (them)”,425 briefly describes the rite of binding the four mudrds of
the Vajrajnana Dharmamandala:426
2. Structure o f the Vajrajnana Dharmamandala
418. atha bhagavam punar api sarvatathagatasulzsmavajrajnanamiidrdsamayamandala-

adhisthanam nama samddhim samapadya: S. p. 116-2—3, T. p. 235-1-8-2-1, C2. p. 362-3-
5-6."
419. svahrdayasamddhayah samdpadyavasthita iti: S. p. 122-6-7, T. p. 236-1-3, C2. p. 364-1-
3-4.
420. atha vajrapanih punar api sarvatathdgatasamddhijndndbhijhdnispddandrtham idam
vajrasulqtmajnanamandalam abhdsat: S. p. 122-8-9, T. p. 236-1-3-4, C2. p. 364-1-5-7.
421. jnanacihnam panibhyam dattvd: S. p. 123-2-3, T. p. 236-1-7, C2, p. 364-1-16.
422. svacittaparilmrmamahdmudrdjndnam siksayet: S. p. 123-3, T. p. 236-1-7, C2. p. 364-1-
16-18.
423. sarvakarma sa sadhayed iti: S, p. 127-10-11, T. p. 236-3-8, C2. p. 364-3-23.
424 tatah sarvatathdgatajndnavajrddhisthdnasamddhimudrdjnanam sifcsayet: S. p. 127-12-13,
T. p. 236-4-1, C2. p. 364-3-24.
425. dvidhilcrtya prayojayed iti: S. p. 129-6-7, T. p. 236-4-7, C2. p. 365-1-26.
426. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 136-3-5-5-1.
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This mandala has the same structure and images of the thirty-seven deities as those
of the Vajradhdtu Mahdmandala, the only specific difference being that each deity,
except four Paramitas drawn as four symbols, in this mandala is drawn in the
centre of a vajra in the posture of meditation, holding its own symbol at the heart.
“The supreme Dharmamandala427 (of the Tathagata-family) has
the basic design of the Vajradhdtu {Mahdmandala) and is called
‘ Vajrasuksma (Kq/ra-subtle)’. One should place the Mahasattvas
(inside this mandala) in conformity with the {Vajradhdtu)
Mahdmandala. One should draw the Buddha (Vairocana) in the
centre of a vajra, and (also should draw the other four Tathagatas)
in the Buddha-circles. One should draw the Mahasattvas, each of
whom (holds) its own mudrd at the heart,428 abides in samddhi
and forms a vajra-bond with both hands.”429
Regarding the Sanskrit term vajra-suksma (or suksma-vajra), Anandagarbha
interprets that the vajrasuksma (vq/ra-subtle) as a white coloured five-pronged-
vajra as small as a barleycorn, its inner essence being knowledge (jndna) and truth,
generates the mudrd. Thus, the nature of the vajra-sulcsma is the mudrd of the
knowledge of the vajra-sulcsma 430 Sakyamitra adds that the vajra-suksma of all the
Tathagatas is the knowledge-vayra, and since it is generated from the mind which is
not able to be seen, nobody can break it, so it is called the vajrasuksma.m As for
the reason each deity is drawn in the centre of a vajra, Toganoo Shoun makes the
following comment: “The vq/ra-subtle-knowledge can become unlimited and
innumerable in division but as a whole it is called Pure-Absolute-Knowledge. This
Pure-Absolute-Knowledge of Vairocana, known as a vajra of (Bodhi-) Sattva in
the STTS, symbolised as the flve-pronged-va/ra established inside the lunar-disc,
personified as the Mahabodhisattva Vajrapani, is divided into countless and
immeasurable Buddha-knowledges, which are represented as the thirty-seven
knowledges and personified as the thirty-seven deities in the mandala. Thus, since
these thirty-seven deities are manifested in the ambience of the subtle-vayra to be the
Pure-Absolute-Knowledge, each of them is drawn in the centre of a vq/ra ”432
The Sulcsma Assembly of the Nine Assemblies Mandala433 consists of the main
thirty-seven deities, die sixteen Bhadrakalpa Mahabodhisattvas and the twenty
Hindu deities. Except the twenty Hindu deities, each of the other deities sits on a
427. Chinese 2 reads: “the supreme subtle-lunar-disc”,

428. Regarding ‘their own mudrds at their hearts’, which is translated from the Sanskrit ‘sva-
mudra-hrdaya', Sakyamitra asserts that the sva-mudra-hrdaya means mudrds such as the
vajra and others, and since the essence of these is the mudrd of the heart, so it is called sva-
mudra-hrdaya. (Kosalalamlcdra, Vol. 70, No. 3326, p. 262-2-5-6).
429. S. p. 122-10-16, T. p. 236-1-4-6, C2. p. 364-1-8-13.
430. Tattvdloka, TTP. Vol. 71, No. 3333, p. 220-3-2-3.
43 b K osaldlam kara, TTP. Vol. 70, No. 3326, p. 259-3-8-4-1.
432. Toganoo Shoun, Mandara no kenkyu, pp. 278-280.
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lotus where a vajra is drawn in the centre. In this mandala, some deities hold their
own symbols, but the others such as the five Tathagatas form the hand gestures
without holding their symbols. According to the Vajradhdtu Suksmamandala of the
Gobttshinkan,434 which contains the images of the thirty-three deities excluding the
four Paramitas, each deity places its own symbol in both hands in the posture of
meditation, the only exception being Vairocana who is forming ‘the mudrd of
supreme enlightenment’ without holding any symbol. In addition, only Vairocana
sits on the lotus where a vajra is drawn in the centre.
3. Mudrdi-Knowledge
Since the Vajrajnana Dharmamandala constitutes the supreme dharma-mudrd, the
STTS explains the methods of practising dharmas, which are known as the
principal meditation practices for realising enlightenment in Mahayana Buddhism.
According to the Mahdprajhapdramitasastra, apart from the seven groups of the
bodhipaksilcas, there are eight groups of dharmas which the bodhisattva practises,
i.e. (1) the three vimoltsamukhas or three samddhis (2) the four dhyanas, (3) the
four brahmavihdras or four apramdnas (4) the four arupyasamdpattis (5) the
eight vimolcsas (6) the eight abhibhvayatanas (7) the nine anupurvasamdpattis (8)
the ten Icrtsndyatanas.435 Out of these eight classes, this section of the STTS (S. pp.
123~126) explains the four dhyanas, four brahmavihdras, four arupyasamdpattis
and three vimoksamukhas respectively from the point of view of the yoga-tantra,
where a subtle-va/ra is used as the object of meditation.
a. Four Dhyanas
“While making die tip of the tongue touch the palate,436 one should
reflect upon (a subtle-wz/ra) at the tip of the nose. By feeling the
pleasure of the subtle-vayra, one can compose the thought so that it
rests in meditation.
If one then generates the sign associated with feeling the pleasure
of the subtle-vq/ra, and can diffuse that sign, one can diffuse the
thought in all directions.
Since the thought can be diffused at will, it can even be diffused
into the three worlds. Then again, it should be contracted, as long
as die tip of the nose can still be sensed.
From then on, one should contemplate with a well-concentrated
mind whatever ('maha-mudra or image of deity to be worshipped).
434. TSD. Tu-xiang-bu (Iconographic Secdon), Vol. 2, pp. 110-126; Lokesh Chandra, A Ninth
Century Scroll o f the Vajradhdtu Mandala, pp. 196-261; Toganoo ShSun, Kongdchdlcyo no
435. Tadeusz Skorupski, The Practices Conducive to Enlightenment, pp. 14-38.
436. Chinese 2 reads: “gradually moving (attention) from the tongue to the palate”.
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Furthermore, if everything is completely steadfast, the knowledge

of samddhi can be accomplished.”437
This practice of the four dhyanas438 in the STTS is called ‘sva-citta-parikarma-
maha-mudrd-jhdna\ which is translated as ‘knowledge of the maha-mudrd which
makes one's mind endure’. The Sanskrit term 4parikarma’ in this context is
explained by Sakyamitra as ‘making progress in meditation’.439 Accordingly, the
first dhyana constituting a state of great joy is achieved by concentrating on a
subtle-vq/ra at the tip of the nose, which signifies reflection and discernment; the
second dhyana constituting a subtle joy is achieved by diffusing the subtle-vq/ra,
which signifies making the thought arrive at one point without reflection and
discernment; the third dhyana constituting a complete happiness is achieved by
contracting the subtle-vq/ra, which signifies the abandonment of joy; and the fourth
dhyana constituting a pure equanimity is achieved by making steadfast the subtle-
vajra, which signifies equanimity and mindfulness. The function of the four
dhyanas is to liberate the mind.
b. Four Brahmavihdras
“If one wishes for friendliness together with great endurance to
arise for the sake of any living being, one should expand this
(friendliness) into all living beings by means of expanding the
thought.
One whose aim is to benefit all living beings should expand
compassion towards eveiybody by means of expanding
friendliness.
The natural luminosity, which is in everything, has an original
purity that is equal to the sky. Whether there is order or chaos, one
is truly satisfied with this expansion.
Heretics are not the vessels for the Buddhahood. One should
concentrate on great equanimity for die purpose of purifying these
(heretics).”440
437. Tibetan reads: “one can discern the wisdom of samddhi”. Chinese 2 reads: “the knowledge of
samddhi will be established”.
S. p. 123-4-11, T. p. 236-1-8-2-2, C2. p. 364-1-19-26.
43S. Regarding the four dhyanas, the Mahdprajndpdramitasdstra explains that meditating on the
object o f the mind, the bodhisattva discards the five objects of enjoyment, rejects the
impediments, and enters the first dhyana which constitutes a state o f great joy. Then
eliminating the activity of examination and judgement, and focusing his mind, he deeply
penetrates into an internal peace, gains a subtle and marvellous joy, and submerges into the
second dhyana. Next, since this subtle joy distracts his concentration, he distances himself
from every joy, gains a complete happiness, and enters the third dhyana. Finally, destroying
all suffering and happiness, and rejecting every mental vexation and satisfaction, as well the
inhaling and exhaling breath, he endows himself with a pure and subtle equanimity, and
penetrates into the fourth dhyana. (Tadeusz Skorupski, The Practices Conducive to
Enlightenment, p. 19).
439. Kosaldlam kara, TTP. Vol. 70, No. 3326, p. 262-3-2-3.
440 S. p. 124-1-8, T. p. 236-2-3-5, C2. p. 364-2-3-10.
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The meditative practices as described above in the STTS that follows the use of
subtle-vq/ra in the four dhyanas are comparable to the four brahmavihdras or four
apramdnas (immeasurables), which cultivate four feelings, i.e. maitri
(friendliness), karund (compassion), muditd (joy) and upeJcsd (equanimity),
whereby the mind becomes gentle and peaceful. Anandagarbha441 interprets the
STTS rite in the context of deity-yoga, i.e. visualising a great friendliness-goddess
as having a white-coloured body, a great compassion-goddess as having a red-
coloured body, a joy-goddess as having a yellow-coloured body and a great
equanimity-goddess as having a green-coloured body respectively. In these terms,
therefore, the sddhaka attains the four brahmavihdras when in union with these
four goddesses.
c. Four Arupyasamdpattis
“While concentrating on the subtle-vq/ra, whether standing or
sitting, one should visualise an image of a vajra in space or
elsewhere.
In the same way, while concentrating on the subtle~vq/ra, one
should visualise with a well-concentrated mind the heart-vajra
(ihrdvajra)442 of the Bodhisattva443 in all directions.
In the same way, while concentrating on the subtle-vq/m, one
should visualise a great image of Vajrapani in all directions.
In the same way, (while concentrating on the subtle-wzyra), one
should visualise with a well-concentrated mind an image of the
Buddha, endowed with all the most excellent forms, in all
directions.”444
The original title for this practice of the four arupyasamdpattis (immaterial
samdpattis) in the STTS is ‘the knowledge of recollecting all the Tathagatas445
(sarvatathagattinusmrtijnanay. According to the Mahdprajnd-pdramitdsdstra,446
the four arupyasamdpattis include die sphere of infinite space, the sphere of the
infinity of consciousness, the sphere of nothingness and the sphere of neither
consciousness nor non-consciousness. The previous two kinds of meditation
practices are performed in the sphere of form, but the above method is practised in
441. Tattvdloka, TTP. Vol. 71, No. 3333, p. 225-4-3-5-2.

442. Sakyamitra comments that the heart-vq/ra in this context indicates Vajrasattva.
(Kosaldlam kara, TTP. Vol. 70, No. 3326, p. 264-1-4).
443. Chinese 2 reads: “all the Bodhisattvas”. Tibetan reads: “the vajra o f the Bodhisattva at
(one's) heart”.
444 Tibetan reads; “all the time” instead o f “in all directions”.
S. p. 125-2-9, T. p. 236-2-6-3-1, C2. p. 364-2-17-24.
445. Sakyamitra comments that all the Tathagatas in this context refer to all the Buddhas and
Bodhisattvas. (Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 263-5-5-6), but Anandagarbha
regards all the Tathagatas as referring to the nature of the following four, i.e. the five
pronged vajra, Hrdvajra Bodhisattva, Vajrasattva and Vairocana. (Tattvdloka, TTP. Vol. 71,
No. 3333, p. 225-5-2-3).
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the sphere of the formless. The phrase ‘while concentrating on the subtle-vo/ra’
refers to the meditation method of the previous four dhyanas. In this meditation
practice, the sddhaka visualises the four images, i.e. a five-pronged vajra, the vajra
abiding inside the heart of the Bodhisattva Vajrasattva, Vajrapani and the Buddha
Vairocana, which are logically correlated with each other. Thus, the meditation on
these four external symbols is carried out sequentially.
d. Three Vimolcsamukhas
“While concentrating on the subtle-vq/ra, one should visualise
oneself as the moon in order to generate the thought of
enlightenment (bodhi-citta).
In the centre of this lunar disc, one should visualise oneself as an
image of the vajra in order to generate the vajra of the (Bodhi-)
Sattva.
While performing the rite of the subtle-vq/ra, one should visualise
oneself as the heart-vajra of the (Bodhi-) Sattva in order to
generate Vajrasattva.
One should visualise oneself as an image of the Buddha, endowed
with all the most excellent forms, in order to realise the
Enlightenment of the Buddha.”447
The three vimohamukhas (emancipation-entrances) consist of sunyata (emptiness),
dnimitta (causelessness) and apranihita (aimlessness), which represent the true
character of the dharmas and are fundamentally one. By means of these three
vimoksamukhas, samsara is identical with nirvana because both nirvana and
samsdra are empty, causeless and aimless.448 The function of these three
vimoksamukhas is to liberate the mind. The characteristics of the dharmas, i.e.
emptiness, causelessness and aimlessness, are symbolised by the subtle-vq/ra.
Practising the meditative skills, the sddhaka overcomes the dualism of
consciousness which separates himself the subject from the object Buddha
Vairocana, and experiences the perfectly purified state of consciousness in union
with Vairocana drawn in the mandala. Comparing this method and the previous
method of the four arupyasamdpattis, the differences and similarities are apparent.
Whereas the meditation in the former focuses on only external objects, the latter
focuses on the inner self and, fiirthermore, on the imion between the inner self and
the external symbols. The two methods are similar in that both start with
concentrating on a subtle-vq/ra, by means of which the apparent self is identified
with the sum of existence,449 and end with attaining liberation.
e. Secret Rite
447. S. p. 126-1-8, T. p. 236-3-2-4, C2. p. 364-3-2-9.

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Since the STTS is classified as a yoga-tantra, it is dominated by mental states and

meditative practices. Nevertheless, it also explains certain secret rituals containing
some basic elements of the anuttara-yoga-tantra. All such rituals contain the
Sanskrit term rahasya or giihya, both of which mean ‘secret or esoteric teaching’.
However, it is significant that in the yoga-tantra, all the secret rituals are performed
in samddhi. The STTS describes the secret mw<ira-knowledge of the truth of all the
Tathagatas (sarvatathdgata-dharmatd-rahasya-mudrd-jhdna)450 in the following
way:-
“Uttering once with the vayra-sound: ‘Indeed, I am identical to the
Tathagata.’,451 one can gratify all living beings through the union
of the two organs (indriya).452
Uttering once with the va/ra-sound: ‘Indeed, I am identical to
Mahavajra.’, one can, with confidence, attract the world through
the union of the two organs.
Uttering once with the va/ra-sound: ‘Indeed, I am identical to
Vajradharma.’, one can destroy the whole world through the union
of the two organs.
Uttering once with the vq/ra-sound: ‘Indeed, I am identical to
ViSvavajra.’, one can accomplish all actions through the union of
the two organs.”453
This rite is performed through four consecutive verbal utterances, which aim to
identify, in sequence, with each of the four families, i.e. Tathagata, Vajra, Dharma
and Karma, based upon the four rites, i.e. subjugation, attraction, destruction and
pacification. In addition to the verbal utterances, the union of the two organs are
introduced in this ritual. In this context, the union of the two organs refers to the
union between the mentally projected body of the sddhalza and the body of the deity
joined together in samddhi, which symbolises the perfect unity equivalent to the
physical union between male and female.
4. Conclusion
The Vajrajnana Dharmamandala which constitutes the supreme dharma-mudrd
represents the Speech of Vairocana, and consists of the main thirty-seven deities,
450. As regards the Sanskrit term ‘sarvatathagata-dharmatd’, which literally means ‘the nature of
all the Tathagatas’, Sakyamitra comments that it means the nature to be able to complete the
purpose o f contemplating the maha-mudra of all the Tathagatas. (Kosaldlamkara, TTP. Vol.
70, No. 3326, p. 264-3-8-4-1). However, Anandagarbha asserts that, in this context, it
indicates the ( Vajrajnana) Dharmamandala. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 226-
3-4).
45f Chinese 2 reads: “all the Tathagatas”.
452. Chinese 2 in this section interprets the Sanskrit words ‘dvayendriycisamapatti’ as “the union
o f vajra and lotus”.
453. S. p. 127-3-10, T. p. 236-3-6-8, C2. p. 364-3-16-23.
According to Sakyamitra, Mahavajra signifies the Lord Akasagarbha, Vajradharma signifies
the Lord Lokesvara and Visvavajra signifies the Lord Vajrakarma. {Kosaldlamkara, TTP.
Vol. 70, No. 3326, p. 264-4-6-5-3).
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each of which is drawn in the centre of a vajra, holding its own symbol with both
hands. The essential or central symbol in this mandala is the subtle-vq/Va
symbolising the Pure-Absolute-Knowledge of Vairocana. The specific function of
this mandala is to guide the sddhaka in practising various meditative skills, i.e. the
four dhyanas, four brahmavihdras, four arupyasamdpattis and three vimoksa
mukhas, which originated in the Abhidharma and were developed in Mahayana
Buddhism. These four lands of meditative practice form a logical sequence. Firstly,
the sddhaka practises on the basis of the four dhyanas the method of controlling die
subtle-va/ra which is generated from his mind. Secondly, he gains compassionate
thoughts towards living beings by means of controlling the subtle-va/ra and
cultivating the four feelings. Thirdly, he practises the method of visualising a deity
in the sphere of the formless with the help of the subtle-vq/ra. Finally, he practises
the method of transforming himself into a deity drawn in the mandala by means of
concentrating on the subtle-vn/'ra. As a result of these practices, the sddhaka
experiences the state of nirvana in the sphere of samsdra.
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Chapter 4. Vajrakarya Karmamandala

Chapter 4 of the STTS454 explains the significance of assembling the Vajrakarya
Karmamandala which constitutes the supreme karma-mudra and focuses on the
Marvellous Action of Vairocana. The sixteen Mahabodhisattvas of the Vajrakarya
Karmamandala, whose names have feminine endings, appear in feminine form.
These sixteen Mahabodhisattvas are divided into four family groups known as the
Great-Offerings of all the Tathagatas,455 the Consecration-Offerings of all the
Tathagatas,456 the D/znrmn-Offerings of all the Tathagatas 457 and the Action-
Offerings of all the Tathagatas 458
Amoghavajra explains the Vajrakarya Karmamandala as the extensive rite of
worshipping all the Tathagatas. He adds that this mandala also contains the main
thirty-seven deities, and each deity holds its own symbol and abides in worship 459
The basic structure of this mandala is the same as the previous mandalas, but die
thirty-two deities excluding the five Tathagatas have female appearances and form
the gestures of offering. According to Sakyamitra, since this is the mandala of
offerings, the Mahasattvas assume the appearance of the offering goddesses 460
The section of the mudrd-knowledge of the Vajrakarya Karmamandala is
devoted to the four kinds of worship-rites consisting of the sixteen offerings which
correspond to the sixteen Mahabodhisattvas assuming female forms, and a secret
worship-rite consisting of the four secret offerings. The main purpose of these
offerings is to enable the sddhaka to gain Buddhahood by means of worship.
L Structural Analysis o f Chapter 4
(1) The first section of chapter 4 of the STTS starting with die words, “Then, the
Lord once again entered the samddhi called the Vajra-Empowennent of the Action-
Pledge Penetrated by the Extensive Rite of the Supreme Worship of all the
Tathagatas”461 and ending with the words, “They are the Ritual-Offerings of all the
454. S. chapter 4. pp. 130-141, T. pp. 236-4-8-238-1-8, C2. pp. 365-2-9-368-1-6.

455. The Great-Offerings o f all the Tathagatas consist of Sarvatathagatasukhasukha,
Sarvatathagatakarsani, Sarvatathagatanuragini and Sarvatathagatasantosani.
456. The Consecration-Offerings of all the Tathagatas consist of MahadhipatinI, Mahodyota,
Maharatnavarsa and Mahaprftiharsa.
457. The Z)/2tfrw<7 -Offerings of all the Tathagatas consist of Mahajnanagita, Mahaghosanuga,
Sarvamandalapravesa and Mantracarya.
458. The Action-Offerings o f all the Tathagatas consist of Sattvavatl, Mahabodhyarigavatl,
Caksusmatl and Gandhavati.
459. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-4-6.
460. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-3-7-8.
46 f atha bhagavam punar api sarvatathagatdnuttarapujdvidhivistaraspharanakarmasamaya-
vajrddhistanan ndma samadhim samdpadya: S. p. 130-2-4, T. p. 236-4-8-5-1, C2. p. 365-
2-9-11. “
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Tathagatas’5,462 provides an exposition of the second samddhi called the supreme

mandala-king of the Vajrakarya Karmamandala.
(2) The next section starting with the words, “Now comes the karma-mandala of
the vq/'ra-ritual which is to do with the performing of the entire and complete
Tathagata-worship”463 and ending with the words, “It is not necessary to say that
(one is worshipped) by the others”,464 explains the mandala-rites of the Vajrakarya
Karmamandala.
(3) The next section starting with the words, “Then, one should teach the
knowledge of the worship-mudrd of generating the thought of great
enlightenment”465 and ending with the words, “KAMA-VAJRA”,466 explains the
mwrira-knowledge which contains four rites of making the sixteen offerings,
namely, mahdbodhicittanispatti-, sarvabuddha-, dharma- and samadhi-
pujamudrdjhanas, and also a secret rite of making the four offerings known as
rahasyapujdmudrdjhdna.
(4) The final section starting with the words, “Then, one should teach the
knowledge of the mahd-mudrd of the worship-ritual of all the Tathagatas”467 and
ending with the words, “As regards karma-mudrds, briefly, the karma-mudrds
should be divided into two”,468 briefly describes the rite of binding the four mudrds
of the Vajrakarya Karmamandala 469
2. Mandala Rites
According to the samddhi-soction of the Vajrakarya Karmamandala,470 Vairocana
enters the vajra-samadhi called the ritual-pledge (karma-samaya) of worshipping
all the Tathagatas, and Vajradhara, who is the representative of Vairocana, generates
from the hearts of the five Tathagatas the offering goddesses, who gather together
in the mandala. Each goddess holds her own symbol (mudrd) with both hands,
worships all the Tathagatas, and rests on her own lunar disc in accordance with the
Vajradhdtu Mahdmandala. Basically, the rite of entering this mandala begins with
462. sarvatathdgatakarmapujdh: S. p. 135-10, T. p. 237-3-4, C2. p. 366-3-21.

463. athdtra vajrakdryakarmamandalain bhavaty asesanavasesatathagatapujapravartakam iti: S.
p. 135-11-12, T. p. 237-3-4-5, C2. p. 366-3-22-23.
464. kah punar vado 'nyair iti: S. p. 136-8-9, T. p. 237-4-1, C2. p. 367-1-6.
465. tato mahabodhicittanispattipujdmudrdjndnam silcsayet: S. p. 136-10, T. p. 237-4-1, C2. p.
367-1-7.
466 S. p. 140-5, T. p. 238-1-3, C2. p. 367-3-19.
Tibetan and Tattvalolca both read: “KARMA-VAJRA.”
467. tatah sarvatathagatapujakarmamahdmudrdjndnam siksayet: S. p. 140-6, T. p. 238-1-3-4,
C2. p. 367-3-20.
Tibetan reads: “Then, one should teach the knowledge-mwafra o f the mahd-mudrd of the
worship-ritual of all the Tathagatas.” Tattvdloka reads: “Then, one should teach the
knowledge-ww<ira of the worship-ritual of all the Tathagatas.”
46S. lcarmamudrah samdsena karmamudra dvidhilcrtd iti: S. p. 141-7-8, T. p. 238-1-6-7, C2. p.
368-1-5-6. ‘
469. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 136-5-1-137-1-6.
47°. S. p. 132, T. p. 237-1-1-2-1, C2. pp. 365-3-14-366-1-1.
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the rite of the Vajradhdtu Mahdmandala, but on entry the pupil is given a special
pledge and also a crossed emblem symbolising this mandala.
a. Structure o f the Vajrakarya Karmamandala
“The supreme Karmamandala (of die Tathagata-family) has the
basic design of the Vajradhdtu {Mahdmandala) and is called
cVajrakarya (Th/ra-performance)’. One should place die (five)
Buddha-images in conformity with the ( Vajradhdtu)
Mahdmandala, and then should draw the goddesses possessing
their own symbols {mudrds) in accordance with Vajrasattva and
the other (deities described in the Vajradhdtu Mahdmandala).”471
According to this brief description, this mandala!s external structure and images of
the five Tathagatas are the same as those of the Vajradhdtu Mahdmandala,412 but
die main thirty-two deities are drawn in female forms having die same postures,
body-colours and symbols as those corresponding to the Vajradhdtu
Mahdmandala. Since the four Paramitas and the eight Offerings have female
appearances in the Vajradhdtu Mahdmandala, Sakyamitra473 gives some
information about female images of the sixteen Mahabodhisattvas and the four
Guardians. He explains that the four Mahasattvas drawn in the first lunar disc, i.e.
Vajrasattva and the rest (Vajraraja, Vajraraga and Vajrasadhu) assume the form of
Vajralasya and the rest (Vajramala, Vajraglta and Vajranrtya) respectively. The four
Mahasattvas, i.e. Vajrakarma and the rest (Vajraraksa, Vajrayaksa and
Vajrasandhi), assume the form of Vajradhupa and the rest (Vajrapuspa, Vajraloka
and Vajragandha) respectively. The four Mahasattvas belonging to the Gem-family,
i.e. Vajraratna and the rest (Vajratejas, Vajraketu and Vajrahasa), assume the forms
of the four Ganapujas. The four Mahasattvas belonging to die Dharma-family, i.e.
Vajradharma and the rest (Vajratlksna, Vajrahetu and Vajrabhasa), assume the
forms of the four Dhamiapujas. The four Guardians also assume female forms.
In the Vajradhdtu Karmapujdmandala of the Gobushinkan,474 which contains
the images of the thirty-three deities excluding the four Paramitas, the thirty-two
deities excluding Vairocana are drawn in female forms. However, all the main
thirty-seven deities drawn in the Puja Assembly of the Nine Assemblies Mandala475
have male appearances, and each of the thirty-two deities excluding the five
Tathagatas holds a lotus on which his own symbol is placed.
471. S. p. 135-13-17, T. p. 237-3-5-6, C2. p. 366-3-24-27.

473. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-3-8-4-2.
474. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 127-144; Lokesh Chandra, A Ninth
Century Scroll o f the Vajradhdtu Mandala, pp. 262-327; Toganoo Shoun, Kongochokyo no
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P art One
“ 111the beginning, (the pupil) should enter (the mandala) in

conformity with entering the ( Vajradhdtu) Mahdmandala.416
When he enters, (the wyra-master) should say this to him477:
‘Since this is the pledge (samaya) of worshipping all the
Tathagatas, you should do all in your power to make these
sixteen478 offerings by day and by night.5 Then, having removed
the face-cover (of the pupil) and having revealed the karma
mandala, (the va/ra-master) should give him a crossed emblem
(■visva-cihna)479 into both (his) hands. Then, he is worshipped by
all the Tathagatas.”480
According to Sakyamitra, this is the samaya-mandala in that it consists of offerings
belonging to all the Tathagatas. Thus, in order to keep this pledge (samaya), one
should make the sixteen offerings every day without stopping.481 The rite of
making the sixteen offerings appears in the next mudrd-knowledge section. The
phrase ‘in one's power’ means that if wealth, one may worship all the Tathagatas
with flowers, etc., or in case of being familiar with meditation, one may worship
them with the mind in any place.482 The words ‘a crossed emblem’ indicate ‘a
crossed vajra' 483
3. Mudrd-Knowledge
The rite of making the sixteen offering-mudrds in this mandala, which focuses on
worshipping the five Tathagatas, is divided into four groups, i.e. four offering-
mudrds of generating the thought of great enlightenment, whose function is to make
the thought of enlightenment steadfast; four offering-mudrds of all the Buddhas,
whose function is to gather the accumulation of merit; four offering-mudrds of
dharma, whose function is to complete the accumulation of knowledge; and four
offonng-mudrds of samddhi, whose function is to lead to enlightenment. In
addition, die secret rite of making the four secret offering-mudrds consists in the
four ways of the perfect bodily union with die four representative
Mahabodhisattvas in samddhi.
a. Mahabodhicittanispattipujamudrajhana
“(a) While steadily generating the thought of enlightenment, one
should think, ‘I am a Buddha’. Offering oneself with pleasure, one
can attain the bliss of the Buddha.
476 Sanskrit omits: “Mahdmandala".

477. Chinese 2 reads: “the pupil”.
478. Chinese 2 adds: “Mahasattva”.
479. Chinese 2 reads: “emblem of the iftzrma-family”.
480 S. p. 136-3-9, T. p. 237-3-7-4-1, C2. pp. 366-3-28-367-1-6.
48f Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-4-7-5-1.
482 Ibid., p. 267-5-1-2.
4S3. Tattvaloka, TTP. Vol. 71, No. 3333, p. 230-1-5-6.
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(b) While steadily generating the thought of enlightenment, one

should think, ‘I am a Buddha5. Offering oneself with gifts such as
a garland, one becomes consecrated (as a Buddha-body by all the
Tathagatas).
(c) While steadily generating the thought of enlightenment, one
should think, ‘I am a Buddha5. Offering oneself with gifts such as
a well-sounding song, one can be gratified.
(d) While steadily generating the thought of enlightenment, one
should think, T am a Buddha5. Offering oneself in dance, one
becomes worshipped even by the Buddhas.55484
This rite refers to the four great-offerings made by the four female-shaped
Mahabodhisattvas surrounding the Tathagata Alcsobhya in the Vajrakarya
Karmamandala. Thus, the sddhaka visualises himself as one of the five Tathagatas,
particularly Alcsobhya, who is worshipped with the four offerings, i.e. wantonness
(Idsyd), garland, song and dance by the four Mahabodhisattvas, i.e. Vajrasattva
assuming the bodily form of Vajralasya, Vajraraja assuming tire bodily form of
Vajramala, Vajraraga assuming the bodily form of Vajraglta, and Vajrasadhu
assuming the bodily form of Vajranrtya respectively. Sakyamitra explains that
segment (a) involves making the thought of enlightenment steadfast, segment (b)
involves making it manifest, segment (c) involves making it thoroughly cleansed,
and segment (d) involves making living beings mature but without leaving the
wheel of transmigration altogether 485
b. Sarvabuddhapujamudrdjhdna
“(e) As by bowing down using the supreme vajras of the body,
speech and mind, so by making offerings to all the Buddhas, one
can be certainly greeted with respect (by all living beings).
(f) If one offers oneself with rejoicing in the great merit (mahd-
punya) of all the Buddhas generated from the body, speech and
mind vajra, one can attain the Buddha-nature immediately.
(g) If one thinks, T will give to all the Buddhas all the offerings by
presenting myself as the divine body, speech and mind vajra.j
one will be worshipped (by all the Tathagatas, Bodhisattvas and
living beings).
(h) One becomes equal to all the Buddhas by means of the
transformational offerings that represent an accumulation of all the
virtues of the body, speech and mind vajra ”m
This rite refers to the four consecration-offerings made by the four female-shaped
Mahabodhisattvas surrounding the Tathagata Ratnasambhava. Segment (e) involves
performing the four salutations to all the Tathagatas. However, these salutations,
which become the means of gathering the accumulation of merit, are made not by
484 S. p. 136-11-18, T. p. 237-4-1-4, C2. p. 367-1-8-15.

485. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 268-3-3-4.
486. S. p. 137-7-14, T. p. 237-4-6-8, C2. p. 367-1-22-29.
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P art One
means of the sadhaka's real body, but by means of the vajras transformed from the
sadhaka's body, speech and mind. Segment (f) involves worshipping all the
Tathagatas with rejoicing in the great merit of all the Tathagatas generated from the
body, speech and mind vajra. The method described in this segment (f) makes the
accumulation of merit perfect. Segment (g) involves presenting the sadhaka's own
body in samddhi. According to Anandagarbha, if the sddhaka visualises himself as
Samantabhadra making a salutation to the feet of all the Tathagatas, and worships all
the Tathagatas with all the offerings of both the mundane world (loka) and the
spiritual world (aloka), he will be worshipped by all the Tathagatas.487 Segment (h)
involves blessing the entire accumulation of merit. The method described in this
segment (h) is based on ‘the transfer of merit (parindmana-punyaY, common to I
later Mahayana, whereby merit itself leads to enlightenment, and a bodhisattva '
shares his ‘roots of merit’ with all beings.488
c. Dharmapujdmudrdjhdna
“(i) The dharmas are luminous by nature, and, indeed, from the
beginning, they are pure by nature. One who offers oneself along
with these dharmas can gain extreme happiness.
(j) The letter ‘A ’ is regarded as supreme in the collection of all the
dharmas. One destroys all sufferings with this dharma-mudrd.
(k) The cause of all these dharmas is the Tathagata. If one makes
an offering of the wheel of the good dharma,m one can become a
dharma-holdQr.
(1) Having said that all the dharmas are by nature like echoes, and
having made this dharma-offering, one can gain self-
fulfilment”490
This rite refers to the four dharma-offQrmgs made by the four female-shaped
Mahabodhisattvas surrounding the Tathagata Amitabha. This rite focuses on
meditating on die attributes of dharmas of the prajhdpdramitdd91 According to
Sakyamitra, segment (i) involves meditating on the nature of the pure dharma in
order to cleanse oneself of impure perception, segment (j) involves meditating on
the Samantabhadra's explanation of the truth that all the dharmas do not arise,
segment (k) involves meditating on the wheel of the dharma because the cause of
all these dharmas is the Tathagata, and segment (1) involves meditating on the state
of absolute inactivity for these dharmas are said to be separated from the true
meaning of the words 492

488. Har Dayal, The Bodhisattva Doctrine in Buddhist Sanshit Literature, pp. 188-193.
489. Tibetan reads: “pledge”, instead o f “good dharma”.
490. Tibetan reads: “Buddha-voice”. Chinese 2 reads: “sound of enlightenment”.
S. p. 138-2-9, T. p. 237-5-1-4, C2. p. 367-2-7-14.
491. Tattvdloka, TTP. Vol. 71, No. 3333, p. 231-1-1.
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d. Samadhipujdmudrdjnana
“(m) Visualising oneself as vajra-forms as numerous as infinite
particles of dust in the vajras of the body, speech and mind, one
can obtain the Fq/ra-nature (or Vajra-body) immediately.
(n) Visualising oneself as all the Buddhas as numerous as infinite
can acquire a Dharma-body quickly.
(o) Visualising oneself as Vajrasattvas as numerous as infinite
can become identical to Vajrasattva.
(p) Visualising oneself as the Buddha-forms as numerous as
infinite particles of dust in the vajras of the body, speech and
mind, one can attain the Buddha-nature.”493
This rite refers to the four samddhi-offerings made by the four female-shaped
Mahabodhisattvas surrounding the Tathagata Amoghasiddhi. Segment (m) involves
visualising oneself as numerous vajras, segment (n) involves visualising oneself as
numerous Dharma-bodies of the five Tathagatas, segment (o) involves visualising
oneself as numerous Vajrasattvas, and segment (p) involves visualising oneself as
numerous Appearance-bodies {rupa-kaya) of the Buddha endowed with the same
thirty-two major marks and eighty minor marks as the Buddha Sakyamuni.
e. Secret Rite
“If one dedicates the innate pleasure-offerings that embrace all the
bodies (to the Buddhas), one can indeed become identical to
Vajrasattva immediately.
If one dedicates the pleasure of seizing hair494 in strong passionate
union with the Buddhas, one can become identical to Vajraratna.
If one dedicates the supreme pleasure of being kissed495 which is
associated with strong affection and pleasure for the Buddhas, one
can become identical to Vajradharma.
If one dedicates entirely the enjoyment arising from practising the
samdpatti-yoga of using two organs496 (with the Buddhas) for
worship, one can become identical to Vajrakarma.”497
This secret worship-rite, which is called lrahasya-pujd-miidrd-jndna'>in the STTS,
explains the sadhaka's practice in meditating on and uniting with both the Dharma-
bodies (dharma-kdya) and the Appearance-bodies {rupa-kaya) of the four
Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and Vajrakarma
respectively, who are the four deities representing the four families. Applying these
four methods, the sddhaka can achieve the perfect union with his deity. Toganoo
493. S. pp. 138-16-439-6, T. p. 237-5-5-8, C2. p. 367-2-21-28.

494. Tibetan reads: “firmly”, instead of “hair”.
495. Tibetan reads: “being together”.
496. Chinese 2 reads; “the union o f the vajra and lotus”, instead of “two organs”.
497. S. p. 139-13-20, T. pp. 237-5-8-238-1-3, C2, p. 367-3-7-14.
122
P a rt One
Shoun498 interprets these four secret offerings as the means in which the sddhaka
worships all the Buddhas with complete happiness attained through union with his
deity. He adds that both the previous rite {samadhipujdmudrdjhana) and the above
rite are illustrated in the Vajradhdtu Karmapujdmandala of the Gobushinkan499
4. Conclusion
The Vajrakarya Karmamandala constitutes the supreme karma-mudrd and
represents the Marvellous Action of Vairocana. Since this mandala focuses on the
Action of Vairocana, the key word in this mandala is ‘worship or offering {pujd)\
This concept of worship is manifested in the constructed mandala as the female
shaped thirty-two deities offering their symbols to the five Tathagatas. Thus, the
function of this mandala is to guide the sddhaka in worshipping himself as the five
Tathagatas and in making die sixteen offerings like the sixteen Mahabodhisattvas
worship the five Tathagatas. In addition, by practising the secret rite of making the
four secret offerings, the sddhaka, having worshipped with die sixteen offerings,
worships himself by meditating on the complete union with his deity, and
experiences the perfect state of bliss.
49S. Toganoo Shoun, Mandara no kenkyu, pp. 295-297.

4" . TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 144; Toganoo Shoun, Kongocholcyo no
However, Lokesh Chandra classifies these two illustrations of the Gobushinkan as lNaya-
mandald '. (A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 328-334).
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Chapter 5. Epilogue of Part One

Chapter 5 of the Sanskrit STTS serves as an epilogue of part one, and consists of
expositions of two mandalas, namely, Vajrasiddhi Caturmudrdmandala and
Mahaydndbhisamayamandala. The Vajrasiddhi Caturmudrdmandala consisting
of Vairocana and four symbols is revealed for the benefit of those who wish to
gather together the essence of the previous four mandalas in one mandala. The
Mahaydndbhisamayamandala containing only a single deity, i.e. Vajrasattva, is
revealed for the benefit of those who prefer the quick and easy doctrine and ritual.
By means of these two mandalas, although they are relatively simpler, the sddhaka
can attain not only the accomplishment of the practices in the previous four
mandalas, but also complete enlightenment.
A. Vajrasiddhi Caturmudrdmandala
The first part of chapter 5 of the STTS500 deals with the fifth mandala of the
Vajradhdtu, called Vajrasiddhi Caturmudrdmandala (or Vajrasiddhi Mudrd-
mandala). The term *catur-mudrd-mandala' means a mandala of assembling the
four seals which refer to the four mandalas. Thus, this mandala is a symbolic
synthesis of the basic principles of the four mandalas of the Vajradhdtu, namely,
mahd-, dhdrani-, dharma- and karma-mandalas (or Vajradhdtu Mahdmandala,
Vajraguhya Vajramandala, Vajrajnana Dharmamandala and Vajrakarya Karma
mandala). These four mandalas are in reality one mandala, seen from four
different aspects, and are, in effect, inseparable. This Vajrasiddhi Caturmudrd
mandala, therefore, symbolises the fusion of the previous four mandalas into a
single mandala.501 The main purpose of establishing this mandala as a simplified
unity of the previous four mandalas is mentioned in the STTS
“There are living beings whose views are wrong, whose actions
are evil, who are deficient in strength,502 who have no deliverance
from pain and who are ignorant of various actions. Due to
deficiency in strength, they do not enter the great mandalas of the
family of all the Tathagatas, i.e. the Vajradhdtu {Mahdmandala)
and the other {mandalas)503 For their benefit, this Vajrasiddhi
Mudrdmandala, which becomes the pledge {samaya) of the
mandala of the family of all the Tathagatas,504 is consecrated in
order to realise the goals that range from the liberation of the entire
and complete sphere of living beings, experiencing complete
500 S. pp. 142-148 of chapter 5, T. p. 238-1-8-5-7, C2. pp. 368-1-7-369-1-4.

50h Lokesh Chandra, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, p. 43.
502. Chinese 2 omits: “who are deficient in strength”.
503. Chinese 2 omits: “the Vajradhdtu and the rest”.
504. Chinese 2 reads: “ Vajrasiddhimandala Sarvatathdgatamudrdmandala Sarvatathdgatakula-
samayatattvamandala”.
124
P art One
benefit, pleasure and satisfaction to the highest attainment of the

vcijra of all the Tattiagatas.”505
The samddhi-section of this mandala500 enumerates the names of only five
Tathagatas in correct order, i.e. Sarvatathagatamusti, Vajrasattvamusti, Vajraratna-
musti, Yajradharmamusti and Vajrakarmamusti. These five deities are manifested in
the mandala as an image of Yairocana in the centre and four symbols in place of the
four Tathagatas, i.e. vajra, gem, lotus and crossed vajra.
The mi/dra-knowledge section explains the four ways of accomplishing the four
mudras which symbolically represent the previous four mandalas. According to
Amoghavajra, this mandala gives the rite of realising the four kinds of rapid
attainment, and facing this mandala, the sddhaka realises the attainments of the four
mandalas 501 This section also explains a secret rite which perfects these four
mandalas.
A-L Structural Analysis o f the First Part o f Chapter 5
(1) The first section of die first part of chapter 5 of the STTS starting with the
words, “Then, the Lord Tathagata Vairocana”508 and ending with the words, “OM
VAJRA-KARMA-MUSTI HAM”,509 provides an exposition of the fifth samddhi510
called the supreme mandala-king of the Vajrasiddhi Caturmudramandala.
(2) The next section starting with the words, “Then, the Mahabodhisattva
Vajrapani”511 and ending with the words, “One should reveal the mandala”,512
explains the mandala-htGS of the Vajrasiddhi Caturmudramandala.
(3) The next section starting with the words, “Then, one should explain the pledge
of the mudras of all the Tathagatas”513 and ending with the words, “This is the
highest mandala of the va/ra-activity”,514 explains die mw^ra-knowledge of die
505. S. pp. 144-13-145-5, T. p. 238-3-6-4-1, C2. p. 368-2-16-23.

506. S. pp. 142-4-143, T. p. 238-1-8-3-1, C2. p. 368-1-8-2-3.
507. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-8-10.
508. atha bhagavan vairocanas tathagcitah: S. p. 142-4, T. p. 238-1-8, C2. p. 368-1-8.
509. S. p. 143-15, T. p. 238-3-1, C2. p. 368-2-3.
51°. When Anandagarbha analyses twenty-four out of the twenty-eight mandalas described in the
STTS, he uses the common terms associated with the three samddhis, i.e., the first samddhi
o f the initial yo g a, the second samddhi called the supreme mandala-king and the third
samddhi called the supreme action-king. However, when explaining the four kinds of catur-
mudrd-mandalas described in the STTS, he uses the term ‘the fifth samddhi'. Thus, the
samddhis used in the catur-mudrd-mandalas consist of the samddhi o f the initial yoga, the
fifth samddhi called the supreme mandala-king and the fifth samddhi called the supreme
action-king. The reason why he uses the term ‘the fifth samddhi’ is not obvious, but
possibly because the catur-mudra-mandala is positioned as the fifth mandala in each part of
the four main mandalas, i.e. Vajradhatn, Trilokavijaya, Sakalajagadvinaya and
Sarvaarthasiddhi, and also because its composition is a symbolic synthesis of the basic
principles of the four mandalas, i.e. mahd-, dharani-, dharma- and karma-mandalas.
51 h atha vaj?'apanir mahabodhisattvah: S. p. 144-1, T. p. 238-3-1, C2. p. 368-2-4.
512. mandalan darsayet: S. p. 145-8-9, T. p. 238-4-3, C2. p. 368-2-26.
513. tatah sarvatathagatamudrdsamayam bruydt: S. p. 145-10, T. p. 238-4-3, C2. p. 368-2-27.
514. vajrakdrydgramandala iti’. S. p. 147-9-10, T, p. 238-5-2, C2. p. 368-3-20.
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P a rt One
Vajrasiddhi Caturmudramandala, which consists of the two rites, i.e. the rite of
attaining the four mudras described in the previous four mandalas of the
Vajradhdtu and the secret rite of attaining the previous four mandalas of the
Vajradhdtu.
(4) The final section starting with the words, “Then, one should teach the (rite of)
binding the four {mudras) including the maha-mudrds of Vajrasattva515 and the
rest”516 and ending with the words, “They can achieve the supreme attainment
within a year”,517 constitutes the concluding part of the Vajrasiddhi Caturmudrd-
mandala.518
A-2. Structure o f the Vajrasiddhi Caturmudramandala
As already mentioned, the Vajrasiddhi Caturmudramandala consists of an image
of Vairocana constructed in the centre of the mandala and four symbols drawn in
place of the four Tathagatas, i.e. vajra, gem, lotus and crossed vajra. These four
symbols, which represent four Paramitas, four families and four mudras, refer to
the previous four mandalas of the Vajradhdtu in this mandala because the previous
four mandalas correspond to the supreme four mudras.
“The supreme Mudramandala (of the Tathagata family) has the
‘ Vajrasiddhi (Fayra-success)’. (The whole mandala) should be
designed in conformity with the {Vajradhdtu) Mahdmandala.
First, one should set up a form of the Buddha (Vairocana), and
then should draw the four symbols {mudras), i.e. the vajra-mudrd
and the rest {ratna-, padma- and karma-mudras) in the centres of
the (four) lunar discs (surrounding Vairocana).”519
Anandagarbha explains that this mandala consists of Vairocana and the four
symbols of four Paramitas.520 Sakyamitra, however, regards this mandala as
consisting of five deities and four symbols of four Paramitas, i.e. Vairocana in the
centre, the four Paramitas in the four Tathagatas' places, and their four symbols
between the pillars.521 The Vajradhdtu Caturmudramandala of the
Gobushinkan522 seems to support the view of Sakyamitra because it consists of
515. Tibetan and Kosaldlamkara both read: “Sattvavajri”.

516. tato yathdvad vajrasattvddimahamudrdbandhacatustayam siksayitva: S. p. 147-11-12, T. p.
238-5-2-3, C2. p. 368-3-21.
517. varsenottama siddhir: S. p. 148-6, T. p. 238-5-7, C2. p. 369-1-2-3.
519. S. p. 144-5-9, T. p. 238-3-3-5, C2. p. 368-2-8-12.
520. A vajra as the symbol o f Sattvavajri is drawn in the place of Aksobhya, a gem as thesymbol
o f Ratnavajri in the place of Ratnasambhava, a lotus as the symbol o f Dharmavajri in the
place o f Amitabha, and a crossed vajra as the symbol o f Karmavajri in the place of
Amoghasiddhi. {Tattvdloka, TTP. Vol. 71, No. 3333, p. 234-1-2-5).
522. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Century
Scroll o f the Vajradhdtu Mandala, pp. 335-341; Toganoo Shoun, Kongochokyo no Kenlcyu,
Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 441-448.
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P a rt One
Vairocana in the centre, four representative Mahabodhisattvas (i.e. Vajrasattva,

Vajraratna, Vajradharma and Vajrakaima) holding their symbols in the four
Tathagatas' places, and the four symbols in the four corners. This mandala also
includes the four hand gestures referring to the four symbols, which are positioned
at the four comers outside the internal circle. The Caturmudra Assembly of the Nine
Assemblies Mandala523 consists of the images of five deities and eight symbols, i.e.
Vairocana, four Mahabodhisattvas (Vajrasattva, Akasagarbha, Avaloldtesvara and
Vajrakaima), their four symbols, and four symbols of four Internal Offerings. In
this mandala the four symbols of four Internal Offerings, i.e. a vajra with three
prongs at both ends, a garland, a vajra-vlna and a crossed vajra with three prongs
at both ends, are positioned at the four comers outside the internal circle.
Based upon the STDS's brief description that all the (other four) mandalas, i.e.
Aksobhya's mandala and the rest, should be constructed in accordance with the
Vajrasiddhi Caturmudramandala, and their own mudras should also be drawn in
conformity with the (Vajrasiddhi) Caturmudramandala in order to gain all the
attainments,524 Anandagarbha defines the term Vajrasiddhi Caturmudramandala
whereby *Vajrasiddhi’ indicates Vairocana, and *Caturmudramandala' means the
mandala containing the four symbols of the four Paramitas who are Vairocana's
attendant Mahabodhisattvas. He provides some detailed information about the
caturmudrdmandalas of four Tathagatas, namely, Aksobhya, Ratnasambhava,
Amitabha and Amoghasiddhi. The caturmudramandala of Aksobhya, for instance,
consists of the Tathagata sitting on an elephant-seat in the position of Vairocana,
and four symbols of the four attendant Mahabodhisattvas drawn in place of the four
Tathagatas, i.e. the five-pronged vajra of Vajrasattva, the hook of Vajraraja, the
bow and arrow of Vajraraga and the mudrd of Vajrasadhu.525
A-3. Mudrd-Knowledge
The TWfdra-knowledge section of the Vajrasiddhi Caturmudramandala can be
divided into two, i.e. the rite of perfecting the four mudras explained in the previous
four mandalas of the Vajradhdtu and the secret rite of perfecting the previous four
mandalas of the Vajradhdtu.
a. Rite o f Perfecting the Four Mudras
"(a) If one should bind any mudrd of any great being, one should
visualise as oneself that (great being) while reciting the hrdaya (of
that great being). By following this instruction, according to the
words of Vajrapani, one can achieve all the mudras of all the great
beings successfully.
Tathagata-Tattva-Sahgraha, Introduction, p. 42; Adrian Snodgrass, The Matrix and
524 S. p. 147-13-15, T. p. 238-5-3-4, C2. p. 368-3-22-25.
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P a rt One
(b) Having controlled one's own organ, one should seize it using
the vfl/m-fist.526 One who can touch the (samaya-) mudrd in this
way will subdue it instantly.
(c) Employing the rite of the subtle-vayra, one should bind the
knowledge-mwrira. By means of this rite, one can subdue the
knowledge-mwrira.
(d) If one presents the pleasures of song, dance, flavour, food and
play to the Buddhas, one can subdue the karma-mudra.”527
This rite shows the characteristics of the four mudras which are common to the
previous four mandalas. The title of segment (a) in the Sanskrit STTS is ‘the pledge
of the mudrd of all the Tathagatas (sarvatathagata-mudra-samayay ,528 which
refers to the method of attaining all the maha-mudras explained in the previous four
mandalas of the Vajradhdtu. Anandagarbha explains that the words ‘any mudrd’
refer to the maha-mudras of the previous four mandalas, i.e. maha-, dharani
dharma-, and karma-mandalas, but Sakyamitra favours the four mudras, i.e.
maha-, samaya-, dharma-, and harma-mudrds. Anandagarbha further explains that
the words ‘any great being’ (mahdtmanah) refer to the thirty-seven deities, i.e.
Vairocana and the rest, but Sakyamitra refers to the sixteen Mahabodhisattvas, i.e.
Vajrasattva and the rest.529 The view of Anandagarbha is more reasonable than
Sakyamitra because the maha-mudra, which symbolises the bodily image of deity,
consists in visualising the image of the deity. The title of segment (b) is ‘the secret
of all the mudras (sarva-mudra-rahasyaY, which refers to the method of attaining
all the samaya-mudrds explained in the previous four mandalas of the Vajradhdtu.
The words ‘having controlled one’s own organ’ are explained by Anandagarbha:
“When meditating on the emptiness of the dharmas, and it becomes evident that all
the dharmas are gathered, one should take mental possession of the bodily image of
one’s deity.”530 Since the above rite uses the vq/ra-fist instead of using the vajra-
bond which is die original cause of all samaya-mudrds, Toganoo Shoun531
interprets the words ‘one should seize it using the vajra-fisV from an illustration,
which has a Buddha placed upon the vajra-bond, in the Vajradhdtu
Caturmudramandala of the Gobushinkan.532 The title of segment (c) is ‘the
essence of all the mudras (sarva-mudra-dharmataY, which refers to the method of
attaining all the dharma-mudrds explained in the previous four mandalas of the
526. Tibetan reads: “va/ra-bond”.

527. S. pp. 145-11-146, T. p. 238-4-3-7, C2. p. 368-2-28-3-11.
52S. Chinese 2 reads: “sarvatathagata-lcula-mudrd-samaya”.
529 Tattvdloka, TTP. Vol. 71, No. 3333, p. 234-5-1-3; Kosaldlamkara, TTP. Vol. 70, No.
3326, p. 272-4-1-2.
53 k Toganoo Shoun, Mandara no kenlyu, p. 308.
532 TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Century
Scroll o f the Vajradhdtu Mandala, p. 336; Toganoo Shoun, Kongocholcyo no Kenlcyu,
Toganoo Shoun Zenshu, Extra Vol. Ill, p. 442.
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P a rt One
Vajradhdtu. According to Anandagarbha,533 if the sadhaka meditates on a subtle-

vajra and binds the knowledgQ-mudra which refers to all the dharma-mudrds
explained in the previous four mandalas, he immediately subdues all the dharma-
mudrds. The title of segment (d) is ‘the ritual of all the mudras (sarva-mudrd-
karma)\ which refers to the method of attaining all the karma-mudras explained in
the previous four mandalas of the Vajradhdtu. Anandagarbha explains that ‘song
(gltaf refers to Vajragita, etc.; ‘dance (nrtya)' refers to Vajranrtya, etc.; ‘flavour
(rasa)' refers to not only tranquillity experienced from union with a deity but also
the thought (Tibetan nyams) endowed with the essence of (Vajra-) Lasya, etc.;
‘food (dhdraf refers to one hundred tastes of food, etc.; and ‘play (vihdraf refers
to either possessing the characteristics of sitting, walking, stopping and lying, or
abiding in Avalokitesvara who cleanses the (sadhaka's) mind.534 Thus, if the
sadhaka generates bliss from making the various offerings, and worships all the
Tathagatas with it in his samddhi, he can accomplish all the karma-mudras.
b. Secret Rite o f Perfecting the Four Mandalas
“(a) Having made the sign (lingo) steadfast in oneself, one should
abide in (a state of mind being purified like) a white cloth.535
Having empowered the sign as a stupa (<caitya)536 one should
visualise oneself as the Vajradhdtu (Mahdmandala).
(b) Having made the vq/Az-bond (vajra-bandha) firm, one should
erect the middle fingers like a sprout, and raise both little fingers
and forefingers. This is the pledge (samaya) of the supreme
pledges.
(c) By means of the subtle-vq/Az (sulcsma-vajra), one should
meditate while concentrating the mind. Hie subtlo-vajra-mandala
becomes the principle of controlling the samddhi.
(d) Having bound the two (separated) vajra-mudrds, one should
firmly seize a (crossed) vajra consisting of the two (yajras), and
bind together the little fingers and the forefingers. This is the
supreme Vajrakdrya531 (Karma-) mandala,”538
These four segments (a~d) entitled ‘the secret mwJrn-knowledge of perfecting all
the mandalas (sarva-mandala-sddhikd-rahasya-mudrd-jhdndf explain the means
of accomplishing the four mandalas of the Vajradhdtu. Anandagarbha539 interprets
the term ‘sign (lihgaf as the union between the thought of enlightenment (bodhi-
citta) symbolised as a vajra and the six perfections (pdramitaj) symbolised as a yr
lotus. The words ‘abiding in a white cloth’ refer to the sadhaka discerning the

534 Ibid., p. 235-2-3-5.
535. Chinese 2 reads: “one should sit on the seat steadily, abiding in tranquillity”.
536. Tibetan reads: “the thought o f the sign”.
537. Chinese 2 reads “ Vajrakdrya” as “ Vajrakaya”.
538. S. p. 147-2-10, T. p. 238-4-8-5-2, C2. p. 368-3-13-20.
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P a rt One
thought of enlightenment, by practising the first abhisambodhi, just as discerning

the nature of a white cloth without defilement. The words ‘having empowered the
sign as a stupa' refer to visualising a vajra on the lunar disc. Toganoo Shoun540
interprets the words ‘having empowered the sign as a stupa' from an illustration,
which has a bodhisattva meditating on a stupa, in the Vajradhdtu
Caturmudramandala of the Gobushinkan,541 Thus, it is evident that tire method
described in segment (a) is the summary of the five abhisambodhis dealt with in
chapter 1. Segment (b) explains the method of accomplishing the Vajraguhya
Vajramandala by forming hand gestures (samaya-mudra) because this mandala is
classified as the dhdranl-mandala which constitutes the supreme samaya-mudra.
Since all the samaya-mudrds are generated from the vayra-bond, this method also
begins with making the vajra-bond firm. According to Anandagarbha, the term
‘pledge {samaya)' indicates the samaya-mudra and ‘supreme pledges’ refer to the
samaya-mudrds of the five Tathagatas.542 Segment (c) describes the method of
accomplishing the Vajrastilcsma Jnanamandala (or Vajrajndna Dharmamandala)
by reflecting upon a subtle-vay'ra at the tip of the nose, as explained in the four
dhydnas section of chapter 3. The subtlQ-vajra-mandala in this context indicates the
Vajrasulcsma Jnanamandala. Finally, segment (d) describes the method of
accomplishing the Vajrakdrya Karmamandala, by forming the two vajra-mudrds,
which indicate the two separated vayra-fists (vajra-musti) regarded as the original
cause of all the karma-mudras.
A characteristic of this secret rite is that the previous secret rites use the secret
meditational methods of anuttara-yoga tantra, but this rite, on the basis of the
correspondence between the four mandalas and the four mudras, uses the methods
of making the four mudras.
A-4. Conclusion
The Vajrasiddhi Caturmudramandala symbolically unites the previous four
mandalas of the Vajradhdtu into a single mandala, and consists of the image of
Vairocana and the four mudras (symbols) of the four Paramitas, i.e. vajra, gem,
lotus and crossed vajra. These four symbols represent not only the essential
principles of the previous four mandalas of the Vajradhdtu but also the four
mudras of Vairocana, i.e. the Body, Mind, Speech and Action of Vairocana. Since
the four Paramitas have the function of generating these four mudras of Vairocana
in the sddhaka's mind, tire Vajrasiddhi Caturmudrd-mandala guides the sadhaka
in generating the four mudras of Vairocana abiding in his nature. As a result, the
sadhaka perfectly controls his body, mind, speech and action like Vairocana, and
54°. Toganoo Shoun, Mandara no kenlcyu, p. 310.

541. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Centwy
Scroll o f the Vajradhdtu Mandala, p. 336; Toganoo Shoun, Kongdcholcyo no Kenlcyu,
Toganoo Sh5un Zenshu, Extra Vol. Ill, p. 442.
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also attains the four Wisdoms simultaneously, i.e. Mirror-like-Wisdom, Equality-

Wisdom, Discriminating-Wisdom and Active-Wisdom.
B. Mahdydndbhisamayamandala
The second part of chapter 5 of the STTS consists of the exposition of the sixth
mandala of the Vajradhdtu, called Mahdydndbhisamayamandala {Mandala of the
Perfect Comprehension of the Mahayana),543 and a closing ceremony of the
Vajradhdtu.544 Amoghavajra and Anandagarbha name this sixth and last mandala
as Ekamudrdmandala (of the Vajradhdtu).545 Since the STTS does not use the term
eka-mudra-mandala (one-SGal-mandala), some commentators such as Donjaku and
David Snellgrove546 do not recognise drat it is explained in the STTS. While the
preceding catur-mudra-mandala symbolises the complete fusion of the four
mandalas, this eka-mudrd-mandala involves the absolute disappearance of all
individuality as all the Tathagatas and Bodhisattvas are reabsorbed into a single
deity,547 represented by Vajrasattva. Toganoo Shoun argues that Vajrasattva is
chosen for this mandala because he is regarded as Jnanasattva who abides in die
hearts of all the Tathagatas and who epitomises not only the thought of
enlightenment (bodhi-citta) but also the essence of all the Tathagatas.548
B-l. Structural Analysis o f the Second Part o f Chapter 5
(1) The first section of the second part of chapter 5 of die STTS starting with the
words, “Then, the Lord Vairocana”549 and ending with the words,
“VAJRASATTVA”,550 provides an exposition of the second samddhi called the
supreme mandala-king of the Mahdydndbhisamayamandala. Since this mandala
focuses on only a single deity, Vajrasattva, the second samddhi of this mandala
consists in assembling and blessing only Vajrasattva.
(2) The next section starting with the words, “Then, the Lord Mahabodhisattva551
Vajrapani”552 and ending with the words, “You will die immediately”,553 explains
the mandala-rites of the Mahdydndbhisamayamandala.
543. S. pp. 149-151-6 o f chapter 5, T. pp. 238-5-7-239-2-3, C2. p. 369-1-5-2-6.

544 S. pp. 151-7-152 o f chapter 5, T. p. 239-2-3-8, C2. p. 369-2-7-22.
545. The term ‘eka-mudra-mandala’ in the STTS appears only once on page 380 line 6 o f the
Sanskrit STTS text.
Though Danapala's Chinese version is the complete translation of the STTS, Donjaku states:
“(Danapala's) Chinese translation omits the explanation of the eka-mudrd-mandala, but the
original Sanskrit text must have contained it.” (TSD. Vol. 61, No. 2225, p. 124-1-18-19).
547. Lokesh Chandra, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, p. 46.
54S. Toganoo Shoun, Mandara no kenlcyu, p. 318.
549. atha bhagavam vairocanah: S. p. 149-1, T. p. 238-5-7, C2. p. 369-1-5,
550 S. p. 149-5, T. p. 239-1-1, C2. p. 369-1-9.
55 f Tibetan and Tattvdloka both read: “Bodhisattva Mahasattva”.
552. atha bhagavam vajrapdnir mahabodhisattvah: S. p. 149-6, T. p. 239-1-1, C2. p. 369-10.
553. akalamaranam vd sydd iti: S. p. 150-5-6, T. p. 239-1-6, C2. p. 369-1-20-21.
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P a rt One
knowledge of accomplishing the supreme attainment of Vajrasattva”554 and ending
with the words, “One can be quickly successful”.,555 explains the mudrd-knowledge
of evoking and attaining Vajrasattva.
knowledge of a secret pledge (common to) all the mandates”556 and ending with the
words, “The pledge-obligation should be given”,557 explains the knowledge of a
secret pledge of accomplishing all the attainments described in part one of the STTS.
(5) The next section starting with the words, “Then, one should teach (the rite of)
binding the four {mudras) of Vajrasattva, i.e. the mahd-mudra and the other
(mudras)”55* and ending with the words, “Such is done in accordance with the
extensive rite of the Vajradhdtu Mahdmandala” 559 summarises all the attainments
acquired by means of binding the four mudras of Vajrasattva described in the
Mahdydndbhisamayamandala which are the same as those of the Vajradhdtu
Mahdmandala.
(6) The final section starting with the words, “Then, all the Tathagatas gathered
together in a conclave”560 and ending with the words, “One can attain in this present
life the unlimited and imperishable bliss”,561 constitutes the closing section of part
one, which includes a verse praising Vajrasattva (alias Vajrapani) by all the
Tathagatas.562
B-2. Structure o f the Mahdydndbhisamayamandala
According to die ST T S562 only Vairocana enters the samddhi called ‘pledge-vq/ra
(samaya-vajra) of the supreme attainment of all the Tathagatas’, and Vajrasattva
appears from Vairocana's heart. Thus, the Mahdydndbhisamayamandala contains
only Vajrasattva representing eka-mudra, by which the sadhaka can achieve all the
attainments of the previous five mandates of the Vajradhdtu.
554. tato vajrasattvottamasiddhisadhanajhanam siksayet: S. p. 150-7, T. p. 239-1-6, C2. p. 369-

1-22.
555. sidhyate laghur iti: S. p. 150-9-10, T. p. 239-1-7, C2. p. 369-1-24.
556. tatah sarvamandalaguhyasamayajndnam silcsayet: S. p. 150-11, T. p. 239-1-7, C2. p. 369-1-
25.’
557. samayasamvaran datavyam: S. p. 151-2, T. p. 239-2-1, C2. p. 369-2-2.
55S. tato vajrasattvamahamudrddibandhacatustayam siksayet: S. p. 151-3, T. p. 239-2-1, C2. p.
369-2-3.
559. evam yatha vajradhdtumahdmandalavidhivistara iti: S. p. 151-5~6, T. p. 239-2-2~3, C2. p.
369-2-5-6.
560. atha sarvatathagatah punar api samdjam agatya: S. p. 151-7, T. p. 239-2-3, C2. p. 369-2-
7.
561. sadhayej janmanihaiva sukham aJcsayam avyayam iti: S. p. 152-4-5, T. p. 239-2-6-7, C2. p.
369-2-20.
562. Cf. Tattvdloka, TTP, Vol. 71, No, 3333, p. 137-3-6-5-2.
563. S. p. 149-1-9, T. pp. 238-5-7-239-1-3, C2. p. 369-1-5-12.
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“The supreme Sattvamandala5M (of the Tathagata family) has the

‘Vajrasattva’. The external mandala should be designed in
conformity with the ( Vajradhdtu) Mahdmandala, and Vajrasattva
should be placed at the centre of a lunar disc,”565
Anandagarbha comments that the image of Vajrasattva is either made as a cast or
sculpture, or drawn on a cloth.566 The Vajradhdtu Ekamudramandala of the
Gobushinkan561, which is drawn in accordance with the above description of the
STTS, has only Vajrasattva sitting on a red lotus and holding a three-pronged vajra,
drawn inside a lunar disc. However, the Ekamudra Assembly of the Nine
Assemblies Mandala5m shows Vairocana in jndna-musti-mudra,569 and there are
four vases570 drawn in the four comers, which symbolise the four wisdoms of the
four Tathagatas. These two mandalas differ in that the former focuses on
Vajrasattva as the cause or means for enlightenment, but the latter focuses on
Vairocana as the result of enlightenment, and also follows a rule that Vairocana
should be positioned in the centre of the mandala like the previous five mandalas.
According to Amoghavajra, however, the Mahdydndbhisamayamandala should
consist of seventeen or thirteen deities. He explains that either if one possesses the
mantra of Vairocana, one can summon seventeen deities, or if one possesses the
mantra of the Bodhisattva Vajrasattva, one can summon thirteen deities.571
Concerning the numbers of deities mentioned by Amoghavajra, whereas the
seventeen deities consist of the image of Vairocana and sixteen symbols which
represent the four Paramitas, the eight Goddesses of Offering and the four
Guardians, the thirteen deities consist of the image of Vajrasattva and twelve
symbols which represent the eight Offerings and the four Guardians.572
B-3. Mudrd-Knowledge
564 Kosaldlamkara reads: “Mahdsattvamandala ”. (TTP. Vol. 70, No. 3326, p. 274-3-4).
Anandagarbha comments that the Sattvamandala means the Vajrasattvamandala.
(Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-1-7).
565. S. p. 149-10-14, T. p. 239-1-3-4, C2. p. 369-1-13-16.
566 Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-2-5-6.
567 TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 146; Lokesh Chandra, A Ninth Century
Scroll o f the Vajradhdtu Mandala, pp. 342-343; Toganoo Shoun, Kongochdlcyo no Kenlcyu,
Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 449-451.
568. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, annexe paper; Lokesh Chandra, Satva-
Tathagata-Tattva-Sangraha, Introduction, p. 45; Adrian Snodgrass, The Matrix and
569. Lokesh Chandra (Sarva-Tathagata-Tattva-Safigraha, Introduction, p. 46) asserts that the
Sanskrit term ''elm-mudrai designates the jnana-miisti-mudra’ (knowledge-fist-seal), which
is the specific mudrd o f Vairocana o f the Vajradhdtu.
570. A vase symbolising the universe occurs in ancient Indian ritual earlier than the mandala. In
order to bring down the divine essence, five vases filled with various substances are placed
in the five sectors o f the mandala, i.e. one at the centre, and the other four at the four
comers. (Giuseppe Tucci, The Theory arid Practice o f the Mandala, p. 24).
571. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-11-12.
572. Cf,, Toganoo Shoun, Mandara no kenlcyu, pp. 324-325.
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P art One
The mudrd-knov/l&dge section of tlie Mahdydndbhisamayamandala consists of

two rites, i.e. the rite of perfecting the supreme attainment of Vajrasattva and the rite
of secret-pledge of all the mandalas of the Vajradhdtu. The former explains a
method of evoking Vajrasattva abiding in the Mahdydndbhisamayamandala, and
the latter provides a secret pledge, which is a preparation for practising and
accomplishing the deity-yoga. Thus, according to Amoghavajra, this section of the
STTS explains the preliminary activities in order to guide the sadhaka to practise the
samddhi that involves summoning his deity (sva-deva).512
a. Vajrasattvottamasiddhisddhanajndna
“If one, who has ascended to the full-moon-mandala and has
seized the mahd-mudra, visualises Vajrasattva as oneself, one can
be quickly successful.”574
Sakyamitra comments that the maha-mudra in this context refers to the symbol of
Vajrasattva, i.e. a five-pronged vajra.515 This rite refers to the deity -yoga, i.e. the
sadhaka's visualisation of and union with Vajrasattva who meditates holding a five-
pronged vajra drawn in the mandala. Anandagarbha explains this rite:-
“In conformity with the rite of the Vajradhdtu Mahdmandala, the
sadhaka should execute Hie yoga of Vajrasattva. While malting the
Vajrasattva's four mudras as well as reciting the Vajrasattva's
hrdaya: ‘Vajra’, he should visualise himself as Vajrasattva who
abides in the lunar disc, and thus he can become identical to
Vajrasattva.”576
Thus, it is evident that the main purpose of the mandala of one deity is a swift and
uncomplicated realisation of Vajrasattva who epitomises the essence of
Buddhahood.
b. Sarvamandalaguhyasamayajnana
“In the three realms, there is no other evil like aversion (to desire).
Thus, you should not perform (the deity-yoga) with aversion to
desire.
MAHA-SAMAYA HANA PHAT.”511
David Snellgrove578 argues that this rite is closely related to sexual yoga.
Anandagarbha comments that ‘aversion to desire’ means having an antipathy
towards the supreme and perfect enlightenment (bodhi).579 The above quotation
shows that without prejudice the sadhaka should practise all the deity-yogns
573. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-13-14.

574 S. p. 150-8-10, T. p. 239-1-6-7, C2. p. 369-1-23-24.
575. Kosaldlam kara, TTP. Vol. 70, No. 3326, p. 274-4-8.
577 S. p. 150-12-14, T. p. 239-1-7-8, C2. p. 369-1-26-29.
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P a rt One
described in part one of the STTS, which involve heterodox practices, such as union
with a female deity, but which provide the supreme attainments.
B-4. Closing Ceremony o f the Vajradhdtu
The final section of part one of the STTS ends with the following closing ceremony,
where all the Tathagatas gather together in a conclave and bless Vajrasattva or
Vajrapani:-
"(a) Then all the Tathagatas once again gathered together in a
conclave, and bestowed applause on die Lord Sarva-
tathagatadhipati Mahabodhicitta Vajrasattva Mahavajrapani580 with
the following hrdaya of vajra-joy:-
(b) OM, Bravo to you, Vajrasattva! Bravo to you, Vajraratna!
Bravo to you, Vajradharma! Bravo to you, Vajrakarma!
This well-spoken sutra is the supreme Vajrayana, the secret of all
the Tathagatas, and the compendium of the Mahayana.
(c) If one evokes certainly the supreme creator of all attainments
known as Vajrasattva, one attains Buddhahood easily. If one
attains the bliss in this present life through concentrating on the
vajra-dharma together with (offering) all desire-pleasures, this
bliss will be unlimited and imperishable.”581
Paragraph (b) contains a fourfold acclamation given to Vajrasattva by all the
Tathagatas, affirming that Vajrasattva possesses the nature of Vairocana endowed
with the four families and four wisdoms, because die four main Mahabodhisattvas
represent the four families as well as the four wisdoms. Anandagarbha defines the
name of Vajrasattva as the Vajra of the (Bodlii-) Sattva abiding in the heart of all
the Tathagatas generated from the Vajra of the (Bodhi-) Sattva of the Lord
Vairocana who generates Vajrasattva and the rest from the nature of
Mahavairocana.582 Each of the main mandalas enunciated in the STTS closes with
the same paragraph as paragraph (b).583 According to Anandagarbha, the ceremony
is introduced in order to prove that the knowledge (rtogs-pa) enunciated by
Vajrasattva is the essence of the Buddha-word, and also to praise Vajrasattva
abiding in the heart.584 This ceremony seems a kind of confirmation or approval
ritual given by the va/ra-master to his pupil who has already generated the thought
550. Chinese 2 reads: “Vajradhatu Vajrapani Bodhisattva Mahasattva”, instead of “Vajrasattva

Mahavajrapani”.
551. S. pp. 151-7-152-5, T. p. 239-2-3-7, C2. p. 369-2-7-20.
583. S. p. 151-11-14, T. p. 239-2-4-5, C2. p. 369-2-13-16.
The above same paragraph appears nine more times in the whole STTS text:-
(1) S. p. 252-9-13, T. p. 250-1-1-2, C2. p. 389-1-10-13, (2) S. p. 313-3-7, T. p. 254-3-
8-4-1, C2. p. 398-3-26-29, (3) S. p. 380-10-14, T. p. 261-1-5-7, C2. p. 411-3-18-21, (4)
S. p. 434-3-7, T. p. 266-2-8-3-2, C2. p. 423-1-11-14, (5) S. p. 475-10-14, T. p. 271-1-
1-3, C2. p. 429-3-1-4, (6) S. p. 498-3-7, T. p. 273-4-5-6, C2. p. 433-2-4-7, (7) S. p. 517-
9-13, T. p. 276-1-6-7, C2. p. 436-2-25-28, (8) S. p. 548-6-10, T. p. 281-2-2-3, C2. pp.
442-3-28-443-1-2, (9) S. p. 562-3-7, T. p. 283-1-7-8, C2. p. 445-1-22-25.
135
P a rt One
of enlightenment manifested as Vajrasattva from the heart, and has successfiilly

completed all the practices of the Vajradhdtu.
The Vajradhdtu Mandala (part one of the STTS) consisting of six mandalas
represents the Tathagata-family, and it is not only generated from all the Tathagatas
but also arises from the thought of enlightenment, so it is called the mahd-mudra,
and is enunciated in order to show the practice of abandoning passion by
passion.585 The six mandalas of the Vajradhdtu denote the six stages of
enlightenment accomplished by the sadhaka in sequence. The first four mandalas
represent Body, Mind, Speech and Action of Vairocana respectively, and the catur-
mudrd-mandala gathers together the essence of the four mandalas in one. The
sixth and final elca-mudra-mandala concludes with Vajrasattva who is the
representative of Vajrayana Buddhism as well as symbolic guide leading to
Vairocana. The ultimate end of the Vajradhdtu Mandala is to guide the sadhaka to
generate the thought of enlightenment and to gain the supreme attainments of all the
Tathagatas by means of practising the various skills and techniques of yoga tantra
based on Mahayana bodhisattva doctrines of enlightenment.
585. Ibid., p. 137-5-2-4.
136
P a rt Two
Part Two
Vajra-Pledge of All the Tathagatas
Part two of the Sanskrit STTS1 is divided into nine chapters (chs. 6-14) which
subdivide into two groups, classified under two mandalas, the first of which (ch.
6-10)2 is the Trilokavijaya (the conquest of the three worlds) and the second (ch.
11-14-a)3 the Trilolcacab'a (the wheel of the three worlds). The former belongs to
the Vajra-family, but the latter belongs to the external- Fq/ra-family. Both of which
are predominated by wrathful Vajrapani. According to the Sanskrit STTS, the first
mandala consists of five chapters. The first four chapters are entitled Trilokavijaya
Mahdmandala (ch. 6), Krodhaguhya Mudramandala (ch. 7), Vajrakula Dharma-
jnanasamayamandala (ch. 8), and Vajrakula Karmamandala (ch. 9). The fifth
chapter (ch. 10) forms an epilogue of the Trilokavijaya, like the previous
Vajradhdtu Mandala, containing the rites of two mandalas, i.e. Trilokavijaya
Caturmudramandala and Vajrahumkara Mandala. The second mandala of four
chapters are entitled Trilokacalcra Mahdmandala (ch. 11), Sarvavajrakula
Vajramandala (ch. 12), Sarvavajrakula Dharmasamayamandala (ch. 13), and
Sarvavajrakula Karmamandala (ch. 14-a). The last chapter also includes a section
which forms an epilogue of the Trilokacakra (ch. 14-b). In summary, the
Trilokavijaya Mandala consists of six mandalas classified into mahd~, dharani-,
dharma-, karma-, caturmudrd- and ekamudra-mandalas, but the Trilokacakra
Mandala consists of four mandalas classified into maha-, dharani-, dharma- and
karma-mandalas. Donjaku argues that the four mandalas of the Trilokacabxi
symbolise the four Maras conquered by the Buddha Sakyamuni 4
According to David Snellgrove, the main difference between the Trilokavijaya
and the Trilokacakra Mandalas is that in the former, Vairocana is surrounded by
the Mahabodhisattvas in fierce manifestations, and apart from their fierceness and
variations in their names, the divinities correspond to those of the Vajradhdtu
Mandala. However, in the latter, Vairocana is encircled by the Hindu divinities,
whom he has forcefully converted, as recounted in the opening section of chapter 6
f S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2, pp. 369-3-1-399-1-2.

2. S. pp. 153-252, T. pp. 239-2-8-250-1-3, C2. pp. 369-3-1-389-1-13.
3. S. pp. 253-310, T. pp. 250-1-3-254-2-6, C2. pp. 389-1-14-398-3-2.
4 TSD. Vol. 61, No. 2225, pp. 155-3-21-156-1-9.
137
P a rt Two
of the Sanskrit STTS.5 Although the Trilokavijaya Mandala consisting of six

mandalas and the Trilokacakra Mandala consisting of four mandalas which
excludes the caturmudramandala and the ekamiidrdmandala can be classified as
different mandalas, the former is regarded as the main mandala and the latter is the
subordinate mandala, because the former consists of six mandalas according to the
order of the six mandalas of the Vajradhdtu (STTS, part one) and the other main
mandalas (STTS, parts three and four). In addition, when the STTS explains the
Trilokavijaya Mandala, it begins with an invocation of the Lord greeted with one
hundred and eight names, but there is no additional invocation-ceremony employed
for the Trilokacalcra Mandala.
5. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, p. 39.
138
P a rt Two
Chapter 6. Trilokavijaya Mahamandala

The Sanskrit term tri-loka (Tibetan ’jig-rten-gsum) literally meaning the three
worlds consisting of heaven, earth and hell,6 relates to the term trai-dhdtuka
(Tibetan khams-gsum) consisting of the kdma-dhatu (realm of desire), rupa-dhdtu
(realm of form) and arupa-dhatu (realm of formless). Anandagarbha, therefore,
explains tri-loka as beneath tire earth, on the earth and above the earth, and that to
have sovereignty (vijaya) over this {tri-loka) requires the conquest of the three
realms (Tibetan khams-gsum-rnam-par-rgyal-ba).1 However, according to the
Mikkyo Jiten, the three worlds symbolise three fundamental poisons {tri-dosa), i.e.
lust {raga), hatred (dvesa) and delusion {moha) causing the continual process of
rebirths in the various realms.8 Furthermore, the subjugation of the three worlds
(itri-loka-vijaya) symbolises the complete elimination of all lands of spiritual
obstacles which arise in the mind of the sadhaka. Thus, in the STTS, the
Trilokavijaya Mahdmandala which-focuses on the Wrathful Body of Vajrapani
generated from Vairocana in order to conquer all evil beings is the means of
eliminating spiritual obstacles and defilements.
(1) The first section of chapter 6 of the STTS starting with the words, “Then, the
Lords, all the Tathagatas, again gathered together in a conclave, and invoked the
Lord Great-Wheel-Ruler of all the Tathagatas9 with these one hundred and eight
names” 10 and ending with the words, “May you generate your own family”,11
provides an invocation-ceremony of all the Tathagatas. In this ceremony, all the
Tathagatas gather together and salute the Lord Great-Wheel-Ruler of all the
Tathagatas referring to wrathful Vajrapani (alias Trilokavijaya or Vajrahumkara)
with one hundred and eight names. These names are mostly different from those of
the invocation-ceremony of part one, but they are also divided into sixteen groups
and represent the characteristics of the same sixteen Mahabodhisattvas.
(2) The next long section starting with the words, “Then, the Commander of all the
Tathagatas Vajrapani”12 and ending with the words, “Those evil spirits fell into the
6. Sakyamitra comments that the rulers o f hell are Satakratu (an epithet o f Indra) and Visnu, the
ruler o f earth is Mahes vara, and the ruler o f heaven is Brahma. {Kosaldlamkara, TTP. Vol. 70,
No. 3326, p. 280-1-1-2).
8. Sawa Ryuken (ed.), Miklcyd Jiten, p. 182.
9. Tibetan reads: “the Lord Commander o f all the Tathagatas, Great-WIieel-Ruler”. Chinese 2
reads: “the Bodhisattva Mahasattva Great-Wheel-Ruler Vajrapani”.
10. atha bhagavantah sarvatathagatdh punah samdjam agamya bhagavantam sarvatathdgata-
mahacalcravartinam anena namastasatenddhyesitavantah: S. p. 154-2-4, T. p. 239-2-8—3-1,
C2. p. 369-3-7-8.
11. utpddaya Iculam svakam iti: S. p. 156-10-11, T. p. 239-4-6, C2. p. 370-1-21.
12. atha vajrapdnih sarvatathdgatddhipatih: S. p. 157-1, T. p. 239-4-6-7, C2. p. 370-1-22.
139
P a rt Two
great ocean”,13 includes narratives about Vajrapani's subjugation and conversion of

all the commanders and their consorts of the three worlds such as Mahesvara and
Uma, and his destruction of all the other evil beings.
(3) The next section starting with the words, “Then, the Mahasattva14 Vajrapani
once again said this to the Lord15”16 and ending with the words, “The soimd HE
should be uttered for the one whose name is bestowed”,17 explains die detailed
mandala-vit&s of the Trilokavijaya Mahdmandala. This section includes the names
of the sixteen Mahabodhisattvas18 of the Trilokavijaya Mahdmandala. Each of
them contains the word Izrodha (wrath), which is characterised as a wrathful
appearance in the mandala.
(4) The next section starting witii the words, “Then, one should generate the
19knowledges”20 and ending with die words, “HUM HAM”,21 explains the mudrd-
knowledge of the Trilokavijaya Mahdmandala consisting of not only four kinds of
meditative practices, but also a secret deity-yoga, which suggests the means of
attaining four goals, i.e. subjugation, attraction, destruction and pacification.
(5) The next section starting with the words, “Then, one should teach the 22mudra-
knowledge of the essence of the pledge of the Trilokavijaya Mahdmandala”23 and
ending with the words, “This is the 24rite of all the mudras” 25 describes the rites of
binding the four mudras of the Trilokavijaya Mahdmandala.
(6) The final section starting with the words, “Now comes the mudrd-bond
common to the Trilokavijaya Mahdmandala”26 and ending with the words, “One
should accomplish all actions”,27 comprises three miscellaneous mudrd-rites of the
13. te cdpdyd mahasamudrepatita iti: S. p. 185-6~7, T. p. 243-4-4, C2. p. 375-3-23.

Chinese 2 reads: “The places o f those evil spirits were completely purified.”
14 Chinese 2 reads: “Lord Bodhisattva Mahasattva”.
15. Chinese 2 reads: “all the Tathagatas”.
16. atha vajrapanir mahabodhisattvah punar api bhagavantam etad avocat: S. p. 185-8—9, T. p.
243-4-4-5, C2. p. 375-3-24.
17. tato yasya ya n ndma lairydt tasya he-sabdah prayolctavya iti: S. p. 197-7, T. p. 244-4-7-8,
C2, p. 378-2-8.
ls . The names o f the sixteen Mahabodhisattvas are manifested as the form of hrdaya:-
Vajrasattvalcrodha, Vajrakrodhakarsana, Vajrakamakrodha, Vajratustikrodha; Vajrabhrkuti-
krodha, Vajrasuryakrodha, Vajrakrodhaketu, Vajrattahasakrodha; V ajradharmakro dha,
Vajratiksnakrodha, Vajrahetukrodha, Vajrakrodhabhasa; and Vajrakarma (-krodha),
Vajrakavacakrodha, Vajrayaksakrodha, Vajrakrodhamusti.
19. Chinese 2 inserts: “great”.
20. tato jnandny utpddayet: S. p. 197-8, T. p. 244-4-8, C2. p. 378-2-9.
21. S. p. 202-5, T. p. 245-2-3, C2. p. 379-2-8.
22. Chinese 2 inserts: “maha”.
23. tatas trilokavijayamahamandalasamayatattvamudrdjndnam siksayet: S. p. 202-6-7, T. p.
245-2-3, C2. p. 379-2-9.
24. Chinese inserts: “extensive”.
25. sarvamudrdvidhih: S. p. 206-6, T. p. 245-4-2, C2. p. 380-1-17.
26. athdtra trilokavijayamahdmandalasadharanamudrabandho bhavati: S. p. 207-1-2, T, p.
245-4-2-3, C2. p. 380-1-26.
27. sarvakarmani sadhayed iti: S. p. 210-11-12, T. p. 246-1-6-7, C2. p. 381-1-2.
140
P art Two
Trilokavijaya Mahdmandala, i.e. firstly, the general mudrd-binding for

accomplishing the various goals; secondly, the mudrd-bmdm% used for the
mandala-constmction; and finally, the basic evocation-rite used for all the mudras
of the Trilokavijaya Mahdmandala, which is explained by the STTS that when one
assumes the pratydlidha posture, emits the wrathful words and displays wrath with
wrathful vision, one should accomplish all actions.2829
2. Vajrapdni's Subjugation o f Mahesvara
The STTS30 begins in the opening section of part two with a story about Vajrapani's
subjugation of Mahesvara. Amoghavajra summarises this story in the following
words
“Having attained complete enlightenment, the Tathagata
(Vairocana) set in motion the wheel of the Vajradhdtu on the
summit of Mount Sumeru, and conferred the names and the titles31
upon all the Bodhisattvas. The evil beings, such as Mahesvara,
were too obstinate to be easily converted. Thus, through the
propitiatory-rite (santika)31 they could not be converted. All the
Tathagatas, who pervaded all space and were diffused in the
Dharmadhatu, greeted Vajrasattva with the praises of one
hundred and eight names, and pleaded with him in one voice, ‘All
such kinds of deities cannot be converted by means of the
propitiatory-rite.’ At that time, Vajrapani having accepted the
request of all the Tathagatas, entered the compassionate-wrath-
vajra-samadhi (karuna-krodha-vajra-samadhi),33 Having
manifested his great dignified body, he subdued (all these deities)
with various expedients, and caused them to die. After Mahesvara
died, he himself looked down, and arrived in the world called
‘Ash-Decoration (Bhasma-alankara)’ which was located across
28. praiydlxdhalertin krtva krodhavaca pravartaycin b'odhadrstya tu samlcruddhah sarvalcarmani

sddhayed iti: S. p. 210-10~12, T. p. 246-1-6-7, C2. p. 381-1-1—2.
30. S. pp. 157-169, T. pp. 239-4-6-241-4-7, 370-1-22-372-3-2.
31. To give a name and title to the pupil in the tantra means to initiate the pupil with the name-
consecration. According to the categories differing from the already mentioned Bodhisattva-
Bhtimi (see footnote of part one), in the tenth Bodhisattva-ZJAumz, the Bodhisattva enters the
Stage o f Consecration (abhiseka-bhumi).
32. According to the MW (p. 1065), the term 'sdntika' literally means a propitiatory rite for
averting evil. According to the D oC (p. 348), it is translated as ji-jm g -fa ’ in Chinese, which
means the ceremonies for restoring peace from calamity. This is one o f the homa rites. See
footnote o f the introduction for the details of the homa rituals.
33. The ‘compassionate-wrath-vo/m’ is originally 'bei' (compassion)-‘md (wrath)-jin-gang'
(vajra) in Chinese. The Chinese word 'beV literally means ‘compassion’, but the footnote of
OEAVS says it may be identified with the word 'fen'’ meaning ‘wrath’ in this context. The
second word ‘md also means ‘wrath’, and even the compound word lf en-nu' also means
‘wrath’. Thus, the footnote reads the compound as *■wrath-vajra', instead o f ‘compassionate-
wrath-vfl/ra’. However, according to the Sanskrit STTS text, the original title of the ‘kanma-
Icrodha-vajra-samadhi’ is the ‘sarva-tathagata-mahd-lcaruna-updya-lzrodha-samaya-vajran
nama samddhi'. (S. p. 157-19-158-1).
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P a rt Two
the worlds as numerous as the sand grains in the sixty-two

Ganges rivers, and attained complete enlightenment. Then, he was
named Tathagata Fear-Lord (Bhaya-isvara).34 The Bodhisattva
Vajradhara, pressing (Mahesvara) with his leg, recited the vajra-
arising-mantra. As soon as (Mahesvara) was revived, he was
already converted.”35
According to the biographies of the Buddha Sakyamuni, such as the Mahavastu i
and the Lalitavistara, the historical Buddha Sakyamuni was attacked by Mara (Evil
One) known as die Lord of the world of passion, but finally defeated Mara just ;
before his attaining complete enlightenment.36 Thus, the composer of the STTS, i
influenced by the story of the Buddha Sakyamuni's victory over Mara, transforms it j
into a story about Vajrapani's victory over Mahesvara,37 within the context of \
Tantric tradition. Part two of the STTS emphasises Vajrapani as the chief of yaksas
because this part is introduced mainly for the purpose of subduing and converting
the Hindu gods and evil beings. The main part of this story described in the STTS is
translated into English by David Snellgrove38 and Ronald Davidson.39 The latter
defines Mahesvara as follows
“The myth was interpreted as a model of internal realities, in line
with the movement toward increasing inwardness during the
period of Mantrayana development. In the way that Mara was
interpreted as an extension of the Buddha's own death and
suppressed psycho-physical tendencies, Mahesvara illustrates for
the meditator that defilements, no matter how corrupt, are
themselves the stuff of awakening. Liberation is impossible
without prior bondage, purification inconceivable without
34. Regarding the above statement: “After Mahesvara died, he himself looked down, and arrived
in the world called ‘Ash-Decoration (Bhasma-alarikara)’ which was located across the worlds
as numerous as the sand grains in the sixty-two Ganges rivers, and he attained complete
enlightenment. Then he was named Tathagata Fear-Lord (Bhaya-isvara)”, the Sanskrit STTS
(S. p. 169), which is the equivalent part, reads: “After Mahadeva fell down at the base of the
foot o f Vajrapani he crossed the world-spheres as numerous as the sand grains in the thirty-
two Ganges rivers and as numerous as the infinite dust particles in the uppermost world-
sphere and, (having arrived) in the world-sphere called Bhasmacchatra (Umbrella of Ashes), he
generated a Tathagata called Bhasmesvaranirghosa (Soundless Lord of Ashes)”. Thus, three
slightly different points are found in comparing these two texts. Firstly, while the place
which Mahesvara attained complete enlightenment is described in the OEAVS as ‘Ash-
Decoration’, the Sanskrit STTS calls it ‘Umbrella of Ashes’. Secondly, the number of the
Ganges rivers is sixty-two in the former, but thirty-two in the latter. Finally, the name of
Mahesvara as the Tathagata in the OEAVS is ‘Fear-Lord’, compared to ‘Soundless Lord of
Ashes’ in the STTS.
35. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-15-26.
36. Edward Thomas, The Life o f Buddha as Legend and History, pp. 61—SO.
37. In this context Mahesvara indicates Siva the Hindu god of destruction. Thus, the subjugation
o f Mahesvara can be symbolised as the conquest of death.
38. David Snellgrove, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, pp. 39~42; Indo-Tibetan
Buddhism, pp. 136-141.
39. For Ronald Davidson's translation and comment, see his article, pp. 547-555, in Religions o f
India in Practice, ed. Donald S. Lopez Jr.
142
P a rt Two
defilement. For those following the Path of Secret Spells, then,

Mahesvara represents the reality of intractable mental events
turning into the gnosis of awakening following their consecration,
in this case by Vajrapani's foot. Without such determined
resistance to the teaching, Mahesvara never would have achieved
his mythic goal of final emancipation as the buddha Bhasmesvara
nirghosa. Without intractable defilements, the meditator will never
experience the supernormal cognition of the highest goal. Thus the
circle of emancipation is closed: mind, meditator, and Mahesvara
all come to rest in the universal diagram.”40
According to the STTS,41 having conquered and converted the commanders and
their consorts of all three worlds, such as Mahesvara and Uma, Vajrapani
summoned and conquered the various kinds of evil beings, i.e. the formation of a
circle of all evil beings (sarvadustamandalabandha), the evil spirits (dustagraha)
such as Dakim, the diseases (vyddhi) such as Jvara (fever), and the multitude fallen
into the three evil states (pyapdyagaticakra)42 such as Raurava (hell) and
Maharaurava (hell).
3. External Vajra Family
The following quotation of the STTS lists the Buddhist names of the twenty-one
Hindu gods and the same number of their consorts, which are divided into five
groups according to the realm, i.e. the first group living in the upper-spheres of
form and formless; the second group wandering in space; the third group living in
space; the fourth group living on the earth; and the fifth group living beneath the
earth. The purpose of introducing popular Hindu gods and goddesses in part two of
the STTS is not only for the conversion of evil beings, but also for the conversion
of those who practise other religions, especially the Hindu religion.
“Then, after Vajrapani induced (all the gods) to enter (the
mandala) correctly, he duly revealed the entire mahd-mandala,
and initiated them with the vq/ra-gem-consecrations. After he gave
them the vajra-signs for their hands, he initiated them with the
vq/ra-name-consecrations. Since all the Tathagatas acted , for the
welfare of living beings, he established (the names). Then, there
followed the performance for the commanders of all three worlds,
for example, Mahesvara was named as Krodhavajra (Wrath-
Vajra), Narayana as Mayavajra (Illusion- Vajra), Sanakumara as
Vajraghanta (Vajra-Bell), Brahmana as Maunavajra (Silence-
Vajra), and Indra as Vajrayudha (Fq/ra-Weapon). Thus, these
gods were initiated as Knowledge-Kings (vidya-rdjyaka). Then,
he bestowed (the names) on the commanders of all the gods
40. Ibid., p. 549.

41. S. pp. 177-4-185-7, T. pp. 242-4-2-243-4-4, C2. pp. 374-1-19-375-3-23.
42. The three evil states are all obstructions (sarvdvcirana), hindrances (nivarana), and the
obstructions resulting from past actions (Icarmavarana).
143
P a rt Two
wandering in space, for example, Amrtakundala was named as

Vajraknndali (Fq/ra-Ear-Ring), Indu as Vajraprabha (Vajra-
Splendour), Mahadandagra as Vajradanda (Fq/'ra-Stick), and
Pingala as Vajrapingala (Fq/ra-Treasure). Thus, these gods were
initiated as Vci/ra-Wrathful-Beings (vajra-Itrodha). Then, he
bestowed (the names) on the commanders of all the gods living in
space, for example, Madhumatta was named as Vajrasaunda
(Fq/ra-Liqueur), Madhukara as Vajramala (Fq/'ra-Garland), Jaya
as Vajravasi ( Fq/'ra-Power), and Jayavaha as Vijayavajra
(Conquest-Vajra). Thus, these gods were initiated as Company-
Leaders (gana-pati). Then, he bestowed (the names) on the
commanders of all the gods living on the earth, for example,
Kosapala was named as Vajramusala (Fq/ra-Club), Vayava as
Vajranila (Vajra-Wind), Agni as Vajranala (Vajra-Fire), and
Kubera as Vajrabhairava (Fq/ra-Horror). Thus, these gods were
initiated as Messengers (duta). Then, he bestowed (the names) on
the commanders of all the gods living beneath the earth, for
example, Varaha was named as VajrankuSa (Vajra-Hook), Yama
as Vajrakala (Fq/'ra-Time), Prthivlculika as Vajravinayaka (Vajra-
Remover), and Varuna as Nagavajra (Serpent-Vajra). Thus, these
gods were initiated as Servants (cetaka).
Then, he (Vajrapani) initiated all the consorts of the commanders
of the three worlds with the vq/ra-gem-consecration. After he
empowered their own signs with the vajra, he initiated (them) with
the vq/'ra-name-consecration. Since all the Tathagatas acted for the
welfare of living beings, he established (the names), for example,
the goddess Uma was named as Krodhavajragni43 (Wrath- Vajra-
Fire), the goddess Rukmini as VajrasauvarnI (Fq/’ra-Gold), the
goddess Sasthi as Vajrakaumari (Fq/ra-Maiden), the goddess
Brahmani as Vajrasanti (Fq/ra-Tranquillity), and the goddess
IndranI as Vajramusti (Fq/ra-Fist). Thus, these goddesses were
initiated as Vajra-Queens (vajra-rcijanikd). Then, he bestowed (the
names) on all the consorts (of the commanders) wandering in
space, for example, the goddess Amrta was named as Vajramrta
(Fq/ra-Immortal), the goddess RohinI as Vajralcanti ( Vajra-
Brightness), the goddess DandadharinI as Dandavajragra (Stick-
Vajra-Best), and the goddess Jataharinl as Vajramekhala (Vajra-
Belt). Thus, these goddesses were initiated as Fq/ra-Wrathful-
Females (yajra-Icrodhini). Then, he bestowed (the names) on all
the consorts (of the commanders) living in space, for example, the
goddess Maranl was named as Vajravilaya (Fq/ra-Death), the
goddess Asana as Vajrasana (Fq/'ra-Eating), the goddess Vasana
as Vajravasana (Fq/ra-Passion), and the goddess Rah as
Vajravasa (Fq/'ra-Desire). Thus, these goddesses were initiated as
Courtesans (ganikd). Then, he bestowed (the names) on all the
43. Tibetan reads: “Krodhavajri ” (Tibetan khro-bo-rdo-rje-ma).
144
P a rt Two
consorts (of the commanders) living on the earth, for example, the
goddess Siva was named as Vajraduti (Fajru-Female-Messenger),
the goddess Vayavi as Vegavajrini (Speed-Fayra-Holder), the
goddess Agnedhrya as Vajrajvala (Fa/m-Illumination), and the
goddess Kauberi as Vajravikata (Fq/ra-Dreadfulness). Thus, these
goddesses were initiated as Vajra-Female-Messengers (vajra-
duti). Then, he bestowed (the names) on all the consorts (of the
commanders) of living beneath the earth, (for example), the
goddess Varahi was named as Vajramukhi (Fq/ra-Mouth), the
goddess Camunda as Vajrakali (Fo/ra-Death), the goddess
Chinnanasa as Vajraputana ( Fa/ra-Disease), and the goddess
Varum as Vajramakari (Vajra-Sea-Monster). Thus, these
goddesses were initiated as Fayra-Female-Servants (vajra-ceti).”44
All of these deities constitute the external- Fh/m-family. According to the following
mandala-section of the STTS, except for Mahesvara and Uma who are placed on
the feet of Vajrahumkara at the centre of the eastern quarter of the mandala, all the
other deities of the external-Fuyra-family occupy the external positions in the
Trilokavijaya Mahdmandala. However, though in the Trilokacakra Mahdmandala
(ch. 11) Mahesvara and Uma are still placed at the feet of Vajrahumkara and the
twenty consorts occupy the external positions, the twenty gods replace the sixteen
Mahabodhisattvas and the four Door-guardians, and occupy their positions. The
Trilokavijaya-mandala at Alchi Monastery45 and the Trilokavijaya-mahamandala
of The Ngor Collection46 both show that the above deities of die external- Vajra-
family occupy the external positions. The only difference is that in the former each
deity has its own position, but in the latter all the gods and their consorts are drawn
together as pairs. According to the Trilokavijayakarma Assembly of the Nine
Assemblies Mandala41 Mahesvara and Uma are placed at the feet of Vajrapani at
the east of Vajrahumkara, and the above twenty gods occupy the external positions,
but only four mahd-devis occupy the four comers of the external positions.
4. Mandala Rites
a. Structure o f the Trilokavijaya Mahdmandala

The Trilokavijaya Mahdmandala has the same external structure and main thirty-
seven deities corresponding to those of the Vajradhdtu Mahdmandala. The main
difference between the two is that the Vajradhdtu Mahdmandala is revealed in
order to generate the thought of enlightenment by Vajradhara or Vajrasattva, and all
44 S. pp. 172-173, T. pp. 241-5-7-242-2-5, C2. p. 373-1-7-2-25.

o f Religious Affairs o f His Holiness the Dalai Lama, pp. 213-214.
Tathdgata-Tattva-Saiigraha, Introduction, p. 47.
145
P a rt Two
the deities have a compassionate appearance. However, the Trilokavijaya

Mahdmandala is revealed by wrathful Vajrapani, and all the thirty-seven deities
have wrathful bodily forms in order to conquer and control the major Hindu deities
such as Mahesvara and Uma, called the external- Fq/ra-family. Sakyamitra
comments that the Trilokavijaya Mahdmandala is regarded as the abhicaralai
(destroying)-mandala because it is constructed for destroying those who resist
conversion, and it also becomes the supreme oppressor due to its punishment.48
The STTS describes the structure of the Trilokavijaya Mahdmandala:-
4‘The supreme Mahdmandala (of the Vajra-family) has the basic
design of the Vajradhdtu (.Mahdmandala) and is the supreme
creator of universal fulfilment. It is called ''Trilokavijaya
(Conquest of the Three Worlds)’, and it is generated from the
vfl/ra-pledge.49 It produces Buddhahood, and destroys all evil.
Thus, one should measure out die thread with the following
mantra:-
4OM VAJRA SAMAYA SUTRAMMATIKRAMA. {Vajra-pledge, do
not transgress the thread!)’
(This mandala) has its four comers embellished with four gates
and four arched doorways, joined together with four lines and
adorned with silk pennants and garlands.
The external mandala should be drawn, in-laid with vajras and
gems in all comers of the mandala and between the gates and
doors.
Its internal part is adorned by the learned with vajras and gems,
and has four comers, four gates, and eight pillars furnished with
arched doorways.
The five mandalas are decorated on the edge of the vq/ra-pillars.
Where the mandala has been measured out with a thread, it should
be filled with 50colours.
Now follows this colouring5^recitation (rahga-jdpa):-
4OM VAJRA CITRA SAMAYA HUM:
Then having sat in the centre (of the mandala), the va/ra-master
should concentrate his thought. Then he should open the four
vo/ra-gates with his mind.
Now follows this mantra of opening the gate:-
'OM VAJRODGHATAYA SAMAYA PRAVE&AYA HtlM.'
One should set up an image of the Buddha (Vairocana) upon a
four-cornered altar made of gold, silver, or variegated52 clay.53
48. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-5-7~8.

49. Anandagarbha comments that the words ‘vq/ra-pledge (vajra-samayaY mean that it is the
vajra which Vajrapani holds in his hand, and the essence o f the vajra is the cause of the
pledge. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 249-3-7). Sakyamitra adds that this pledge
(samaya) arises in consequence of taking possession of the attainment o f converting all evil
beings. (Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-4-1).
50. Chinese 2 inserts: “five”.
51. Chinese 2 reads: “measuring”, instead o f “colouring”.
146
P a rt Two
Now follows this hrdaya of summoning all the Tathagatas

‘OM VAJRA JVALAGNI PRADlPTAKARSAYA SARVA-
TATHAGATAm MAHA-VAJRA SAMAYA HUMJAHd
In the presence of the Buddha,55 one should place a vajra into the
centre of the flame. In the same way,56 one should draw a gem, a
lotus, and a crossed weapon in (every) centre of the flame.
Having approached with the vayra-impulse (vajra-vega) before the
Buddha in the same way, the learned should draw the mandala of
Vajrahumkara according to the instruction.
Now follows this hrdaya of the vczyra-impulse:-
‘OM VAJRA VEGlKRAMA HUM. ’
Having trodden the thread in all die mandalas such as the
Vajradhdtu and the others, one can go into all (the mandalas).
Then, follows this mudra57:-
One should draw a line with the mind. Upon casting the vajra-
thread in or out (of the mandala), one should not transgress the
pledge.
In the centre (of the first mandala), one should draw the
Mahasattva Vajrapani who has the colour of the brilliant dark blue
lotus, and is united with Vajrahumkara.58
He has a face with dreadful prominent teeth, and also a smiling
face together with a wrathful face.
He has a bowman's stance (pratyalidha) with his left foot forward
and right drawn back, his splendour wrapped by the blazing
garland.
The sole of his left foot should be drawn pressing Mahesvara and
the sole of his right foot positioned on Uma's breast.59
Now follows this hrdaya60
52. Tibetan reads: “beautifully painted”.

53. Chinese 2 reads: “According to the rule, a square Buddha-image should be positioned correctly
in conformity with the direction. The Budctha-throne made of gold, silver, or clay should be
set up according to the instruction.”
According to Sakyamitra, the words ‘altar made of gold, silver, or variegated clay’ mean that
the altar o f Vairocana can be constructed according to the financial resources of the benefactors
o f the mandala. (.Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-5-5—6).
54. Tibetan reads: “SAP VA-TATHAGATANAiW\
55. Chinese 2 reads: “in the presence o f the eastern part of the Buddha”.
56. Chinese 2 reads: “The flames o f the south, the west and the north are the same as (the east).”
57. Chinese 2 reads: “the verses of the mwrfra-knowledge”.
58. Anandagarbha explains ‘being united with Vajrahumkara’ as referring to binding the
Trilokavijaya-mudrd with both hands. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 252-5-3~4).
59. David Snellgrove argues that at the centre of the mandala is Vajrapani himself, treading on
Mahesvara and Uma, and manifesting towards the four directions as Sattvavajra (= Vajrapani,
east), Ratnavajra (= Vajragarbha, south), Dharmavajra (= Vajranetra, west) and Karmavajra (=
Vajravisva, north). (David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p.
42). This view comes from a misunderstanding of the text, because, as seen in the above
passage, Vajrapani who is treading on Mahesvara and Uma is positioned not in the centre of
the whole mandala, but in the centre of the eastern quarter called the mandala of
Vajrahumkara.
147
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‘HUM :
Everywhere in his61 proximity, one should place (four)
Vajrakrodhas who have prominent wrathful teeth, and whose
splendour is enveloped by blazing garlands.
Having approached the second supreme mandala with the vajra-
impulse, one should draw Vajrabhiseka (Fq/'ra-consecration)
surrounded by (four) Krodhas.
Having approached the third supreme mandala with the vajra-
impulse, one should draw Vajrasena {Vajra-army) surrounded by
(four) wrathful Noble-Beings.
Having approached the fourth supreme mandala with the vajra-
impulse, one should draw Vajravesa (Fq/ra-enchantment)
surrounded by (four) Fq/ra-Wrath-Troops.
In accordance with the rite, one should draw (four) Secret-
Offerings in the comers of the mandala in conformity with the
Vajradhdtu {Mahdmandala),
Having approached the supreme external mandala with the vajra-
impulse, in its comers, one should position four Offering-
Goddesses.
Ankusa and the others should be positioned in the centre of four
gates, and the external Fq/ra-families (should be drawn) in their
positions in the external mandala”62
Like the Vajradhdtu Mahdmandala, this mandala consists of three parts, i.e. the
external square having four gates, the internal square having four gates, and the
centre circle. The centre circle is divided into five lunar discs, i.e. Vairocana-,
Vajrahumkara-, Ratnahunikara-, Dharmahumkara- and Karmahumkara-tfia^q'a/a.y.
The Vairocana-mandala consists of white-coloured Vairocana and his four
Paramitas. Vairocana or Buddhahumkara, which is cast or made in any other way,
positioned at the centre as usual and surrounded by the symbols of the four
Paramitas, called the Vajra-samaya-mudrds here, which are positioned clockwise
starting Rom the east, and each of which is placed in the centre of the flame
symbolising the wrath. However, in the Trilokavijayakarma Assembly of the Nine
Assemblies Mandala,63 these four Paramitas are manifested not as their symbols,
but as bodily forms.
The Vajrahumkara-, Ratnahumkara-, Dharmahumkara- and Karmahumkara-
mandalas correspond to the four Tathzig&t&s-mandalas of the Vajradhdtu
Mahdmandala. The Vajrahrnnkara-zwaqâ/tz positioned to the east of Vairocana-
60. Chinese 2 reads: “the fundamental hrdaya

6!. Chinese 2 reads: “Vajrapani”.
62. S. pp. 186-10-194, T. pp.’243-5-2-244-3-3, C2. pp. 376-1-14-377-3-22.
Tathagata-Tattva-Sangraha, Introduction, p. 47.
148
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mandala consists of blue-coloured Vajrahumkara64 (or wrathful Vajrapani) who is

treading on Mahesvara and Uma, and his surrounding four wrathfiil
Mahabodhisattvas; the Ratnahumkara-maw^/fl consists of yellow-coloured
Ratnahumkara (or Vajrabhiseka) who has received the consecration of the Vajra-
family in die place of Ratnasambhava, and his surrounding four wrathful
Mahabodhisattvas; the Dharmahumkara-maw<fc/<z consists of red-coloured
Dharmahumkara (or Vajrasena) who has the bodily form of a maiden in the place of
Amitabha, and his surrounding four wrathful Mahabodhisattvas; the
Karmahunikara-man(/nk consists of green-coloured Karmahumkara (or Vajravesa)
who is endowed with the form of Vajrakarma in the place of Amoghasiddhi, and
his surrounding four wrathful Mahabodhisattvas.65
Like the Vajradhdtu Mahdmandala, four Internal Offerings are positioned at the
four comers of the centre circle; four Door-guardians are positioned at both the_ four
gates of die internal square and the four gates of the external square; and four
External Offerings are positioned at the four comers of the external square. In
addition, all the deities of the external- Fq/’ra-family, which has already explained,
are positioned outside the external square.
The above description of the STTS, especially Vajrahumkara's image as wrathful
Vajrapani treading on Mahesvara and Uma at the centre of the Vajrahumkara-
mandala, is supported by both Tibetan mandalas, i.e. the Trilokavijaya-mandala at
Alchi Monastery66 and the Trilokavijaya-mahdmandala of The Ngor Collection.61
However, differing from the STTS, the Trilokavijayakarma Assembly of the Nine
Assemblies Mandala68 shows that the wrathful Tathagata Aksobhya is drawn at the
64. According to the Mikltyo Jiten, there are three kinds of bodily forms of Vajrahumkara. The first
form o f Vajrahumkara has four faces and eight arms. His body is black. His front face is blue,
his right face is yellow, his left face is green, and his rear face is red. All his faces have
wrathful appearances. His first two hands are crossed and form a mudrd. His remaining three
right hands hold a five-pronged vajra, an arrow and a sword respectively. His remaining three
left hands hold a five-pronged hook, a bow and a noose respectively. The sole o f his left foot
presses the crown o f Mahesvara, and the sole of his right foot presses both breasts of Uma.
The whole body o f Vajrahumkara is wrapped in flames. The second form o f Vajrahumkara has
three faces and eight arms. He wears a skull upon his top-knot which is raised and turned in
the shape resembling flames. His body is dark grey. Each of his three faces has three eyes.
The characteristics o f his eight arms and his two feet are the same as the first form. The third
form of Vajrahumkara has one face and four arms. His body is dark blue. He stands over a
half moon, and has a wrathful appearance with three eyes and four teeth. He has a moving
posture by bending forward his left foot. His first two hands are crossed and form a mudrd.
His second left hand holds a vcyra-hook, and his second right hand holds a five-pronged
vajra. He wears a crown o f the five wisdoms, and is wrapped in flames. (Sawa Ryuken (ed.),
Mikityo Jiten, pp. 181-182).
o f Religious Affairs o f His Holiness the Dalai Lama, pp. 213-214.
6S. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 972-988; Lokesh Chandra, Sarva-
Tathdgata-Tattva-Sangraha, Introduction, p. 47.
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centre of the Vajrahumkara-mandala, and the image of wrathful Vajrapani treading

on Mahesvara and Uma is placed at the east of Aksobhya. In addition, though there
is no mention of Bhadrctkalpa Mahabodhisattvas in the above quotation, this
mandala also contains the images of the sixteen Bhadrakalpa Mahabodhisattvas.
“(a) In the beginning, as soon as the vajra-master binds tlie
terintiri69-mudra of Vajrakrodha by himself, he should enter (the
mandala drawn in his mind). Having entered, he should declare to
all the Tathagatas: ‘O Lord Tathagatas! I will enter into the
wrathful power. I will suppress those who should be suppressed,
and I will assemble those who should be assembled. O Lords!
Command me as to what I should do.’ Having said thus, he
should establish correctly the terintirP°-mudra of Vajrakrodha
upon his heart.71 Having executed the rituals with Vajrankusa and
the rest, he should bind all the samaya-mudras again. Then
everything comes into his proximity.72 Then, he executed die four
secret-offerings with (Vajra-) Dhupa and the rest. Then, having
induced his vajra-pupil to enter (the mandala) with this rite, the
vq/ra-master himself should bind the terintiri73-mudrd of
Vajrakrodha, and induce his pupil to bind it while (reciting) the
following hrdaya:-
‘OM GRHNA VAJRA SAMAYA HUM VAM. (Hold the Vajra-
pledge!)’
(b) Then, (the pupil) wearing a blue upper-garment and a blue
turban fastened on his head, having covered his face with a blue
silk, should enter (the mandala) while (reciting) the following
mantra
‘OM VAJRA SAMAYAM PRAVI&AMI.74 (I enter into the Vajra-
pledge.)’
Then, having entered, he should generate (in samadhi) the state of
{vajra-) possession with the samaya-mudrd of Vajravesa while
(reciting) the following hrdaya:-
751 v a jr a v e Sa a i t .
69. Tibetan reads: “tirintari”.

70. Tibetan reads: “tiridtiri”.
71. According to Sakyamitra and Anandagarbha {Kosalalamkara, TTP. Vol. 70, No. 3326, p.
287-4-6-7; Tattvaloka, TTP. Vol. 71, No. 3333, p. 255-4-5-6), when the vayra-master places
the mudrd, which has already been bound, in his heart, he should recite the following
mantras explained in the Vajradhatu Mahamandala: “TISTHA VAJRA DRDHO ME BHAVA
&ASVATO ME BHAVA HRDAYAM ME ' 'DHITISTHA SARVA-SIDDHIN CA ME
PRAYACCHA HUM HA HA HA HA HOH. {Vajra, stand up! Make me steadfast! Make me
perpetual! Empower my heart! Bestow all attainments upon me!).” (S. p. 70-15-19, T. p.
230-3-6-7, C2. p. 354-1-14-17).
72. Chinese 2 reads: “Then he obtains the empowerment (adhisthita) of all the Tathagatas.”
73. Tibetan reads: “tirinteri
74. Tibetan reads: ‘BRA VESA ME”.
75. Tibetan and Chinese 2 both insert: “OM”.
150
P a rt Two
Then, he takes possession of (vajra). Due to his possession, he is

empowered by all the Tathagatas. At that moment, he knows
everything about the past, present and future. He is inviolable and
unassailable from all living beings.76 By means of (pronouncing)
the HUM sound,77 he tames, obliges, and comforts all living
beings. 78Vajrapani always guides him to accomplish all the
rituals. Next, he should receive the vovs-hrdaya. After that, having
removed the face-cover (of the pupil), (the va/ra-master) shows
him the (Trilolcavijaya) 19Mahamandala. As soon as he sees the
mandala, he gets rid of all evil and is able to conquer all the three
worlds. By means of (pronouncing) the HUM sound,80 he
summons, draws in, binds, subjugates, and rules all the deities
such as Mahadeva. Due to the empowerment of all the Tathagatas,
the Mahabodhisattva81 Vajrapani always follows and bestows his
own attainments (on the pupil). Then, having executed this vajra-
consecration, (the vq/'ra-master) should correctly deposit his own
sharp vq/A/-emblem82 into (the pupil's) hands while (reciting) the
following mantra:-
*OM VAJRAPANI VAJRA-KARMA-KARO BHAVA. (Vajrapani,
become the Fq/ra-action-performer!) ’
Then, (the vq/ra-master) should confer (upon the pupil) the vajra-
name-consecration while (reciting) the following mantra:-
‘DM83 VAJRA KRODHA TVAM ABHISIMCAMI VAJRA-
NAMABHISEKATAH HE-VAJRA NAM A. (Vajrakrodha, I confer
upon you the Fq/ra-name-consecration, namely, He-vajra.y
Then, the sound HE should be uttered for the one whose name is
bestowed.”84
76. Chinese 2 reads: “He is inviolable from the evils and is invisible by the others.”
77. Chinese 2 reads: “in union with Trilokavijaya (Vajrahumkara)”.
According to âkyamitra there are the four kinds of HUM sound (HUM-kara). The first is
Buddha-Ht)M-kdra, which is the Lord Buddha's HUM, and is used for the purpose of
transforming the Sattvas o f mandalas. The second is HUM-Jcara, which is the mantra o f the
four HUM (sounds), and is used for the purpose of attracting, drawing in, binding and
subduing all the Tathagatas. The third is Vajra-HUM-kdra, which is the supporter o f the
hrdaya o f the victory over desire (Icama), and is used for the purpose of summoning and
positioning the commander o f all three worlds, and his retinue inside the mandala. The
fourth is Ddmaka, which is the HUM-kara o f inflicting pain on the commander o f all three
worlds, and is used for the purpose of converting all the commanders of the universe.
(Kosalalamkara, TTP, Vol. 70, No. 3326, p. 277-4-2-6). These four kinds of HUM-kdra
appear among one hundred and eight names of the invocation-ceremony o f part two o f the
STTS. (S. p. 156-1, T. p. 239-4-3, C2. p. 370-1-12).
78. Chinese 2 inserts: “Bodhisattva Mahasattva”.
79. Chinese 2 inserts: “entire”.
80. Chinese 2 reads: “in union with Trilokavijaya (Vajrahumkara)”.
81. Tibetan reads: “Lord Bodhisattva”. Chinese 2 reads: “Bodhisattva Mahasattva”.
82. Tibetan reads: “vq/'ra-sharpness as his emblem”. Chinese 2 reads: “vq/'ra-sword”, instead of
“sharp vq/ra-emblem”.
83. Tibetan omits: “OM”.
84 S. pp. 195-3-197-7, T. p. 244-3-4-4-8, C2. pp. 377-3-24-378-2-8.
151
P a rt Two
Paragraph (a) describes the vq/'ra-master's activities. The basic procedure of the rites
of entry into this mandala follows the rite described in the Vajradhdtu
Mahamandala. However, in this rite the vq/ra-master begins with binding the
terintiri-mudrd85 of Vajrakrodha not with binding the mudrd of Sattvavajri. The
terintiri-mudrd is the mudrd of making infinite mutual relationships between the
sddhaka and Vajralcrodhas such as Vajrahumkara. This mudrd is employed for
assembling the entire Fq/ra-family.86 The STTS defines the terintiri-mudra:-
4‘Having formed the vajra-bond by making the palms of both
hands equal, one should protect it by producing a wrathful
thought, and erect both thumbs firmly like a vajra. This is ■the
wrathful terintiri-mudrd.”87
Differing from the function of the mudrd of Sattvavajri described in the Vajradhdtu
Mahamandala which guides the pupil to generate the thought of enlightenment, the
terintiri-mudrd of Vajrakrodha described in this mandala guides the pupil to
generate the thought of wrath, by which the pupil can conquer and purify all evils.
Paragraph (b) describes the pupil's activities, whose basic procedure is also
established and simplified on the basis of the corresponding rite of the Vajradhdtu
Mahamandala. It is noticeable that in the Vajradhdtu Mahamandala, the pupil
wears a red upper-garment and covers his face with a red bandage, but in this
mandala, he wears a blue upper-garment and covers his face with a blue bandage.
The ultimate result attained by the pupil through entering this mandala is the
destruction of all evil and victory over tire three worlds.
5. Mudrd Rites
a. Mudra-Knowledge
The attainment-knowledge, called wwc/ra-knowledge, of the Trilokavijaya
Mahamandala consists of five rites, i.e. the rite of generating the four Humkaras,
the rite of summoning deities (devadydkarsanamudrdjnana), the rite of performing
the four mudrds of Vajrahumkara (caturvidhamudrdjndna), the rite of sealing all
living beings (sarvasattvamudranamudrajndna), and a secret rite. As a result of
performing these rites, the sddhaka gains the powers of the deity and accomplishes
four goals, i.e. subjugation, attraction, destruction and pacification.
a-1. Jnana
85. The commentaries of Sakyamitra and Anandagarbha read: “tirintiri-mudrd".

87. S. p. 222-7-8, T. p. 247-1-8, C2. p. 383-1-20-21.
This translation is based upon Danapala's Chinese version. The same sentence appears in the
Sarvadurgatiparisodhana Tantra. (Tadeusz Skorupski, Sarvadurgatiparisodhana Tantra, p.
11 ).
152
P a rt Two
“While meditating on Vajrakrodha, if one thinks of a vo/ra-image

possessing the assemblage of flames on the heart, one can take
possession of the entire world.
In the same way, while meditating on Vajrakrodha, if one thinks
of a vajra-gem on the forehead, one can subdue all living beings.
While meditating on Vajrakrodha, if one thinks of a vajra-lotiis
possessing the assemblage of blazing garlands on the neck, one
can destroy all living beings.
While meditating on Vajrakrodha, if one thinks of an universal
vajra88 (a crossed vajra) possessing the assemblage of flame on
the crown of the head, one can protect this entire world.”89
The original title of this rite seems missing. This rite explains the sadhaka's
generation of wrathful thoughts and his four meditations on die four families, i.e.
Vajra, Ratna, Padma and Karma, located in the four places of his body, i.e. heart,
forehead, neck and crown. Anandagarbha regards the words ‘meditating on
Vajrakrodha’ (Vzjrakxodhci-samdpatti) as executing the deity-yogm of die four
Humkaras, i.e. Vajrahumkara, Ratnahumkara, Dharmahumkara and Karmahumkara
respectively. Thus, by means of meditating on the four Humkaras, the sddhaka
generates four Humkaras in his mind and gains their powers.90
a-2. Devddyakarsanamudrdjhdna
“If one draws Vajrankusa on the palm (of one's right hand), and
shakes die forefinger (of the right hand) known as Humkara91
with wrathful (thought), (this becomes) the supreme summoning
of (all) gods.
If one draws Vajrankusa at the centre of the sole of one's foot, and
presses the reflected image (lingo) (of any deity) with it, one can
surely summon (all) gods.
If one draws Vajrankusa on one's erected penis (medhra)92 and
shakes it, one can summon all goddesses such as Uma,
If one draws Vajrankusa in the intestine,93 and presses any god
with it, (this becomes) the supreme summoning (of all gods).”94
This rite explains the four methods of summoning all the deities of the extemal-
Fh/'ra-family by means of wrathful Vajrankusa who is generated from pronouncing
the HUM sound and has the characteristic of attracting deities. The first segment
describes the method of summoning deities by forming the hand gesture of
88. Sanskrit reads: “being-vq/ra”.

89. S. p. 197-9-16, T. p. 244-4-8-5-2, C2. p. 378-2-10-17.
91. Tibetan reads: “binding (the mudrd of) Humkara”.
92. Tibetan reads: “if one duly makes the Vajrankuâ's own mudrd, and then places and shakes it”.
93. Tibetan reads: “forefinger ('dzuh-mo)”, but Tattvdloka (TTP. Vol. 71, No. 3333, p. 259-5-3)
and Kosalalamkara (TTP. Vol. 70, No. 3326, p. 288-4-3) both read it as “hind part of the
body (m ju gj\
94 S. p. 198-7-14, T. p. 244-5-4-6, C2. p. 378-2-24-3-2.
153
P art Two
Vajrankusa, i.e. making a hook with the forefinger of the right hand. The second
segment describes the method of forming the image of Vajrankusa pressing a deity
like Vajrahumkara who likewise presses Mahesvara and TJma with its feet in the
mandala. In the third segment, the Tibetan translation reads the term 1medhra" as
‘mudrd", and the Chinese translation reads it as 7inga". As Sakyamitra makes clear,
this third method is based on the concept that all goddesses are endowed with
passion.95 According to Anandagarbha96 in the sddhaka's doity-yoga the sadhaka's
visualised deity and a goddess such as Uma are united together. The fourth segment
is also explained by Anandagarbha whereby the sddhaka generates Vajrankusa in
the secret part of the body using the word ‘HUM", and presses the reflected image
of any deity with it.97
a-3. Caturvidhamudrdjndna
“If one assumes the pratyalidha9* posture and (pronounces) once
(Vajra-) Humkara in a state of the va/ra-possession (vajra-dvesa),
one can instantly take possession of the entire world.
If one utters correctly with va/Va-melody the hrdaya of all the
Buddhas99 possessing the four HUM sounds, one can certainly
attract all (living beings).
If one (visualises) the supreme vision of Vajrakrodha while
meditating upon Vajrakrodha, one can destroy the entire world in
union with Vajrahumkara.
If one puts armour on one's own body or on another's by means of
one's mind, one can protect this entire world by means of the yoga
of the great armour.”100
This rite explains the means of attaining the powers of Vajrahumkara by means of
performing the four mudras of Vajrahumkara, i.e. body-mudrd (or maha-mudrd),
speech-mudrd, vision-mudrd and mind-mudrd.101 The first segment refers to the
sadhaka's visualising himself as the bodily image of Vajrahumkara in the
pratyalidha posture wrapped in flames. The second segment refers to the sadhaka's
transforming the visualised Vajrahumkara of four faces and eight arms into himself,
while pronouncing the four HUM sounds.102 In this segment, the hrdaya of all the
95. Kosalalam kara, TTP. Vol. 70, No. 3326, p. 288-4-2-3.

97. Ibid., p. 259-5-3-5.
98. According to the MIT, the Sanskrit word ‘pratyalidha’ indicates the posture of shooting, that
is, the left foot advanced and right drawn back. Sakyamitra explains it as meaning that the
left leg is stretched towards the left side and the right leg is drawn in from the right side.
(Kosalalamkara, TTP. Vol. 70, No. 3326, p. 288-4-6-7).
" . Chinese 2 translates the Sanskrit “hrdaya” as “mind”, so it reads: “One should conceive of the
Lords, all the Buddhas in one's mind.”
100 S. p. 199-8-15, T. pp. 244-5-8-245-1-2, C2. p. 378-3-14-21.
101. Tattvaloka, TTP. Vol. 71, No. 3333, p. 259-5-5; Kosalalamkara, TTP. Vol. 70, No. 3326,
p. 288-4-5.
154
P art Two
Buddhas possessing die four HUM sounds refers to the supreme vidya recited by
Vairocana, i.e. “OM SUMBHA NISUMBHA HUM, GRHNA GRHNA HUM,
GRHNAPAYA HUM, AV4K4 HO BHAGAVAN VAJRA HUM P H A T 103 which
has four //O M soimds. The third segment focuses on the wrathful eyes of
Vajrahumkara having the fimction of destruction. The words “meditating upon
Vajrakrodha” in diis context refer to the deity-yoga of Vajrahumkara. Danapala
translates the words ‘one can destroy the entire world’ as ‘one can destroy all evils
in the world’,104 This interpretation is possible because the part two of the STTS
focuses on the various methods of subduing all evil beings. The fourth segment can
be interpreted as the sddhaka when visualising himself as Vajrahumkara has the
function of Vajrakavaca (alias Vajraraksa), protecting all living beings.
a-4. Sarvasattvamudranamudrdjhana
“If one can embrace any (deity) while meditating upon
Vajrakrodha, one can seal that one by means of muttering:
“Vajrahumkara”.
One should clearly utter: ‘TTAKKI HUM PH AT with (one's)
great voice. As soon as one utters this to any (deity) with wrathful
(thought), one can kill that one by the blazing vajra.
If one can behold any (deity) with the vajra- vision in the samddhi
of Vajrakrodha, one will seal that one's death.
While thinking in the mind: “I wish to kill (evil deities).”, if one
can visualise a vajra105 at (one's) heart, one can seal oneself with
HUM-kara in the presence of all.
If one seals any being with one's mind, one can accomplish all the
wished for actions with these (four) mudras.”106
This rite consists of five segments instead of the usual four segments. In this rite,
the sddhaka visualises Vajrahumkara as himself, and unites with his chosen deity.
The first four segments correspond to the four mudras, i.e. body-mudrd (or maha-
mudrd), speech-mwfifra, vision-mudrd and mind-mudrd respectively, and the fifth
segment refers to the conclusion of this rite.107 According to Anandagarbha, this
fifth segment indicates the mudrd of sealing the body projected by the samddhi of
the four mudras.10*
103. S. p. 159-6-10, T. p. 240-1-6-7, C2. p. 370-2-29-3-2.

Toganoo Shoun (Mandara no kenlcyu, pp. 335-337) argues that the above mantra is closely
related to the Hindu Purana literature which includes a story of two brothers, i.e. Sumbha
andNisumbha, defeated by the consort of Siva, Parvati. Toganoo's views are translated into
English by Adrian Snodgrass. (The Matrix and Diamond World Mandalas in Shingon
Buddhism, pp. 723-725).
104 TSD. Vol. 18, No. 882, pp. 378-3-19.
105. According to Sakyamitra, a vajra in this context indicates a crossed vajra. (Kosalalamkara,
TTP. Vol. 70, No. 3326, p. 289-3-8).
106. S. p. 200-9-18, T. p. 245-1-4-7, C2. p. 379-1-7-16.
107. Kosalalamkara, TTP. Vol. 70, No. 3326, pp. 288-5-8-289-4-8.
155
P a rt Two
a-5. Secret Rite

“Joining with any (deity) while pronouncing the HUM sound and
practising the samapatti of unifying the two organs109 (between
one and the deity), if one embraces (the body of deity) with (one's)
whole body, one can deprive this (deity) of life.
Joining with any (deity) while pronouncing the HUM sound and
practising the samapatti of unifying the two organs, if one seizes
(the deity's) lip with (one's) teeth and kisses it, one can turn this
(deity's) face towards (oneself).
practising the samapatti of unifying the two organs, if one
experiences pleasure, one can inflict suffering upon this (deity).
practising the samapatti of unifying the two organs, if one presses
(the body of deity) with (one's) whole body, one can protect this
(deity's) whole body.”110
This secret rite, entitled ‘rahasya-krodha-mudrd-jhana ’, refers to the means of
subjugating, attracting, destroying and protecting the sadhaka's chosen deity by
means of the deity-yoga. This deity-yoga consists of four meditational methods
performed together while pronouncing the HUM sound as well as practising the
samapatti of unifying the two organs (<dvayendriyasamdpatti)m which refers to the
perfect union between his mentally projected body and his chosen deity's female
body.
b. Rites o f the Four Mudras
b-1. Mahdmudrd Rite

The mahdmudrd section112 of the Trilokavijaya Mahamandala is divided into two
parts, i.e. the ways of binding the mahdmudrds and the benefits acquired as the
result. The STTS in this section explains the mahdmudrd of the Buddha Vairocana,
the mahdmudrd of Vajrahumkara, and the mahdmudrd commonly applied to the
other deities. Firstly, the method of practising the mahdmudrd of Vairocana is that
if one can recollect the Buddha by means of the Vajradhdtu for the welfare of living
beings, one can attain Buddhahood. This method employs the five abhisambodhis
explained in die Vajradhdtu Mahamandala. Thus, if die sddhaka visualises the
image of Vairocana while practising die five abhisambodhis, he can attain
enlightenment. Secondly, the method of practising the mahdmudrd of
Vajrahumkara is for the sddhaka to imagine the wradifid image of Vajrahumkara
heading on Mahesvara and Uma. Thus, the STTS explains that while drawing and
109. Chinese 2 reads: “union o f a lotus and a vajra”.

u o . S. p. 201-9-16, T. p. 245-1-8-2-2, C2. p. 379-1-24-2-3.
1!1. The samapatti o f unifying the two organs (dvayendriyasamdpatti) has already appeared in the
secret rites o f the previous chapters 3 and 4.
112 S. pp. 202-6-203, T. p. 245-2-3-3-2, C2. p. 379-2-9-3-2.
156
P a rt Two
pressing Mahesvara and Uma on the earth, if one can bind the Sattva-mudrd, which
denotes in this context visualising the image of Vajrahumkara, one can instantly
experience the transformation into the Trilokavijaya Vajrahumkara. Finally, the
method of practising the mahdmudrd commonly applied to the other deities is that
while abiding at the centre of the blazing circle of the Trilokavijaya Mahamandala
and drawing in one's mind the wrathful image of one's chosen deity, one should
bind the Sattva-mudrd with the vajras of body, speech and mind, which denotes
generating the pride (Tibetan nga-rgyal) of the deity with the mind, while assuming
the bodily form of the deity drawn in the mandala with the body and reciting the
mantra of the deity.113 The STTS in this section explains the benefits gained by
means of binding the mahdmudrds of Vairocana, the four Humkaras and sixteen
wrathful Mahabodhisattvas. For example, the benefit of the mahdmudrd of
Vajrahumkara is that the sddhaka becomes identical to Vajrahumkara (or
Trilokavijaya) and gains all the attributes of Vajrahumkara.
b-2. Samayamudrd Rite
The samayamudrd of the Trilokavijaya Mahamandala is generated from two
vajras referring to two fists, which is called wrath-bond (lcrodha-bandha).n 4 A
samayamudrd commonly applied to Vairocana and the four Humkaras, for
instance, is explained by the STTS that if one makes a vajra with (two) arms (which
denotes making two fists and crossing the wrists at the heart like a crossed vajra),
and bends the two little fingers like (two) hooks, and then stretches out the two
forefingers, (this is) called (the mudrd of) Trilokavijaya.115 This hand gesture
(mudrd) is also found in the first two hands of Vajrapani drawn in the
Trilokavijayakarma Assembly of the Nine Assemblies Mandala-116
b-3. Dharmamudra Rite
The dharmamudra section117 of the Trilokavijaya Mahamandala enumerates only
blja-mantras (seed-syllables) of Vairocana, the four Humkaras and sixteen
wrathful Mahabodhisattvas. For example, the HUM118-sound is used for
summoning both the Buddha (Vairocana) and Vajra (-humkara); the TRAIT19-
sound is used for Vajragarbha (or Ratnahumkara); the HRIH120-sound is used for
Vajrasena (or Dharmahumkara); and the /t/f 121-sound is used for Vajravisva (or
Karmahumkara). Thus, it can be understood that the dharmamudra of
113. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 290-3-5~6.

115. S. p. 204-4-5, T. p. 245-3-3-4, C2. p. 379-3-6-7.
116. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 973.
117. S. p. 205, T. p. 245-3-7-4-1, C2. pp. 379-3-20-380-1-11.
118. Sanskrit reads: “HUM”.
119. Tibetan reads: “TRAM”.
120. Tibetan reads: “H R IH \
121. Tibetan reads: “A ”.
157
P a rt Two
Vajrahumkara, for example, is accomplished by the sddhaka visualising a white

five-pronged vajra on the tongue and reciting the letter “H U M \ though the STTS in
this section does not explain the methods of perfecting the dharmamudras of the
deities of the Trilokavijaya Mahamandala.
b-4. Karmamudra Rite
The STTS explains a characteristic of the karmamudra of the Trilokavijaya
Mahamandala: -
“The karmamudras of the great kh/ra-family are epitomised by
forming the wrath-fist (krodha-musti) into two and performing
(the rite of) the vajra-pride (vajra-garva) and others.”122
All the karmamudras of the Trilokavijaya Mahamandala are generated from the
two separate wrath-fists. The vq/ra-pride refers to the rite of evoking Vajrasattva
explained in the Vajradhdtu Mahamandala. Thus, the sddhaka makes- the
karmamudra of his deity from the beginning by forming the two wrath-fists, while
evoking his deity in conformity with the rite of the Vajradhdtu Mahamandala.
6. Conclusion
One further contribution of the STTS to Tantric Buddhism is in this chapter (chapter
6) which includes two important features, i.e. Vajrapani's subjugation of Mahesvara
and his initiation of Hindu deities. Vajrapani's subjugation of Mahesvara which was
motivated by the story of the Buddha Sakyamuni's victory over Mara symbolises
the complete conquest of all lands of suffering and even death. In addition, the
Buddhist initiation of Hindu deities including Mahesvara and Uma symbolises the
assimilation of Hindus.
The Trilokavijaya Mahamandala represented by the wrathful images of the
thirty-seven deities guides the sddhaka to generate the wrathful thought in the mind
and to conquer all evil beings symbolising spiritual obstacles and defilements. Thus,
by means of evoking and imitating the wrathful deities, especially Vajrahumkara
treading on Mahesvara and Uma, the sddhaka accomplishes subjugation, attraction,
destruction and pacification.
122 S. p. 206-2-3, T. p. 245-4-1-2, C2. p. 380-1-13-14.
158
P a rt Two
Chapter 7. Krodhaguhya Mudramandala

Chapter 7 of the STTS123 provides an exposition of the Krodhaguhya
Mudramandala (alias Vajrasamaya Guhyamandala or Vajrakula Guhyamandala)
which is classified as the dhdrani-mandala and constitutes the supreme samaya
mudrd. This mandala focuses on the Wrathful Mind of Vajrapani. This mandala
also contains the main thirty-seven deities, but the images of the deities drawn in the
Trilokavijaya Mahamandala are replaced by their symbols in this mandala, as in
the case of the Vajraguhya Vajramandala (ch. 2). As Amoghavajra points out this
mandala involves various sounds, vo/ra-songs and vay'ra-dances,124 for the rite of
entry into this mandala involves sixteen dance-offerings which are divided into
four groups, i.e. nrtya (dance), prati-nrtya (counter-dance), upa-nrtya (subordinate-
dance) and jnana-nrtya (knowledge-dance), which are closely related to the
symbols and functions of the sixteen Mahabodhisattvas125 of this mandala. The
attainment-knowledge of this mandala explains the four methods of subduing
deities by means of practising deity-yoga.
(1) The first section of chapter 7 of die STTS starting with the words, “Then, the
Lord”126 and ending with the words, “77/77”,127 provides an exposition of the
second samddhi called the supreme mandala-king of the Krodhaguhya
Mudramandala. This section contains only the samddhi of Vairocana, which
displays some characteristics of this mandala, and the names of the other deities
appear in the following mandala-rite section.
(2) The next section starting with the words, “Then, Vajrapani once again”128 and
ending with the words, “BANDITA VAJRA”j 19 explains the mandala-rites of the
Krodhaguhya Mudramandala. This section is divided into two parts, i.e. the rite of
the mandala-construction including the deities' names in the form of a mantra and
123. S. chapter 7, pp. 211-224, T. pp. 246-1-8-247-3-2, C2. pp. 381-1-3-383-3-8.

124 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-9-10.
125. The STTS enumerates the names o f the sixteen Mahabodhisattvas as the form of mantra
known as mudrd-vidyds: Vajra-krodha-samaya, Vajra-rosahkusi, Vajra-rosa-kama-vajrini,
Vajra-tusti-krodha, Vajra-bhrkuti-krodha, Vajra-jvala-mala-prabha, Vajra-dhvajagra-keyura-
maha-krodha, Vajratta-hasanI, Vajra-suddha-krodha, Vajra-tlksna-krodha, Vajra-hetu-maha-
krodha, Vajra-jihva-maha-krodha-bhasa, Sarva-mukha-karma-vajrini-maha-krodha, Vajra-
kavaca-krodha, Vajra-canda-krodha-maha-yaksinI, Vajra-krodha respectively. (S. pp. 214-
2-216-3, T. p. 246-3-5-4-1, C2. pp. 381-2-19-382-1-6).
126. atha bhagavdn: S. p. 211-2, T. p. 246-1-8, C2. p. 381-1-4.
127. S. p. 212-3, T. p. 246-2-5.
This seed-syllable (bija) is missing in Chinese 2.
12S. atha vajrapanih punar api: S. p. 212-4, T. p. 246-2-5, C2. p. 381-1-20.
129. S. p. 220-18,'T. p. 247-1-2, C2. p. 382-3-27.
Tattvaloka reads: “ VAJRA BANDITAT
159
P a rt Two
the rite of mandala-Qntry involving the methods of practising the sixteen dance-
offerings.
knowledge of the secret m mudra of wrath”131 and ending with the words, “HUM
MANO VAJRA T H A Jf\m explains the muJra-knowledge of the Krodhaguhya
Mudramandala.
knowledge of the secret mudrd of the great Vajra-family” 133 and ending with the
words, “One should be possessed of the wrath through the wrathful vision”,134
briefly describes the rite of binding the four mudras of the Krodhaguhya
Mudramandala.135 A characteristic of all the mahd-mudrds of the Krodhaguhya
Mudramandala appears in the form of the hand gesture as in the case of those of
the Vajraguhya Vajramandala (ch. 2).
2. Mandala Rites
a. Structure o f the Krodhaguhya Mudramandala

This Mudramandala consists of the deities' symbols derived from the secret nature
of the Mind of Vairocana, and is called Krodhaguhya because the secrets of the
deities are transformed into goddesses and are manifested as symbols.136
“The supreme Vajramandala137 (of the Vajra-family) has the
basic design of the Vajradhdtu {Mahamandala) and is called
cKrodhaguhya (Wrath-secret) ’.
The whole mandala should be designed in conformity with the
{Trilokavijaya) Mahamandala. One should place the secret
mudras in the positions of the five mandalas.
One should place an image of the Buddha at the centre of this
Vajramandala. The wise should draw the wrathful pledges
correctly around the Buddha.
Having approached with the vajra-impulse138 the mandala of
Vajrapani (Vajrahiunkara-ma«<^z/n), one should horizontally draw
13°. Tattvaloka inserts: “vajra”.

131. tatah h'odhaguhyamudrajnanam siksayet: S. p. 221-1, T. p. 247-1-2, C2. p. 382-3-28.
132. S. p. 221-14, T. p. 247-1-5-6, C2. p. 383-1-13.
Tattvaloka reads: “HUM MANU VAJRA THAN.” Tibetan reads: “HUM VAJRA MANI
THAH.”
133. tato mahdvajralailaguhyamudrdjnanain silcsayet: S. p. 222-1, T. p. 247-1-6, C2. p. 383-1-
14-15.
134. Icrodhadrstya snrosavan iti: S. p. 224-8-9, T. p. 247-3-1, C2. p. 383-3-6.
135. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 138-4-8-139-1-1.
137. According to Sakyamitra the term ‘ Vajramandala’ denotes the mandala transformed by the
Lord Vajrapani. {Kosalalamkara, TTP. Vol. 70, No. 3326, p. 294-5-2).
138. Sakyamitra explains that the phrase ‘approaching with vo/ra-impulse’ means approaching
with the appropriate mantra and mudrd. (Kosalalamkara, TTP. Vol. 70, No. 3326, p. 295-
1-7).
160
P a rt Two
a spear139 at the centre, and also place a vajra there. In the centres
of the flames, one should draw in a correct order (1) a vajra, (2) a
vajra-h.odk, (3) an arrow,140 and (4) (the symbol of) satisfaction
(tusti).141
Having approached with the vayra-impulse the second supreme
mandala142 (Ratnahumkara-ma«(ia/a), one should draw a vajra-
gem which is placed in the centre of the wheel. One should draw
(5) a vajra in the centre of the frowning brows,143 (6) a vajra-sun,
(7) a banner,144 and (8) a set of teeth having vajras on both sides.
Having approached (with the vq/ra-impulse) the third supreme
mandala145 (Dharmahumkar a-wandala), one should draw a
divine wyra-lotus,146 which is placed in the centre of the lotus. In
the centres of the flames, one should draw correctly (9) a lotus,
(10) a sword, (11) a wheel,147 and (12) a vajra-tongue.
Having approached with the vq/ra-impulse the fourth supreme
mandala148 (Karmahrunkara-mfl«c/a/«), one should draw a vajra
above a horizontally (drawn) vajra, which is surrounded by vajras
and in great splendour.149 On its all sides having the splendour
displayed by all the flames, one should draw (13) a crossed vajra,
(14) a good armour, (15) a vayra-tusk, and (16) a fist.
One should also draw (the other symbols) in the comers and in the
external positions according to the instruction.”150
According to the above description, the bodily image of the Buddha Vairocana at
the centre of the whole mandala is exceptional for this is die mandala filled with
the deities' symbols. This bodily image of Vairocana is surrounded as usual by the
four symbols of four Paramitas, i.e. vajra, vajra-gem, vayra-lotus and crossed
vajra. However, in die Trilokavijayasamaya Assembly of the Nine Assemblies
Mandala,151 the bodily image of Vairocana is replaced by his symbol, i.e. a stupa
inside flames standing on a horizontal three-pronged spear placed on the lotus-seat,
as in the case of the Samaya Assembly of the Nine Assemblies Mandala152 which
corresponds to the Vajraguhya Vajramandala of the STTS (ch. 2).
139. Chinese 2 reads: “vajra-spear”.

140. Chinese 2 reads: “vajra-arrow”.
141. Chinese 2 reads: “finger-snapping aspect”.
142. Chinese 2 adds: “to the south”.
143. Chinese 2 reads: “the vajra-frown having the image of gem”.
144. Chinese 2 reads: “gem-banner”.
145. Chinese 2 adds: “to the west”.
146. Tibetan reads: “the divine object o f the Fay'ra-lotus”.
147. Chinese 2 reads: “vajra-wheel”.
14S. Chinese 2 adds: “to the north”.
149. Tibetan reads: “the great splendours o f the vajra”,
150. S. pp. 212-6-213-11, T. p. 246-2-5-3-4, C2. p. 381-1-22-2-15.
161
P a rt Two
The above indicated numbers refer to the sixteen wrathful Mahabodhisattvas'

symbols in correct order. Anandagarbha provides more detailed information about
the symbols of the four Humkaras and sixteen wrathful Mahabodhisattvas, The
Vajvdlmmkptm-mandala in the eastern quarter consists of five symbols. The first
one, which is the symbol of Vajrahumkara, is a vajra above a horizontally drawn
three-pronged spear, the top of which faces towards the right. The other four
symbols are (1) a five-pronged vajra, (2) a vq/ra-hook, (3) a vajra-arrow, and (4) a
pair of fists. They are drawn in each centre of the flames, and correspond to the four
wrathful Mahabodhisattvas surrounding Vajrahumkara. The Ratnahumkara-
mandala in the southern quarter also consists of five symbols. The first one, which
is the symbol of Ratnahumlcara, is a five-pronged vajra, the top of which has a
wish-granting-gem (cintamani), drawn in the centre of an eight-spolced wheel. The
other four symbols surrounding Ratnahumlcara are (5) a vajra-gem in the centre of
the frowning brow, (6) a five-pronged vajra in the centre of the sxm-mandala, (7) a
banner of the wish-granting-gem above the lunar disc, and (8) a set of teeth having
two vajras on both sides. The Dharmahumkara-maqcfa/a in the western quarter also
consists of five symbols. The first one, which is the symbol of Dharmahumkara, is
a sixteen-pronged vajra above an eight-petalled lotus. The other four symbols
surrounding Dharmahumkara are (9) a sixteen-pronged vajra above a lotus in the
centre of the flames, (10) a sword, (11) a wheel consisting of eight one-pronged-
vq/ra-shaped spokes, and (12) a vq/ra-tongue. The Karmahumkara-vzarcq'a/a in the
northern quarter also consists of five symbols. The first one, which is the symbol of
Karmahumkara, is a crossed vajra, the end of which is surrounded by minute
crossed vajras, above a three-pronged vajra, the top of which faces towards the
east. The other four symbols surrounding Karmahumkara are (13) a crossed vajra,
(14) vq/'ra-armour, (15) a double vq/ra-tusk, and (16) a five-pronged vajra seized
by the two fists of the samaya-mudra explained in the Vajradhdtu Mandala.152
The above quotation does not include detailed descriptions about the symbols of
eight Offerings, four Door-guardians and sixteen Bhadrakalpa Mahabodhisattvas,
because they are the same as the symbols drawn in the Vajraguhya Vajramandala
(ch. 2). It is evident that all the symbols are drawn inside flames. According to
Anandagarbha and Sakyamitra,154 since this mandala does not give any clue about
the external- Fq/ra-family, and four mandalas of the Trilokacalcra (ch. ll~14-a)
provide detailed information about the external-Fq/ra-family, it is clear that the
symbols of the external- Fq/ra-family do not exist in this mandala. Toganoo
Sh5un155 argues that this Krodhaguhya Mudramandala has the symbols of the
external- Fq/ra-family because the external- Fq/ra-family occupy the Trilokavijaya

154 Tattvaloka, TTP. Vol. 71, No. 3333, p. 268-3-3-4; Kosalalatnkdra, TTP. Vol. 70, No.
3326, p. 295-4-2.
155. Toganoo Shoun, Mandara no kenltyii, pp. 352-353,
162
P a rt Two
Mahamandala of the STTS, and the Trilokavijayasamaya Assembly of the Nine

Assemblies Mandala156 shows the symbols of twenty gods of the external- Vajra-
family.
“At first, as soon as (the pupil) enters (the mandala) in conformity
with the rite of entering the Trilokavijaya (Mahamandala), (the
vajra-master) should execute the dance-offering with samaya
mudrd (gesture), prati157-mudrd (counter-mudrd), upa-mudra
(subordinate-mwdra) and jhdna-mudra (knowledge-mwc/ra) of the
Vajra-family of the Vajraguhya, for the sake of worshipping
Vajradhara.158
Thus, there is this ww<ira-knowledge of the (four kinds of)
offerings, i.e. nrtya (dance), prati-nrtya (counter-dance), upa-
nrtya (subordinate-dance) and jhana-nrtya (knowledge-dance).
At first, (the vq/ra-master) should recite the hrdaya assembled in
the Vajradhdtu (Mandala) together with the vq/ra-song.159
Having executed the praise-offering for all the Tathagatas, tire
vq/ra-master should burst open the mudrd of Sattvavajri.160 Then,
those who have already entered (this mandala) take possession of
(divine knowledge) by means of (the above four kinds of)
mudras.”161
As in the case of the Trilokavijaya Mahamandala, the vq/ra-master enters this
mandala by binding the terintiri-mudrd of Vajrakrodha. Then, when his pupil
enters the mandala, the vq/ra-master executes the dance-offering with four kinds of
mudras, i.e. samaya-mudrd, prati-mudra, upa-mudra and jndna-mudra. The
samaya-mudrd belongs to the Fq/ra-family, and it consists of the mudras of the
four Mahabodhisattvas of the Vajra-family. The prati-mudra which is the counter-
mudrd of the samaya-mudrd belongs to the itatoa-family, and it consists of the
mudras of the four Mahabodhisattvas of the Ratna-family. The upa-mudra belongs
to the Dharma-family, and it consists of the mudras of the four Mahabodhisattvas
of the Dharma-family. The jnana-mudrd belongs to the Karma-family, and it
156. TSD, Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 989-1004.

157. The Tibetan text translates the Sanskrit word p rati as 'dra-ba, which literally means ‘equal’.
However, both Anandagarbha and Sakyamitra read it as lan, which means ‘reply’.
158. Chinese 2 reads: “in front o f Vajradhara”.
159. Anandagarbha comments that the vajra-song refers to the hrdayas assembled in the
Vajradhdtu'. “OM, Vajrasattva, Assembler! Vajraratna, Superior! Vajradharma, Song-holder!
Vajrakarma, Supreme-performer!”. (Tattvaloka, TTP. Vol. 71, No, 3333, p. 269-2-2-3).
16°. The mudrd of Sattvavajri is made by forming a fist with the right hand, and fastening the
thumb behind the middle finger, and then stretching forth the middle finger. {Tattvaloka,
TTP. Vol. 71, No. 3333, p. 269-2-5-6). This middle finger is burst open by means of
forming a hook with the forefinger o f the vay'ra-fist of the left hand. {Kosalalamkara, TTP.
Vol. 70, No. 3326, p. 296-3-8).
161. S. p. 217-8-17, T. p. 246-4-4-7, C2. p. 382-1-25-2-6.
163
P a rt Two
consists of the mudras of the four Mahabodhisattvas of the Karma-f&mi\y.162

According to Sakyamitra,163 when the vajra-master binds the mudrd of Vajrasattva,
his pupil sees it and binds the mudrd of Vajraratna which is the counter-mudrd of
the mudrd of Vajrasattva. Then the vajra-master releases the mudrd of Vajrasattva
and binds the mudrd of Vajraraja. When his pupil sees it he binds the mudrd of
Vajratejas which is the counter-mwc/ra of the mudrd of Vajraraja. In this way, die
vq/ra-master teaches the four samaya-mudras and the four prati-mudras. Then, he
shows the four upa-mudrds and his pupil practises binding them. Finally, he shows
the four jndna-mudras and his pupil practises binding them. Since these four kinds
of mudras were basically derived from Indian ritual dances, they correspond to
nrtya, prati-nrtya, upa-nrtya and jndna-nrtya respectively, each of which consists
of four offerings.
b-L Nrtya-offering
“While executing the vajra-dance with two fingers164 of
165Vajrakrodha, one should bind the mudrd of Vajrahumkara166 at
one's heart.
Then, while executing the dance-rite, one should attract all the
Buddhas with the hook of Vajrakrodha. (Then) one should shoot
the vayra-arrow.167
While shooting the va/ra-arrow, one can succeed with Vajratusti
(Vajra-]oy). Having untied the mudram according to the rite, one
should bind it with one's palms (which refer to clapping gently the
hands in order to make the mudrd steadfast169).
One should delight Vajrapani with this (dance-) offering-rite. Due
to his satisfaction, one can accomplish all the desired activities in a
moment.”170
b-2. Pratinrtya-offering
“While dancing in the same way, one should hold the left hand
with the right fist. Having turned it round, one should place the tip
of the forefinger on the forehead.171
162. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 296-1-6-2-3; Tattvaloka, TTP. Vol. 71, No.
3333, p. 269-1-5-8.
164. Tibetan reads: “two forefingers”.
165. Chinese 2 omits “ Vajra”.
166. Chinese 2 reads: “the maha-mudra o f Trilokavijaya”.
167. Chinese 2 reads: “one should make the gesture of shooting the vajra-arrow”.
168. Kosalalamkara adds: “at the heart”. (TTP. Vol. 70, No. 3326, p. 296-5-2).
169. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 296-5-4.
170 S. p. 218-1-8, T. p. 246-4-7-5-1, C2. p. 382-2-7-14.
171. Chinese 2 reads: “While executing the vq/ra-dance in the same way one should hold the right
fist with the left hand. Having turned it round, one should place it on the forehead, and then
place the forefinger in the mouth.”
164
P a rt Two
While dancing in the same way, one should encircle the sun172 and
summon it.
Having raised the vfyra-banner, one can laugh with
Vajrattahasa173 ( Hfyra-loud-laughter).
By means of this rite of worshipping, one can satisfy all men
including kings with power and splendour or with gifts and
hope”174
b-3. Upanrtya-offering
“Then, having finished the dance, and having placed over one's
heart the tips of the forefingers which are joined together like a
lotus-bud, one should bow down with thoughts (as if) trembling.
While dancing again in the same way, one should cut off the
hindrances with the vfym-sword.
Just as one turns round the wheel of a fire-brand, in the same way
one should turn the wheel-?nandala.
While singing with the vfyra-sound, one should worship
Vajrapani. By means of this offering-rite, one attains everything
eternally.”175
b-4. Jnananrtya-offering
“The fingers of the vfyra-wrath should be stretched upwards, and
their tips should be joined. Having turned them round, one should
place the tips of the forefingers on the crown.176
By means of the vfyra-action, one should display the supreme
mandala of the universal action,177 according to the dance-rite.
Then, one should re-establish it over the heart.
Then, while executing the dance-rite, one should bind (the mudrd
of) Vajraraksa. Having bound (the mudrd of) Vajradamstra, one
should press with the vajra-fist.178
By means of this offering-rite, one can execute all rituals. Having
executed the four rites of the offerings, one should untie the
mudrd according to the rite.”179
The functions of these four kinds of dance-offerings are explained by
Anandagarbha.180 The nrfys-offerings are the means of worshipping employed for
the purpose of generating the thought of enlightenment, the pratinrtya-offerings are
172. Chinese 2 reads: “ the sun-matidala”.

173. Tibetan reads: “the vq/>-a-laugh, so-called,-/m ha”.
174 S. pp. 218-15-219-4, T. p. 246-5-2-4, C2. p. 382-2-21-26.
175. S. p. 219-10-15, T. p. 246-5-5-7, C2. p. 382-3-4-9.
176. Chinese 2 reads: “Having turned them round, one should place them on the crown, and
should place their forefingers in the mouth.”
177. Tibetan reads: “the universal body”.
178. Chinese 2 reads: “Having joined both hands, (one forms the mudrd of) Vajradamstra, and the
two vayra-fists press each other.”
179 S. p. 220-6-13, T. pp. 246-5-7-247-1-2, C2. p. 382-3-15-22.
180 Tattvaloka, TTP. Vol. 71, No. 3333, pp. 269-2-8-270-2-3.
165
P a rt Two
used for attaining the perfection of giving (ddna-paramitd), and the upanrtya-
offerings are used for attaining the perfection of wisdom (prajnd-pdramita). Since
the perfections of giving and of wisdom are the first and the last of the six
perfections, the pratinrtya-offcvmgs and the upanrtya-off&iings symbolise attaining
all the six perfections. The final jndnanrtya-offerings, which include the method of
releasing the mudrd which symbolises the liberation from bondage, refer to the
methods of the imperishable yoga.
3. Mudrd-Knowledge
The mwc/ra-knowledge or attainment-knowledge of this mandala is entitled
‘Icrodha-guhya-mudrd-jndna5.181 The Sanskrit term Icrodha-guhya indicates the
Krodhaguhya Mudramandala,
“If one generates the wrathful thought, and (imagines) destroying
someone whose name is called by a vajra clasped182 with one's
hands, his heart will burst.
If one (imagines) holding and pressing down with one's teeth the
lower lip of someone whose name is called, his head will burst
quickly, as soon as he transgresses one's command.
If one (imagines) closing one's eyes possessing the great vision of
Vajrakrodha, and beholding someone whose name is called, his
eyes will burst.
While meditating on Vajrakrodha, if one (imagines) pressing upon
one's heart with one's vajra-bond, the mind (of someone whose
name is called) will burst open.”183
In this rite, Vajrakrodha indicates a wrathful deity chosen by the sddhaka in this
mandala. This rite begins with performing deity-yoga. In this yoga, the sddhaka
visualises and worships his deity with the dance-offerings. Then, the sddhaka can
summon, draw in, bind and subdue deities, especially evil deities, by means of the
powers of the body, speech, vision and mind of his deity.
4. Conclusion
Since the Krodhaguhya Mudramandala has the characteristics of the samaya
mudrd represented by symbols and gestures, this mandala is filled with the
symbols of the deities of the Trilokavijaya Mahamandala. Most images of the
symbols drawn in the mandala are basically similar to those of the Vajraguhya
Vajramandala (ch. 2), the main difference being that all the symbols of the
Krodhaguhya Mudramandala are placed inside flames, which symbolise the
wrathfiil aspects. The rite of entry into this mandala employs the sixteen dance-
offerings derived from the gestures of Indian ritual dances. These sixteen dance-
offerings symbolise the sixteen female-shaped Mahabodhisattvas of the Vajra-
1S1. Chinese 2 reads: “la*odha-vajra~mudra-jnancC\

182. Only Tibetan misreads "clasped” (Sanskrit grhyct) as “secret” (guhya).
183. S. p. 221-2-9, T. p. 247-1-3-5, C2. p. 383-1-1-8.
166
P a rt Two
family represented by the symbols in the mandala. Thus, the sddhaka worships
Vajrahumkara with these sixteen dance-offerings in order to generate the nature of
Vajrahumkara in his mind and to subdue evil beings by the powers of
Vajrahumkara.
167
P a rt Two
Chapter 8. Vajrakula Dharmajnanasamayamandala

Chapter 8 of the STTSm provides an exposition of the Vajralaila
Dharmajnanasamayamandala which is classified as the dharma-mandala and
constitutes the supreme dharma-mudra. This mandala focuses on the Wrathful
Speech of Vajrapani. Like Hie Vajrajnana Dharmamandala (ch. 3), this mandala
also contains the main thirty-seven deities, and each deity is drawn in the centre of a
vajra holding its own symbol. As Amoghavajra185 points out the mudrd-
knowledge of this mandala deals with the destruction-rite (abhicaraka) and
explains the various meditational methods, such as controlling the mind with the
subtle-va/ra, all of which are derived from those described in the Vajrajnana
Dharmamandala (ch. 3). In addition, die secret rite of this mandala explains four
methods of subduing or destroying evil beings by practising the deity-yoga of
Vajrahumkara.
Lord”186 and ending with the words, “0M SUKSMA VAJRA MUSTI KRODHA
BANDHA BANDHA HUM PHAT”,1*1 provides an exposition of the second
samddhi called the supreme mandala-king of the Vajralaila Dharmajndna-
samayamandala. Thus, this section displays twenty-one deities' names excluding
the names of the four Paramitas, the eight Offerings and the four Door-guardians
out of the main thirty-seven deities of this mandala. Each name of the sixteen
wrathful Mahabodhisattvas includes two Sanskrit words, i.e. krodha (wrath) and
sulcsma (subtle) referring to the suksma-jhana (subtle-knowledge).
(2) The next section starting with the words, “Then 188Vajrapani once again
enunciated this Vajrakula Sulcsmajndnasamayamandala”189 and ending with the
words, “One should place the vajra into both hands190 (of the pupil)”,191 explains
the mandala-rites of the Vajrakula Dharmajnanasamayamandala.
(3) The next section starting with the words, “Then, one should teach the subtle-
ltnowledges of the va/ra-wrath”192 and ending with the words, “HUM
HRDAYAKARSANA KRODHA PRAVlSA KAYAM HRDA YAM CCHINDA

185. ORA VS, TSD. Vol. 18, No. 869, p. 285-2-11-13.
186. atha bhagavam: S. p. 225-3, T. p. 247-3-2, C2. p. 383-3-15.
187. S. p. 227-18, T. p. 247-4-4, C2. p. 384-2-24-25.
188. Chinese 2 inserts: “the Bodhisattva Mahasattva”.
189. atha vajrapanih punar apldam vajrakulasulcsmajhdnasamayamandalam udajahara: S. p.
228-1-2, T. p. 247-4-4, C2. p.'384-2-26-3-1.'
190. Sanskrit reads: “the hand”, Chinese 2 omits: “both hands”.
191. vajram yathavat panau dattva: S. p. 229-3-4, T. p. 247-5-3, C2. p. 384-3-18.
192. tato vajralcrodhasultsmajhanani si/csayet: S. p. 229-4-5, T. p. 247-5-3, C2. p. 384-3-19.
168
P a rt Two
BHINDA KADDHA KADDHA193 m P H A T \195 explains the mw^ra-knowledge of

the Vajrakula Dharmajnanasamayamandala consisting of four kinds of
meditational practices and a secret rite.
(4) The final section stalling with the words, “Then, one should teach the
knowledge of the dharma196-mudrd of the Fq/ra-family” 197 and ending with the
words, “The karma-mudrds briefly are accomplished according to the rite”,198
briefly explains the basic characteristics of the four mudras of the Vajrakida
Dharmajnanasamayamandala.199
2. Samddhis o f Vairocana and Four Chief Mahabodhisattvas
Chapter 8 of the STTS begins with five samddhis of Vairocana and four chief
Mahabodhisattvas, i.e. Vajrapani, Vajragarbha, Vajranetra and Vajravisva, who
represent the four families, i.e. Vajra, Ratna, Padma and Karma respectively.
These four Mahabodhisattvas represent and replace the four Tathagatas of the
Vajradhdtu. The STTS explains the five samadhis:-
“Then, the Lord once again having entered the samddhi called the
Mudrd-Empowerment of the Samadhi-YLno'wlQdgG of the Vajra-
Family of All the Tathagatas, pronounced this supreme vidyd (of
his200): ‘OM SARVA-TATHAGATA SUKSMA VAJRA KRODHA
HUM PH AT.
Then, the Mahakrodharaja201 Vajrapani pronounced this supreme
vidyd of the subtle-vq/ra of conquering the three worlds: ‘OM
SUKSMA VAJRA KRODHAKRAMA HUM PH AT.
Then, the Bodhisattva Vajragarbha pronounced this supreme vidyd
of the subtle-wz/ra of conquering the three worlds: ‘OM SUKSMA
VAJRA RATNA 202KRODHAKRAMA HUM PH AT.
Then, the Bodhisattva Vajranetra pronounced this supreme vidyd
of the subtle-vq/ra of conquering the three worlds: ‘OM SUKSMA
VAJRA PADMA KRODHAKRAMA HUM PHAT.
Then, the Bodhisattva Vajravisva pronounced this supreme vidyd
of the subtle-vq/ra of conquering the three worlds: ‘OM SUKSMA
VAJRA KARMA KRODHAKRAMA HUM PH AT.”203
193. Tibetan reads: “KATA KATA

194. Tattvaloka and Tibetan both insert: “HUM”.
195. S. p. 233-14-15, T. p. 248-2-5, C2. p. 385-3-6-8.
196. Chinese 2 inserts: “mandala”.
197. tato vajrakuladharmamiidra.jfia.nam siksayet: S. p. 234-1, T. p. 248-2-5-6, C2. p. 385-3-9.
198. karmamudrdh samasena siddhim yanti yathavidhir iti: S. p. 235-3-4, T. p. 248-3-2, C2. p.
385-3-25.
199. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 139-1-2-2-6.
200. Tibetan and Chinese 2 both omit: “his”.
201. Tibetan omits: “Mahd”.
2 0 2 . Only Sanskrit omits: “KRODHA" .
203. S. pp. 225-3-226-6, T. p. 247-3-2-7, C2. pp. 383-3-15-384-1-10.
169
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From this chapter (ch. 8 of part two) up to the last chapter of part four (ch. 22-b)
there is a common pattern in each of the opening sections consisting of the
samddhis of Vairocana and four chief Mahabodhisattvas except the expositions of
three mandalas classified as eka-mudrd-mandala, i.e. Vajrahumkara Mandala204
(containing only the samddhi of Vajrapani), Sarvajagadvinaya Mandala205
(containing only the samddhi of Avalokitesvara), and Sarvarthasiddhi Mandala206
(containing only the samddhi of Akasagarbha).
3. Mandala Rites
a. Structure o f the Vajrakula Dharmajnanasamayamandala

The Trilokavijaya Mahamandala is comparable to the Vajralaila Dharmajhana-
samayamandala because the latter is constructed in conformity with the former.
However, one difference is that in this latter mandala each deity is drawn in the
centre of the vajra symbolising the vq/ra-subtle-knowledge like the Vajrajnana
Dharmamandala (ch. 3):-
“The supreme Dharmamandala (of the Fq/ra-family) has the
lKrodhajhdna (Wrathful Knowledge)’.
One should design the whole mandala in conformity with the
{Trilokavijaya) Mahamandala. At the centre of (the whole
mandala), one should draw the Buddha (Vairocana) placed in the
centre of the knowledge-vq/ra.
One should draw (four) symbols207 on all sides of the Buddha.
Having approached with the vq/ra-impulse, one should correctly
position (four Mahabodhisattvas), namely, Trilokavijaya and the
others in (the centres of) the four-fold mandalas. On all their
sides, the Vajrakrodhas should be positioned according to the
rite.”208
According to the STTS, this Vajrakula Dharmajnanasamayamandala is also called
Vajrakula Suksmajndnasamayamandala, the meaning of which is explained by
Anandagarbha as the subtle-knowledge {sulcsma-jhdna) of the Fq/ra-family
indicating the subtle-vq/ra {suksma-vajra) and the pledg^-mandala {samaya-
mandala) of this subtle-vq/ra is called dharma-mandala.209 As stated in the section
on the Vajrajnana Dharmamandala (ch. 3), since the subtle-vq/ra is the
knowledge-vq/ra and is regarded as the symbol of this mandala, the Buddha
Vairocana is drawn in the centre of the knowledge-vq/ra. In this mandala,
Vairocana assumes the posture of meditation and holds the subtle-vq/ra over his
204. S. pp. 250-6-252-3 o f chapter 10, T. p. 249-4-8-5-6, C2. pp. 388-3-9-389-1-3.

205. S. pp. 379-380-7 o f chapter 18-b, T. pp. 260-5-6-261-1-5, C2. p. 411-2-20-3-15.
206. S. p. 433 o f chapter 22-b, T. p. 266-2-4-8, C2. pp. 422-3-23-423-1-8.
207 Tibetan reads: “all the essential images of the Buddha”.
208. S. p. 228-3-11, T. p. 247-4-4-7, C2. p. 384-3-2-9.
170
P a rt Two
heart and is drawn above a horizontal five-pronged blazing vajra on the lion-seat,
surrounded by the four symbols of his four Paramitas. The four Humkaras and the
other deities adopt a sitting cross-legged posture and hold over their hearts their
own attributes with their hands formed into the vq/ra-bond.210 Like Vairocana, each
of these deities is also drawn in the centre of the knowledge-vq/ra.
Since the ritual of the entry into this mandala is basically identical with the ritual of
the Trilolmvijaya Mahamandala, most of the details such as the vq/ra-master's
entry-rite are omitted in this section of the STTS. However, the tantric vow is
particularly emphasised:-
“In the beginning, as soon as (the pupil) enters (the mandala), (the
vajra-master) should say to the pupil:211 ‘Now you have been
consecrated in the nature of Vajrakrodha of all the Tathagatas by
the Lord Vajrapani. Exert yourself. In order to realise the goals
that range from liberating the whole and complete sphere of living
beings up to the acquisition of the highest attainment of the benefit
and welfare of all the Tathagatas, one may kill all living beings by
Vajrakrodha as a token of then purification. Who again will dare
to speak about (killing) all evil beings?’ Having said thus, (the
vajra-master) should remove the face-cover (of the pupil). Then,
having revealed the whole mandala, (the vq/ra-master) should
place the vajra into both hands212 (of the pupil).”213
The key phrase in this quotation, “One may kill all living beings by Vajrakrodha as
a token of their purification. Who again will dare to speak about (killing) all evil
beings?”, interpreted on the basis of the story of Vajrapani's subjugation and the
conversion of Mahesvara, is that the sddhaka should kill and resuscitate all living
beings, and definitely all evil beings, for their purification and conversion by means
of Vajrahumkara visualised as the sddhaka himself.
4. Mudrd-Knowledge
a. Vajralcrodhasuksmajhana
Hie term Vajrah'odhasulqsmajnana means the knowledge of the subtle {-vajra) of
Vajrakrodha referring to Vajrahumkara or any wrathful deity chosen by the
sddhaka. It is divided into four kinds of meditation practices, by means of which
the sddhaka gains the powers of destroying all evil beings. The following sections
(a), (b), (c) and (d) basically employ the same meditation methods as those
2i0. Ibid., p. 273-1-3-2-2.

21 f Sanskrit and Tibetan both omit: “to the pupil”.
212. Sanskrit reads: “the hand”. Chinese 2 omits: “both hands”.
213. S. p. 228-14-229-4, T. p. 247-4-8-5-3, C2. p. 384-3-11-18.
171
P a rt Two
described in the Vajrajnana Dharmamandala (ch. 3), i.e. four dhydnas, four
brahma-vihdras, four drupya-samapattis and three vimolcsa-mukhas respectively.
(a) “(The sddhaka) should (reflect upon the subtle-vq/ra at the tip
of his nose) and make the subtle-vq/ra steadfast in union with
Vajrahumkara. Then, if he applies it (from the tip of his nose) to
(the nose of) someone (while joining in Vajrahumkara and
reciting) the syllable HUM, the life of that 214one is destroyed.
Having made the subtle-vq/ra steadfast, he should diffuse it (like
breathing out) according to the rite. Where he diffuses it, there the
enemy is destroyed.
In union with Vajrahumkara, he should execute the rite of the
subtle-vq/ra. Where he diffuses it in wrath (into the worlds in all
directions), there living beings215 will be destroyed totally.
In the same way, he should withdraw it (like breathing in). While
joining in (the deity-) yoga, if he wishes, he can restore the life216
(of someone who has been destroyed) completely without
exception.”217
(b) “He should steadfastly remain hostile218 against someone. By
means of diffusing friendliness, he can destroy that one by
hostility.
By means of diffusing hostility, he (should engender) compassion
towards someone. By means of that compassion, he can destroy
all evil beings.
If he conceives that both dharmas and adharmas219 have
luminousness220 by their nature, he can destroy living beings by
means of (reciting) the syllable HUM (and performing the
V aj rahumkara-y oga).
Heretics are not the vessels for the Buddhahood. For the benefit of
their purification, he should destroy them by means of (reciting)
the syllable HUM (and performing the Vajrahumkara-yoga:).”221
(c) “He should draw an image of the vajra in his mind. (If he
imagines that) it descends into the centre of someone's house, he
can destroy the family therein.
In the same way, he should visualise the heart-vajra (referring to
Vajrasattva) according to the subtle {-vajra) rite. (If he imagines
214. Chinese 2 inserts: “evil”.

215. Chinese 2 reads: “evil beings”.
21k Chinese 2 reads: “the life o f an evil being”.
217. S. p. 229-6-13, T. p. 247-5-3-6, C2. p. 384-3-20-27.
218. Compared with Tibetan and Chinese 2, the Sanskrit term vajrarn written in the Yamada
Isshi's STTS (page 230 line 1) and Lokesh Chandra's Devanagarl edition (page 79 line 29) is
the misprint for the Sanskrit term v air am, which means ‘hostile’.
219. Anandagarbha interprets dharmas and adharmas in this context referring to ten virtues
(Icusala) and ten sins (akusala). (Tattvaloka, TTP. Vol. 71, No. 3333, pp. 274-1-2-3).
220. Chinese 2 reads: “purity”.
221. S. p. 230-1-8, T. pp. 247-5-7-248-1-2, C2. p. 385-1-5-12.
172
P a rt Two
that) an image of Mahabodhisattva222 descends (into the centre of

someone's house), he can destroy the family (therein).
He should visualise a great image of Vajrapani. If (he conceives
that die great image of Vajrapani) descends into the kingdom223
(filled) with various sorts of vices, he can destroy it together with
its king.224
He should visualise an image of the Buddha endowed with the
best of all forms. If (he conceives diat the image of the Buddha)
descends into the kingdom225 (filled with various sorts of vices),
he can destroy that kingdom226 permanently.”227228
(d) “By means of the subtle-vq/ra, he should visualise an image of
the moon as himself. If he descends into some place with his
mind, he can cause destruction there.
He should visualise a vajra inside the moon as himself. Being
greatly enraged, if he descends into some place with his mind, he
can destroy the family of that place instantly.
He should visualise Vajrapani as himself. If he descendsinto
some place with his mind, he can destroy that place instantly.
He should visualise an image of the Buddha as himselfIf he
descends into some place with his mind, he can destroy the
kingdom229 of that place instantly.”230231
In section (a), the sddhaka meditates on the subtle-vq/ra together with performing
the yoga of Vajrahumkara (or his deity-yqga) and reciting the syllable HUM. Thus,
by means of employing the subtle-vq/ra and deity-yoga, the sddhaka destroys all
evil beings. Section (b) explains the methods of cultivating feelings. In order to
cultivate feelings effectively, the sddhaka meditates on binary opposites, i.e.
friendliness and hostility, compassion and hostility, dharmas and adharmas, and
purification and destruction. Sections (c) and (d) both explain the methods of
destroying evil families or places, but differ in section (c) where the sddhaka
accomplishes destruction by means of the objects visualised by himself, whereas in
222. Only Sanskrit reads: “a great image o f Bodhisattva”.

223. Tibetan reads: “samsara” instead o f “kingdom”.
224. Tibetan reads: “queen” instead of “king”.
Chinese 2 reads: “In samsara, who does evil actions against Dharma can be a man or a
woman. While he conceives o f an image of Vajrapani, he should destroy whoever has done
evil actions.”
225. Tibetan reads: “the place where is perceived”.
226. Tibetan reads: “samsara” instead o f “kingdom”.
227. Chinese 2 reads: “According to the instruction, he should conceive of an image of Buddha
endowed with the best o f all forms. While conceiving of it, he should destroy whoever
mocks at Dharma and acts against Dharma, in samsara.”
22S. S. p. 231-1-8, T. p. 248-1-2-5, C2. p. 385-1-20-27.
229. Tibetan reads: “samsara'1'' instead o f “kingdom”.
230. Chinese 2 reads: “He should conceive of an image of the Buddha as himself. If he wishes to
destroy someone who acts against Dharma, that one will be destroyed instantly.”
231. S. p. 232-1-8, T. p. 248-1-6-8, C2. p. 385-2-5-12.
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P a rt Two
section (d) the sddhaka does it by himself, i.e. by means of the objects visualised as
himself.
b. Secret Rite
“In union with Vajrakrodha (vajrakrodha-samdpatti), if (the
sddhaka) moves his (visualised) body, and embraces someone
whose name is called (with his visualised body) while reciting:
Vajrahumkara, that one will die.
He enters the state of the subtle-vq/ra. As soon as he breaths out
the subtle {-vajra) from his nose while (reciting) the syllable
'H U M , he can even destroy the three worlds.
If he performs the rite of the subtle-vq/ra, and in wrath he beholds
anyone with the vq/ra-vision, that one will be either blind or dead.
If he enters the orifice {bhaga) of someone, and summons the
heart of that one with his mind, he can bring that one under either
his or Yama's control.”232
This rite explains four methods of destroying evil beings by means of the yoga of
Vajrahumkara. In this rite, the sddhaka visualises Vajrahumkara as himself, and
subdues evil beings by means of the visualised Vajrahunilcara's body, speech,
vision and mind. Thus, the above four segments refer to the four mudras of
Vajrahumkara, i.e. body-mudrd, speech-mwrira, vision-mudrd and mind-mudrd
respectively.
5. Conclusion
All the rites of the Vajralaila Dharmajnanasamayamandala are related to
meditation {samddhi) and the subtle-vq/ra {sulcsma-vajra) symbolising knowledge
and truth. Thus, every deity drawn in this mandala holds its own symbol, assumes
the posture for meditation and is positioned at the centre of the subtle-vq/ra or
knowledge-vq/ra. In addition, the mwrira-knowledge of this mandala focuses on
the meditation like the Vajrajnana Dharmamandala (ch. 3). However, while the
purpose of the Vajrajnana Dharmamandala is to generate the thought of
enlightenment and eventually to attain Buddhahood through controlling the mind,
the purpose of the Vajrakula Dharmajnanasamayamandala is to destroy all evil
beings, or symbolically to eliminate all hindrances and sufferings arisen in the mind,
by means of the deity of Vajrahumkara or the sddhaka's chosen deity.
232 S. p. 233-2-9, T. p. 248-2-1-4, C2. p. 385-2-19-26.
174
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Chapter 9. Vajrakula Karmamandala

Chapter 9 of the STTS233 explains the Vajrakula Karmamandala which is
classified as the karma-mandala and constitutes the supreme karma-mudra. This
mandala focuses on the Wrathful Action of Vajrapani. Since this is the mandala of
worshipping Vairocana and the four Humkaras, all the other deities have female
appearances. This mandala explains the homa-rite (bumt-offering) as its
attainment-lcnowledge. The OKA VS of Amoghavajra provides a short summary of
this chapter
“The fourth mandala (of the Trilolmvijaya) is called the karma
mandala. It also contains thirty-seven deities. (This section of the
tantra) explains the rite of entering the mandala. In this section,
the homa-rite is explained to the pupil. Thus, if one makes
extensive offerings in front of the immeasurable Buddhas and
Boddhisattvas, one can then accomplish siddhis quickly. The text
also explains twenty-five kinds of homa hearths (kunda) and the
methods of offering in accordance with their types.”234
One of the slight differences between the OEA VS and the STTS is found in this
quotation, because there is no description of the hearths employed for the homa rite
in the STTS. Instead the STTS explains the sixteen kinds of substances (dravya)
used for burning and the methods of executing the homa rite by means of burning
them.
Lord entered the samadhi called the Empowerment Generated from the Pledge of
the Vajra-Action of all the Tathagatas”235 and ending with the words, “They
remained resting on the lunar discs”,236 provides an exposition of the second
samadhi called the supreme mandala-king of the Vajralada Karmamandala. This
section contains the five samddhis of Vairocana and the four chief
Mahabo dhisattvas.
(2) The next section starting with the words, “Then, the Mahabodhisattva237
Vajrapani”238 and ending with the words, “Then, in this karmamandala one should
execute the extensive rite correctly”,239 explains the mandala-rites of the Vajrakula
Karmamandala. This section enumerates the names of the sixteen

234 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-16-17.
235. at ha bhagavam sarvatathagatavajrakarmasamayasambhavadhisthdnan nama samddhim
samapadya: S. p. 236-2-3, T. p. 248-3-3, C2. p. 385-3-27—28.
236. candramandaldny asritydvasthitd iti: S. p. 238-2, T. p. 248-4-2-3, C2. p. 386-2-2.
237. Tattvdloka omits: “Mahabodhisattva”.
238. atha vajrapanir mahabodhisattva : S. p. 238-3, T. p. 248-4-3. Chinese 2 omits.
239. athatra karmamandale yathdvad vidhivistarah h'tva : S. p. 240-1, T. p. 248-5-2, C2. p. 386-
3-17-18.
175
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Mahabodhisattvas of the mandala, but does not provide detailed information about
the entry-rite into the mandala.
(3) The next section starting with the words, “One should generate the knowledges
of the action240 of the Vajra-family”241 and ending with the words, “OM VAJRA-
DHARA GUHYA SIDHYA HUM”,242 explains the attainment-knowledge of the
Vajrakula Karmamandala. This section focuses on the homa rite and a secret rite.
knowledge of the mahamudrd of the action of the Vajra-family”243 and ending with
the words, “by means of the vq/ra-action”,244 provides a short summary of the four
mudras of the Vajrakula Karmamandala245
2. Structure o f the Vajrakula Karmamandala
Like the Vajrakdrya Karmamandala (ch. 4) the sixteen Mahabodhisattvas in this
mandala appear in feminine form because according to the STTS female deities
generated from Vajrapani's heart dwell in the lunar discs of this mandala, and also
their names in the Sanskrit STTS have feminine endings.246
“The supreme Karmamandala (of the Vajra-family) has the basic
design of the Vajradhdtu (.Mahamandala) and is called
‘Karmavajra (Action- Vajra). ’
One should design the whole mandala247 in conformity with the
{Trilokavijaya) Mahamandala. One should place an image of the
Buddha (Vairocana) in the centre of the (whole) mandala. One
should place (four) symbols of (four Paramitas) on all sides of the
Buddha.
Having approached the four-fold mandala with the vq/ra-impulse,
one should correctly arrange four Lords, i.e. Vajra (-humkara) and
the others (namely, Ratnahumkara, Dharmahumkara and
Karmahumkara). One should place the Mahasattvas248 at their
sides.”249
This mandala has the same external structure and positions as those of the
Trilokavijaya Mahamandala and contains the main thirty-seven deities. However,
since this is classified as the karma-mandala denoting the offering-mandala only
Vairocana and the four Humkaras have male forms, and the other deities excluding
the four Paramitas drawn as then symbols in this mandala have female bodily
240. Tibetan omits: “action”. Chinese 2 reads: “the supreme action-knowledges”.

241. vajrakulakarmajndnany utpadayet: S. p. 240-2, T. p. 248-5-2, C2. p. 386-3-18.
242. S. p. 244-14, T. p. 249-2-4, C2. p. 387-3-25.
243. tato vajrakulakarmamahamudrdjnanam silcsayet: S. p. 245-1, T. p. 249-2-4-5, C2. p. 387-3-
26.
244 vajrakarmaprayogatah: S. p. 245-7, T. p. 249-2-6, C2. p. 388-1-4.
246 S. pp. 237-11-239, T. p. 248-3-8-5-2, C2. p. 386-1-25-3-16.
247. Chinese 2 reads: “five mandalas”.
24S. Tibetan reads: “Mahapujas (Great Offerings).”
249. S. p. 238-5-13, T. p. 248-4-3-6, C2. p. 386-2-4-11.
176
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shapes. In addition, sixteen Bhadrakalpa Mahabodhisattvas are also drawn in

female form in this mandala.
3. Homa Rite
This section of the STTS which refers to the homa250 rite describes the sixteen
kinds of substances (dravya), the homa rituals related to them, and the attainments
acquired as their results. However, the explanations given are brief and general. An
independent manual devoted entirely to the homa rites entitled Jin-gang-ding-yu-
qie-hu-mo-yi-giti ( Vajrasekhara-yoga-homa-vidhi)251 and translated into Chinese
by Amoghavajra provides much more detailed information about tire homa rite
belonging to the Yoga-Tantra class than the STTS. In addition, this text also has
some descriptions of homa hearths which have been mentioned in the introductory
section of the OEA VS of Amoghavajra. Thus, before dealing with the homa rite of
the STTS it will be useful to summarise and quote here die relevant homa rite from
this text.
“In the case of the pacification rite the hearth is round in shape and
is adorned with a wheel. The firewood of sweet taste (madhura) is
used as its offertory wood (samidh) and white-coloured items are
used in this rite. The sddhaka forms the mudrd of the Buddha and
performs this rite from dusk to midnight while facing north
reciting the mantra: lOM SARVA-PAPA DAHANA VAJRAYA
SVAHA\
In the case of the acquisition of prosperity rite the hearth is square
in shape and is adorned with a three-pronged vajra. The firewood
of the fruit tree is used as its offertory wood and yellow-coloured
items are used in this rite. The sddhaka forms the mudrd
belonging to tire Gem-family and performs this rite at forenoon
while facing east reciting the mantra: ‘OM VAJRA PUSTAYE
SVAHA\
In the case of the destruction rite the hearth is triangular in shape
and is adorned with a one-pronged vajra. The firewood of bitter
taste is used as its offertory wood and black-coloured items are
used in this rite. The sddhaka forms the mudrd of Vajrakrodha
belonging to the Vajra-family and performs this rite at noon while
facing south reciting the mantra: ‘HUM VAJRASATTVAYA
PH AT.
250. According to David Snellgrove (Indo-Tibetan Buddhism, pp 238-240), the Sanskrit term
homai which is connected with the verbal root hu- meaning ‘to offer’, means simply an
oblation made from Vedic times onward, usually as a burnt offering. The practice of making
such an offering to the gods was taken up by Buddhists during the Mahayana period, and it
was mentioned in connection with the consecration ceremony as performed according to the
Mahjusrimulalcalpa. It comes to be closely associated with rites involving ‘mundane’
aspirations, the size and shape o f the sacrificial hearth and the items which are consumed in
the fire depending upon the kind of rite, tranquil or prospering, subduing or destroying,
which is to be performed.
2 5 TSD. Vol. 18, No. 908 (pp. 916-920-2-16); No. 909 (pp. 920-2-17-924-3-9).
177
P a rt Two
In the case of the attraction rite the hearth is shaped like a vajra
and is adorned with a hook. The firewood of the thorny tree is
used as its offertory wood and red-coloured items are used in this
rite. The sddhaka forms the madrd of Vajrahkusa (Ktyra-hook)
and performs this lite at all times while looking in all directions
reciting the mantra: lOM VAJRAKARSAYA JAH\
In the case of the subjugation rite the hearth is shaped like a long
lotus leaf and is adorned with a lotus. The firewood of the
flowering tree is used as its offertory wood and red-coloured items
are used in this rite. The sddhaka forms the madra belonging to
the Lotus-family and performs this rite during the latter half of the
night while facing west reciting the mantra'. ‘HUM
VAJRAVESAYA JAET.”152
As can be seen this text classifies the homa rite as the five groups, i.e. pacification
(sdntika), acquisition of prosperity (paustika), destruction (<abhicaraka), attraction
(dkarsana) and subjugation (vasikarana).
The STTS explains the homa rite as follows
“(a) If one lights the fire with the firewood of sweet taste253 with a
well-concentrated mind, and offers there the sesame seeds while
joining in the samdpatti of Vajrakrodha, one can consume sins.
If one lights the sacrificial fire (hutasana) with the same firewood,
and bums grains continually, one can surely obtain prosperity for
the house.
If die learned one lights die fire with die firewood of sweet
taste,254 and bums new leaves of the durvd grass mixed with ghee,
one can gain longevity.
If one lights the sacrificial fire with the same firewood, and bums
the new leaves of die kusa grass together with oil, one can be
protected perpetually.255
(b) If one lights the fire with the firewood of thorny trees256 while
abiding in the samadhi of Vajrakrodha, and bums thorny
branches, one can attract (anything).
If the very wrathful one lights the fire with the same firewood, and
bums red flowers and fruits, he can gratify the world.
If the angry yogin lights the fire with the same firewood, and
bums the rust of iron, he can attain the vq/ra-bond.257
252. The above quotadon is a summarised and modified translation. In order to obtain more
detailed and slightly different information about the homa rite in English, see
“Jyotirmahjari: Abhayakaragapta's Commentary on Homa Rites” (pp. 206~236) translated
from the Tibetan by Tadeusz Skorupski.
253. Chinese 2 reads: “the auspicious firewoods mixed with honey”.
254. Chinese 2 reads: “the auspicious firewoods mixed with honey”.
255. S. p. 240-4-11, T. p. 248-5-2-5, C2. p. 387-1-8-15.
256. Sanskrit reads: “sea-salt”.
257. Chinese 2 reads: “the Vajrasattva-bond”.
178
P art Two
If he lights the fire with the same firewood with a well-

concentrated mind, and burns the fruit of bitter taste, he can
generate killing out of wrath instantly.258
(c) If the wise one in wrath lights the sacrificial fire with the
firewood of sour taste, and bums fruits and flowers of the
tamarind tree (dmla),259 this is the supreme subjugation.
If one lights the fire with the same firewood with awell
concentrated mind, and bums the fruits of the mango tree (kama)
in wrath, one can assume any shape at will.
If one lights the sacrificial fire with the same firewood, and bums
a bunch of flowers of the ‘invisible’ tree (adrsya), one becomes
invisible at will.
If one lights the fire with the same firewood with awell
concentrated mind, and bums the flowers of the ‘sky-creeper’ tree
(dkdsavalli), one can fly in the sky.260
(d) If the wrathful one lights the fire with the firewood of bitter
taste261 with a well-concentrated mind, and bums the flower of the
vajra (vajra-puspa262), he can control the vajra.
bums the sauri263-g&iimd of someone, he can control that man.
If the wrathful one lights the fire with the same firewood with a
well-concentrated mind, and bums the garland of Vajrapani, he
can control (Vajrapani).
bums monastic robes, he can control the Buddha264 instantly,”265
This homa rite is performed together with deity-ycga. Thus, the sddhaka generates
the wrathful thought in his mind by means of joining in Vajrahumkara or his own
deity, and then executes the homa rite on the mandala. In section (a), the first
segment refers to the homa rite of pacification, and the other three segments refer to
the homa rite of acquisition of prosperity, longevity and protection respectively. In
section (b), the first two segments refer to the homa rite of attraction, and the other
two segments refer to the homa rite of destruction. In section (c), the first segment
refers to the homa rite of subjugation, and the other three segments explain the
25S. S. p. 241-1-8, T. pp. 248-5-6-249-1-1, C2. p. 387-1-23-2-5.

Chinese 2 reads: “one can destroy all evils instantly”.
259. Tibetan reads: “fruits and leaves o f sour taste”. Chinese 2 reads: “flowers and fruits of sour
taste”,
26°. S. p. 242-1-8, T. p. 249-1-1-4, C2. p. 387-2-11-18.
The above sections, (a), (b) and (c) are also translated into English by David Snellgrove,
Indo-Tibetan Buddhism, p. 239.
26 f Sanskrit adds: “giving vigour”.
262. Yamada Isshi interprets the vajra-puspa as referring to the sesame-blossom. Yamada Isshi,
STTS, S. p. 243, footnote.
263. Chinese 2 omits: “s a u r i Yamada Isshi regards the sauri as the name o f a plant. Yamada
Isshi, STTS, S. p. 243, footnote.
264 Chinese 2 omits: “the Buddha”.
265. S. p. 243-1-8, T. p. 249-1-5-8, C2. p. 387-2-24-3-3.
179
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methods of gaining supernatural powers by means of using the homa rite of

pacification. Section (d) explains the methods of controlling even Vajrapani or the
Buddha by means of using the homa rite of subjugation.
4. Secret Rite
“While staying with a (visualised) beloved woman (all night), if
one inserts and moves the black pigment (ahjana) into her orifice
(bhaga), and then smears there with that black pigment {ahjana),
one can subdue (all deities).
If one inserts the red arsenic (manahsild) into her orifice and
covers it with the vajra-bond, one can gain four attainments due to
the four modes.
If one inserts the yellow pigment (rocand) into her orifice and
presses it together with the secret fist, one can become identical to
Vajradhara (or Vajrahumkara) at the time of the site (where the
pigment has been inserted) radiating.
If one inserts the golden coloured perfume-powder {kuhkuma) into
her orifice and places (the mudrd ol) Sattvavajri at that orifice, one
can become identical to Vajradhara (or Vajrahumkara) at the time
of its radiating.”266
Before performing this rite the sddhaka meditates on the subtlQ~vajra and visualises
his female-shaped deity chosen in this mandala while reciting the relevant mantra
and forming the relevant mudrd. Thus, a beloved woman in the first segment refers
to the sddhaka's female deity drawn in this mandala. Anandagarbha regards the
word orifice (bhaga) as a lotus (padma)267 which symbolises the female sexual
organ. Both Sakyamitra and Anandagarbha interpret the four modes in the second
segment as referring to four actions, i.e. moving, wanning, rising smoke and
radiating, and also the four attainments as referring to four supernatural powers, i.e.
subjugation (of deities), nimble-footedness, invisibility and flying.268
5. Conclusion
In order to generate the nature of wrathful Vajrapani and conquer all evil beings the
Vajrakula Karmamandala describes the means of worship or offering. Thus, the
worship is manifested in the mandala as female deities worshipping Vairocana and
the four Humkaras, the basic method of which is similar to that of the Vajrakdrya
Karmamandala (ch. 4). As a practice of worship the rite of homa or burnt offering
is introduced for various attainments. The peculiar characteristic of this homa rite in
this mandala, which is explained only in this chapter of the STTS, is that the
sddhaka performs the homa rite in union with his deity.
266 S. p. 244-2-9, T. p. 249-2-1-3, C2. p. 387-3-12-19.

268. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 303-2-4—5; Tattvdloka, TTP. Vol. 71, No.
3333, p. 281-3-3-4.
180
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Chapter 10. Epilogue of the Trilokavijaya

Chapter 10 of the Sanskrit STTS serving as an epilogue of the Trilokavijaya
explains two mandalas and related rites, i.e. Trilokavijaya Caturmudrdmandala
and Vajrahumkara Mandala. Like the Vajrasiddhi Caturmudrdmandala (ch. 5-A),
the Trilokavijaya Caturmudrdmandala is classified as the catur-mudra-mandala,
and the Vajrahumkara Mandala whose name is not specified in the STTS is
classified as the eka-mudra-mandala like the Mahdydnabhisamayamandala (ch. 5-
B).
A. Trilokavijaya Caturmudrdmandala
The Trilokavijaya Caturmudrdmandala269 has the function of assembling and
accomplishing the essence of die previous four mandalas of the Vajra-family in
one mandala. Thus, this mandala consists of the image of Vairocana and the four
Humkaras' symbols representing the previous four mandalas.
A-1. Structural Analysis o f the First Part o f Chapter 10
(1) The first section of the first part of chapter 10 of die STTS starting with the
words, “Then, the Lord once again entered the samadhi called the Mudra-
Empowerment of die Vajra-Pledge of all the Tathagatas”270 and ending with the
words, “HUM VAJRA KARMAGRI K R T \27] provides an exposition of the fifth
samadhi of the supreme mandala-king of the Trilokavijaya Caturmudrdmandala.
This samadhi-section enumerates the names of five deities constituting this
mandala expressed in the form of mantra, i.e. Sarvatathagatavajrasamaya (as
Vairocana), Vajri (as Vajrapani), Bhrkud (as Vajragarbha), Padmavajri (as
Vajranetra) and Vajrakarmagri (as Vajravisva).
(2) The next section starting with die words, “Then, the Mahabodhisattva272
Vajrapani”273 and ending with the words, “One should perform the extensive
rite”,274 gives a concise description of the mandala-rites of the Trilokavijaya
Ca turmudrdmanda la.
(3) The next section starting with the words, “After (the pupil) enters (the
mandala), (the master) should teach the knowledge of the secret mudrd of the
269. S. pp. 246-250-5 o f chapter 10, T. p. 249-2-7-4-8, C2. p. 388-1-5-3-8.

270. at ha bhagavan punar api sarvatathdgatavajrasamayamudradhistdnan ndma samddhim
sam dpadya: S. p. 246-2, T. p. 249-2-7-8, C2. p. 388-1-6.
271. S. p. 247-6, T. p. 249-3-3, C2. p. 388-1-21.
Tattvdloka reads: “HUM VAJRA KARMA GRJ GRDT Tibetan reads: “HUM VAJRA
KARMAGRI KAT."
272. Tattvdloka omits: “M a h d Chinese 2 reads: “Bodhisattva Mahasattva”.
273. atha vajrapanir mahabodhisattvah: S. p. 247-7, T. p. 249-3-3, C2. p. 388-1-22.
274 vidhivistaran h'tva: S. p. 248-2, T. p. 249-3-6, C2. p. 388-1-28-29.
181
P a rt Two
Caturmudrdmandala”275 and ending with the words, “HO VAJRA KAMA”,116

explains the attainment-knowledge of the Trilokavijaya Caturmudrdmandala.
(4) The final section starting with the words, “Then, one should teach correctly the
four samaya-mudrds, i.e. a three-pronged lance signified by the vajra and (three)
other symbols,277 together with the extensive rites”278 and ending with the words,
“One should place the tips of the forefingers”279 explains the samaya-mudrd of the
Trilokavijaya Caturmudrdmandala. This section also includes the description of
the dance-offering-worship (nrtyopaharapujd). This description is divided into four
segments, which refer to four dance-offerings, i.e. nrtya-oifQnng, pratinrtya-
offering, upanrtya-offering and jhdnanrtya-offQring, quoted from the four dance-
offerings out of sixteen dance-offerings described in the Krodhaguhya
Mudrdmandala (ch. 7). In addition, these four dance-offerings refer to the mudrds
of four representative and wrathfiil Mahabodhisattvas.280
A-2. Structure o f the Trilokavijaya Caturmudrdmandala
“The supreme Mudrdmandala281 (of the Pri/ra-family) has the
‘Krodhavajra (Wrathfiil Vajra)’ 182
The whole mandala should be designed in conformity with tire
{Trilokavijaya) Mahamandala. One should draw Trilokavijaya (or
Vajrahumkara) and the rest on all sides of the Buddha
(Vairocana).”283
This description shows that this mandala consists of Vairocana and the four
Humkaras, but it is not clear whether the four Humkaras refer to their images or to
their symbols. Both Anandagarbha284 and Sakyamitra285 regard them as symbols
and explain that the image of Vairocana abiding in meditation is drawn at the centre
of the mandala and in the positions of the four Humkaras are drawn their four
characteristic symbols, which are manifested in the Krodhaguhya Mudrdmandala
(ch. 7). These four symbols are: (1) a blazing five-pronged vajra of Vajrahumkara
275. pravesya caturmudrdmandalam guhyamudrdjnanam silcsayet: S. p. 248-2-3, T. p. 249-3-6,

C2. p. 388-1-29-2-1.
276. S. p. 249-5, T. p. 249-4-3, C2. p. 388-2-21.
Tattvdloka and Tibetan both read: “HO VAJRA KARMA ”.
277. Chinese 2 reads: “four samaya-mudrds, i.e. vajra, gem, lotus and three-pronged lance”.
278. tato yathdvad vajrdladntitrisulamudrddydh catasrah samayamudrah savidhivistarah
silisayitva: S. p. 249-6-7, T. p. 249-4-3-4, C2. p. 388-2-22-23.
279. tarjani mukhasusthiteti: S. p. 250-4-5, T. p. 249-4-7~8, C2. p. 388-3-7.
Chinese 2 reads: “One should place the forefingers in the mouth.”
2S0. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 139-4-3-5-7.
28h Chinese 2 reads: “Caturmudrdmandala”.
282. Tibetan and Chinese 2 both read: “Vajralcrodha”.
283. Chinese 2 reads: “the image of the Buddha”.
S. p. 247-9-13, T. p. 249-3-4-5, C2. p. 388-1-24-27.
285. Kosaldlam kdra, TTP. Vol. 70, No. 3326, p. 304-1-5-6.
182
P a rt Two
above a three-pronged lance, (2) a five-pronged vajra whose top has a wish-
granting-gem in the centre of an eight-spoked wheel, (3) a sixteen-petalled lotus
above an eight-petalled lotus, which is marked with a vajra, and (4) a crossed vajra
surrounded by minute crossed vajras above Indra's three-pronged vajra, In
addition, these symbols are drawn on their characteristic seats or vehicles, i.e.
elephant, horse, peacock and Garuda respectively. Thus, this mandala consists of
the image of Vairocana and the four symbols of the four Humkaras of the four
directions. However, Amoghavajra argues that this mandala consists of twenty-one
deities286 excluding sixteen wrathful Mahabodhisattvas out of the main thirty-seven
deities.
A-3. Attainment-Knowledge
The attainment-knowledge of the Trilokavijaya Caturmudrdmandala consists of
two rites, i.e. the rite of attaining the knowledge of the secret mudrd (guhya-mudrd-
jnana) and the rite of attaining the knowledge of the secret and concealed mudrd
(guhya-rahasya-mudra-jhdna). The guhyamudrajndna describes the means of
attaining die nature of the four Humkaras symbolising the previous four mandalas
and the guhyarahasyamudrajhana describes the means of attaining the ultimate
success (isiddhi).
a. Guhyamudrajndna
“(a) If one draws one's catur-mudra-mandala (in one's mind), and
abides there together with a woman while reciting (the appropriate
spell of) the pure essence (,suddha-dharmata),287 one attains the
siddhi.
(b) If one draws one's catur-mudra-mandala, and looks at the
woman with passion while reciting the pure essence, one attains
the siddhi.
(c) If one draws one's catur-mudra-mandala, and kisses the
beautiful woman while promoting the pure essence, one attains the
siddhi.
(d) If one draws one's catur-mudra-mandala, and embraces her in
union while reciting the pine essence, one obtains the perfect
siddhi.
In this case, these are (the mantras of) the mudras of the pure
essence:-
'OMSARVA-TATHAGATA VlSUDDHA-DHARMATEHOW.
'O M VAJRA VI&UDDHA-DRSTI JJAW .
'OMSVA-BHAVA VlSUDDHA-MUKHEHUM.
286. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-18.

2S7. In this section, Chinese 2 regards the term suddha-dharmata as an adjective modifying the
term catur-mudra-mandala, and translates: “if one draws by oneself the catur-mudra-
suddha-dharmata-mandala according to the instruction, and talks with one's partner”.
183
P a rt Two
'OM SARVA-VI&UDDHA-KAYA-VAN-MANAH KARMAVAJRl

HAN*:™
In this context, Sakyamitra289 interprets the term woman as symbolising samaya-
mudrd. He explains that the phrase ‘abiding together with a woman5 means
‘binding the appropriate samaya-mudra\ In contrast, since Anandagarbha290
understands the above rite within the context of Anuttarayoga, he explains it as
‘having an aspiration for a woman by means of the maha-mudra (bodily image) of
Vajrahumlcara5and, as a result, the sddhaka becomes identical to Vajrahumkara. In
addition, through the ritual of paragraphs (b), (c) and (d), the sddhaka becomes
identical to Ratnahumkara, Dharmahumkara and Karmahumkara respectively.
Concerning the words pure essence {suddha-dharmata), Sakyamitra literally
inteiprets ‘reciting the pure essence5 as ‘reciting that all the dharmas are pure by
nature5. However, Anandagarbha explains each of the above four spells as the pure
essence corresponding to each of the respective four paragraphs.
In order to give a better understanding of the four classifications of the tantras,
i.e. Kriyd, Caryd, Yoga and Anuttarayoga, a metaphor is used for the degrees of
courtship, i.e. laughing for Kriyd tantras, mutual gazing for Caryd tantras, holding
hands for Yoga tantras, and union for Anuttarayoga tantras.191 The above
description shows the origin of this metaphor, i.e. abiding, looking, kissing and
intimate embracing. However, the purpose of this metaphor here is to guide the
sddhaka to attain siddhis effectively and quickly. In this rite each stage produces
siddhi but the fourth and final stage particularly produces the perfect siddhi
(sarvasiddhi).
b. Guhyarahasyamudrajhana
“If one enters this mandala, and then gratifies the best women292
with the five kinds of sensual enjoyments (kamasadguna), one
attains the supreme success (siddhi).”293
Sakyamitra294 regards the five kinds of sensual enjoyments as form, sound, smell,
taste and touch, all of which arise in the mind between a deity and a sddhaka, and
he explains that with these five elements the sddhaka gratifies and worships his
well-concentrated mind. He adds that the mudras desired are symbolised in this rite
as women. Anandagarbha295 also explains that the women indicate the mudras of
288. S. p. 248-4-16, T. p. 249-3-6-4-2, C2. p. 388-2-2-16.

289. Kosaldlam kdra, TTP. Vol. 70, No. 3326, p. 304-2-2-4-2.
290 Tattvdloka, TTP. Vol. 71, No. 3333, p. 283-3-2-4-7.
291. Alex Wayman, “Buddhism: Esoteric Buddhism”, The Encyclopaedia o f Religion, Vol. 2, p.
472-482; Joseph M. Kitagawa and Mark D. Cummings (ed.), Buddhism and Asian History,
p. 244.
292 Sanskrit reads: “the wives of others”. Tattvalolca reads: “the best women of others”.
293. S. p. 249-2-3, T. p. 249-4-2-3, C2. p. 388-2-18-19.
294 Kosaldlamkdra, TTP. Vol. 70, No. 3326, p. 304-4-5-6.
184
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Vajrahumkara and the others. However, differing from Sakyamitra, he regards the
five kinds of sensual enjoyments as the five Wisdoms of the five Tathagatas.
This rite can be interpreted as the sddhaka drawing the Trilolcavijaya
Caturmudrdmandala in his mind and entering this mandala according to the
instruction. Then, if he visualises five deities, i.e. Vairocana and the four Humkaras,
representing the five Tathagatas' Wisdoms, and imites them with the desired deities
chosen from one of the previous four mandalas and visualised in female form, he
gains all the attainments mentioned in the previous four mandalas.
A-4. Conclusion
The Trilokavijaya Caturmudrdmandala consists of the image of Vairocana and the
four Humkaras1 symbols representing the previous four mandalas of the Vajra-
family as well as the four mudras of wrathfiil Vajrapani, i.e. the Body, Mind,
Speech and Action of wrathful Vajrapani. These four Humkaras1symbols refer to
the four female deities, namely, the four Paramitas of the Vajra-family who help the
sddhaka to generate the four Humkaras in his mind. Thus, the purpose of this
mandala is to guide the sddhaka to visualise the four Paramitas by means of
meditating on the four symbols and to realise the nature of the four Humkaras by
means of the four visualised Paramitas.
B. Vajrahumkara Mandala
The Vajrahumkara Mandala296 is revealed for the benefit of those who wish to
conquer all evil beings in the simplest way. Since this mandala focuses on only a
single deity, i.e. wrathfiil Vajrapani or Vajrahumkara, who predominates over the
previous five mandalas of the Vajra-family, Vajrahumkara occupies the centre of
the mandala.
B -l. Structural Analysis o f the Second Part o f Chapter 10
(1) The first section of the second part of chapter 10 of the STTS, which refers to
the paragraph “Then, the Mahabodhisattva297 Vajrapani once again pronounced the
wrathful pledge of his vq/><3-pledge298: iHUAPT,299 provides an exposition of the
second samadhi called the supreme mandala-king of the Vajrahumkara Mandala,
i.e. the samadhi of assembling and blessing Vajrahumkara or wrathful Vajrapani.
(2) The next section starting with the words, “Then, he explains this mandala”300
and ending with the words, “Then, one should perfonn the extensive rite of all the
296. S. pp. 250-6-252-3 o f chapter 10, T. p. 249-4-8-5-6, C2. pp. 388-3-9-389-1-3.

297. Tattvdloka and Chinese 2 read: “Bodhisattva Mahasattva”.
29S. Chinese 2 reads: “the vidyd o f the va/ra-wrath-pledge of his family”.
2" . at ha vajrapanir mahabodhisattvah punar apimam svavajrasamayab'odhasamayam abhasat
hum\ S. p. 250-6-8, T. p. 249-4-8, C2. p. 388-3-9-11.
300. athasya mandalam bhavati: S. p. 250-9, T. p. 249-4-8, C2. p. 388-3-12.
185
P art Two
attainments in this secret mandala”,301 briefly explains the mandala-ritQS of the

Vajrahumkara Mandala.
(3) The next section starting with the words, “One should explain the knowledge of
the secret mudrd of Vajrahumkara”302 and ending with the words, “HUM VAJRA
SAMAYA HUM”,303 explains the attainment-knowledge which consists of two rites
of the Vajrahumkara Mandala.
(4) The next section, which refers to the paragraph “Then, (the master) should teach
(the pupil) the binding of four304 mudras so that the attainments are realised. As in
the mandala, the same attainment is realised in all the images which are drawn on
cloth305 or whatever else.”,306 means that if the sadhalca performs the rite of binding
the four mudras of the Vajrahumkara Mandala, he can gain all the attainments
described in the previous mandalas of the Trilokavijaya. The detailed information
about the four mudras of Vajrahumkara has already been provided in the
Trilokavijaya Mahamandala (ch. 6).
(5) The final section starting with the words, “Then, Vajrapani proclaimed this to all
the Tathagatas”307 and ending with the words, “This well-spoken sutra is the
supreme Vajrayana, the secret of all the Tathagatas, and the compendium of the
Mahayana”,308 constitutes the closing section of the Trilokavijaya, which includes a
verse praising Vajrahumkara by all the Tathagatas.309
B-2. Structure o f the Vajrahumkara Mandala
According to the STTS, Vajrapani pronounces a seed-syllable (bija): *H U M \
which is known as the wrathful pledge of his vo/ra-pledge and then explains the
following Vajrahumkara Mandala:-
“The supreme Guhyamandala (of the Fay'ra-family) has die basic
design of the Vajradhdtu {Mahamandala) and is called
‘Vajrahumkara ( Vajra-hum-performer) ’ 310
301. athatra guhyamandale sarvcisiddhi vidhivistaram h'tvd: S. p. 251-1, T. p. 249-5-2-3, C2. p.

388-3-19-20.
Tibetan reads: “Then, one should perform all the extensive rites (of this secret mudrd
mandala).”
302. vajrahumkdraguhyamudrdjhdnam udirayet: S. p. 251-2, T. p. 249-5-3, C2. p. 388-3-20.
Chinese 2 reads: “Vajratrilokavijaya” instead of “Vajrahumkara”,
303. S. p. 251-11, T. p. 249-5-5, C2. p. 388-3-29.
304. Only Tibetan omits: “four”.
305. Tattvdloka and Tibetan both read: “in those drawn on cloth or whatever else, and also in all
the forms made o f cast or whatever else”.
306. tato yathavan mudrabandhacatustayam siksayet tataiva siddhayah sambhavantiti yathd
mandate evam patadisu likhitandm sarvapratimasv api samdnyd siddhir iti: S. p. 252-1-3,
T. p.' 249-5-5-6, C2. p. 389-1-1-3.
307. atha vajrapdnih sarvatathdgatdn dhuyaivam aha: S. p. 252-4, T. p. 249-5-7, C2. p. 389-1-
4 -5 .
308. subhasitam idam sutram vajraydnam anuttaram saiwatathagatam guhyam maha-
ydndbhisamgraham iti: S. p. 252-11-13, T. p. 250-1-2, C2. p. 389-1-12-13.
310. Chinese 2 reads: “Trilokavijaya” instead of “Vajrahumkara”.
186
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One should draw the external mandala311 in conformity with the

{Trilokavijaya) Mahamandala. In its centre one should draw
Vajradhara312 correctly on the lunar-disc,313 who has the bodily
image {maha-mudra) of Vajrahumkara gripping a vajra with his
hands and assuming the pratyalfdha posture.314 His colour and
form should be drawn according to the instruction.”315
According to the Trilokavijaya Mahamandala (ch. 6), the mandala of the Tathagata
Aksobhya positioned to the east of Vairocana is called the mandala of
Vajrahumkara. Thus, the above mandala deals with only the central deity
positioned in the centre of the eastern quarter of the Trilokavijaya Mahamandala,
that is, Vajrahumkara. The detailed image of Vajrahumkara has already been
described in the Trilokavijaya Mahamandala. Anandagarbha comments that
Vajrahumkara in this mandala is drawn as either having four faces and eight arms
or having one face and two arms.316 Differing from Sakyamitra and Anandagarbha,
Amoghavajra argues that this mandala contains seventeen deities317 referring to
Vajrahumkara, four Paramitas, eight Offerings and four Door-guardians.
B-3. Attainment-Knowledge
The attainment-knowledge of the Vajrahumkara Mandala is two-fold, i.e. tire
knowledge of the secret-mudra of Vajrahumkara ( Vajrahumkara31%-guhya-mudrd-
jhdna), which refers to the method of attaining the samaya-mudra of
Vajrahuinlcara, and the knowledge of the concealed evocation-mwc/ra of
Vajrahumkara {Vajrahumkara™-rahasya-sddhana-mudrd-jndna),320 which refers
to the method of attaining the mahd-mudrd of Vajrahumkara.
a. Vajrahumkaraguhyamudrdjndna
“One enters this mandala and forms (the samaya-mudra of)
Trilokavijaya with one's forefinger. Then, if one puts it into the
31 f Only Tibetan reads: “the whole mandala”.

312. Sanskrit reads: “Vajrin”. It seems that the Sanskrit STTS uses in this context the term
“Vajrin” instead o f “Vajradhara”, both of which have the same meaning, in order to keep the
traditional Indian metre.
Anandagarbha interprets it as “the vajra of Vajrahumkara”. (Tattvdloka, TTP. Vol. 71, No.
3333, p. 287-1-3).
313. Anandagarbha comments that the lunar-disc is drawn on the elephant. ( Tattvdloka, TTP. Vol.
71, No. 3333, p. 287-1-4).
314 Chinese 2 reads: “In the centre, according to the instruction, one should draw a Vajra
positioned on the lunar-disc, and this Vajra is Trilokavijaya who holds the mahd-mudrd
according to the rite, and assumes thepratydlidha posture.”
315. S. p. 250-10-15, T. p. 249-4-8-5-2, C2. p. 388-3-13-18.
317. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-21.
3 1 S . Chinese 2 reads: “vajra-trilokavijaya ’’.
319. Chinese 2 reads: ‘‘vajra - tri Ioka v ijaya ’’.
3 2 0 . Tibetan reads: ‘‘Vajrah fankara-mudra-jndna”.
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orifice (bhaga) and performs the rite, one attains success in all
actions.
Here is the sddhana-hrdaya:-
€HUM VAJRA SAMAYA K R T T ^
Sakyamitra explains that either one makes the vajra-fist with one's left hand and
makes the form of the Trilokavijaya's pointing finger with one's right forefinger; or
one makes the vajra-fist with one's right hand and makes the form of the
Trilokavijaya's pointing finger with one's left forefinger. Then, if one puts it into the
orifice while reciting the mantra and meditating on Vajrahumkara, one attains the
success.322 Neither Sakyamitra nor Anandagarbha provides any comment about the
term orifice {bhaga) in this rite. However, it can be interpreted as symbolising the
sexual organ of his female-shaped deity visualised by the sddhaka. This is the
method of accomplishing all actions described in the previous mandalas of the
Trilokavijaya by means of forming the samaya-mudra of Vajrahumkara.
b. Vajrahumkdrarahasyasddhanamudrdjhdna
“One enters the mandala duly and concentrates on the supreme
bodily image {maha-mudra). Being united with Vajrahumkara,
one can become a performer of all actions.
Here is the sddhana-hrdaya:-
cHUM VAJRA SAMAYA HUM\ ”323
This is the method of being identical to Vajrahumkara by means of binding the
mahd-mudrd of Vajrahumkara, which refers to the sddhaka's visualisation and
evocation of Vajrahuinlcara.
B-4. Conclusion
Both the Mahaydndbhisamayamandala (ch. 5-B) and the Vajrahumkara Mandala
are regarded as the eka-mudra-mandala and are represented by one single deity,
Vajrasattva or Vajrapani. However, in the Vajrahumkara Mandala, Vajrasattva or
Vajrapani has a wrathfiil image and a different posture, so he is named
Vajrahumkara and occupies the centre of the mandala which is the position of
Vairocana. Since this mandala has only the image of Vajrahumkara, the function of
this mandala is to guide tire sddhaka in realising the nature of Vajrahumkara who
dominates all tire six mandalas of the Vajra-family and to gain all the attainments
described in the previous five mandalas. Thus, if tire sddhaka becomes identical to
Vajrahumkara through this mandala, he can subjugate all evil beings and eliminate
all lands of spiritual obstacles and defilements by means of the power of
Vajrahumkara.
32t. S. p. 251-3-6, T. p. 249-5-3-4, C2. p. 388-3-21-24.

322. Kosaldlam kdra, TTP. Vol. 70, No. 3326, p. 305-2-5-8.
323. S. p. 251-8-11, T. p. 249-5-4-5, C2. p. 388-3-26-29.
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Chapter 11. Trilokacakra Mahamandala

Chapter 11 of the STTS214 provides an exposition of the Trilokacalcra
Mahamandala which constitutes the supreme mahd-mudrd. While the
Trilokavijaya Mahamandala (ch. 6) is the mandala of conquering and converting
all evil beings in the three realms, the Trilokacalcra Mahamandala is the mandala
of turning the Dharma-wheel for all evil beings, especially the external- Vajra-
family, who have been already conquered and converted. Amoghavajra325 provides
the following outline of this chapter:-
“For the benefit of the assembly of the external- Fh/ra-family,
(Vajrapani) explains four mandalas. Every (member of the
external- Fq/ra-family) explains both its own mantra and mudrd,
and presents them to the Buddha. For their sake, the Buddha (as
Vajrapani) explains the {Trilokacakra) Mahamandala by tire
(first) command {djhd) (of Vairocana). It contains (the main)
thirty-seven deities. (This section of the tantra) explains the rite of
guiding the pupil to enter (the mandala). For the benefit of the
pupil, the text explains the rites of employing the external- Vajra-
family. In this, it explains the mantras and mudras of both the
great Buddha-crown {usmsa) and the glory-assembled-Buddha-
crown (tejorasi),326 which can be understood as the method of
reciting a monosyllabic word-crown-wheel.”327
Lord all the Tathagatas once again gathered together in a conclave”328 and ending
with the words, “(2M VAJRA-KARMA SADHAYA129 KRT330”,331 provides an
exposition of the second samadhi called the supreme mandala-king of the
325. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-22-26.
326. This is one o f the incarnations o f Sakyamuni. According to the D oC (p. 113), there are five
heads o f Buddha. The first is the white canopy (sitdta-patra) over his head, which is not
only the symbol of pure mercy but also one of the titles of Avalokitesvara, The second is the
victorious ijaya) head o f Buddha, which is the symbol of wisdom and is manifested as a
sword. The third is the all-conquering ivijaya) head of Buddha, which is the symbol of
unexcelled power o f preaching and is manifested as a golden wheel. The fourth is the glory-
assembled {tejorasi) head o f Buddha or the fire-accumulated head of Buddha, which is the
symbol o f authority and is manifested as an insignia. The fifth is the hindrance-eliminated
(vildrna) head o f Buddha, which is the symbol of the destruction o f all delusion and is
manifested as a hook.
327. It is elcdlcsara-usnisa-calcra in Sanskrit. This is the first seed syllable ibhruni' which
Mahavairocana uttered, after having entered into the first samadhi.
32S. atha bhagavantah sarvatathdgatdh panar api samdjam apadya: S. p. 253-2, T. p. 250-1-3,
C2, p. 389-1-15’.
329. Tibetan reads: “SAMAYA”.
330. Tattvdloka reads: 11KR”.
•331. S. p. 267-4, T. p. 251-1-5-6, C2. p. 391-2-14-15.
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P a rt Two
Trilokacalcra Mahamandala. The introduction of this section includes a stoiy about

Mahesvara's resuscitation and consecration.
(2) The next section starting with the words, “Then, 332Vajrapani”333 and ending
with the words, “in conformity with the Mahamandala of the Vajra-samaya
(referring to the Trilokavijaya Mahamandala:)”,334 provides the detailed mandala-
rites of the Trilokacalcra Mahamandala.
(3) The final section starting with the words, “Then, one should teach the binding of
the maha-mudrds”335 and ending with the words, “the mudras of the servant”,336
explains the mudra-htQ as the means for the attainments, focusing on only the
maha-mudrds of the Trilokacalcra Mahamandala?21
2. Introductory Scene: Mahesvara's Resuscitation and Consecration
The story338 of Vajrapani's victory over Mahesvara described in the opening
section of the Trilokavijaya Mahamandala is continued here in the opening
section339 of the Trilokacakra Mahamandala. In the section of the Trilokavijaya
Mahamandala, the story ends with Vajrapani treading down Mahesvara with his
left foot and Uma with his right foot, and from the contact with the sole of
Vajrapani's foot, Mahesvara, while meditating, reaches the level of the Tathagata
called Bhasmesvaranirghosa (Soundless Lord of Ashes) not in the Akanistha
heaven, but in the realm known as Bhasmacchatra (Umbrella of Ashes) which is
the realm of the dead. In this section, the story resumes with Mahesvara still under
Vajrapani's foot. In this part of the story Mahesvara's consciousness returns from
the realm known as Bhasmacchatra while all the Tathagatas recite the hrdaya and
bind the mudrd?40 Afterwards, by reciting the hrdaya and binding the mudrd?41
which have been performed by Vajrapani, Mahesvara is released from under the
332. Tibetan and Tattvalolca both add: “Lord”. Chinese 2 adds: “Bodhisattva Mahasattva”,
333. atha vajrapdnir: S. p. 267-5, T. p. 251-1-6, C2. p. 391-2-16.
224.yath d vajrasamayamahamandala iti: S. p. 275-11-12, T. p. 251-4-8, C2. p. 393-1-13.
335. tato mahdmudrabandham silcsayet: S. p. 275-13, T. p. 251-4-8-5-1, C2. p. 393-1-13-14.
336. cetamudrdh: S. p. 280-4, T. p. 252-2-3, C2. p. 393-3-15.
Chinese 2 omits.
338. S. pp. 157-169, T. pp. 239-4-6-241-4-7, C2. pp. 370-1-22-372-3-2.
339. S. pp. 253-257-6, T. p. 250-1-3-3-2, C2. p. 389-1-14-3-14.
34°. According to the equivalent section of the STTS, the hrdaya o f summoning the
consciousness of the dead {mrtavijndnakarsanahrdaya) is “QM VAJRASATTVA HUM JJAH”
and the mudrd used for the same purpose is “One makes the secret-hook steadfastly and
should stretch out the tips (o f the fingers) equally. If one places it on the forehead o f the
dead, the dead one will regain his life.”
341. In this section, the hrdaya used by Vajrapani is known as ‘foot-lifting’ (pdda-uccdra): “OM
VAJRA M U H \ The accompanying mudrd is described as follows:-
“Having raised the fingers o f the vajra-wrath, one should fasten the tips o f both sides.
Having turned round the two vajras, one should lift them from below.” (Chinese 2 reads
differently: “One raises equally the fingers o f the vajra-wrath and makes them firmly without
fastening the surfaces of the fingers. One turns them round and forms the two vajras. Then,
one lifts them gradually from below to the forehead,”).
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P a rt Two
sole of Vajrapani's foot and is resuscitated. He revives by the empowerment of all

the Tathagatas and is consecrated as ‘crown prince (yauvardjyay both for the
welfare of all living beings and for converting evil beings. Then, once again, by
reciting the hrdaya and binding the mudrd,342 Vajrapani generates Tathagata
Candrottara from the sole of his foot. This Tathagata Candrottara enters and
consecrates the forehead of Mahesvara. While resting on the left side of Vajrapani,
Mahesvara, who is now converted to become a friend of Vajrapani, receives from
all the Tathagatas not only a vajra-lance into his hand, but also the vajra-name of
V ajravidy ottama.
As both David Snellgrove and Yamada Isshi343 point out, two vajra-names
given to Mahesvara are used in this section of the STTS344 at the same time, i.e.
Vajravidyottama and Krodhavajra. Sakyamitra explains that it is called
Vajravidyottama because of the knowledge originating from beneath the Vajrapani's
foot, and it is called Krodhavajra because of the manifestation of self-power.345
3. Mandala Rites
a. Structure o f the Trilokacalcra Mahamandala

One of the significant characteristics of this mandala is that the sixteen Hindu
deities known as the external- Ho/ra-family replace the sixteen wrathful
Mahabodhisattvas of the Trilokavijaya Mahamandala, and occupy their positions
in the mandala. The rest of the Hindu gods and goddesses are also present in this
mandala.
“(a) The supreme Mahamandala (of the external-Kyra-family)
resembles the Dharmacalcra {Dharma-wheel). One should
measure out the whole mandala. Here is the measuring-/zrt/yya:
‘OM VAJRA SUTRAKARSAYA SARV.A-MAND.ALAN H U M .
One should insert the peg made of the acacia catechu (khadira) in
the centre of the mandala. Then, having made a double thread, one
should measure with it. Here is the psg-hrdaya: ‘OM VAJRA
KILA KlLAYA SARVA-VIGHNANBANDHAYA HUM P H A T .
342. The hrdaya, in this section, is known as the candrapada (moon-foot) which is regarded as
the mudrd o f the thought o f enlightenment of all the Tathagatas:-
“OM CANDROTTARESAMANTABHADRA KIRANl MAHAVAJRINIHUM”.
The accompanying mudrd is described as follows: -
“Having made the va/ra-bond steadfastly, one should raise the little fingers and the thumbs
equally. Having raised them equally, one should stretch them forth. This is known as the
candraprabha (moon-splendour).”
343. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, pp. 47-50; Yamada
Isshi, STTS, S. p. 260, footnote.
344 STTS reads: “Then the Bodhisattva Mahasattva Vajravidyottama while greeting the feet o f the
Lord Vajrapani, presented his own hrdaya'. ‘OM SUMBHA NISUMBHA VAJRA
VIDYOTTAMA H UM PH AT. Then the Vidyaraja Krodhavajra while greeting the feet of the
Lord, recited his own hrdaya'. ‘HUM VAJRA &ULA'” (S. p. 260-7-12, T. p. 250-4-5-7, C2.
p. 390-2-2-8).
345. Kosaldlam kdra, TTP. Vol. 71, No. 3326, p. 4-5-2~3.
191
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One should measure the w\\QQ\-mandaIa with the four threads

joined together. Having approached its outside, and having made
in the same way either (thread) double or triple, one should
measure the external mandala. The boundary should be drawn in
the manner of the spokes of a wheel,346 and the lines of the
comers should be also measured out. This is the rite of measuring.
Then, following the measured line, one should fill it with pure
347colours. Having duly formed the great vajra-f]ist with the left
hand, one should colour (the mandala) at will.348 Here is the
colouring-hrdaya: ‘OM VAJRA RANGA SAMAYA H U M .
Then, having sat in the centre (of the mandala), the vay'ra-master
should concentrate his thought (on Vajrahumkara), opening the
four vajra-gates with his mind. Here is the hrdaya of opening the
gate: ‘OM VAJRODGHATANA SAMAYA PRAVI&A SlGHRAM
SMARA VAJRA SAMAYA H O M PH AT.
(b) One should set up an image of the Buddha (Vairocana) upon a
four-cornered altar made of gold, silver, or variegated clay.349
One should position the four (chief) 350Mahasattvas in the (four)
directions of the Buddha (Vairocana). Vajrapani positioned in
presence of (Vairocana) is called Trilokavijaya (alias
V ajrahumkara).351
Upon casting the thread in or out (of the mandala) with
concentrated thought, one should draw a line with the vajra-
impulse (vajra-vega).
Having approached the first mandala352 with the vq/’ra-impulse,
one should duly draw Vajramaya (alias Mayavajra) and the others
(Vajraghanta, Maunavajra and Vajrayudha).
Having approached the second mandala353 with the vajra-
impulse, one should place (four) Vajrakrodhas, namely,
Vajrkundali to the east and the others (Vajraprabha, Vajradanda
and Vajrapingala).
346. This sentence is translated from the Tibetan. Chinese 2 reads: “All comers should be divided
according to the rite.”
347. Chinese 2 inserts: “five”.
348. Tibetan reads: “One should grasp (the painting) by forming the vajra-fist with the left hand
according to the rite. Having drawn (the mandala) in the beginning, one (colours) it at w ill.”
349. Chinese 2 reads: “According to the rule, (a Buddha-throne) made of gold, silver, clay, or
painted cloth should be set up towards the four directions. A square Buddha-image should
be (positioned) according to instruction.”
The above sentence is duplicated from the construction-section of the maha-mandala o f the
Trilokavijaya. However, Chinese 2 translates the same two sentences differently. Compare
this with the previous Chinese 2 translation in the equivalent footnote.
35°. Chinese 2 adds: “secret”.
351. Chinese 2 reads: “In the centre, one should position Vajrapani who has the image of wrathful
Trilokavijaya.”
352. Chinese 2 adds: “towards the east”.
353. Chinese 2 adds: “towards the south”.
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P a rt Two
Then, (having approached) the four gates (of the internal mandala)
with the vq/ra-impulse, one should duly draw all (four
Ganapatis354), namely, Vajrasaunda and the others (Vajramala,
VajravasI and Vijayavajra).
Having approached the third mandala355 with the va/ra-impulse,
one should duly draw Vajramusala and the others (Vajranila,
Vajranala and Vajrabhairava).
Having approached the fourth mandala356 with the vq/ra-impulse,
one should duly draw (four) Cetas, namely, Vajranlcusa and the
others (Vajrakala, Yajravinayaka andNagavajra).
Having approached the external mandala with the va/ra-impulse,
one should duly place and draw all the consorts357 (of the above
gods). Then, one should also draw (four) Door-guardians (i.e.
Vajranlcusa, Vajrapasa, Vajrasphota and Vajravesa) at all the
wz/ra-gates (of the external mandala).”358
The above description can be broadly divided into two parts. The first part (section
a) provides some basic information about the preliminary performance such as
measuring and colouring, and the second part (section b) provides some detailed
information on the Hindu deities and their positions in the mandala. Concerning
section (a), Anandagarbha explains that without entering this Mahamandala, one
cannot obtain the attainments explained in the realms of the sattvas who have
already become converted. Such is the purpose of explaining this mandala. The
shape of this mandala is round because it resembles the wheel. The peg used in the
mandala is made of the acacia catechu and its shape is like a pronged vajra whose
top has a five-pronged vajra. In addition, the above peg-hrdaya should be recited
one hundred and eight times while this v«/ra-shaped peg is inserted into the centre
of this mandala. The five-coloured thread is .also used in the mandala?59
Concerning the colouring, for example, the five colours used are white, blue,
yellow, red and green. These five colours symbolically represent the five Tathagatas
as well as the five elements, i.e. water, fire, earth, space and wind respectively.
Concerning section (b), according to Anandagarbha,360 all the details of both
Vairocana and four chief Mahasattvas described in the mandala are entirely based
upon the description of the Trilokavijaya Mahamandala (ch. 6). Thus, Vairocana is
positioned in the centre of this mandala, and the four chief Mahabodhisattvas, i.e.
Vajrapani (or Vajrahumkara), Vajragarbha (or Ratnahumkara), Vajranetra (or
354 As Yamada Isshi (STTS, S. 271, footnote) points out, Chinese 2 changes the order.
According to Chinese 2, the above section describing the four Ganapatis is placed after the
following section describing the four Cetas positioned in the fourth mandala.
355. Chinese 2 adds: “towards the west”.
356. Chinese 2 adds: “towards the north”.
357. Tibetan adds: “beneath the gods”.
358. S. pp. 267-7-273-3, T. p. 251-1-6-3-7, C2. pp. 391-2-18-392-2-18.
360. Ibid., p. 290-2-1-5.
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P a rt Two
Dhamiahumkara) and Vajravisva (or Karmahumkara), are positioned around

Vairocana clockwise starting from the east. Additionally, Mahesvara and Uma are
also drawn under Vajrapani's feet like in the Trilokavijaya Mahamandala.
However, David Snellgrove361 argues that since Vajrapani dominates this mandala
by means of his bodily proportions and fierce aspect, Vajrapani occupies both the
centre of the mandala and the eastern quarter. Snellgrove adds that though the
position of Vajravidyottama (alias Krodhavajra) is not specified, since he took up
his position to the left of Vajrapani as his friend, this can also indicate his position
in the mandala, in other words, Mahesvara in this mandala can be positioned to the
left of Vajrapani differing from the Trilokavijaya Mahamandala.
As we have already seen in the section of the external- Fti/ra-family (ch. 6), the
above five group-names, each of which consists of four Hindu deities, are known
as Vidyaraja (or Vidyarajyaka), Vajrakrodha, Ganapati, Duta and Ceta362 (or
Cetaka) respectively. The four deities included in the third group Ganapati, i.e.
Vajrasaunda, Vajramala, Vajravasi and Vijayavajra, are positioned at the four gates
of the internal mandala clockwise starting from the east.
Regarding the consorts occupying the external mandala, the consorts of the first
group called Vidyaraja, i.e. Krodhavajragni,363 VajrasauvarnI, Vajrakaumari,
Vajrasanti and Vajramusti, and additionally Vajravilaya, who is the consort of the
third group member Vajrasaunda, are positioned in the eastern part of the external
mandala. The consorts of the second group called Vajrakrodha, i.e. Vajramrta,
Vajralcanti, Dandavajragra and Vajramekhala, and additionally Vajrasana, who is
the consort of the third group member Vajramala, are positioned in the southern
part. The consorts of the fourth group called Duta, i.e. Vajraduti, Vegavajrinl,
Vajrajvala and Vajravikata, and additionally Vajravasana, who is the consort of the
third group member Vajravasi, are positioned in the western part. The consorts of
the fifth group called Ceta, i.e. Vajramukhi, Vajrakali, Vajraputana and
Vajramakari, and additionally Vajravasa, who is the consort of the third group
member Vijayavajra, are positioned in the northern part.364 As can be seen, the
consorts of the third group called Ganapati, i.e. Vajravilaya, Vajrasana, Vajravasana
and Vajravasa are individually positioned at the four directions of the external
mandala clockwise starting from the east in the same direction as their masters.
361. David Snellgrove, S a rv a -T a th a g a ta -T a ttva -S a n g ra h a , Introduction, pages, 42, 47 & 48.

362. David Snellgrove argues that since the members of the group Ceta, whose literal meaning is
‘servant’, are clearly the door-guardians, they should be positioned at the four gates rather
than in the fourth mandala o f the northern quarter. (Satva-Tathagata-Tattva-Sangraha,
Introduction, p. 48).
363. Only in the case o f Uma, Anandagarbha does not use the Tibetan term equivalent for
Krodhavajragni in Sanskrit, which is known as Uma's va/ra-name, but uses the Tibetan term
dka’-zlog-ma, which is regarded as another name for Uma according to the Tibetan
dictionary.
364 T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 290-3-4-7.
194
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(1) In this mandala the vq/'ra-master himself begins with binding the terintiri-
mudrd of Vajrakrodha as in the ritual of the Trilokavijaya Mahamandala. Then he
gives the vow-hrdaya to his pupil: “I will generate the vq/ra-pledge-knowledge.365
You should not tell anyone, otherwise you will die without avoiding misfortune and
will fall into hell.”
(2) After tins, he explains to his pupil how to bind the terintiri-mudra of
Vajrakrodha, and gives him a warning, “If a binder transgress the pledge, this
vq/ra-wrath-pledge will consume his family and will destroy his whole body from
his head (downwards).”
(3) Then he explains the binding of the karma-mudrd and its hrdaya.
(4) Next comes the water-consecration.
(5) The pupil is then required to enter the mandala covering his face.
(6) After this, the pupil throws the garland into the mandala and removes his face-
cover.
(7) Then, the vq/ra-master shows the mandala to his pupil. According to tire STTS,
while the vq/ra-master reveals this mandala to his pupil, even though his pupil's
chosen deity has already been decided, he does not tell his pupil about the chosen
deity until his pupil takes his vows with the vow-hrdaya. This is because this
mandala consists mostly of Hindu deities and their consorts. Thus, the other three
mandalas of the Trilokacalcra also emphasise the vow-hrdaya in the mandala-rite.
(8) Next comes tire consecration of the garland characterised by the vajra-ratna,
and then comes the consecration of the karma-vajra. As usual, this ritual concludes
with the vq/ra-name-consecration.366
4. Mudrd Rites
The STTS367 in this section is divided into two parts: the first part refers to the
methods of binding the maha-mudrds of Vairocana, four Humkaras and five
Hindu-deity-groups, while the second part refers to the benefits acquired as the
result of accomplishing the mudras. The mudras of both the great Buddha-crown
(usnisa)36^ and the glory-assembled-Buddha-crown {tejorasi), which have already
mentioned by Amoghavajra, are quoted here as examples:-
“(a) Having made the vajra-bond (vajra-bandha) steadfastly, one
puts one's thumbs into it, and joins them together. Then, one bends
365. Anandagarbha comments that the wy'ra-pledge-knowledge refers to the mudras o f the
mandala, that is, the mudras of all the deities included in this mandala from Vairocana in
the centre up to the consorts in the external mandala. {Tattvdloka, TTP. Vol. 71, No. 3333,
p. 290-5-1-2).
366. S. pp. 273-6-275-12, T. p. 251-3-7-4-8, C2. pp. 392-2-20-393-1-13.
367. S. pp. 275-13-280-4, T. pp. 251-4-8-252-2-3, C2. p. 393-1-13-3-15.
36S. Jaschke, in his Tibetan-English dictionary (p. 433), explains that the Sanskrit term usnisa
(Tibetan gtsug) means the conical or flame-shaped hair-tuft on the crown o f the Buddha,
which in later times was represented as an excrescence of the skull itself.
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the forefingers, and covers it with them. This is known as the

Being-crown (Sattva-usnlsa).369
(b) Having formed the vajra-bond, one raises up the thumbs, the
middle fingers, and the Httle fingers. This is known as the glory-
assemblage {tejorasi), and it is the glory-assembled Supreme
Spirit.”370371
As can be seen, die maha-mudrds in this rite denote not visualising the images of
the deities, but maldng the hand gestures {samaya-mudrds) referring to the deities.
Paragraph (a) refers to the mudrd of the great Buddha-crown which is called the
Being-crown {Sattva-usnlsa) in this rite, and paragraph (b) refers to the mudrd of
the glory-assembled-Buddha-crown. In order to understand these two mudra-ritzs
effectively, it is necessary to quote a relevant description from the samadhi-SQction
of the Trilokacalcra Mahamandala'-
“(c) Then the Lord Vairocana, who is a Tathagata, an Arhat and a
perfectly enlightened Buddha, pronounced the following {mantra)
of the crown (usnlsa) of all the Tathagatas: ‘OM VAJRA-
SATTVOSNlSA HUM P H A T .
(d) As soon as this was pronounced, the bodily forms of the Lord
Vajrapani emerged from the crowns of all the Tathagatas, and
became transformed as multi-coloured rays. Having shined forth
all the universes, they once again surrounded the forehead of the
Lord Vajrapani, and became transformed and established as the
glory-assemblage {tejorasi) of the crown of all the Tathagatas.
Then from the glory-assemblage there brought forth the following
{mantra) of the crown of all the Tathagatas: ‘OM NAMAS
SAR VA TA THAGA TOSNlSA TEJORASI ANA VALOKITA
MURDHA HUM JVlLA DHAKA VIDHAKA DARA VIDARA
H U M P H A T ”372
Paragraphs (c) and (d) correspond to paragraphs (a) and (b). Thus, in order to
accomplish the great Buddha-crown or Being-crown {Sattva-usnlsa), the sddhaka
visualises Vairocana while making the hand gesture described in paragraph (a) and
reciting the mantra described in paragraph (c). In order to accomplish the glory-
assembled-Buddha-crown, the sddhaka places his hands, which are bound
according to the instruction described in paragraph (b), on his crown while reciting
the mantra and visualising the image of Vajrapani described in paragraph (d).
According to the explanation in the STTS the benefits of these two mudras are that
369. Chinese 2 reads: “One makes the vq/^-bond steadfastly with the two hands, and stretches out
the two thumbs, and bends the two forefingers equally. This is the mudrd o f the Being-
crown.”
37°. Chinese 2 reads: “One forms the vajra-bond again, and one raises up the two thumbs and
middle fingers. This is named as the mudrd of the glory-assembled crown, that is, the
supreme pledge o f the glory-assembled Buddha.
371. S. pp. 275-14-276-2, T. p. 251-5-1-2, C2. p. 393-1-15-18.
372. S. p. 258, T. p. 250-3-5-4-1, C2. pp. 389-3-22-390-1-7.
196
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the great crown (mahd-usmsa)m gives great protection, and the glory-
assembled374 (tejorasi) grants success (siddhi).375
5. Conclusion
The Trilokacalcra Mahamandala consists of Vairocana, four Humkaras and forty-
two Hindu deities. Though, according to the command of Vairocana, the
Trilokacakra Mahamandala is explained by wrathful Vajrapani or Vajrahumkara
for the benefit of die external- Hq/ra-family consisting of die forty-two Hindu
deities, the real purpose of tiiis mandala is to instruct heretics, especially Hindus
who honour Hindu deities, in generating the thought of enlightenment. Moreover,
in this mandala, as the four Humkaras are surrounded by sixteen Hindu deities,
even Hindus may identify with one of the four Humkaras after attaining one of the
sixteen Hindu deities by deity-yoga.
373. Chinese 2 reads: “the mudrd of the Being-crown”.

374 Chinese 2 adds: “mahd-mudrd”.
375. S. p. 278-11, T. p. 252-1-6, C2. p. 393-3-1-1.
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Chapter 12. Sarvavajrakula Vajramandala

Chapter 12 of the STTS316 provides an exposition of the Sarvavajrakula
Vajramandala which is classified as the dharanl-mandala of the Trilokacakra and
constitutes the supreme samaya-mudra. According to Amoghavajra,377 this
mandala is called the samaya-mandala (of the Trilokacakra), which contains (the
main) thirty-seven deities. This mandala symbolises the minds of the deities of the
Trilokacakra Mandala, and all the deities have female appearances, which are
drawn as their attributes.
(1) The first section of chapter 12 of the STTS starting with the words, “Then once
again the Lord”378 and ending with the words, “OM VAJRA HARINP19 H U M \3m
provides an exposition of the second samadhi called the supreme mandala-king of
the Sarvavajrakula Vajramandala.
(2) The next section starting with the words, “Then, Vajrapani once again”381 and
ending with the words, “One should reveal the mandala con*ectly”,382 explains the
mandala-rites of the Sarvavajrakula Vajramandala.
(3) The next section starting with the words, “One should explain the secret of the
samaya-mudra”3*3 and ending with the words, “The Lord Vajradhara said thus”,384
explains the attainment-knowledge of the Sarvavajralcula Vajramandala.
(4) The final section starting with die words, “Then, one should teach the samaya-
mudrds”385 and ending with the words, “One should quickly take (them) away in
that manner”,386 explains the mudrd-rite focusing on only the samaya-mudrds of
the Sarvavajrakula Vajramandala.387
2. Structure o f the Sarvavajrakula Vajramandala
Like the two previous dhdram-mandalas, i.e. the Vajraguhya Vajramandala (ch.
2) and the Krodhaguhya Mudrdmandala (ch. 7), this mandala mainly contains the
symbols (mudras) as the particular attributes of the deities.
“As for the supreme Vajramandala (of the external- Fq/'ra-family),
one should design the external mandala which is square and has
376. S. chapter 12, pp. 281-291, T. p. 252-2-4-5-8, C2. pp. 393-3-16-395-1-27.

377 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-27-29.
37S. atha bhagavam punar api: S. p. 281-3, T. p. 252-2-4, C2. p. 393-3-17.
379. Tattvdloka reads: “HARINF. Tibetan reads: “HARANT’.
3S0. S. p. 286-11, T. p. 252-3-7, C2. p. 394-2-26.
381. atha vajrapanih punar api: S. p. 287-2, T. p. 252-3-7, C2. p. 394-2-28.
382. mandalam yathavad darsayitvd: S. p. 288-11, T. p. 252-4-7, C2. p. 394-3-22.
383. samayamudrarahasyarn bruyat: S. p. 288-12, T. p. 252-4-7, C2. p. 394-3-22-23.
384. aha bhagavdn vajradharah: S. p. 289-7^8, T. p. 252-5-1, C2. p. 395-1-3.
383. atah samayamudrah silcsayitavyah: S. p. 289-9, T. p. 252-5-1-2, C2. p. 395-1-4.
386. sahasd hdrini tatheti: S. p. 291-2, T. p. 252-5-7, C2. p. 395-1-24.
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gates388 to the north (and three other directions). On the inside, it

has an eastern gate (and three other gates) in the same way.
In its centre one should position the image of the Buddha
(Vairocana) in the correct order. In the four positions of
Trilokavijaya (or Vajrahumkara) and the others around him, one
should draw the chief vajra-mudras in conformity with the
mandala. On all sides (of each Humkara's symbol), one should
draw the symbols of the (external- Vajra-) family. One should
position the four Door-guardians, i.e. Vajrasaunda and the others
(i.e. Vajramala, Vajravasi and Vijayavajra). One should draw from
the left,389 Bhima, Sri, Sarasvati and Durga in the 390comers and
their mudras in the external comers. In the external mandala, one
should duly draw the goddesses.”391
This description contains information about the order of designing the gates of the
external and internal squares, which is also applied to all the mandalas of the STTS.
This mandala consists of three parts, i.e. the external square, the internal square and
the centre circle. The external square has four gates which are designed clockwise
from the north, and the internal square also has four gates which are designed
clockwise from the east. In the centre circle, Vairocana on the lion-seat is positioned
at the centre. He is surrounded by the four attributes of the four Humkaras, i.e. a
three-pronged spear marked by a vajra on the elephant-seat, a vajra-gem in the
centre of a wheel on the horse-seat, an eight-petalled lotus marked by a sixteen
pronged vajra on the peacock-seat, and a crossed vajra surrounded by minute
crossed vajras above a three-pronged vajra on the Garuda-seat.392
The sixteen images of the Hindu deities in the previous mandala are replaced by
their sixteen attributes in this mandala. In the east a wheel, a bell, a stick and a vajra
are drawn. In the south a sun disc, a lunar disc, a stick and a flame are drawn. In the
west a pestle, an ensign, a stick and a club with an ornamental knob are drawn. In
the north a hook, a rod, a battle-axe and a noose are drawn.393 Regarding the four
Door-guardians, Anandagarbha explains that both Vajrasaunda and Vajramala are
positioned as a pair at the four gates of the internal mandala, and both Vajravasi
and Vijayavajra are positioned as a pair at the four gates of the external mandala.394
Bhima is positioned in the southeast quarter (bottom left);395 Sri is positioned in
the southwest quarter (upper left); Sarasvati is positioned in the northwest quarter
(upper right); and Durga is positioned in the northeast quarter (bottom right). In
388. Chinese 2 reads: “four gates”.

389. Chinese 2 omits: “from the left”.
390. Chinese 2 inserts: “internal”.
391. S. p. 287-4-14, T. p. 252-3-7-4-4, C2. p. 394-3-1-11.
393. Ibid., p. 295-3-1-6.
394. Ibid., p. 295-2-3-4.
395. Since the bottom o f the mandala is normally regarded as the east, the southeast quarter
indicates the bottom left.
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addition, the symbols of these four deities are also drawn in the external comers, i.e.
a sword396 as the mudra of Bhima; a lotus as the mudra of Sri; a vlna as the mudra
of Sarasvati; and a spear as the mudra of Durga.397 The positions of the goddesses
in the external mandala are identical to the previous Trilokavijaya Mahamandala.
3. Attainment-Knowledge
The attainment-knowledge of the Sarvavajrakula Vajramandala is entitled ‘Secret
of the Samaya-mudrds isamaya-mudrd-rahasya)5. Anandagarbha explains that the
term rahasya (secret) means the sddhaka concealing the bodily forms of the
goddesses such as Uma, and abiding in the symbols such as a three-pronged spear.
Thus, the secret of the samaya-mudrds denotes the attainment of the secret
goddesses manifested as the samaya-mudrds.398
“These samaya-mudrds (of the Sarvavajrakula Vajramandala)
become the eminent performers of all your actions, because they
follow you like mothers, sisters, wives and daughters. Here is the
hrdaya: tO.M SARVA VAJRA399 GAMINI SARVA BHAKSE400
SADHAYA GUHYA VAJRINIHUMPHAT.
If one recites this (hrdaya) once, one can subdue and take
possession of all female (deities) without committing sin. As long
as one likes, one can possess all and be successful. Then, having
perceived all the mudras with mind while thinking of the purity of
all, one attains the ultimate of all actions.”401
This rite refers to the means of attaining the goddesses represented by symbols in
the mandala. Thus, the sddhaka draws in his mind a symbol chosen in this
mandala, and meditates on the symbol while making the relevant hand gesture
(samaya-mudra) and reciting the relevant hrdaya. Then, he attains the female deity
indicated by the symbol.
4. Conclusion
Since the Sarvavajrakula Vajramandala is the dharam-mandala or samaya-
mandala symbolising the minds of the deities of the external-Fq/'ra-family, the
bodily images of most deities of the previous Trilokacakra Mahamandala are
replaced by their attributes or symbols in the mandala except Vairocana, the four
Door-guardians and the four deities, i.e. Bhima, Sri, Sarasvati and Durga. This
mandala which is also specially devised for Hindus explains the means of attaining
Buddhahood by generating the female goddesses through meditating on symbols
drawn in the mandala and by subduing and controlling them.
396 Sakyamitra regards the mudra of Bhima as a conch shell. {Kosalalamkara, TTP. Vol. 71,
No. 3326, p. 8-4-8).
397 T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 295-2-4-7.
39S. Ibid., p. 296-3-5-6.
3" . Tibetan omits: “ VAJRA”.
40°. Tibetan reads: “ VAKTRE ”.
401. S. pp. 288-13-289-7, T. p. 252-4-7-5-1, C2. pp. 394-3-23-395-1-2.
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Chapter 13. Sarvavajrakula Dhannasamayamandala

Chapter 13 of the STTS402 provides an exposition of the Sarvavajrakula
Dhannasamayamandala which is classified as the dharma-mandala of the
Trilokacalcra and constitutes the supreme dharma-mudra. Thus, all the deities
positioned in this mandala assume the meditation postures and hold their own
attributes at their hearts.403 In addition, this chapter explains the dharma-mudras of
all the deities, which refer to meditation practices as the means of attainment.
(1) The first section of chapter 13 of the STTS starting with the words, “Then, once
again the Lord”404 and ending with the words, “0M VIBHA VIBHA HUM
PH AT’f 05 provides an exposition of the second samddhi called the supreme
mandala-king of the Sarvavajrakula Dharmasamayamandala.
(2) The next section starting with the words, “Then, Vajrapani once again
announced this Sarvavajrakula Dharmasamayamandala”406 and ending with the
words, “Then, having removed the face-cover (of the pupil), (the va/ra-master)
should reveal the mandala”,407 explains the mandala-rites of the Sarvavajrakula
Dharmasamayamandala.
(3) The final section starting with the words, “One should teach the mudrd-
lcnowledge of the Dharma-samaya”m and ending with the words, “No drink is
comparable to water”,409 explains the attainment-knowledge of the Sarvavajrakula
Dharmasamayamandala410
2. Structure o f the Sarvavajrakula Dharmasamayamandala
The STTS provides only the following brief information about the Sarvavajralcula
Dharmasamayamandala because the bodily images and symbols of the deities
drawn in this mandala are described in the previous two mandalas of the
Trilokacab'a:-
“As for the supreme Mahasamayamandala (of the external- Vajra-
family),411 one should design the whole mandala in conformity
with the Trilokacah'a (Mahamandala). Then, one should draw all
403. Kosaldlamlcdra, TTP. Vol. 71, No. 3326, p. 10-3-3-4.
404. atha bhagavam punar api: S. p. 292-3, T. pp. 252-5-8-253-1-1, C2. p. 395-2-8.
405. S. p. 295-4, T. p. 253-1-7, C2, p. 395-3-23.
406. atha vajrapanih punar apidam sarvavajrakula dharmasamayamandalam abhdsat: S. p. 295-
6 -7 , T. p. 253-1-7-8, C2. p.' 395-3-24-25.
407. tato mukhabandham muktva mandate™ darsya: S. p. 296-6, T. p. 253-2-4, C2. p. 396-1-12.
408. dharmasamayamudrdjnanam siksayet: S. p. 296-6-7, T. p. 253-2-4-5, C2. p. 396-1-12-13.
^ . j a l a t tulyo na vai rasa itv. S. p. 298-2, T. p. 253-3-2, C2. p. 396-1-25.
410 Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 140-5-2-141-1-4.
41 f Sanskrit reads: “Mahamandala”. Chinese 2 reads: “Mahddharmasamayamandata ”.
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(the deities) abiding in samadhi412 namely, Buddha (Vairocana),

Vajradhara (or Vajrahumkara) and the others, who hold their own
attributes at their hearts in conformity with the dharma-mandala
(of the Trilokavijaya).”413
Anandagarbha explains that the term Mahdsamayamandala means the mandala
generated through samadhi as all dharmas are pure by nature.414 As already
mentioned, all the deities in this mandala assume the postures of meditation and
hold their own symbols at their hearts like the two previous dharma-mandalas, i.e.
Vajrajnana Dharmamandala (ch. 3) and Vajralada Dharmajhanasamayamandala
(ch. 8), with the slight difference between this mandala and the two previous
dharma-mandalas being that each of the- deities in the two previous dharma-
mandalas is drawn in tire centre of the vajra symbolising the lcnowl edge-vq/Va or
the subtle-vq/ra, On the basis of the above description, it is evident that this
mandala has basically the same external shape and also the same deities as those of
the Trilokacalcra Mahamandala. Thus, according to Amoghavajra, this mandala
also contains (the main) thirty-seven deities,415 which implies that the same
numbers of deities are drawn in this mandala as those of the previous two
mandalas of the Trilokacalcra. However, according to Anandagarbha,416 the
internal mandala of the Sarvavajralmla Dharmasamayamandala consists of
Vairocana, the four Humkaras (including Vajravidyottama placed on the feet of
Vajrahumkara) and the four Door-guardians (i.e. Vajrankusa, Vajrapasa,
Vajrasphota and Vajravesa) at the four gates of the internal mandala', and its
external mandala consists of twenty Hindu deities (i.e. four Vidyarajas, four
Vajrakrodhas, four Ganapatis, four Dutas and four Cetas).
The attainment-knowledge of the Sarvavajrakula Dharmasamayamandala is
entitled the Dharma-samaya-mudrd-jhdna. The term dharma-samaya indicates the
Sarvavajralmla Dharmasamayamandala, and the term mudra in this context
represents the sealing of the realms of living beings in samadhi.411 Thus, the
mudrds described in this mandala contain the nature of samddhis of all the deities
which are positioned in this mandala.
“(a) (The nature of die samddhis) of the Buddha, Vajradhara and
the others are in accordance with the dharma-mandala (of the
Trilokavijaya). The meditation (dhydna) of Vajravidyottama is
endowed with total equanimity 418
412. Chinese 2 reads: “in correct order”.

413. S. p. 295-8-11, T. p. 253-1-8-2-1, C2. pp. 395-3-26-396-1-2.
414 Tattvdloka , TTP. Vol. 71, No. 3333, p. 298-4-1-2.
415. OEAVS, TSD, Vol. 18, No. 869, p. 285-3-1-4.
4 1 6 . T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 298-4-7-5-7.
417. Ibid., p. 300-1-7.
418. Chinese 2 reads: “the cause of tranquillity”.
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(b) As this world is identical with illusion (maya), so suffering is

identical with the bell (ghanta).m Liberation is for all
sufferings,420 and the vaj'ra is the best among destructive
weapons.
(c) Supreme wrath is for the subjugation of living beings, and the
nature of Soma is constant killing. No destruction is equal to the
421stick (danda), and false doctrine is the cause of fear.
(d) No courage is comparable to intoxication, and no bond is
comparable to the 422garland (mala). The passionate woman
subjugates the world, and the patient mother is not conquered.
(e) The blow is the supreme punishment, and the 423wind is (the
best) touch. The most excellent splendour is fire,424 and blood is
the best among foods.
(f) When the pure hook enters, all the dead stand on their feet. No
hindrance is comparable to fear, and no drink is comparable to
water.”425
In the previous section, since Anandagarbha argues that the internal mandala of the
Sarvavajralmla Dharmasamayamandala mainly consists of Vairocana, the four
Humkaras and the four Door-guardians, he regards the Buddha, Vajradhara and the
others described in paragraph (a) as referring to Vairocana, the four Humkaras and
the four Door-guardians. Concerning the characteristics of the samddhis of these
nine deities, he explains that the samadhi of Vairocana is endowed with assembling
all the Tathagatas; the samadhi of Vajrahumkara is endowed with teaching,
destroying, descending and bringing back all the Tathagatas; the samadhi of
Ratnahumkara is endowed with the pledge of the consecration; the samadhi of
Dharmahumkara is endowed with the essence of the perfection of wisdom (prajha-
pdramita); the samadhi of Karmahumkara is endowed with the essence of die
perfection of endeavour (virya-paramitd); the samadhi of wrathful Vajrarikusa is
endowed with attracting all the Tathagatas; the samadhi of wrathful Vajrapasa is
endowed with drawing in all the Tathagatas; the samadhi of wrathful Vajrasphota is
endowed with binding all the Tathagatas; and the samadhi of wrathful Vajravesa is
endowed with subjugating all the Tathagatas 426 The nature of these nine attributes
is the dharma which is veiy pure by nature. As can be seen in the above, the
meditation or the samadhi of Vajravidyottama is endowed with total equality. In
419. Chinese 2 reads: “the sound o f a bell”.

420 All sufferings indicate the 108 sufferings explained in the Bodhisattva-Wunm. (Tattvdloka,
TTP. Vol. 71, No. 3333, p. 300-2-8).
42f Chinese 2 inserts: “vajra”.
422. Chinese 2 inserts: “vajra”.
425. S. pp. 296-8-298-3, T. p. 253-2-5-3-2, C2. p. 396-1-14-25.
203
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this context, total equanimity means the equanimity of all the dharmas which are
pure by nature in the Dharma-dhatu.427
Paragraphs (b), (c), (d), (e) and (f), refer to the samddhis of the four Vidyarajas,
the samddhis of the four Vajrakrodhas, the samddhis of the four Ganapatis, the
samddhis of the four Dutas, and the samddhis of the four Cetas.
4. Conclusion
The Sarvavajrakula Dharmasamayamandala focuses on the dharmas or natures
of all the deities drawn in this mandala, and explains the characteristics of the
samddhis of all the deities. The meditation on the deities of this mandala, especially
Hindu deities, is performed together with the methods explained by the previous
two dharma-mandalas, on the basis of the concept that all the dharmas are pure by
nature, which means that there is no difference between the dharma of any deity
belonging to either the Tathagata-family or the Vajra-family and the dharma of any
deity belonging to the external- Pq/'ra-family.
427. Ibid., p. 300-2-6.
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Chapter 14-a. Sarvavajrakula Karmamandala

Chapter 14-a of the STTS42* provides an exposition of the Sarvavajrakula
Karmamandala which is classified as the karma-mandala of the Trilokacakra and
constitutes the supreme karma-mudra. This mandala symbolises the offerings of
the goddesses positioned in this mandala, especially twenty Hindu goddesses.
These offerings of goddesses are expressed as the dance-rite of all the deities,
which results in attaining all the actions of Vairocana and the four Humkaras.
1. Structural Analysis o f Chapter 14-a
(1) The first section of chapter 14-a of the STTS starting with the words, “Then the
Lord once again entered the samadhi called the Layra-Empowerment Generated
from the Pledge of the Action of all the Tathagatas”429 and ending with the words,
“Vajracetyah”,430 provides an exposition of the second samadhi called the supreme
mandala-king of the Sarvavajrakula Karmamandala.
(2) The next section starting with the words, “Then, 43lVajrapani once again”432
and ending with the words, “Then, (the vajra-master) should remove the face-cover
(of his pupil)”,433 explains the mandala-rites of the Sarvavajrakula Karma
mandala. In the rite of entry into this mandala, the vajra-master performs the rite of
the dance-offerings.
(3) The final section starting with the words, “One should teach the mudrd-
lcnowledge of the dance-offering”434 and ending with the words, “One should
surely accomplish the attainment of the karma (-mudrds) of Mahavajradhara and
the others”,435 explains the attainment-knowledge of the Sarvavajrakula Karma
mandala,436
2. Structure o f the Sarvavajrakula Karmamandala
Like the previous two karma-mandalas, i.e. the Vajrakarya Karmamandala (ch. 4)
and the Vajrakula Karmamandala (ch. 9), the Sarvavajrakula Karmamandala
focus on worshipping. Thus, all the deities, except for Vairocana, the four
Humkaras and Vajravidyottama, have female appearances and dancing postures. In
this mandala, the twenty Hindu gods occupying the internal mandala of the
428. S. chapter 14-a, pp. 299-310, T. pp. 253-3-3-254-2-6, C2. pp. 396-1-26-398-3-2.
429. atha bhagavam punar api sarvatathdgatakarmasamayodbhava vajradhisthdnan nama
samddhim samdpadya: S. p. 299-2-3, T. p. 253-3-3, C2. p. 396-1-27-28.
430. S. p. 307-13, T. p. 254-1-3, C2. p. 398-1-23.
Chinese 2 omits: “Vajracetyah”.
43 K Chinese 2 adds: “Bodhisattva Mahasattva”.
432. atha vajrapdnih punar a p t S. p. 308-1, T. p. 254-1-3, C2, p. 398-1-24.
433. tato mukhabandham mulctvd: S. p. 309-13, T. p. 254-2-3, C2. p. 398-2-22.
434. nrtyopahdramudrdjndnam siksayet: S. p. 309-13—14, T. p. 254-2-3, C2. p. 398-2-22—23.
435. mahavajradharddis ca karrnasiddhi bhaved dhruvam iti: S. p. 310-8-9, T. p. 254-2-6, C2.
p. 398-3-2.
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P a rt Two
Trilokacakra Mahamandala are replaced by their consorts occupying the external

mandala of the Trilokacakra Mahamandala.
“As for the supreme Karmamandala (of the external- Vajra-
family), one should design the whole mandala in conformity with
the Vajra-mandala437
In the (four) chief positions of the mandala which surround the
Buddha-position at the centre,438 one should place the (four
leading) Mahasattvas in correct order. At the centre of (the
mandala), one should also place Vajravidyottama accompanied by
his consort (Uma or Krodhavajragni), who are praised by (four)
Secret-dance-offerings, i.e. Vajralasya and the others (at the four
comers).
In this (internal mandala), one should draw the goddesses in the
correct order, each of whom has the posture of the dance-offering
with either sva-mudrd or prati-mudrd, in conformity with the
calcra-mandala. For the purpose of worshipping the Buddha
(Vairocana) and Vajradhara439 (or Vajrahumkara),440 one should
draw441 (Vajra-) Dhupa and the others in the correct order at the
four comers between the gates (of the external mandala) by means
of the vnyra-dance.”442
This description gives the details of the structure of the Sarvavajrakula
Karmamandala. Vairocana occupies the centre of this mandala together with
Vajravidyottama and Krodhavajragni (or Uma) who are positioned below
Vairocana. Four Internal Offerings, i.e. Vajralasya, Vajramala, Vajraglta and
Vajranrtya, who have the dancing-postures, are drawn at the four comers of the
internal square. Vajrahumkara placed at the centre of the eastern quarter is
surrounded by the four consorts of the first group, i.e. (1) VajrasauvarnT, (2)
Vajrakaumari, (3) Vajrasanti and (4) Vajramusti. Ratnahumkara placed at the centre
of the southern quarter is surrounded by the four consorts of the second group, i.e.
(5) Vajramrta, (6) Vajrakanti, (7) Dandavajragra and (8) Vajramekhala. Four gates
of the internal mandala are occupied by the four consorts of the third group, i.e. (9)
Vajravilaya, (10) Vajrasana, (11) Vajravasana and (12) Vajravasa. Dharmahumkara
placed at the centre of the western quarter is surrounded by the four consorts of the
fourth group, i.e. (13) Vajraduti, (14) Vegavajrini, (15) Vajrajvala and (16)
Vajravilcata. Karmahumkara placed at the centre of the northern quarter is
437. Anandagarbha states that the Vajra-mandala indicates the Sarvavajralmla Vajramandala (or
the dhdram-mandala o f the Trilokacah'a), but Sakyamitra states that it indicates the
Trilokavijaya Mandala. (Tattvalolca, TTP. Vol. 72, No. 3333, p. 3-4-1-2; Kosalalamkara,
TTP. Vol. 71, No! 3326, p. 12-1-7).
438. Chinese 2 reads: “First o f all, one should place the image of the Buddha in the centre at the
foremost position o f the whole mandala.”
439. Sanskrit reads: “Vajrin”.
440 Chinese 2 omits this phrase.
441. Chinese 2 adds: “the four Offerings”.
442 S. p. 308-3-12, T. p. 254-1-3-7, C2. p. 398-1-26-2-8.
206
P art Two
surrounded by the four consorts of the fifth group, i.e. (17) Vajramuldn, (18)
Vajrakali, (19) Vajraputana and (20) Yajramakari. Each of the ten goddesses (the
indicated numbers 1~10) appears in the dance-offering-posture with the sva-mudra,
and each of the rest (the indicated numbers 11~20) appears in the dance-offering-
posture with the prati-mudra443 Sakyamitra explains that the sva-mudra indicates
the deity's own attribute {mudra) drawn in the dhdrani-mandala, and the prati-
mudra means the counter or opposite mudra of the sva-mudra, for example, as the
opposite concept of fire is water, the prati-mudra of the sun is the canopy.444
Four External Offerings, namely, Vajradhupa, Vajrapuspa, Vajraloka and
Vajragandha, who have dancing-postures, are drawn at the four comers of the
external square. Regarding the four Door-guardians, while Sakyamitra comments
that VajrarikuSa, Vajrapasa, Vajrasphota and Vajravesa are positioned at the four
gates of the external square,445 Anandagarbha explains that both Vajrasaunda and
Vajramala are positioned (as a pair) at the four gates of the internal mandala, and
both Vajravasi and Vijayavajra are positioned (as a pair) at the four gates of the
external mandala44^
Die attainment-knowledge of the SarvavajraJcula Karmamandala is entitled the
knowledge of the dance-oblation-mwriras {nrtyopaharamudrajntina). Since this
mandala emphasises worship, the concept of worshipping in the following rite is
expressed as the hand gestures derived from Indian dance.
“The supreme samaya {-mudrds) of the Buddha (Vairocana),
Vajradhara (Vajrahumkara) and the others447 are made into two
(fists). The offerings of Vajralasya and the others are made for
Vajravidyottama. One should worship the karma-mandala with
the dance-oblation-offerings448 of all the Vidyas duly in correct
order.
The mahd-mudras should be epitomised by means of the vajra-
dance. Having made the supreme samaya {-mudrds) into two
(fists), one should release them with the prati-mudras (counter-
mudrds)449 If one worships all the lords {ndyaka) with the dance-
oblation, one can surely gain the attainments of the actions of
Mahavajradhara and the others.”450

444 Kosaldlam kdra, TTP. Vol. 71, No. 3326, p. 12-3-5-7.
445. Ibid., p. 12-4-1-2.
446. Tattvdloka, TTP. Vol. 72, No. 3333, pp. 3-5-8-4-1-1.
447. According to Anandagarbha, in this context, the Buddha refers to the four Humkaras, and
Vajradhara and the others refer to the sixteen wrathful Mahabodhisattvas and the eight
Offerings positioned in the Trilokavijaya Mahamandala. {Tattvdloka, TTP. Vol. 72, No.
3333, p. 6-1-1-3),
448. Tibetan reads: “madras”, instead of “offerings”.
4 4 9 . Tibetan reads: “karma-mudra” .
450 S. p. 310, T. p. 254-2-3-6, C2. p. 398-2-24-3-2.
207
P a rt Two
The first paragraph explains the essence of the karma-mudras of the deities
positioned in the Sarvavajralmla Karmamandala. The karma-mudras of Vairocana
and the four Humkaras begin with making their samaya-mudrds into the two fists
in accordance with the instruction of the Trilokavijaya Mahamandala. According to
Anandagarbha, Vajravidyottama represents the twenty Hindu gods, and Vidyas
refer to the twenty Hindu goddesses.451 Thus, in order to worship the Hindu gods
including Vajravidyottama, the sddhaka makes the hand gestures of the four
Internal Offerings (i.e. Vajralasya, Vajramala, Vajragita and Vajranrtya). In
addition, in order to worship the karma-mandala, the sddhaka makes the hand
gestures of the twenty Hindu goddesses.
The second paragraph explains the means of attaining Vairocana and the four
Humkaras by means of the four mudrds of the twenty Hindu goddesses. The
maha-mudras in this quotation refer to the hand gestures described in the
Trilokacal<ra Mahamandala, all of which begin with making the vo/ra-bond
(yajra-bandha). Just as there are the opposite relationships between the samaya-
mudrds and the prati-mudras, so there are the opposite relationships between each
of the ten goddesses, starting with Vajrasauvarm and up to Vajrasana, and each of
the other ten goddesses, starting with Vajravasana and up to Vajramakari. For
example, if the pupil makes the hand gesture of Vajrasauvarm, his master makes the
hand gesture of Vajravasana. Though there is no mention of the dharma-mudrds in
this quotation, the sddhaka is required to meditate on the deities of this mandala
and to recite of the relevant hrdayas. Finally, the above rite is concluded with
worshipping Vairocana and the four Humkaras by the dance-rite, and the sddhaka
gains all the attainments of Vairocana and the four Humkaras.
4. Conclusion
The Sarvavajrakula Karmamandala focusing on the offerings of goddesses shows
Vairocana and the four Humkaras worshipped by the dance-offerings of the
goddesses, especially the twenty Hindu goddesses. Significantly, there is
opposition between the symbols held by the goddesses drawn in the mandala, as
for instance, the sun and the canopy. Thus, the symbols of the goddesses occupying
die western quarter of the mandala are the opposites of those of the goddesses
occupying the eastern quarter, and the symbols of the goddesses occupying the
northern quarter are the opposites of those of the goddesses occupying the southern
quarter. This opposition between the symbols drawn in the mandala is also applied
to the attainment-knowledge of the Sarvavajrakula Karmamandala where the
symbols are expressed as the hand gestures formed by the master and the pupil. The
45f Tattvdloka, TTP. Vol. 72, No. 3333, p. 6-1-6-8.

However, Sakyamitra regards Vidyas as referring to the four External Offerings (i.e.
Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha) and the twenty Hindu goddesses
positioned in this mandala. (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 13-l-3~4).
208
P a rt Two
purpose of the Sarvavajrakula Karmamandala is to instruct Hindus in attaining

Buddhahood by means of practising the rite of dance-offerings.
209
P a rt Two
Chapter 14-b. Epilogue of the Trilokacakra

The four mandalas of the Trilokacakra Mandala are dominated by Vairocana
and the four Humkaras like the Trilokavijaya Mandala. Thus, the STTS does not
provide the expositions of the caturmudramandala and the ekamudramandala of
the Trilokacakra Mandala in order to avoid repetition, because they should be the
same as those of the Trilokavijaya Mandala, i.e. the Trilokavijaya Caturmudra-
mandala consisting of Vairocana and the four Humkaras, and the Vajrahumkara
Mandala (or Trilokavijaya Ekamudramandala) consisting of Vajrahumkara.
Chapter 14-b of the STTS452 provides the epilogue of the Trilokacab'a. This
chapter 14-b is divided into two sections, i.e. (i) a set of verses, containing the five
secrets enunciated by Vairocana and the four chief Mahabodhisattvas (or the four
Humkaras), (ii) a verse praising Vajradhara or Vajrahumkara by Vairocana, which
is the same verse as at the end of chapter 5.
The following five verses represent the five families, i.e. Tathagata-, Vajra-,
R a tnaP adm a- and Karma-families, and succinctly express the significances of
the five families in relation to the Trilokacakra Mandala:-
“The Lord (Vairocana) entered the samadhi called the Secret-
Vajra of all the Tathagatas, and announced the Secret of all the
Tathagatas: T or the benefit of living beings, one should purify the
nature of all living beings to be converted by means of passion,
and the others/453
Then Vajrapani announced his own 454Secret: T or the benefit of
all living beings, if one should kill all living beings according to
the Buddha's teaching, one is not defiled by sin.’
Then the Bodhisattva Vajragarbha announced his own Jewel-
secret: T o r the benefit of all living beings, if one destroys the
thought455 of others by imiting with the Buddha-body,456 one is
not defiled by sin.’
Then the Bodhisattva Vajranetra announced his own Dharma-
secret: ‘There is no bliss equal to passion. For the benefit of living
beings,457 if one associates with others' wives by means of
offering to the Buddhas,458 one obtains merit.’
Then the Bodhisattva Vajravisva announced his own Action-
secret: T o r the benefit of all living beings, if one should execute
452. S. chapter 14-b, pp. 311-313, T. p. 254-2-7-4-2, C2. pp. 398-3-3-399-1-2.

453. Chinese 2 reads: “All the existing precepts have been generated from the nature of living
beings, so all the activities which have been done with passion, etc., for the benefit o f living
beings, are pure.”
454. Tibetan adds: “ Vajra”.
455. Tibetan reads: “wealth”.
456. Tibetan reads: “the Buddha's truth”.
457. Sanskrit omits: “for the benefit of living beings”.
458. Chinese 2 reads: “if one acts in the same way as all the Buddhas act, however one acts
benefits living beings”.
210
P a rt Two
all activities according to the Buddha's teaching, one gains great

merit.’”459
There are two purposes of the Vajra-family described in part two of the STTS, the
first in the Trilokavijaya Mandala to guide the sddhaka to eliminate and purify
spiritual obstacles and defilements symbolised as all evil beings, and the second in
the Trilokacakra Mandala to convert and instruct Hindus to attain Buddhahood by
employing forty-two Hindu deities called the external- Kq/m-family. Thus, the
above quotation can be interpreted in relation to the second purpose of the Vajra-
family that in order to attain Buddhahood, the Hindu sddhaka should practise the
five secrets; firstly, purifying Hindu deities by passion; secondly, killing Hindu
deities in deity-yoga; thirdly, destroying Hindu deities by samadhi; fourthly, uniting
with Hindu goddesses by the four madras; and finally, performing the rite of
offerings to Hindu goddesses. It is evident that these secrets have a highly advanced I
tantric flavour in the antinomian sense that they controvert the norms of ordinary
morality. In order to guide the Hindu sddhaka to destroy his established attitude
towards the Hindu deities, the secrets teach, on the basis of the concept that all the
images of the Hindu deities whom the sddhaka encounters and experiences in deity-
yoga have no self-nature, that the sddhaka should conquer passion by passion and
wrath by wrath.
459. S. pp. 311-9-312, T. p. 254-3-1-7, C2. p. 398-3-7-23.

Cf. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 51.
211
P a rt Three
Part Three
Dharma-Pledge of All the Tathagatas
Part three of the Sanskrit STTS1 is divided into four chapters, entitled
Sakalajagadvinaya Mahamandala (ch. 15), Padmaguhya Mudrdmandala (ch. 16),
(Padmakula) Jndnamandala (ch. 17), and (Padmakula) Karmamandala (ch. 18-a).
The last chapter also includes a section which forms an epilogue of part three (ch.
18-b) and contains the rites of two mandalas, i.e. Padmakula Caturmadra-
mandala and Sarvajagadvinaya Mandala (or Padmakula Ekamudramandala).
These six mandalas of part three belong to the Lotus-family. David Snellgrove
argues that the Lotus-family describes the supernatural powers, for example,
subduing beings to one's will, becoming invisible, assuming various bodily forms,
flying in the sky, etc.2
According to the Pali Majjima Nikdya, soon after the Buddha Sakyamuni's ^
enlightenment, he decided not to teach what he had attained to others, because he
thought that the truth was too profound to understand for human beings who were
attached to passion. However, after receiving Brahma Sahapati's request, he i
changed his mind, and started to teach for the benefit of others.3 Thus, part three of
die STTS was probably motivated by this specific story, and was devised for the
conversion of the entire world, because the presiding Buddha refers to either
Vairocana or Sakyamuni.4 In order to symbolise the Buddha Sakyamuni's
compassion and mercy, part three of the STTS is dominated by the lotus and
Avalokitesvara. According to Anandagarbha, part three of die STTS explains the
significance of assembling the nature of the Dharma-mudra which is the perfection
of the wisdom of the Lotus-family as the remedy for ignorance.5
f S. part three, pp. 314—381, T. pp. 254-4-2-261-1-7, C2. pp. 399-1-3-411-3-21.

3. Edward Thomas, The Life o f Buddha as Legend and History, pp. 81~86.
212
P a rt Three
Chapter 15. Sakalajagadvinaya Mahamandala

Chapter 15 of the STTS6 provides an exposition of the Sakalajagadvinaya
Mahamandala which constitutes the supreme maha-mudrd of the Lotus-family.
Amoghavajra provides the outline of this chapter as follows
“The third main part is called ‘Conversion of the Entire World
(sakala-jagad-vinaya)’. It includes six mandalas. The first
mandala (of the Sakalajagadvinaya) is called the mahd-mandala.
It contains (the main) thirty-seven deities. All of them are the
transformations of Avalokitesvara. (This section of the tantrd)
explains the rite of guiding the pupil to enter (the mandala), and
also explains the sixteen kinds of the samadhi-rites for the rapid-
accomplishment of supernatural knowledge (abhijna).”7
This mandala focuses on the Compassionate Body of Avalokitesvara abiding in the
heart of Vairocana, and all the deities of this mandala are manifestations of
Avalokitesvara, The attainment-knowledge described in this mandala, which
consists of the sixteen samadhi-rites for the conversion of all living beings and the
acquisition of supernatural powers, employs the meditation on either the lotus or the
image of Avalokitesvara.
(1) The first section of chapter 15 of the STTS starting with the words, “Then all the
Tathagatas again gathered together in a conclave”8 and ending with die words,
“They can become even gods”,9 opens with a eulogy of Avalokitesvara who
presides as chief Mahabodhisattva of the Lotus-family and is saluted by all the
Tathagatas with one hundred and eight names, beginning with Padmasattva,
Mahapadma, Lokesvara, Mahesvara, Avalokitesvara, etc. and ending with
Vajranetra.10 This section also includes an exposition of the second samadhi called
the supreme mandala-king of the Sakalajagadvinaya Mahamandala.
(2) The next section starting with the words, “Then, the Lord Bodhisattva
Mahasattva Avalokitesvara”11 and ending with the words, “Here is the dharma-
nature”,12 explains the detailed mandala-rites of the Sakalajagadvinaya
Mahamandala. In this section, the names of the main thirty-seven deities of the
Sakalajagadvinaya Mahamandala are enumerated in the form of hrdayas. As

7. OEAVS, TSD. Vol. 18, No. 869, p. 285-3-8-11.
8. atha sarvatathdgatdh punah samdjam dgamya: S. p. 315-3, T. p. 254-4-2, C2. p. 399-1-10.
9. devd api bhavanti hi: S. p. 320-15, T. p. 255-2-6, C2. p. 400-1-4.
u . atha bhagavan avaloldtesvaro bodhisattva mahdsattvah: S. p. 321-1, T. p. 255-2-6, C2. p.
400-1-5.
12. iyam atra dharmata: S. p. 329-12, T. p. 256-2-1, C2. p. 401-3-23.
Chinese 2 reads: “the Lotus-cf/zarara-nature”.
213
P art Three
David Snellgrove points out,13 the names of the deities belonging to this Lotus-
family mostly replaced Vajra- with Padtna- as the first part of a Bodhisattva s
name.
knowledge of the mudra of the Lotus-family”14 and ending with the words,
“LOKESVARA”,15 explains the attainment-knowledge of the Sakalajagadvinaya
Mahamandala consisting of sixteen samddhis.
knowledge of all the mudrds of the mahd-mandala” 16 and ending with the words,
“One should accomplish the karma-mudras”, [1 explains the rites of the four
mudrds of the Sakalajagadvinaya Mahamandala.18
2. Mandala Rites
The Sakalajagadvinaya Mahamandala was enunciated by the Mahabodhisattva
Avalokitesvara in order to achieve certain goals, which are according to the STTS19:
(1) giving safety to all the Tathagatas and all sentient beings, (2) accomplishing Hie
intended tasks, (3) attaining the supreme siddhis, (4) attaining the nature of Vajra,
(5) attaining wisdom, and (6) attaining supernatural knowledges.
a. Structure o f the Sakalajagadvinaya Mahamandala
The Sakalajagadvinaya Mahamandala has the same external structure with the
same positions for the main thirty-seven deities as the Vajradhatu Mahamandala.
A slight difference between the two is that whereas the Vajradhatu Mahamandala
has a wheel-shaped central part adorned with eight vq/ra-pillars inside its internal
square, this mandala has a lotus-shaped central part adorned with eight petals inside
its internal square. According to Anandagarbha, the vajra is drawn at each of the
eight petals.20 He also comments that every deity positioned in this mandala is
drawn on the moon and the lotus-seat,21
“The supreme Mahamandala (of the Lotus-family) has the basic
design of the Vajradhatu {Mahamandala) and is called
‘Jagadvinaya (Conversion of the World)’.
and four arched doorways, joined together by four lines and
adorned with silk pennants, wreaths and garlands. The external

14. tatah padmaJadamudrajndnam siksayet: S. p. 330-1, T. p. 256-2-1-2, C2. p. 401-3-23.
15. S. p. 333-13, T. p. 256-4-1, C2. p’ 402-3-9.
Chinese 2 reads: “ABHISEKA LOKE$VARA”.
16. tato mahdmandalasarvamudrdjndnam siksayet: S. p. 334-1, T. p. 256-4-1, C2. p. 402-3-10.
17. karmamudrah samadhayed iti: S. p. 339-7-8, T. 257-2-6.
1S. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 141-2-5-4-2.
19 S. p. 321-1-5, T. p. 255-2-6-8, C2. p. 400-1-5-8.
21. Ibid., p. 17-3-8-4-2.
214
P a rt Three
mandala should be drawn, inlaid with vajras and gems in every

comer of the mandala and between the gates and doors. The
internal part should be surrounded by a square line. One should
start to design a lotus image from the comer of the second gate. In
conformity with the eight pillars, one should draw a lotus of eight
petals.
One should place an image of the Buddha (Vairocana) at the centre
of its lotus-filaments. At the centre of each lotus drawn on all sides
of the Buddha, a vajra, a gem, a lotus and a crossed lotus should
be positioned in correct order.
Having approached the mandala of Jagadvinaya22 (located at the
lotus-leaf of the eastern quarter) with the vq/ra-impulse, one
should draw (at its centre) Lokesvara23 (or Avalokitesvara) who
emits all forms.24 On all his sides, one should draw (from the east
clockwise) the (four) Mahasattva Padmacihnadharas, i.e. Buddha
(-padma) (or Padmabuddha) and the others (i.e. Padmaraja,
Padmaraga and Padmasadhu) by referring to Vajragarva and the
others.25
Having approached the second mandala26 (located at the lotus-leaf
of the southern quarter) with the vq/ra-impulse in the same way,
one should draw at its centre (Avalokitesvara)27 who has an image
of Tathagata (Amitabha) in the centre of his twisted hair (fata).28
On all his sides, one should duly draw the (four Mahasattva)
Padmacihnadharas (i.e. Padmabhrkuti, Padmasurya, Padmaketu
and Padmahasa) in correct order by referring to Bhrkuti and the
others.
Having approached the third mandala29 (located at the lotus-leaf
of the western quarter) with the vq/ra-impulse in the same way,
one should draw (at its centre) the Mahasattva30 (Avalokitesvara)
in equanimity,31 who is positioned on the lotus. On all his sides,
22. Chinese 2 reads: “the mandala positioned in the east”.

23. Tibetan reads: “Avalokitesvara”.
24 Sakyamitra explains that the phrase ‘emitting all forms’ means emitting from all the pores of
Lokesvara the bodily forms o f the deities existing in the external world and beyond the
external world. (.Kosalalarnkdra, TTP. Vol. 71, No. 3326, p. 19-1-5—6). However,
Anandagarbha interprets ‘all forms’ in relation with the Sakalajagadvinaya Mahamandala
where all forms refer to the deities beginning withBuddhapadma (orPadmabuddha) who is
regarded as the sixth Mahabodhisattva in this mandala endingwith Padmavesa who is the
thirty-seventh Mahabodhisattva. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-3-5).
25. Anandagarbha states that the phrase ‘by referring to Vajragarva and the others’ refers to the
method o f the maha-mudrds o f Vajrasattva and the others explained from the Vajradhatu
M andala. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-3-6~7).
26. Chinese 2 adds: “positioned in the south”.
27. Chinese 2 reads: “the deity of its own family (sva-kula~devaj\
28. According to the MW (p. 409), the Sanskrit term ja td means the hair twisted together as worn
by Siva, ascetics and persons in mourning.
29. Chinese 2 adds: “positioned in the west”.
30 Chinese 2 adds: “o f its own family”.
31. Chinese 2 omits: “in equanimity”.
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P art Three
one should duly place the (four) Mahasattvas (Padmacihnadharas,

i.e. Padmatara or Tarapadma, Padmakumara, Padmahetu and
Padmabhasa) in correct order by referring to Padmaloka and the
others.
Having approached the fourth mandala32 (located at the lotus-leaf
of the northern quarter) with the vq/ra-impulse in the same way,
one should draw (at its centre) a four-faced Padma
(Avalokitesvara) holding a lotus-lance. On all his sides, one
should draw the (four) Mahasattva Padmacihnadharas (i.e.
Padmanartesvara, Padmaralcsa, Padmayaksa and Padmamusti) in
accordance with the rite by referring to Vajranrtya and the others.
Having approached with the vq/ra-impulse, one should draw the
(four) Goddesses in all the (four) comers, i.e. Padmalasya and the
others (i.e. Padmamala, Padmagita and Padmanrtya) by referring
to Vajralasya and the others. Having approached with the vajra-
impulse, one should draw the four Offering-Goddesses, i.e.
Padmadhupa33 and the others (i.e. Padmapuspa, Padmadipa and
Padmagandha) in juxtaposition in the external mandala. Then, at
the four gates of the lotus, one should duly draw all the (four)
Ganas (or four Door-guardians, i.e. Padmankusa or Hayagriva,
Padmapasa or Amoghapasa, Padmasphota and Padmavesa or
Padmaghanta) in accordance to the sense of their hrdayas
The image of Vairocana is drawn on the lion-seat positioned at the centre of the
pistil of the lotus. Anandagarbha explains that Vairocana has a white-coloured
body, holds the five pronged vajra with the hands made by the {karma-) mudra
known as the supreme enlightenment, and has four heads whose first head faces the
east.35 Since the Lotus-family represents the wisdom and instruction of the
Buddha,36 an eight-petalled lotus symbolises the Eightfold Path (dryamdrga) taught
by the Buddha Sakyamuni. The four symbols of the four Paramitas, i.e. vajra, gem,
lotus and crossed lotus, are drawn on the four lotus-seats placed in the four
directions of Vairocana. In this mandala, the vajra indicates a lotus signified by a
five-pronged vajra, the gem indicates a wish-granting-gem {cintamant) signified
only by a lotus, the lotus indicates a vajra-lotus of sixteen lotus-petals, and the
crossed lotus indicates a crossed lotus of four petals.37
As can be seen, one of the characteristics of this mandala is that the four
different images of Lokesvara or Avalokitesvara are drawn in the positions of the
four Tathagatas. First, LokeSvara when emitting all fomis (called Jagadvinaya) has
the whitish-red body and hands, and holds a lotus stalk with his left hand and opens
32. Chinese 2 adds: “positioned in the north”.

33. Tibetan reads: “Padmapuja”.
34. S. pp. 321-6-327, T. pp. 255-2-8-256-1-1, C2. pp. 400-1-9-401-2-23.
216
P art Three
the lotus over his heart with his right hand.38 Second, Lokesvara when having the
image of the Tathagata Amitabha in the centre of his twisted hair (called Jatabuddha
or Buddhajata) has a red body, and holds a lotus with his left hand and makes the
kcirma-mudra known as the supreme samadhi with his right hand.39 Third,
Lokesvara when abiding in meditation (called Padmasamadhi) has a red body
possessing Satakratu's (or Indra's) appearance and one thousand eyes, and holds the
wy'ra-lotus with his left hand made by the karma-mudrd known as the supreme
s a m a d h i.Fourth, Lokesvara when having four faces (called PadmamogheSvara)
has the bodily form of Mahadeva, four faces (i.e. blue, yellow, red and green faces)
each with a third eye, makes offering-gesture with his first right hand, holds a lotus
with his second right hand, a three pronged lance with his first left hand, and a
sword with his second left hand.41
The sixteen deities surrounding the four images of Lokesvara in this mandala are
called the Mahasattva Padmacihnadharas (Lotus-sign-holders) because each has the
image of Lokesvara or Avalokitesvara and symbolise the compassion and mercy of
the lotus. Thus, each image of these sixteen Padmacihnadharas is the fusion of the
image of Lokesvara or Avalokitesvara and the corresponding deity out of sixteen
Mahabodhisattvas of the Vajradhatu Mahamandala. Sakyamitra describes the
detailed images of these sixteen Padmacihnadharas
(1) Padmabuddha or Buddhapadma: the body of the Buddha (Sakyamuni) united
with Vajragarva (referring to the bodily image or maha-mudrd of Vajrasattva) in
the position of Vajrasattva of the Vajradhatu Mahamandala.
(2) Padmaraja: the image of Lokesvara endowed with the image of Vajraraja in
place of Vajraraja, who has four hands, i.e. holding a vajra and a sword with his
two right hands and holding a lotus and a hook with his two left hands.
(3) Padmaraga: the image of Lokesvara endowed with the image of Vajraraga in
place of Vajraraga.
(4) Padmasadhu: the image of Lokesvararendowed with the image of Vajrasadhu in
place of Vajrasadhu.
(5) Padmabhrkuti: the image of Lokesvara endowed with the image of Vajraratna in
place of Vajraratna, holding a lotus with one hand and holding a garland, a stick and
a rope (?) with his other three hands.42
3S.Ibid., p. 17-4-7-8.
39.Ibid., p. 17-5-3-4.
40. Ibid., p. 18-1-5-6.
41. Ibid., p. 18-2-3-5.
According to Sakyamitra, Avalokitesvara or Lokesvara having four faces holds a lance with
his right hand and a lotus with his left hand. (.Kosaldlamkdra, TTP. Vol. 71, No. 3326, p.
19-2-8-3-1).
42. Anandagarbha comments that Padmabhrkuti indicates the Lord Akasagarbha. (Tattvdloka,
TTP. Vol. 72, No. 3333, p. 12-4-4).
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P a rt Three
(6) Padmasurya: the image of Lokesvara endowed with the image of Surya (or
Vajratejas) in place of Vajratejas.
(7) Padmalcetu: the image of Lokesvara endowed with the image of Candra (or
Vajraketu) in place of Vajraketu, holding a lotus-jewel-banner.
(8) Padmahasa: the image of Lokesvara possessing eleven faces (these faces are
grouped into five, three, two and one) in place of Vajrahasa.
(9) Padmatara or Tarapadma: the image of Lokesvara meditating on the mudra of
lotus in place of Vajradliarma.43
(10) Padmakumara: the image of Lokesvara possessing six youthful faces (or
possessing the image of Kumara) and holding a lotus, a lance and a sword in place
of Vajratiksna.
(11) Padmahetu: the image of Lokesvara endowed with the image of Visnu in place
of Vajrahetu, who has four hands holding a wheel and a stick with his two right
hands and holding a lotus and a conch shell with his two left hands.
(12) Padmabhasa: the image of Lokesvara endowed with the image of Vajra-
Brahma (?) in place of Vajrabhasa.
(13) Padmanartesvara: the image of Avalokitesvara endowed with the image of
Nartesvara in place of Vajrakarma.
(14) Padmaralcsa: the image of Avalokitesvara endowed with the image of
Vajraraksa in place of Vajraraksa.
(15) Padmayaksa: die image of Avalokitesvara endowed with the image of
Vajrayaksa in place of Vajrayalcsa.
(16) Padmamusti: the image of Avalokitesvara possessing the vq/ra-fists in place of
Vajramusti or Vajrasandhi.44
The images of the eight Offerings in this mandala are the same as those of the
Vajradhatu Mahamandala, but they hold their own symbols signified by the lotus.
The four Door-guardians in this mandala, i.e. Padmarikusa (or Hayagriva),
Padmapasa (or Amoghapasa), Padmasphota and Padmavesa (or Padmaghanta),
basically have the images of Avalokitesvara and hold their own symbols, i.e. the
lotus-hook, lotus-noose, lotus-chain and lotus-bell. According to Sakyamitra,
Padmarikusa represents Avalokitesvara endowed with the image of Hayagriva,45
and Padmavesa represents Avalokitesvara possessing six youthfiil faces.46
43. Kosalalamkdra reads: “in place o f Lokesvara”, but it misreads “Vajradharma” as “Lokesvara”.
44. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-l-6~3-3.
As can be seen, Sakyamitra mostly focuses on the image of the deities, but Anandagarbha
provides some more detailed descriptions such as body-colours and symbols. (Tattvdloka,
TTP. Vol. 72, No. 3333, pp. 17-4-8-18-3-1).
45. Chandra Das explains in his Tibetan-English Dictionary (p. 530) that Hayagriva (Tibetan rta-
mgrin) is the name o f the deity who has a man's body and a horse's head. This deity neighs
fearfully to frighten those who are a danger to Buddhism.
46. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-3-4~8.
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P a rt Three
According to Anandagarbha, like the Vajradhatu Mahamandala, this mandala

contains the Bhadrakalpa Mahabodhisattvas such as Maitreya, positioned towards
the four directions of the external mandala. He adds that they assume the meditation
postures and hold their attributes, i.e. each of them in the east holds the lotxis-vajra
and bell; each in the south holds the gem-lotus; each in the west holds the vajra-
lotus; and each in the north holds the crossed-lotus.47
Since the Sakalajagadvinaya Mahamandala belongs to the Lotus-family, most
terms employed in this mandala ritual are related to the lotus, and the colour used in
this ritual is white. Thus, the master gives his pupil the lotus-emblem (and the lotus-
name) as the consecration in the fmal stage of the ritual. The basic format of this
ritual follows the ritual of the Vajradhatu Mahamandala.
(1) The lotus-master48 makes the hand gesture {samaya-mudra) of the vajra-
lotus,49 and enters (the mandala). Then, he performs the actions by referring to the
Vajradhatu Mahamandala50 while reciting the hrdaya (of taking possession of
deities): “OMPADMA SPHOTADHITISTHA AH”.
(2) Then, in accordance with (the rite described in the Vajradhatu Mahamandala),
he receives the command (given by the main thirty-seven deities of this mandala)',
he consecrates himself with the samaya-mudrds (of the thirty-seven deities); he
seizes the image of the lotus; he pronounces his own lotus-name; he performs the
actions (i.e. summoning, drawing in, binding and subduing all the deities of this
mandala) with Padmahkusa and the others, i.e. (Padmapasa, Padmasphota and
Padmavesa); and he directs the Mahasattvas (referring to the thirty-seven deities)
with the dharma-mudrds.51 As a result, he acquires the attainments (siddhis).
(3) After this, he should guide his lotus-pupil to enter (this mandala).51 At first, he
gives tire vow-hrdaya to his lotus-pupil, and utters: “Now, Padmasattva himself

48. Anandagarbha comments that the lotus-master means one who teaches the mahayoga of
Jagadvinaya (referring to Avalokitesvara) and the empowerment. (Tattvdloka, TTP. Vol. 72,
No. 3333, p. 19-1-8-2-1).
49. According to Sakyamitra, the samaya-mudra of the vay'ra-lotus means the samaya-mudrd of
the Lotus-family, and the essential characteristic of this mudra can be understood from the
mudra o f Sattvavajri. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-4-3).
50. Sakyamitra explains that the master clasps a garland with the hands formed into the samaya-
mudrd o f the Lotus-family while reciting the vow-mantra, and presents it to Avalokitesvara
Jagadvinaya. Then, he imagines that all of his intended tasks are accomplished by means of
generating in his mind the nature of the Lord Avalokitesvara. (Kosaldlarnkara, TTP. Vol. 71,
No. 3326, p. 19-4-4-6).
51. Chinese 2 reads: “karma-mudras”.
Anandagarbha comments that the dharma-mudrds in this rite do not refer to the mantras, but
the hand gestures (samaya-mudrds). (Tattvdloka, TTP. Vol. 72, No. 3333, p. 19-4-3—8).
52. Anandagarbha explains that after his activities, the master blesses his pupil in the form of
Jagadvinaya (or Lokesvara), and guides his pupil to enter the mandala. (Tattvdloka, TTP.
Vol. 72, No. 3333, p. 20-5-2-3).
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P a rt Three
exists in you.”53 Then, he gives an order to his pupil:54 “You should not tell this
secret precept to anyone, otherwise you will die without avoiding misfortune and
will fall into hell.”
(4) Next, the pupil makes the samaya-mudrd (of Dharmavajri) while reciting the
hrdaya: “OM VAJRA PADMA SAMAYAS TVAM”. Then, the pupil who wears a
white upper garment and whose face is covered with a white bandage enters the
mandala while reciting the hrdaya: “OM PADMA SAMAYA H U M \
(5) After this, the pupil duly performs (all the appropriate) actions (including
throwing the garland into the mandala in order to choose his deity),55 and is given
the lotus-image (padma-vigraha)56 into his hand while reciting the hrdaya: “OM
PADMA HAST A VAJRA-DHARMATAM PALAYA”. Then if the pupil asks: “What
is the nature of the lotus57?”, the master answers: “As this red58 lotus is not stained
by noxiousness, so one will not be stained by sin as long as one conceives of the
purity of all.” This is the nature (of the lotus).59
In this rite, the last statement about the nature of the lotus means that even though
the sddhaka does some actions which seem to be against ordinary morality, he will
receive no karmic result as long as he follows the master's instruction faithfully and
does not lose his concentration during the rite. Thus, the purpose is to help the
sddhaka to eliminate the feeling of uneasiness and to boost the confidence about all
his performances.
3. Mudra Rites
a. Mudra-Knowledge
The attainment-knowledge60 of the Sakalajagadvinaya Mahamandala entitled
“Padmakulamudrdjhdna (the mwrfra-knowledge of the Lotus-family)” consists of
the following sixteen samddhis, in four groups of four, which are the means of
subjugating or converting the whole world and gaining supernatural powers.
“If one draws a lotus over one's heart, and meditates on the lotus
in one's heart, one can control Padmasrf, and controlling the
ordinary female (deities) needs not be mentioned.
If one draws the image of the Buddha over one's forehead, and
meditates on it repeatedly, one can obtain the consecration
immediately while meditating upon it.
53. Tibetan reads: “ in your heart”. Chinese 2 reads: “Now, this rite is the secret of Padmasattva's
own family.”
55. Chinese 2 adds: “(the master) removes the face-covering (of his pupil).”
56. Anandagarbha interprets the lotus-image as the va/ra-lotus and the lotus-bell. (Tattvdloka,
TTP. Vol. 72, No. 3333, p. 22-4-1-2).
57. Only Sanskrit reads: “vq/ra”, instead o f “lotus”.
58. Chinese 2 omits: “red”. Tibetan reads: “white”.
59. S. pp. 328-329, T. p. 256-1-1-2-1, C2. p. 401-2-24-3-23.
60. S. pp. 330-333, T. p. 256-2-2-4-1, C2. pp. 401-3-24-402-3-9.
220
P art Three
If one meditates on the image of the Buddha inside one's mouth,

and extends it towards one's tongue, the Goddess Sarasvati herself
remains in one's mouth perpetually.
If one places a lotus in the centre of one's crown with a well
concentrated mind, and meditates upon the lotus on one's crown,
one can subjugate (deities) who are wandering in space.”
According to Anandagarbha,61 all die four samddhis corresponding to the
descriptions of die four segments in this quotation begin with performing deity-
yoga. For example, in the first segment, if the sddhaka generates his deity as
himself, and attains the vajra-lotus in his mind, he can become identical to
Avalokitesvara, and then he can control not only Padmasri (referring to the
Avalokitesvara's consort), but also all the female Yaksas such as Uma by the four
Door-guardians. However, Sakyamitra62 regards ‘the lotus’ in the first segment as
the image of Avalokitesvara and interprets ‘the image of the Buddha’ in the second
segment as generating the image of Avalokitesvara and meditating on the body of
Amitabha. Similarly Sakyamitra regards ‘the image of the Buddha’ in the third
segment as referring to die image of Avalokitesvara and interprets ‘the lotus at the
centre of the crown’ in the fourth segment as meditating on a lotus at the centre of
the crown and generating the image of Avalokitesvara having four faces. In
conclusion, this rite shows the means of the attainments gained by generating and
visualising the lotus or the image of Avalokitesvara in the four meditation places in
the sddhaka}s body, i.e. heart, forehead, tongue and crown.
“If one visualises the supreme63 lotus on the wall or in the sky,
this is the supreme subjugation of all living beings.
While visualising the supreme lotus in the sky or in another place,
if one can see and hold it, one can move invisibly at will.
While meditating on the crossed lotus on the wall or in the sky, if
one can see and hold it, one can assume various forms.
While visualising the vo/ra-lotus in the sky or in another place, if
one can (see and) hold it, one can become a Padmavidyadhara
instantly.”
This rite is executed in deity-yoga. The first segment of this quotation means that if
the sddhaka practises his deity-yoga, and visualises the pure lotus on the wall or in
the sky, and then places and meditates it on the heart of any one to be subjugated,
that one will be subjugated. Sakyamitra64 comments that since the sddhaka does not
look at the external object, i.e. the lotus, but perceives it with the mind, this method
is called supreme. The three samddhis described in the other three segments indicate

62. Kosalalam kdra, TTP. Vol. 71, No. 3326, p. 20-3-1-4-5.
63. Chinese 2 reads: “supreme pure”. Sakyamitra also interprets “supreme” as bright or pure.
(Kosalalam kdra, TTP. Vol. 71, No. 3326, p. 20-4-6).
64. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 20-4-7—8.
221
P a rt Three
the means of gaining three different supernatural powers by means of meditating on

three lands of lotus until obtaining the sign. According to Sakyamitra,65 the three
benefits or supernatural powers gained as a result of these three samddhis are
related to the Gem-family, the Buddha-family and the Dharma-izxmly respectively.
"If one draws Lokesvara (or Avalokitesvara) in the mandala or in

any other place, one can attract (the world) in front of him by
means of the supreme mudra of Hayagriva.
If one draws Lokesvara in the mandala or in any other place, one
can subjugate the world (in front of) him by means of the
(supreme) mudra of Amoghapasa.
can bind (the world) in front of him by means of the supreme
mudra of Padmasphota,
can attain the supreme possession of all in front of him by means
of (the supreme mudra of) Padmaghanta.”
These four samddhis correspond to summoning, drawing in, binding and subduing
all living beings by means of the four Door-guardians, i.e. Hayagriva (or
Padmankusa), Amoghapasa (or Padmapasa), Padmasphota and Padmaghanta (or
Padmavesa), while practising the yoga of LokeSvara (or Avalokitesvara).
“If one visualises oneself as the four-lotus-faced (Maha-) Sattva

(referring to Lokesvara),66 and one is successful, one can assume
various forms instantly.
If one visualises oneself as the lotus above the lotus (symbolising
Lokesvara abiding in meditation), one can obtain the lotus-words67
while being united in the samadhi of Vajradharma.
If one visualises oneself as the image of the Buddha (Amitabha) in
the centre of the twisted hair of Lokesvara, one can become
identical to Amitayus.
If one visualises oneself as (the image of Lokesvara emitting) all
forms in samadhi, one can become identical to Lokesvara while
joining in the samadhi of (Lokesvara emitting) all forms.”
This rite refers to the means of generating and visualising the four images of
Lokesvara or Avalokitesvara drawn in the Sakalajagadvinaya Mahamandala, i.e.
Lokesvara emitting all forms at the eastern quarter; Lokesvara having the image of
the Tathagata Amitabha in the centre of his twisted hair at the southern quarter;
Lokesvara abiding in meditation at the western quarter; and Lokesvara having four
faces holding his symbol at the northern quarter. The order of the above four
65. Ibid., pp. 20-5-1-21-1-2.

66. Chinese 2 reads: “the four Mahasattvas at the four lotus-gates”.
67. Tibetan reads: “the imperishable dignity”. Chinese 2 reads: “the true words”.
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P a rt Three
samddhis begins with the image of Lokesvara at the northern quarter and ends with
Lokesvara at the eastern quarter.
In conclusion, as David Snellgrove points out,68 most rites described in part
three do not differ in any significant way from those of the previous two parts
because the lotus and the image of Lokesvara (or Avalokitesvara) merely replace the
vajra and the image of Vajrasattva' (or Vajrahumkara in part two) as the central
object of meditation.
h. Rites o f the Four Mudrds
b-1. Mahdmudrd Rite

The STTS describes the basic and common method of binding all the mahdmudrds
of the main thirty-seven deities of the Sakalajagadvinaya Mahamandala where the
sddhaka sits on the centre of the lunar disc of his deity drawn in his mind in
accordance with the rules of drawing the mandala, and then visualises himself as
the bodily image of his deity abiding on the lotus-seat.69 The STTS also describes
die benefits of the mahdmudrds of the thirty-seven deities of this mandala. For
example, the benefit of the mahdmudrd of Vairocana is that if the sddhaka binds
the mahdmudrd of the Buddha (referring to the visualisation of the bodily image of
Vairocana), he can become identical to Amitayus.70
b-2. Samayamudrd Rite
The methods of binding all the samayamudrds of the Sakalajagadvinaya
Mahamandala begin with forming the vajra-bond (vajra-bandha) or the vajra-
ahjali. The STTS describes the methods of forming the samayamudrds of the
thirty-seven deities and their benefits. The method of forming the samayamudrd of
Vairocana, for example, is that if one forms the vajra-bond (described in the
Vajradhatu Mahamandala) and raises the thumbs and little fingers equally, whose
mudra is (known as) the Dharma-pledge (dharma-samaya), one gains the
Buddha-dharma.11
b-3. Dharmamudra Rite
Concerning the dharmamudrds of the Sakalajagadvinaya Mahamandala, the
STTS72 provides only the sixteen individual syllables, which correspond to the
sixteen Padmacihnadharas of this mandala. According to Anandagarbha,73 among
these sixteen, the first, fifth, ninth and thirteenth syllables, i.e. H R lj4 Sr I, G if5 and

69. S. p. 334-3-4, T. p. 256-4-2, C2. p. 402-3-12-13.
70. S. p. 334-6, T. p. 256-4-3, C2. p. 402-3-15.
71. S. p. 336-2-3, T. p. 256-5-2, C2. p. 403-1-7-8.
72. S. p. 339-4-6, T. p. 257-2-6, C2. p. 403-3-9-25.
74. Tattvdloka reads: “HRT\
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P a rt Three
VI,76 refer to not only the four Padmacihnadharas (i.e. Padmabuddha,

Padmabhrkuti, Padmatara and Padmanartesvara respectively), but also the four
Lokesvaras (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi, and Padmamoghesvara)
and the four Paramitas, The common method of perfecting these dharmamudras is
to place the relevant syllable on the visualised deity's tongue. However, in case of
Vairocana, the vajra, instead of the syllable, is placed on the visualised Vairocana's
tongue.
b-4. Karmamudra Rite
The STTS11 explains only the characteristic of the karmamudrds of the
Sakalajagadvinaya Mahamandala that one makes the lotus-fist (referring to the fist
described in the samaya-mudrd of the Lotus-family) into two, and accomplishes the
karma-mudras. According to Anandagarbha,78 the karmamudra of Vairocana is
the same as die description in the Vajradhatu Mahamandala, i.e. raising the left
lotus-forefmger inside the right fist, which is known as supreme enlightenment and
bestowing the enlightenment of the Buddha.
4. Conclusion
The SaJcalajagadvinaya Mahamandala representing the Compassionate Body of
Avalokitesvara or Lokesvara who is known as the head of the realm of sentient
beings belongs to the Lotus-family, which is symbolised as an eight-petalled lotus
drawn in the centre of the mandala. The main thirty-seven deities placed in this
mandala have various images of Avalokitesvara because they are the manifestations
of Avalokitesvara. Thus, the main purpose of this mandala is to guide the sddhaka
to generate in his mind the compassionate and merciful thought of Avalokitesvara
by means of meditating on the bodily image of Avalokitesvara, and to convert all
sentient beings by means of using the various supernatural powers gained through
this mandala.
75. TattvaloJm reads: “GRT\

76. Tattvdloka reads: UBRT’.
77. S. p. 339-7, T. p. 257-2-6, C2. p. 403-3-26.
224
P art Three
C h ap ter 16. P ad m aguhya M udram andala

Chapter 16 of the STTS79 provides an exposition of the Padmagiihya
Mudramandala, which is classified as the dharani-mandala and constitutes the
supreme samaya-mudrd of the Lotus-family. This mandala focuses on the
Compassionate Mind of Avalokitesvara abiding in the heart of Vairocana, and also
the main thirty-seven deities. Like the previous dhdrani-mandalas, all of these
deities are generated in the form of goddess by the samadhi, and are represented by
their symbols.
(1) The first section of chapter 16 of the STTS starting with the words, 'Then the
Lord”80 and ending with the words, “OMKARMA SAMAYE HUM”,m provides an
exposition of the second samadhi called the supreme mandala-king of the
Padmaguhya Mudramandala. This section displays only the samadhis of the five
deities, i.e. Vairocana, Vajrapani, Vajragarbha, Vajranetra and Vajravisva.
(2) The next section starting with the words, “Then, the Lord82 Bodhisattva83
Avalokitesvara”84 and ending with the words, “One should remove the face-
cover”,85 explains the mandala-htQS of the Padmaguhya Mudramandala. This
section includes the feminine names of the thirty-seven deities of the Padmaguhya
Mudramandala in the form of hrdaya.
(3) The next section starting with the words, “(The master) should generate the
knowledge in conformity with the vessel (of his pupil)”86 and ending with the
words, “OM VISVA-PADMA SAMYOGA SADHAYA STRIH” ™ explains the
attainment-knowledge of the Padmaguhya Mudramandala consisting of sixteen
samadhis. This section also explains a secret rite consisting of four secret
samadhis.
(4) The final section starting with the words, “Then, one should accordingly teach
the knowledge of the mahd-mudrds of the secret (goddesses) of the Lotus-
family”88 and ending with the words, “One should make the 89fist into two”,90
80. atha bhagavam: S. p. 340-2, T. p. 257-2-7, C2. p. 404-1-1.
81. S. p. 341-4, T. p. 257-3-3, C2. p. 404-1-15.
82. Tibetan omits: “Lord”.
83. Tibetan reads: “Mahabodhisattva”. Tattvaloka and Chinese 2 both read: “Bodhisattva
Mahasattva”.
84. atha bhagavdn dryavaloldtesvaro bodhisattva: S. p. 341-5, T. p. 257-3-3, C2. p. 404-1-16.
85. mnkhabandham muldva: S. p. 347-4-5, T. p. 257-5-8, C2. p. 405-2-8.
s6. yathd bhajanatayd jhdndny utpadayet: S. p. 347-5, T. p. 257-5-8, C2. p. 405-2-8-9.
87. S. p. 351-14, T. p. 258-3-4, C2. p. 406-2-18-19.
88. tato yathavat padmalculaguhya mahdmudrajndnam bhavati: S. p. 352-1, T. p. 258-3-4-5, C2.
p. 406-2-20.
89. Tattvaloka inserts: “secret”.
90. mastir eva dvidhih'teti: S. p. 355-9-10, T. p. 259-1-1, C2. p. 407-2-13.
225
P a rt Three
describes the rites of binding the four mudras of the Padmaguhya Mudramandala.
All the mahd-mudrds of the Padmaguhya Mudramandala appear in the form of the
hand gesture as in the case of those of the previous dhdrani-mandalas (ch. 2, 7 and
l l ).91
2. Structure o f the Padmaguhya Mudramandala
“The supreme Mudramandala92 (of the Lotus-family) has the
basic design of the Vajradhdtu (Mahamandala) and is called
‘Padmaguhya (Lotus-secret)’.
(Sakalajagadvinaya) Mahamandala. One , should draw
Vajradhatvisvari (referring to the stupa well placed)93 on the
excellent lotus (drawn) at its centre. On all (four) sides of it, one
should draw, in conformity with the previous (Sakalajagadvinaya
Mahamandala), the (four) supreme Samayas,94 i.e. (the symbols
of) Dharmavajri and the others, which are drawn in accordance
with sQlf-vidyds. (These four symbols are a vajra, a gem, a lotus
and a crossed lotus drawn on the four lotus-seats).
Having approached the first mandala of Visvarupa (referring to
the mandala of Jagadvinaya in the eastern quarter) with the vajra-
impulse,95 one should draw a lotus96 surrounded by (minute)
lotuses (like a circle) at its centre. On all (the four) sides of it, one
should draw the (four) Bodhisattvas1 own symbols (endowed
with) the lotus characteristics and positioned on the lotuses, (i.e.
(1) a five-pronged vajra signified by the lotus, whose head faces
the east, (2) a lotus-hook, a sword, a vajra and a lotus, (3) both an
arrow and a bow of the lotus, and (4) the two fists whose fingers
of clasping a lotus are snapped97).
Having approached the second mandala (in the southern quarter)
with the vq/ra-impulse in the same way, one should draw
Buddhabhiseka, i.e. a great lotus98 (on the throne of Amitabha
placed) in the centre of the twisted hah (of Avalokitesvara).99 On
all (four) sides of it, one should duly place the (four) supreme

92. Chinese 2 reads: “Samayamudramandala”.
93. The meaning o f the term Vajradhatvisvari has already been defined in the Vajragtthya
Vajramandala (ch. 2) as, “The stupa (caitya), well placed on the seat (patyahka), is called
Vajradhatvisvari (Queen o f the Vajradhdtu).”
94. Chinese 2 reads: “the mudras of the leading Samayas”.
95. According to £akyamitra,-the va/ra-impulse refers to reciting the relevant manti-aand binding
the relevant mudrd. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 25-5-7-8).
96. According to Anandagarbha, a lotus refers to a vo/ra-lotus with light-red-coloured sixteen
petals. (Tattvalolca, TTP. Vol. 72, No. 3333, p. 29-3-2-3).
97. Tattvaloka, TTP, Vol. 72, No. 3333, p. 29-3-3-4.
98. According to Anandagarbha, a great lotus refers to a va/ra-lotus withsixteen petals.
(:Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-4-5).
" . Kosalalam kdra, TTP. Vol. 71, No. 3326, p. 26-2-3.
226
P a rt Three
samaya {-mudras) endowed with the lotus characteristics in

correct order, (i.e. (5) a wish-granting-gem signified by the lotus,
(6) a sun-disc in the lotus-centre, (7) a banner haying the top of the
wish-granting-gem signified by the lotus on the half moon, and (8)
a set of teeth inserted between the two five-pronged vajras
signified by the lotus100).
Having approached the third mandala (in the western quarter)
with the vay'ra-impulse, one should place the lotus-mudrd on the
excellent lotus (referring to a vajra on a lotus with sixteen
petals101) at its centre. In the same way, on all (four) sides of it,
one should duly draw (the four symbols) endowed with die lotus
characteristics on the lotus-seats in correct order, (i.e. (9) a vajra-
lotus, (10) a sword signified by the lotus, (11) an eight-spoked
vajra-wheel, a conch shell, a club and a lotus in the lotus-centre,
and (12) a tongue signified by the lotus102).
Having approached the fourth supreme mandala (in the northern
quarter) with die vq/ra-impulse, one should draw a lotus
possessing brightness surrounded by the blazing garland in the
centre of a lotus.103 On all (four) sides of it, one should duly draw
(the four symbols endowed with) the lotus characteristics
positioned in the centres of the lotuses in correct order, (i.e. (13) a
crossed lotus seized by the dancing-hands, (14) a suit of armour
signified by the lotus, (15) a set of teeth signified by the lotus, and
(16) a five-pronged vajra signified by the lotus, which is gripped
by die fists made by the samaya-mudra of the Lotus-family104).
Having approached with the vq/ra-impulse, one should draw (the
symbols of eight) Buddha-Offerings, and also the symbols (of the
four female Guardians), i.e. PadmankusI and the others, which are
endowed with the lotus characteristics.”105
The images of the deities drawn in the previous Sakalajagadvinaya Mahamandala
are replaced by their symbols in this mandala. A main characteristic is that all the
symbols drawn in this mandala are signified by the lotus symbolising the Lotus-
family. As can be seen, since the STTS does not provide detailed information about
the sixteen Padmacihnadharas' symbols, the above quotation is reconstructed with
the help of commentaries. Thus, the indicated numbers refer to the sixteen
Padmacihnadharas1 symbols in correct order. In addition, the symbols of the eight
Offerings and the four Guardians are the same as the symbols drawn in the
Vajraguhya Vajramandala (ch. 2), the only difference being that they are signified
I0°. Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-5-6.

101. Ibid., p. 29-3-6-7.
102 Ibid., p. 29-3-7-8.
103. Anandagarbha simply describes this symbol as a four-petalled crossed lotus. (Tattvaloka,
TTP. Vol. 72, No. 3333, p. 29-3-8).
105. S. pp. 341-7-345-5, T. p. 257-3-3-5-1, C2. pp. 404-1-18-405-1-3.
227
P a rt Three
by the lotus. According to Anandagarbha, this mandala has the symbols of the
Bhadrakalpa Mahabodhisattvas, i.e. the lotus-va/ras and bells in the east, the gem-
lotuses in the south, the vq/ra-lotuses in the west, and the crossed-lotuses in the
north, all of which are wrapped in the blazing garlands.106
The attainment-knowledge of the Padmaguhya Mudramandala consists of sixteen
samadhis, which are divided into four groups, i.e. Uttamasiddhinispattijhana,
Arthanispattijhdna, Anuraganajhana and Abhicarajnana. Each group consists of
four samadhis corresponding to four mudras. These four kinds of knowledge are
taught by the master according to the capacity of his pupil. The capacity of the pupil
is decided by a test in die mandala-rite. When the pupil enters the mandala, the
master asks his pupil; “What kind of light have you seen?” If the pupil sees the
white light, the master teaches the Uttamasiddhinispattijhana. If he sees the yellow, ■
the master teaches the Arthanispattijhdna. If he sees the red, the master teaches die I
Anuraganajhana. If he sees the black, the master teaches the Abhicarajnana. If he j
sees various colours, the master teaches all these four kinds of knowledge.
According to the STTS, this test also can be applied to all the mandalas including
the Vajradhdtu Mahamandala.101
a. Uttamasiddhinispattijhana
The Uttamasiddhinispattijhana refers to gaining the supreme attainments of the
four deities occupying the positions of the four Tathagatas in this mandala.
“If one visualises oneself as the bodily image {mahd-mudrd) of
the Mahasattva Lokesvara (or Avalokitesvara) assuming universal
form (yisvarupa), one can gain the supreme attainment.
If one meditates on the samaya (-mudrd) consecrated by the
Buddha (Amitabha) steadfastly, and visualises oneself (as
Jatabuddha), one gains the supreme attainment.
If one visualises oneself as the Mahasattva Padmapadma with a
well-concentrated mind, one gains the supreme attainment.
If one accomplishes the karma-mudra endowed with the self-
existent Amoghesvara in conformity with the rite, one can gain the
supreme attainment quickly.”108
This rite means that if the sadhaka visualises himself as the four deities, i.e.
Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara, who represent the
four families and the four mudras in this mandala, together with performing the
four mudras of these four deities, he gains the powers of the four deities.
b. Arthanispattijhdna

107. S. pp. 346-13-347-8, T. pp. 257-5-5-258-1-1, C2. p. 405-2-2-12.
108. S. pp. 347-10-348-2, T. p. 258-1-1-4, C2. p. 405-2-24-3-5.
228
P a rt Three
The Arthanispattijhdna refers to gaining gems by the deity-yoga of LokeSvara.

“If one (imagines) placing a piece of gold inside one's mouth in
conformity with the rite, and visualises oneself as the bodily image
(maha-mudra) of Visvesvara (referring to Jagadvinaya), one can
transform a piece (of gold) up to one thousandfold.
If one (imagines) seizing a one-eighth ounce of gold while making
the supreme samaya (-mudra) (of Lokesvara) steadfastly, and
visualises oneself (as LokeSvara), one can transform a piece (of
gold) up to one thousandfold.
If one (imagines) placing a pearl inside one's mouth in conformity
with the rite, and visualises oneself as Lokesvara, one can
transform a piece (of gold) up to one thousandfold.
If one (imagines) seizing all gems with both hands while forming
the karma-mudra (of Lokesvara), and visualises oneself (as
Lokesvara), one can transform a piece (of gold) up to one
thousandfold.”109
This rite explains the means of transforming into gold by means of performing
either the four mudras of Lokesvara or the four mudras of the sddhaka's chosen
deity. According to Anandagarbha, in this rite, the sddhaka should visualise his
deity as having a yellow body and gratify the deity in order to gain gems.110
c, Anuraganajhana
The Anuraganajhana refers to gratifying the female deities by the deity-yoga of
Lokesvara.
“If one visualises oneself as the bodily image (mahd-mudrd) of
Visvesvara (referring to Jagadvinaya) while clasping the (red)
lotus, and abides (in meditation) in front of some (female deity to
be accomplished), one can gratify that (female deity).
If one clasps the red lotus firmly (with the hand gestures) made by
the great samaya-mudra (of Lokesvara), and visualises oneself (as
Lokesvara), one can gratify all female (deities).
If one visualises oneself (as Lokesvara) while clasping the lotus in
the same way, and beholds (the whole world) with the vajra-
vision, one can gratify the whole world.
If one (visualises oneself as Lokesvara) while clasping the lotus
(with the hand gestures) made by the karma-mudra (of
Lokesvara) in conformity with the rite and turning it round with
both hands, one can gratify all female (deities).”111
In order to help the sddhaka to gratify and control the female deities manifested as
the symbols in this mandala, this rite suggests the means of performing the four
mudras of Lokesvara. In addition, the red lotus symbolising passion is used as an
aid in this rite.
109. S. p. 348-9-16, T. p. 258-1-5-8, C2. p. 405-3-12-19.

110. Tattvaloka, TTP. Vol. 72, No. 3333, p. 30-5-8.
11 k S. p. 349-7-14, T. p. 258-2-1-4, C2. pp. 405-3-27-406-1-6.
229
P a rt Three
d. Abhicarajnana
The Abhicarajnana refers to destroying the deities by the deity-yoga of Lokesvara.
“Visualising oneself as the bodily image (mahd-mudrd) of
Visvesvara (referring to Jagadvinaya),112 if one cuts off the lotus
in front of some (deity), one can instantly cause that (deity) to
die.113
Clasping the lotus steadfastly in the right manner, and destroying it
entirely by means of the supreme samaya (-mudra) (of
Lokesvara), one can destroy (the deity) whose name is
pronounced.
Uniting with the samddhi-mudra (referring to Padmasamadhi),
and clasping the lotus in the same way, if one cuts off the lotus,
one can destroy (the deity) whose name is pronounced.
Clasping the lotus in conformity with the rite by means of the
karma-mudra (of LokeSvara),114 if one in wrath wishes to destroy
some (deity), one can deprive (that deity's) of life.”115
This rite explains that if the sddhaka generates the wrathful thought and attains the
four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara,
having the images of Lokesvara and representing the four mudras, he can destroy
the deities by means of using the lotus, which symbolises the heart of the deity.
e. Secret Rite
The STTS in this section explains a secret rite consisting of four secret samadhis,
entitled ‘Dharma-samaya-rahasya-mudrd-jhdnaj whose meaning is interpreted by
Sakyamitra as the secret knowledge of the samaya-mudrds of the Dharma-f&mily
(or Lotus-family).116
“While assuming a female (deity) (of this mandala) as the lotus117
and also (assuming) oneself as the vajra placed upon it (the lotus),
if one amuses the supreme Vajrapadma in samdpatti, one gains the
attainment
While assuming a female (deity) as the lotus (placed on the twisted
hair of Lokesvara) and also (assuming) oneself as the Buddha
(Amitabha) upon it (i.e. Amitabha in the centre of the twisted hair
of Lokesvara), if one amuses Buddhamukuta in meditation, one
gains the attainment.
112. Tibetan reads: “Visvajnanamahesvara”.

113. Tibetan adds: “by means of the mudra-lotus”.
114 Tibetan reads: “forming the karma-mudra, revolving it and throwing it down”.
115. S. p. 350-5-12, T. p. 258-2-5-7, C2. p. 406-1-13-20.
116. Kosalalam kdra, TTP. Vol. 71, No. 3326, p. 27-4-1-2.
11?. Sakyamitra interprets the lotus as referring to the lotus-seat, but Anandagarbha regards it as
the vajra-lotus o f Jagadvinaya. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 27-4-3;
Tattvaloka, TTP. Vol. 72, No. 3333, p. 32-1-1).
230
P a rt Three
While assuming a female (deity) as the lotus and also (assuming)

oneself as the lotus placed upon it, if one amuses the supreme
Padmapadma, one obtains the attainment of purity.
While assuming a female (deity) as the lotus and also (assuming)
oneself as the crossed (lotus) placed upon it, if one amuses the
supreme Visvapadma, one obtains the universal success.”118
This rite refers to being identical to the four deities, i.e. Jagadvinaya, Jatabuddha,
Padmasamadhi and Padmamoghesvara, by means of the union between the four
deities visualised as the sddhaka himself and the consorts of the four deities
manifested as symbols in this mandala. David Snellgrove regards this rite as
referring to gaining success by means of sexual yoga.119
4. Conclusion
Three characteristics of the Padmaguhya Mudramandala, which represents the
Compassionate Mind of Avalokitesvara, are significant: firstly, all the symbols
drawn in this mandala are signified by the lotus symbolising the Lotus-family;
secondly, the rite of entry into this mandala explains a test which helps the master
to decide the capacity of his pupil and can be applied to the other mandalas; finally,
the attainment-knowledge of this mandala refers to the means of attaining the four
goals, i.e. the supreme attainment (siddhi), the acquisition of gold, gratification and
destruction, by means of visualising the four images of Avalokitesvara or
LokeSvara as well as performing the four mudras of Aval okiteSvara.
118. S. p. 351-2-9, T. p. 258-3-1-3, C2. p. 406-2-3-10.

231
P art Three
Chapter 17. (Padmakula) Jnanamandala

Chapter 17 of the STTSm provides an exposition of the {Padmakula)
Jnanamandala, which is classified as the dharma-mandala and constitutes the
supreme dharma-mudrd of the Lotus-family. This mandala focuses on the
Compassionate Speech of Avalokitesvara abiding in the heart of Vairocana, and
also the main thirty-seven deities. Since this mandala symbolises the knowledge of
the Lotus-family, the names of the main thirty-seven deities of this mandala have
the word ‘knowledge (jndna)\ For example, the names of the five deities of the
Sakalajagadvinaya Mahamandala, i.e. Vairocana (centre), Jagadvinaya (east),
Jatabuddha (south), Padmasamadhi (west) and Padmamoghesvara (north), are
changed into Jnanabuddha (centre), Jnanavisvesvara (east), Jnanabuddhamukuta
(south), Jnanadharmesvara (west) and JnanamogeSvara (north).121
(1) The first section of chapter 17 of the STTS starting with the words, “Then once
again the Lord entered the samadhi called the Lotus Generated and Empowered
from the Pledge of the Z)/*arma-Pledge122-Knowledge of all the Tathagatas”123 and
ending with the words, “OM KARMA-DHARMA H U M \124 provides an exposition
of the second samadhi called the supreme mandala-king of the {Padmakula)
Jnanamandala.
(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva
Avalokitesvara”125 and ending with the words, “You will be tormented”,126
explains the mandala-ntes of the {Padmakida) Jnanamandala. This section is
divided into two parts, i.e. the first part (the mandala-constniction) consisting of a
brief description of characteristics and the hrdayas referring to the main deities'
names of this mandala, the second part (entry into the mandala) focusing briefly on
the maldng of a vow.
(3) The next section starting with the words, “Then, one should generate this
knowledge”127 and ending with the words, “OM KARMA-PADMA HOPT\m
explains the attainment-knowledge of the {Padmahda) Jnanamandala consisting of
sixteen samadhis, which suggest the means of attaining four kinds of supernatural
powers such as flying.
l2°. S. chapter 17, pp. 356-364, T. p. 259-2-1, C2. p. 407-3-12-16.

121. S. p. 358-2-6, T. p. 259-1-2-4-7, C2. pp. 407-2-14-409-1-7.
122 Tibetan, Chinese 2 and Tattvaloka omit: “Pledge”.
123. atha bhagavdm punar apt sarvatathdgatadharmasamayajnana samayas ambhavddhisthanan
padman ndma samadhim samapadya: S. p. 356-2-3, T. p. 259-1-2—3, C2. p. 407-2-15-16.
124. S. p. 357-6, T. p. 259-1-6, C2. p. 407-3-2.
125. atharydvaloldtesvaro bodhisattvo mahasattva: S. p. 357-7, T. p. 259-1-6, C2. p. 407-3-3.
126. duhkhani veti: S. p. 359-18, T. p. 259-2-6, C2. p. 408-1-24.
127. tato ’sya jnanany utpddayet: S. p. 360-1, T. p. 259-2-6, C2. p. 408-2-21.
128. S. p. 363-9, T. p. 259-4-4, C2. p. 408-3-28.
232
P a rt Three
knowledge of the maha-mudrd of the Jnanamandala”129 and ending with the
words, “One should make the karma-mudra into two”,130 succinctly describes the
characteristics of the four mudras of the {Padmakula) Jnanamandala. In this
section, the description showing the characteristic of the dharma-mudrds of this
mandala is omitted because, according to Anandagarbha,131 the dharmamudrds of
this mandala referring to the individual syllables are the same as those of the
Sakalajagadvinaya Mahamandala and the basic method of perfecting these
dharma-mudrds has already been explained in the Vajradhdtu Mahamandala.132
2. Structure o f the (Padmalada) Jnanamandala
As has already been mentioned, the {Padmakula) Jnanamandala is the dharma-
mandala like the Vajrajndna Dharmamandala (ch. 3), and each of the deities
drawn in this mandala holds his/her own attribute and sits cross-legged on the five-
pronged vajra symbolising knowledge. The STTS provides only the following brief
information because the bodily images and symbols of the deities drawn in this
mandala are described in the previous two mandalas, i.e. the Sakalajagadvinaya
Mahamandala and the Padmaguhya Mudrdmandala:-
“The supreme Jnanamandala133(of the Lotus-family) has the
‘jDharmajndnanA {Dharma-knowledge)’. The whole mandala
should be designed in conformity with the {Sakalajagadvinaya)
Mahamandala. In the centre, one should draw the Tathagata
Jnanavajra.135 On all sides of it, in conformity with the rite, one
should draw the Mahasattvas, i.e. Visvesvara (referring to
Jagadvinaya placed in the centre of the eastern quarter) and the
others, who are abiding in samadhi.”136
The centre of this mandala is occupied by the Tathagata Jnanavajra in the middle of
the eight-petalled lotus. This Tathagata Jnanavajra refers to the image of the
Tathagata Vairocana positioned in the centre of the five-pronged vajra drawn in the
lunar disc on the lion and lotus-seat signified by the lotus.137 Except the four
symbols representing the four Paramitas surrounding the Tathagata Jnanavajra, all
129. tato jnanamandalamahamudrajhanam silcsayet: S. p. 363-10, T. p. 259-4-4~5, C2. p. 409-1-

1.
130. karmamudrd dvidhikrta iti: S. p. 363-14~15, T. p. 259-4-6, C2, p. 409-1-5.
Chinese 2 reads: “One should perform the karma (-madra) in conformity with the rite.”
13 k Tattvaloka, TTP. Vol. 72, No. 3333, p. 37-1-3-4.
133. Chinese 2 reads: “Dharmajndnamandala”.
134. Chinese 2 adds: “mandala”.
135. Chinese 2 reads: “the image of the Tathagata Mahajnanavajra in conformity with the rite”.
136. S. p. 357-9-14, T. p. 259-1-6-8, C2. p. 407-3-5-10.
137 Tattvaloka, TTP. Vol. 72, No. 3333, p. 35-2-8-3-2; Kosalalamkdra, TTP. Vol. 71, No.
3326, p. 30-2-4-5.
233
P a rt Three
the other deities, i.e. the thirty-two main deities and the Bhadrakcilpa
Mahabodhisattvas, hold their own attributes at their hearts and assume the
meditation postures on the five-pronged vajras placed on the lotus and lunar disc-
seats.
According to the STTS,m the attainment-knowledge of the {Padmakula)
Jnanamandala consists of the four sets of samadhi-ntcs as the methods of attaining
the four lands of supernatural powers.
“By means of the samdpatti of Lokesvara, one should meditate on
a lotus over one's heart. As soon as one attains the lotus -samadhi,
one flies rapidly.
By means of the samdpatti of Lokesvara, one should meditate on
the lotus on one's forehead. If one performs this practice
steadfastly, one flies in space.
By means of the samadhi of Lokesvara, one should meditate on
the lotus on one's tongue. As soon as one is successful, one
moves through the air.
By means of the samadhi of Lokesvara, one should meditate on
the lotus on the crown of one's head. As soon as one is successful,
one rises upwards rapidly.”
The phrase “the samdpatti of Lokesvara” in this quotation is interpreted by
Sakyamitra as generating the image of Lokesvara through deity-yog^.139 Thus, this
rite explains the methods of flying in which the sddhaka generates the image of
Lokesvara through his deity-yoga and meditates on the image of the lotus in the
four places of his body. Anandagarbha interprets this rite slightly differently in that
while performing his deity-yoga according to the instruction of the Sakalajagad
vinaya Mahamandala, if the sddhaka binds his deity's mahd-mudra described in
the (.Padmakula) Jnanamandala, and meditates upon the vq/ra-lotus on the lunar
disc in the four places of his body together with reciting the appropriate hrdayas, he
gains attainments.140
“One should meditate on a lotus-image in space or elsewhere. As

soon as one is successful in this rite, one becomes invisible.
One should meditate on the lotus-image in space or elsewhere.
Then if one visualises oneself as riding it,141 one can become
invisible.
138. S. pp. 360-363-9, T. p. 259-2-6-4-4, C2. p. 408-1-25-3-28.

As Yamada Isslii has pointed out, the corresponding part of Chinese 2 is wrongly edited, i.e.
S. pp. 360-361-8 corresponding to C2. p. 408-2-21-3-18; S. pp. 361-9-362-10
corresponding to C2. p. 408-1-25-2-17; S. pp. 362-11-363-9 corresponding to C2. p. 408-
2-18-20 & p. 408-3-19-28.
139. Kosalalam kdra, TTP. Vol. 71, No. 3326, p. 30-3-5.
140 Tattvaloka, TTP. Vol. 72, No. 3333, pp. 35-5-2-36-1-1.
141. Chinese 2 reads: “that lotus”.
234
P a rt Three
One should meditate on the lotus-image in space or elsewhere. If

one sees and clasps it,142 one becomes invisible rapidly.
One should meditate on the lotus-image in space or elsewhere. As
soon as one sees and eats that lotus, one becomes invisible.”
This rite refers to the sddhaka becoming invisible by means of generating the image
of the lotus in space and identifying himself with space. Anandagarbha interprets
the second segment of this quotation that while performing his deity-yoga, if the
sddhaka generates the lotus in space or elsewhere, and then sits himself on the lotus
and meditates on the image of Lokesvara, he gains the attainment.143
"If one clasps with the hand the lotus-image adorned with a variety
of colours and forms, and binds the maha-mudrd (referring to
meditating on the bodily image of Lokesvara), one can assume all
forms.
If one draws the lotus-image adorned with a variety of colours and
forms, and mediates on its essence, one can assume various forms.
If one meditates on the lotus-image adorned with a variety of
colours and forms in space or elsewhere, one will assume any
form as one's speech.144
If one makes the lotus-image adorned with a variety of colours and
forms, and flies in space by riding it, one can surely assume any
form at will.”
This rite refers to assuming all forms by means of performing the yoga of
LokeSvara and using the four forms of the lotus-image. Concerning the phrase "a
variety of colours and forms”, Anandagarbha explains that a variety of colours and
forms refer to the colours such as blue and the forms such as round. He adds that
the first lotus-image described in the above quotation is constructed by a cast, in
sculpture, or in clay; the second lotus-image is drawn by the skilled artists on cloth,
wall, or board; the third lotus-image is visualised in space or elsewhere by the
sddhaka; and the fourth lotus-image is made (with a piece of wood) by skilled
artists.145
“One should duly bind the maha-mudrd of (one's chosen deity)

once with a concentrated mind.146 Then, if one clasps the lotus,
and presents it (to one's deity), one can surely gain control over
others.
142. Chinese 2 reads: “that lotus”.

143. Ibid., pp. 36-1-3—5.
144. Chinese 2 reads: “at will”.
146. Chinese 2 reads: “One should bind the samadhi-mahd-mudrd of whosoever being chosen
once in conformity with the rite.”
235
P a rt Three
One should duly bind the mudra of (one's chosen deity) once,
which is known as the samaya.l47 Then, if one clasps the lotus
with that (mudra), and presents it (to one's deity), one can gain
control over others.
One should bind the virtuous (dharma-) mudra of (one's chosen
deity) once, which arises out of samadhi. Then, if one presents the
knowledge-lotus (to one's deity), one can gain control over others
rapidly.
One should bind the mudra of (one's chosen deity) once, which is
named as the karma possessing the samaya. As soon as one
presents the lotus (to one's deity), one can gain control over
others.”
This rite refers to gaining control over others. The four segments of the above
quotation respectively correspond to practising the deity-yogas of Jnanavisvesvara
and his four Mahasattvas (in the eastern quarter of this mandala), the deity-yogas
of Jnanabuddhamulcuta and his four Mahasattvas (in the southern quarter), the
deity-yogns of Jnanadharmesvara and his four Mahasattvas (in the western quarter)
and the deity-yogas of Jnanamogesvara and his four Mahasattvas (in the northern
quarter), which represent the four families and the four mudras in the (Padmakula)
Jnanamandala.
4. Conclusion
The (Padmahda) Jnanamandala representing the Compassionate Speech of
Avalokitesvara and symbolising the knowledge in which all the deities abide in
meditation on the five-pronged vajras describes the means of meditation and guides
the sddhaka to attain the four kinds of supernatural powers, i.e. flying, becoming
invisible, assuming all forms and gaining control over others, by means of
practising deity-yoga and using the image of the lotus.
147. Tibetan reads: “One should bind (the mudra) known as the samaya-mudra of whosoever is
being chosen.” Chinese 2 reads: “One should bind the mahdjndna-samaya-mudrd of
whosoever is being chosen once in conformity with the rite.”
236
P a rt Three
Chapter 18-a. (Padmakula) Karmamandala

Chapter 18-a of the STTSm provides an exposition of the {Padmakula)
Karmamandala, which is classified as the karma-mandala and constitutes the
supreme karma-mudra of the Lotus-family. This mandala focuses on the
Compassionate Action of Avalokitesvara abiding in the heart of Vairocana, and also
the main thirty-seven deities. Amoghavajra provides a brief outline for this chapter:-
“The fourth mandala (of the Sakalajagadvinaya) is called the
karma-mandala. It contains (the main) thirty-seven deities. All of
them are the transformations of Avalokitesvara. (This section of
the tantra) explains the rite of guiding the pupil to enter (the
mandala), and also explains the rite of worshipping the Lotus-
family, the methods of averting sin, protecting retribution, and
preventing the karmic hindrance of affliction {paryavasthdna-
karma-dvarana) .”149
Lord once again”150 and ending with the words, “OM VI&VA KARMT51 HUM”,152
the (Padmakula) Karmamandala.
(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva153
Avalokitesvara”154 and ending with the words, “Otherwise you will fall into
hell”,155 briefly explains the mandala-rites of the {Padmakula) Karmamandala.
(3) The next section starting with the words, “Then, one should generate the
knowledge”156 and ending with the words, OM MAHA-SUKHA PADMA DRDHA
HAN]5T\ m explains the attainment-knowledge of the {Padmakida)
Karmamandala consisting of sixteen samadhis. This section also explains a secret
rite consisting of four secret samadhis.
(4) The final section starting with the words, “Then, one should teach the mahd-
mudras of the Karma {-mandala) accordingly”159 and ending with the words,
14®. S. chapter 18-a, pp. 365-374, T. pp. 259-4-7-260-3-8, C2. pp. 409-1-8-410-3-28.
149. OEAVS, TSD. Vol. 18, No. 869, p. 285-3-18-20.
15°. atha bhagavdm punar api\ S. p. 365-2, T. p. 259-4-7, C2. p. 409-1-14.
151. Tibetan and Tattvaloka both read: “KARMA”. Chinese 2 reads: “KARMI ”.
152. S. p. 366-4, T. p. 259-5-2, C2. p. 409-2-4.
153. Tibetan and Tattvaloka both omit: “Mahasattva”.
154. atharyavalokitesvaro bodhisattvo mahasattva'. S. p. 366-5, T. p. 259-5-2—3, C2. p. 409-2-5.
155. ma te narakapatanam bhaved iti: S. p. 368-15, T. p. 260-1-2, C2. p. 410-1-4.
156. tato jndnany utpadayed iti: S. p. 368-16, T. p. 260-1-2—3, C2. p. 410-1-5.
157. Tibetan reads: “H U M ’.
15S. S. p. 373-7, T. p. 260-3-6, C2. p. 410-3-23.
159, tatah karmamahamudram yathdvac chiksayet. S. p. 373-8, T. p. 260-3-6, C2. p. 410-3-24.
237
P a rt Three
“One should accomplish the karma-mudrds”, m briefly describes the four mudras
of the (.Padmakida) Karmamandala,161
2. Structure o f the (Padmahda) Karmamandala
Concerning the method of constructing the {Padmakula) Karmamandala, the
STTS162 provides only the following brief description, and enumerates the hrdayas
referring to the main deities' names of this mandala'-
“The supreme Karmamandala (of the Lotus-family) has the basic
design of the Vajradhdtu {Mahamandala) and is called
‘Padmakarma (Lotus-action)’. The whole mandala should be
designed in conformity with the {Sakalajagadvinaya)
Mahamandala. On all sides of the Buddha, one should draw all
the Padmacihnadharas.”163
According to Sakyamitra, since this is the karma-mandala which consists of the
offering-goddesses, the deities in this mandala assume the female forms and hold
their own attributes with both hands. In addition, since this mandala belongs to the
Lotus-family, all the attributes are signified by the wreath of the lotus.164 However,
like the Vajrakdrya Karmamandala (ch. 4), the five Buddhas in this mandala, i.e.
Vairocana, Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara have
not female, but male appearances. Their images are the same as those of the
Sakalajagadvinaya Mahamandala. Thus, except these five deities, the other main
thirty-two deities and the Bhadrakalpa Mahabodhisattvas have female appearances
and make the gesture of offering.
The attainment-knowledge of the {Padmakula) Karmamandala consists of the four
kinds of knowledge, i.e. knowledge of confessing sins (papa-desana-jhana),
knowledge of destroying all hindrances {sarvdvarana-pariksaya-jhdna),
knowledge of worshipping all the Tathagatas {sarvatathdgata-pujd-jhdna) and
knowledge of attainments {siddhi-jndna).
This section also includes a secret rite of practising sexual yoga, entitled ‘Karma-
rahasya-mudra-jhdna\ which means the knowledge of die secret mudra of the
{Padmakula) Karmamandala.
a. Pdpadesandjhdna
“If one meditates on die mahd-mudra of Lokesvara (referring to
Jagadvinaya) with a well-concentrated mind, and confesses all
sins, one can remove all sins quickly.
160. karmamudrah sa sddhayed iti: S. p. 373-12, T. p. 260-3-8, C2. p. 410-3-28.

Tattvaloka reads: “One should correctly fasten the lcarma-mudrd.”
162. S. pp. 366-7-368-12, T. pp. 259-5-3-260-1-1, C2. p. 409-2-7-3-26.
163. S. p. 366-7-10, T. p. 259-5-3-4, C2. p. 409-2-7-10.
238
P a rt Three
If one binds the supreme samaya {-mudra) (of Jatabuddha) with

the samadhi of Lokesvara, and confesses all sins, one can purify
the inexpiable sins (dnantarya).165
If one meditates on the samadhi of Lokesvara (referring to
Padmasamadhi) with a well-concentrated mind, and confesses all
sins, one can destroy all sins.
If one duly binds the succinct karma-mudra (of
Padmamoghesvara) once, and confesses all sins, one can
completely purify all actions.”166
b, SarvavaranapariJcsayajhdna
“If one meditates on the mahd-mudra of Lokesvara (referring to
Jagadvinaya) with a well-concentrated mind while reciting:
‘&UDHYA, &UDHYA’, one can purify all actions.
If one binds the karma-samaya {-mudra) (of Jatabuddha) with the
samadhi of Lokesvara while reciting: ‘BUDHYA, BUDHYA\ one
can purify all actions.
If one meditates on the dharma-mudrd (of Padmasamadhi) with
the samdpatti of Lokesvara while reciting: 'DHl, DHl, DHl,
DHP, one can purify all actions.
If one binds the karma-mudra (of Padmamoghesvara) with the
samadhi of Lokesvara while reciting: 'HI, Hi, Hi, H i one can
purify all actions.”167
c, Sarvatathagatapujajndna
“If one binds the maha-mudra of Lokesvara (referring to
Jagadvinaya) with a well-concentrated mind while reciting: 'OM,
OM, OM, OM \ one can set all offerings in motion.
the samadhi of Lokesvara while reciting: ‘BHUR, BHUR, BHUR,
BHUR’, one can worship all the Buddhas.
If one meditates on the m dharma-lotus (of Padmasamadhi) with
the samdpatti of Lokesvara while reciting: 'HE, HE, HE, HE’, one
can worship all the Buddhas,
If one firmly binds the karma-mudra (of Padmamoghesvara)
consisting of the lotus with a concentrated mind while reciting:
'DHE, DHE, DHE, DHE’, one can worship all the Buddhas.”169
d, Siddhijndna
165. According to the BITS (pp. 95-96), there are five inexpiable sins, i.e. killing of a mother,
father, or an arhat, causing dissension in the order of monks, and deliberately causing a
Tathagata's blood to flow.
166. S. p. 369-1-8, T. p. 260-1-3-6, C2. p. 410-1-6-13.
167. S. pp. 369-15-370-6, T. p. 260-1-7-2-2, C2. p. 410-1-24-2-3.
169 S. pp. 370-13-371-4, T. p. 260-2-3-6, C2. p. 410-2-10-17.
239
P art Three
“If one binds the maha-mudrd of Lokesvara (referring to

Jagadvinaya) with a well-concentrated mind while reciting: ‘HRI,
HRl, HRl, HRT, one can attain Lokesvara.
the samadhi of Lokesvara while reciting: '$Rl, SRI, §Rl, $Rl’, one
can obtain the supreme attainment.
If one meditates on the sam dpatti of Lokesvara (referring to
Padmasamadhi) with a well-concentrated mind while reciting:
‘DHIK, DHIK, DHIK, DHIK\ one attains the lotus-wrath.
If one binds the karma-mudra (of Padmamoghesvara) consisting
of the virtuous great lotus while reciting: 'SIH, SIH, SIH, SIH ,
one gains the lotus 170-attainment.”171
A common feature of the rites described in (a), (b), (c) and (d), is that each rite
consists of four samadhis corresponding to the four mudras and the four deity-
yogas (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara). Thus,
in each rite, the sddhaka practises the yoga of his deity while performing the mahd-
mudra of Jagadvinaya, the samaya-mudrd of Jatabuddha, the dharma-mudrd of
Padmasamadhi and the karma-mudra of Padmamoghesvara. As a result of the four
kinds of samddhi-htes described in the above quotation, the sddhaka attains four
goals, i.e. (a) destroying all sins, (b) removing all defilements and purifying all
actions, (c) gathering all merits, and (d) gaining the powers of deities.
e. Secret Rite
“If one amuses all female (deities) in union with Lokesvara
(Lo\<LQSV3xz.-samdpatti) while uttering: 'AHO, SUKHA\ one can
worship all the Buddhas.
If one amuses all female (deities) in union with Lokesvara while
uttering: ‘PRIYA, PRIYA*, one attains the delight of the
Buddhas.172
uttering: 'AHO, RATI, one obtains joy always.
uttering: *SUKHA, SUKHA\ one will not lose one's bliss.”173
The basic point of this rite is that the sddhaka becomes identical to Lokesvara
through the sexual yoga, i.e. the perfect union between his visualised image as
Lokesvara and his chosen female deity's image.
4. Conclusion
The previous three karma-mandalas, i.e. the Vajrakdrya Karmamandala (ch. 4),
the Vajralaila Karmamandala (ch. 9), and the Sarvavajrakula Karma-mandala
170. Tibetan and Chinese 2 both read: “universal”.

171. S. pp. 371-11-372-2, T. p. 260-2-7-3-2, C2. p. 410-2-24-3-3.
172. Tibetan reads: “one rejoices the Lord Buddha”.
173. S. pp. 372-9-373-2, T. p. 260-3-3-5, C2. p. 410-3-10-17.
240
P art Three
(ch. 14-a), focus on actions of deities, and suggest the means of worship or offering
in order to gain the attainments. However, the {Padmakula) Karmamandala
representing the Compassionate Action of Avalokitesvara focuses on defiled
actions of all sentient beings, and describes the means of purifying all defiled
actions in union with Lokesvara.
241
P a rt Three
Chapter 18-b. Epilogue of Part Three

Chapter 18-b of the Sanskrit STTS serves as an epilogue of part three, and
explains two mandalas and related rites, i.e. Padmakula Caturmudramandala
classified as the catur-mudrd-mandala and Sarvajagadvinaya Mandala classified
as the eka-mudrd-mandala.
A. Padmakula Caturmudramandala
The Padmalmla Caturmudramandala174 is the mandala of collecting the essential
factors of the previous four mandalas of the Lotus-family. This mandala consists
of Vairocana and four symbols, which represent the previous four mandalas. Thus,
the sddhaka gains the attainments described in the previous four mandalas through
this mandala.
A-l. Structural Analysis o f the First Part o f Chapter 18-b
(1) The first section of the first part of chapter 18-b of the STTS starting with the
words, “Then the Lord once again entered the samadhi called the Empowerment of
the Samaya-Mudrd of the Vajra-Dharma”vis and ending with the words, “OM
SARVA MUKHT76 HUM”,111 provides an exposition of the fifth samadhi called the
supreme mandala-king of the Padmakula Caturmudramandala.
Avalokitesvara”178 and ending with the words, “You will die immediately due to
the adverse action”,179 provides a concise description of the mandala-rites of the
Padmakula Caturmudramandala.
(3) The next section starting with the words, “Then, one should generate the
knowledge”180 and ending with the words, “OM SADHAYA PADMA RAGA
SAMAYA A H ’,m explains the attainment-knowledge of the Padmakula Catur-
mudrdmandala. This section also explains the knowledge of the secret-mwc/rd.
(4) The final section, “Then, one should teach the binding182 of all the mudras183
such as the mahd-mudra and the rest.”,184 refers to the rite of binding the four
mudras of the Padmakida Caturmudramandala485
174. S. pp. 375-378 o f chapter 18-b, T. p. 260-4-l~5-6, C2. p. 411-1-1-2-19.

175. atha bhagavam punar api vajradharmasamayamudrd adhisthanan nama samddhim
sam apadya: S, p. 375-4-5, T. p. 260-4-1, C2. p. 411-1-1.
176. Tibetan reads: “MUKHE
177. S. p. 376-4, T. p. 260-4-3, C2. p. 411-1-12.
*78. atharyavaloldtesvaro bodhisattvo mahasattva'. S. p. 376-5, T. p. 260-4-3—4, C2. p. 411-1-
13.
179. alcala maranam visamalaiyayetv. S. p. 376-13, T. p. 260-4-7, C2. p. 411-1-22.
Tibetan and Tattvaloka both read: “At the time of not avoiding the misfortune, you will fall
into hell.”
180 tato jnandny utpadayet: S. p. 377-1, T. p. 260-4-7, C2. 411-1-23.
181. S. p. 378-9, T. p. 260-5-5, C2. p. 411-2-18.
182. Tibetan omits: “binding”.
242
Part Three
A-2. Structure o f the Padmakula Caturmudramandala
“The supreme Caturmudramandala (of the Lotus-family) has the
basic design of the Vajradhdtu (Mahamandala) and is equal to the
{Sakalajagad-vinaya) Mahamandala. In the centre of the (Catur-)
mudra-mandala one should place the image of the Buddha
(Vairocana). On all sides of him, one should draw the vq/'ra-lotus
and the others.”186
The external shape of the Padmakula Caturmudramandala is designed in
conformity with die Vajradhdtu Mahamandala, but its centre circle has the eight-
petalled lotus like the Sakalajagadvinaya Mahamandala. This mandala consists of
the image of Vairocana and the four symbols of four deities, i.e. Jagadvinaya,
Jatabuddha, Padmasamadhi and Padmamoghesvara. The image of Vairocana is
made, cast, or drawn in the centre of the lotus.187 Opinions differ between the two
commentators concerning the four symbols and their positions. Anandagarbha
explains that the four symbols are drawn in the positions of the four deities, i.e. a
five-pronged vajra signified by the lotus for Jagadvinaya in the centre of the eastern
quarter; a wish-granting-gem signified by the lotus for Jatabuddha in the centre of
the southern quarter; a sixteen-petalled vq/ra-lotus for Padmasamadhi in the centre
of the western quarter; and a four-petalled lotus, whose centre is white and has four
coloured petals, i.e. blue, yellow, red and green, for Padmamoghesvara in the centre
of the northern quarter.188 However, according to Sakyamitra, the four symbols
indicate a vajra-Xotas referring to a lotus signified by the vajra, a gem-lotus, a lotus,
and a lotus signified by the karma-vajra (crossed vajra), and these four symbols
are drawn in the positions of four Paramitas around Vairocana.189 Concerning the
positions of these four symbols, it is evident that Anandagarbha's opinion is more
appropriate than Sakyamitra. Amoghavajra argues that this mandala contains
twenty-one deities190 excluding the sixteen Mahasattva Padmacihnadharas out of
the main thirty-seven deities.
The attainment-knowledge of the Padmahda Caturmudramandala consists of the
following four samadhis for attaining the four deities of this mandala.
183. Tibetan reads: “all the mahd-mudrasn.

184. tato mahamudradisai'vamudrdbandham silcsayet: S. p. 378-10, T. p. 260-5-5, C2. p. 411-2-
19.
186 S. p. 376-7-10, T. p. 260-4-4-6, C2. p. 411-1-15-18.
189. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 32-5-1-2.
190 OEAVS, TSD. Vol. 18, No. 869, p. 285-3-21.
243
P a rt Three
“If one clasps the lotus191 with the hand,192 and smells193 it
carefully, and then worships the Buddhas with its scent, one gains
the attainment (of Lokesvara).194
If one places the image of the Buddha (Amitabha) in the centre of
the twisted hair (of Lokesvara) with a concentrated mind, and
walks around showing pride,195 one can subjugate the whole
world.
If one visualises the great image of the lotus on the lotus (referring
to the lotus of Padmasamadhi) in samadhi, and abides (in deity-
yoga, i.e. visualising oneself as wrathful Padmasamadhi)
according to the rite, one can kill all evil beings196 with the mind
(by means of the visualised lotus).
If one makes the four-faced lotus,197 and clasps and revolves it
with the hand, one achieves (all the actions) such as taking
possession of (divine knowledge)”198
This rite refers to practising the yoga of the four deities, i.e. Jagadvinaya,
Jatabuddha, Padmasamadhi and Padmamoghesvara, by means of performing their
four mudras and meditating on their four symbols, which represent and symbolise
the four previous mandalas of the Lotus-family. As results of this rite, the sddhaka
gains all the attainments of the four deities.
A-4. Conclusion
The Padmakula Caturmudramandala which has the function of assembling the
essential principles of the previous four mandalas of the Lotus-family, i.e. die
Body, Mind, Speech and Action of the Compassionate Avalokitesvara, consists of
the image of Vairocana and the four symbols of the four deities (i.e. Jagadvinaya,
Jatabuddha, Padmasamadhi and Padmamoghesvara). In this mandala, these four
deities' symbols refer to the four Paramitas of the Lotus-family which help the
sddhaka to generate the four deities in his mind. Thus, this mandala describes the
simplest way of attaining the four deities simultaneously, i.e. meditation on the four
symbols of the four deities drawn in this mandala. The sddhaka!s attainment of the
four deities through this mandala means the attainment of the Body, Mind, Speech
and Action of Avalokitesvara.
B. Sarvajagadvinaya Mandala
191. Anandagarbha interprets the lotus as referring to a sixteen-petalled lotus made of wood.
(:Tattvaloka, TTP. Vol. 72, No. 3333, p. 40-5-7-8).
192. Chinese 2 reads: “both hands”.
193. Tibetan and Kosalalamkdra both read: “obscures and smells”. Tattvaloka reads: “meditates”.
194. Tibetan and Chinese 2 both add: “rapidly”.
195. Tibetan reads: “vq/ra-pride”.
196. Sanskrit and Tibetan omit: “all evil beings”.
197. Tibetan reads: “crossed lotus”.
198. S. p. 377-2-9, T. p. 260-4-7-5-2, C2. p. 411-1-24-2-2.
244
P a rt Three
Like the two previous eka-mudra-mandalas containing only a dominant single

deity, i.e. the Mahayanabhisamayamandala (ch. 5-B) and the Vajrahumkara
Mandala (ch. 10-B), the Sarvajagadvinaya Mandala199 also focuses on only a
single deity, i.e. Jagadvinaya or Lokesvara emitting all forms. Thus, Lokesvara or
Avalokitesvara, who predominates over the previous five mandalas of the Lotus-
family, occupies the centre of this mandala. According to Amoghavajra, the sixth
mandala is called the eka-mudrd-mandala of the Lotus-family and contains thirteen
deities, all of which are the transformations of Avalokitesvara. (This section of the
tantra) explains the rite of guiding the pupil to enter (the mandala), and also the
method of practising (the samadhi of summoning) one's chosen deity (sva-deva),
and the method of practising the perception of both the mundane world (loka) and
the spiritual world (aloka).200
B-l. Structural Analysis o f the Second Part o f Chapter 18-b
(1) The first section of the second part of chapter 18-b of the STTS starting with the
words, “Then the Mahabodhisattva201 Avalokitesvara”202 and ending with the
words, “HRIH”,203 provides an exposition of the second samadhi called the
supreme mandala-king of the Sarvajagadvinaya Mandala. This section shows only
the samadhi of Avalokitesvara, because only a single deity constitutes this
mandala.
Avalokitesvara”205 and ending with the words, “One should be instructed
accordingly”,206 briefly explains the mandala-rites of the Sarvajagadvinaya
Mandala.
(3) The next section starting with the words, “One should teach the knowledge of
the Sakalajagadvinaya”207 and ending with the words, “One is accomplished on the
mandala”,208 explains the attainment-knowledge of the Sarvajagadvinaya
Mandala.
(4) The next section starting with the words, “Then, one should teach the binding of
the mudras such as the maha-mudra and the rest”209 and ending with the words,
199. S. pp. 379-380-7 o f chapter 18-b, T. pp. 260-5-6-261-1-5, C2. p. 411-2-20-3-15.

200 OEAVS, TSD. Vol. 18, No. 869, pp. 285-3-24-286-1-2.
201. Tibetan, Chinese 2 and Tattvaloka read: “Bodhisattva Mahasattva”.
202. athdtyavaloldtesvaro mahabodhisattva'. S. p. 379-1, T. p. 260-5-6, C2. p. 411-2-20.
203. S. p. 379-5, T. p. 260-5-7, C2. p. 411-2-25.
204. Tibetan and Tattvaloka both read: “Bodhisattva”.
205. atharydvaloldtesvaro mahabodhisattva: S. 379-6 T. 260-5-7, C2. p. 411-2-26.
Chinese 2 omits.
206. tathaivoldva: S. p. 379-13, T. p. 261-1-1-2, 411-3-5-6.
207. sarvajagadvinayajhanatn silcsayet: S. p. 379-13, T. p. 261-1-2, C2. p. 411-3-7.
208. mandale tu sa sidhyati: S. p. 380-3, T. p. 261-1-3, C2. p. 411-3-12.
209. tato mahdmudradimudrdbandham silcsayet'. S. p. 380-4, T. p. 261-1-4, C2. p. 411-3-13.
245
P a rt Three
“The attainments are achieved accordingly”,210 refers to the rite of binding the four
mudras of the Sarvajagadvinaya Mandala.
together in a conclave”211 and ending with the words, “the compendium of the
Mahayana”212 constitutes the closing section of the part three, which includes a
verse praising Avalokitesvara by all the Tathagatas.213
B-2. Structure o f the Sarvajagadvinaya Mandala
The Sarvajagadvinaya Mandala borrows its title from the mandala positioned in
the eastern quarter of the Sakalajagadvinaya Mahamandala (ch. 15), i.e. tire
mandala of Jagadvinaya. Thus, ViSvarupa described in the following quotation
indicates Lokesvara emitting all forms, who is named as Jagadvinaya.
“As for the Jagadvinayamandala (of the Lotus-family), one
should draw its external mandala in conformity with the
(Sakalajagadvinaya) Mahamandala, and draw accordingly a lotus
in its interior. In its (centre) one should draw ViSvaiiipa
(Universal Form) embracing all the lotus-petals.”214
According to Sakyamitra,215 since this mandala is revealed for attaining the maha-
mudrd of Lokesvara, the image of Lokesvara is drawn in the lotus-centre positioned
in the middle of tire whole mandala, and in eveiy lotus-petal surrounding him
appear all forms of embracing both the mundane world and the spiritual world,
which emerge by means of rays from the body of Lokesvara. However, as already
mentioned, Amoghavajra argues that this mandala contains the thirteen deities,
which refer to Lokesvara, eight Offerings and four Door-guardians.
The attainment-knowledge of the Sarvajagadvinaya Mandala is entitled
Sarvajagadvinayajhdna (the knowledge of attaining Sarvajagadvinaya), which
refers to realising fully the maha-mudrd of Lokesvara. This section also explains a
secret rite, entitled Jagadvinayarahasyamudrajhdna (the knowledge of the secret
mudra of Jagadvinaya).
a. Sarvajagadvinayajhdna
“If one draws the mandala known as Jagadvinaya, and meditates
on the maha-mudrd (of Jagadvinaya), one can become equal to
ViSvadhara.”216
210. tathaiva siddhaya iti: S. p. 380-6-7, T. p. 261-1-5, C2. p. 411-3-15.

21 f atha sarvatathdgatah punah samajam agamya: S. p. 380-8, T. p. 261-1-5, C2. p. 411-3-16.
212. mahdydnabhisamgraham iti: S. p. 380-13~14, T. p. 261-1-6, C2. p. 411-3-21.
214 S. p. 379-8-11, T. pp. 260-5-8-261-1-1, C2. p. 411-3-1-4.
215. K osalalam kdra, TTP. Vol. 71, No. 3326, p. 33-2-1-8.
216. S. p. 379-14-15, T. p. 261-1-2, C2. p. 411-3-8-9.
246
P a rt Three
This rite refers to attaining Jagadvinaya by means of performing the yoga of

Jagadvinaya. According to Sakyamitra,217 the sddhaka draws and enters the
Sarvajagadvinaya Mandala, and then while abiding in it, if he executes the
activities such as confessing sins, and meditates on the maha-mudrd of the Lord
Visvarupa, i.e. die bodily image of Jagadvinaya, he can become identical to
Visvadhara or Jagadvinaya.
b. Secret Rite
“Meditating on the samadhi of Visvarupa with a well-concentrated
mind, one is successful in the mandala through the union of the
two organs.”218
This rite refers to attaining Jagadvinaya by means of the perfect union between the
sadhaka's mentally projected body and the visualised Jagadvinaya's body, i.e. by
means of the sddhaka visualising himself as Jagadvinaya abiding in the mandala.
B-4. Conclusion
In order to generate and to realise Avalokitesvara, while die previous Padmakula
Caturmudramandala suggests the means of attaining the four deities (i.e.
Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara), the Sarvajagad
vinaya Mandala which is the eka-mudrd-mandala of the Lotus-family focuses on
only Jagadvinaya because the four deities are the four different images of
Avalokitesvara or Lokesvara. Thus, the yoga of Jagadvinaya described in this
mandala guarantees all the attainments such as the supernatural powers explained in
the previous five mandalas of the Lotus-family. In addition, by means of the power
of the compassionate Avalokitesvara the sddhaka converts all sentient beings.
217 K osalalam kdra, TTP. Vol. 71, No. 3326, p. 33-3-3-5.

218. Chinese 2 reads: “the union o f vajra and lotus”.
S. p. 380-2-3, T. p. 261-1-3-4, C2. p. 411-3-11-12.
247
P a rt Four
Part Four
Karma-Pledge of All the Tathagatas
Part four of the Sanskrit STTS1 is divided into four chapters, entitled
Sarvarthasiddhi Mahamandala (ch. 19), Ratnaguhya Mudramandala (ch. 20),
(Manihda) Jnanamandala (ch. 21), and {Manikula) Karmamandala (ch. 22-a).
The last chapter also includes a section which forms an epilogue to part four (ch.
22-b) and contains the rites of two mandalas, i.e. Manikula Caturmudramandala
and Sarvarthasiddhi Mandala (or Manikula Ekamudrdmandala). These six
mandalas of part four belong to the Karma-family or Gem-family. Concerning the
relationship between the Gem-family and the Karma-family, Anandagarbha
comments that since all the words of the Gem-family are endowed with actions to
complete all the thoughts of all living beings, they are known as the pledge of the
Karma-family.2 He also explains the function of the Gem-family as generating the
karma-mudra of completing all wishes of all living beings as a remedy for avarice.3
Thus, the Gem-family specialises in the gaining of wealth with special instructions
for discovering hidden treasure.4
This fourth part of the STTS is dominated by the Mahabodhisattva Akasagarbha
and all six mandalas in this part are enunciated by him. The ultimate purpose of the
Gem-family is to guide the sddhaka to generate the nature of Akasagarbha or
Vajragarbha and to eliminate avarice with the help of Akasagarbha, the bestower of
gems. David Snellgrove5 argues that the first four mandalas of part four have
exactly the same principal thirty-seven divinities as in the Vajradhdtu Mandala and
the only complications are caused by their variant names, which have been
concocted mainly by replacing the first part of the name, Vajra-, by Mani- or
Ratna- and in the case of the fourth (Manilatla) Karmamandala by a combination
of Maniratna-. In addition, in the case of the third {Manikula) Jnanamandala, the
distinctive part of the Bodhisattva's name is prefixed by Manijnana-.
h S. part four, pp. 382-434, T. pp. 261-l-7~266-3-3, C2. pp. 411-3-22—423-1-14.

3. Ibid., p. 143-1-1-2.
5. David Snellgrove, Sarva-Tathcigata-Tattva-Sahgraha, Introduction, p. 55.
248
P a rt Four
Chapter 19. Sarvarthasiddhi Mahamandala

Chapter 19 of the STTS6 provides an exposition of the Sarvarthasiddhi
Mahamandala which constitutes the supreme mahd-mudra of the Gem-family.
Amoghavajra outlines this chapter as follows:-
“The fourth main part is called ‘Universal Success (,sarvartha-
siddhi)\ It includes six mandalas. The first mandala (of the
Sarvarthasiddhi) is called the mahd-mandala. It contains (the
main) thirty-seven deities. (This section of die tantra) explains the
rite of guiding die pupil to enter (the mandala). By means of
entering this mandala, (the pupil) can eliminate the karmic effects
of poverty. The text explains the ways of seeking abundant riches,
and seeking both Buddha-Bodhisattva-hood and glory in this
world.”7
(1) The first section of chapter 19 of the STTS starting with the words, “Then all the
Tathagatas once again”8 and ending with the words, “This is produced for the
benefit of the world”,9 opens with a eulogy to Akasagarbha, who as the presiding
Mahabodhisattva in part four of the STTS is praised with one hundred and eight
names, just as Vajradhara (ch. 1), Vajrapani (ch. 6) and Avalokitesvara (ch. 15)
were praised by all the Tathagatas. These one hundred and eight names begin with
Akasagarbha and end with Vajragarbha.10 This section also provides an exposition
of the second samadhi called the supreme mandala-king of the Sarvarthasiddhi
Mahamandala.
Akasagarbha”11 and ending with the words, “One should reveal the
Mahamandala”,12 explains the detailed mandala-rites of the Sarvarthasiddhi
Mahamandala.
(3) The next section starting with the words, “Then, one should perform the
worship in one's power”13 and ending with the words, “OM SARVA-KARMA14
SPHOTA SAMYOGA”,15 explains the means of gaining hidden treasure as the

7. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-3-6.
According to the Sanskrit STTS, the way of seeking both Buddha-Bodhisattva-hood and glory
in this world is explained not in this chapter but in the next chapter (ch. 20, S. pp. 409-5—411,
T. pp. 263-5-6-264-2-4, C2. pp. 417-2-14-418-1-15).
8. atha khalu sarvatathagatdh punah: S. p. 383-2, T. p. 261-1-8, C2. p. 411-3-23.
9. idam sambhutam jagadarthata iti: S. p. 388-8-9, T. p. 261-4-7, C2. p. 412-3-7.
10. David Snellgrove, S a rva -T a th d g a ta -T a ttva -S a n g ra h a , Introduction, p. 54.
11. athakasagarbho bodhisattvo mahasattva: S. p. 388-10, T. p. 261-4-7—8, C2. p. 412-3-17.
12. mahamandalam darsayet. S. p. 394-11, T. p. 262-2-8, C2. p. 414-1-20-21.
13. tato yathdvibhavatah pujdn krtvd: S. p. 394-13, T. p. 262-2-8-3-1, C2. p. 414-1-22-23.
1 4 . Tattvaloka omits: “KARMA” .
15. S. p. 398-14, T. p. 262-5-2-3, C2. p. 415-1-14-15.
249
P a rt F our
attainment-knowledge of the Sarvarthasiddhi Mahamandala. This section also

includes a secret rite.
knowledge of all the mudrds of the great Gem-family”16 and ending with the
words, “Having made the gem-fist17 into two, one should accomplish the karma-
mudras”,1* explains the rites of binding the four mudrds of the Sarvarthasiddhi
Mahamandala.19
2. Mandala Rites
a. Structure o f the Sarvarthasiddhi Mahamandala

The Sarvarthasiddhi Mahamandala enunciated by Akasagarbha has the same basic
structure as that of the Vajradhatu Mahamandala and also contains the main thirty-
seven deities at the same positions corresponding to those of the Vajradhatu
Mahamandala,
“The supreme Mahamandala (of the Gem-family) has the basic
design of the Vajradhatu (Mahamandala) and is called
lSarvasiddhi (Universal Fulfilment)’.
and four arched doorways, joined together by four lines and
adorned with silk pennants, wreaths and garlands. The external
mandala should be drawn, inlaid with vajras and gems in every
comer of the mandala20 and between the gates and doors. In the
interior a castle, which is generated from the vajra-gem, is
designed and constructed correctly in conformity with the supreme
eight pillars. It is adorned with the five mandalas which radiate
brightness of the various gems.
(In the centre of the whole mandala) one should place the Buddha
(Vairocana), who is surrounded by the (four) SQ\f-mudrds (drawn
in the positions of the four Paramitas, i.e. the vajra-gom referring
to the symbol of Vajramani, the gem-garland referring to the
symbol of Vajraratnankura, the gem in the lotus referring to the
symbol of Vajraratnapadma and the gem encircled by minute gems
refening to the symbol of Vajraratnavarsa).
Having approached the mandala of Sarvasasiddhi21 (located at the
eastern quarter) with the vq/ra-impulse, one should place
Vajragarbha and draw Ratnavaraprada there (in its centre).22 On
16. tato mahdmanilculasarvamudrdjndnam siksayet S. p. 398-15, T. p. 262-5-3, C2. p. 415-1-16.

17. Tibetan reads: “gem-mudrd”.
18. ratnamastim dvidhilq'tya Icarmamudras tu sadhayed iti: S. p. 4 0 3 -1 0 ~ ll, T. p. 263-3-3, C2.
p. 416-1-19.
19. Cf. T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 143-1-1-2-4.
20. Tibetan reads: “mahd-mandala”.
21. Chinese 2 adds: “positioned in the east”.
22. Chinese 2 reads: “One should draw Vajragarbha who assumes the image o f Ratnavaraprada in
accordance with the instruction.”
250
P a rt Four
all sides of him, one should duly draw the (four) Mahasattvas
endowed with the gem-symbols {ratna-mudra) in correct order,
(i.e. (1) Vajramanicihna or Manicihna, (2) Ratnaiikusa or
Ratnaraja, (3) Maniraga, and (4) Ratnatusti or Manisadhu).
Having approached the mandala of Ratnamala23 (located at the
southern quarter) with the vq/ra-impulse, one should duly draw
the supreme Ratnamaladhara there in its centre. On all sides of
him, one should duly draw the (four) Mahasattvas holding the
jewel-attributes (mani-cihna) in (their) hands in correct order, (i.e.
(5) Ratnamala or Sarvatathagatabhisekamala, (6) Manisurya, (7)
Cintamanidhvaja or Manisri, and (8) Ratnattahasa or Manihasa).
Having approached the mandala of Ratnapadma24 (located at the
western quarter) with the vq/ra-impulse, one should place and
draw the omnipresent Ratnapadmadhara there (in its centre). On all
sides of him, one should duly draw the (four) Mahasattvas
holding the jewel-attributes in correct order, (i.e. (9)
Samadhijhanagarbha, (10) Ratnakosa, (11) Manicakra, and (12)
Ratnabhasa or Manibhasa).
Having approached the mandala of Ratnavrsti25 (located at the
northern quarter) with the vq/m-impulse, one should draw the
Mahasattva Ratnavrsti showering gems there (in its centre). On all
sides of him, one should duly draw the (four) Mahasattvas
forming the hand-gestures and possessing the gem attributes, (i.e.
(13) Manipuja, (14) Manibandhakavaca or Manikavaca, (15)
Manidamstra or Maniyaksa, and (16) Maniratna or Manimusti) in
conformity with the rite.
Having approached with the vq/ra-impulse, in every part of the
comer, one should duly draw Ratnalasya (or Ratnarati) and the
others (i.e. Ratnamala, Ratnaglta or Manigita, and Ratnanrtya or
Maninrtya) in correct order. Having approached the supreme
external mandala with the vq/ra-impulse, one should draw
Dhupapuja (Dhuparatna or Ratnadhupa) and the others (i.e.
Puspamani or Ratnapuspa, Ratnaloka, and Manigandha or
Ratnagandha) in the comers of the external mandala. The (four)
Door-guardians (i.e. Sarvaratnakarsa or Ratnankusa, Ratnapasa,
Manibandha or Ratnasphota, and Maniratnavesa or Ratnavesa)
should be placed in the centre of the four gates.”26
In this mandala, the names of the five deities occupying the positions of the five
Tathagatas are Vairocana, Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.

Sakyamitra explains that the mandala of Ratnamala is the mandala of the gem-garland which
is held in both hands by the Lord Vajraratna. {Kosalalamkdra, TTP. Vol. 71, No. 3326, p.
36-3-4).
26 S. pp. 388-13-393-12, T. pp. 261-5-1-262-2-3, C2. pp. 412-3-20-414-1-5.
251
P a rt Four
The image of Vairocana is the same as in the Vajradhatu Mahamandala, but the
other four deities in common have the image of Vajragarbha or Akasagarbha. Thus,
firstly, Sarvarthasiddhi (in the centre of the eastern quarter) has an image of
Vajragarbha forming with his right hand ‘the gesture of bestowing gems’ which
indicates the hand-gesture of placing on the knee with the palm of the right hand
facing upwards.27 Secondly, Ratnadrsti (in the centre of the southern quarter) has
an image of Vajragarbha holding the gem-garland in his hands. Thirdly,
Ratnapadma (in the centre of the western quarter) has an image of Vajragarbha
holding the gem-lotus in his hands and abiding in samddhi.2S Finally, Ratnavrsti (in
the centre of the northern quarter) has an image of Vajragarbha pouring and casting
the mould of all gems.29
The sixteen Mahasattvas (marked as the indicated numbers), the four Internal
Offerings, the four External Offerings and the four Door-guardians are endowed
with the same characteristics as those of the Vajradhatu Mahamandala but they
have the golden-coloured bodies adorned with various ornaments and hold their
own attributes signified by the gem or jewel in their hands.30 Though there is no
mention about the Bhadrakalpa Mahabodhisattvas in the above quotation,
Anandagarbha argues that the Bhadrakalpa Mahabodhisattvas such as Maitreya,
are drawn towards the four directions of the external mandala.31
The master instructing the rites of the Gem-family is called the precious gem-master
{maniratna-acarya) because he holds the precious gem in his hand while
performing the rituals in the mandala. The entry rite into the Sarvarthasiddhi
Mahamandala also begins with the master's activities. Since its basic foimat
follows the ritual of the Vajradhatu Mahamandala, as can be seen in the following
quotation, the STTS in this section emphasises the specific characteristics found
only in the rite of the Sarvarthasiddhi Mahamandala.
(1) (Having drawn the Sarvarthasiddhi Mahamandala), the precious gem-master
himself enters this Mahamandala in accordance with (the rite of the Vajradhatu
Mahamandala) and performs the extensive rite by himself,
Sakyamitra explains this master's activities
“Having performed the four salutations, the master consecrates
himself with the flask blessed by the vajra-gem, and forms the
samaya-mudrd of Vajraratnankura over his heart. Then, having
27. Kosalalam kara, TTP. Vol. 71, No. 3326, p. 36-2-7~3-2.

According to Anandagarbha, Sarvarthasiddhi holds a bell in a boastful manner with the gem-
fist (formed by the left hand) and forms the mudrd of supreme giving with the right hand
possessing a vajra-gem. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 54-1-6-7).
31. Ibid., p. 54-1-1; p. 54-4-7-8.
252
P a rt Four
clasped a garland and recited the hrdaya of entering (the

mandala), he enters. After this, he presents the garland to die Lord
Vajragarbha who abides in place of Aksobhya, and receives it
back again. Having bound it round his head, he wishes: ‘Now, all
the master's actions are fully realised in myself.’ Then he
empowers himself and receives the order.”32
According to Anandagarbha,33 in this rite the master performs the yoga of
Akasagarbha (or Vajragarbha) and transforms himself as Akasagarbha in samadhi.
(2) Then, he consecrates his jewel-pupil with ajar of water blessed by the gem, and
induces (his pupil) to form the samaya-mudrd of Vajramani while reciting the
hrdaya: ‘OM VAJRA-MANISAMAYA VAM .
(3) Next, (the pupil) wearing an upper garment34 made of the cloth obtained in
accordance with the colour and covering his eyes with die same kind of (cloth),
enters (the mandala) while reciting the hrdaya: ‘OM HUM MANI RAJA KULAM.
(4) When he enters (the mandala), (the master) utters: ‘You should not tell this35 to
anyone, otherwise you will not escape from poverty and suffering during your
whole life, and you will remain in hell for a long time.’ Having spoken thus, (the
master) bursts open the samaya36 (-mudrd of Vajramani) and enunciates die
Mahdydnabhisamaya (perfect comprehension of the Mahayana).
(5) Then, (the master) asks (his pupil) with the vzz/ra-sound: ‘Where is the great
treasure?5 and ‘How is it obtained?’. Then (the master) encourages the Lord
Bodhisattva37 Akasagarbha to tell all. After (Akasagarbha) has spoken, (the master)
removes (his pupil's) face-cover and reveals the Mahamandala.
(6) Next, he announces the consecration-pledge of all the Tathagatas until the Lord
Tathagata approaches. Then, having performed the rite of worshipping within his
power, (the pupil) accomplishes all actions.”38
3-1. Jhdinamudrd
The attainment-knowledge39 of the Sarvarthasiddhi Mahamandala entitled
‘Jnanamudra (the knowledge-wwr/nz)’ consists of four sets of rites. The term
Jhdnamudrd means the mudrd of the natural disposition upon which (the sddhaka)
32. Kosalalam kara, TTP. Vol. 71, No. 3326, p. 36-5-1~3.

35. Chinese 2 reads: “this secret”.
36. Tibetan reads: “make the samaya into two”.
Anandagarbha interprets that ‘making the samaya into two’ means ‘breaking the samaya-
mudrd o f Vajramani formed by the right hand by means of the wrathful fist formed by the left
hand’. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 48-3-5-6).
37. Tibetan and Chinese 2 both add: “Mahasattva”.
38. S. pp. 393-13-394, T. p. 262-2-3-3-1, C2. p. 414-1-6-23.
39. S. pp. 395-397, T. p. 262-3-1-4-7, C2. p. 414-1-24-3-27.
253
P a rt Four
meditates after having executed his own deity-yoga possessed of the four
mudrds.40 The following four sets of meditation methods aim at finding and
gaining hidden treasure
“If one visualises (himself as) the bodily image (maha-mudra) of
Vajragarbha (referring to Sarvarthasiddhi) with a well
concentrated mind, wherever one digs for the treasure trove, there
one sees the treasure trove.
If one forms the supreme samaya {-mudrd) (of Ratnadrsti) and
presses the {samaya-) mudrd where the treasure trove is
perceived, it appears itself at this time.
If one joins in the samadhi of Vajragarbha (referring to
Ratnapadma) with a well-concentrated mind, one knows in
thought {manas) where the treasure trove is located.
If one forms the karma-mudra in the samadhi of Vajragarbha
(referring to Ratnavrsti), wherever one can take possession of that
mudrd, there one can see the treasure trove.”
“If one meditates on the maha-mudra (of Sarvarthasiddhi),

wherever one's body is wrapped, there the gem-deposit is
perceived through the nature of samaya.
If one forms the supreme samaya {-mudrd) (of Ratnadrsti),
wherever one takes possession of it and breaks it open, there one
can discern and obtain the treasure trove which is M l of great
gems.
If one joins in the samadhi-mudrd (of Ratnapadma) and takes
possession of it, one can know by oneself the whereabouts of the
treasure trove which is M l of great gems.
If one forms the karma-mudra (of Ratnavrsti) and takes
possession of it thoroughly, wherever one binds the samaya (-
mudrd) with both hands, there one can point out the treasure.”
“If one joins in the maha-mudra (of Sarvarthasiddhi) wherever

some doubt is raised, there the treasure trove containing gems can
be discerned through knowledge {jnana).
If one forms the supreme samaya {-mudrd) (of Ratnadrsti) where
some doubt is raised, and releases it by oneself, there one can
point out the treasure.
If one joins in the samddhi-mudra (of Ratnapadma) and generates
the knowledge where some doubt is definitely raised, there the
treasure is definitely discerned.
If one forms the karma-mudra (of Ratnavrsti) where some doubt
is raised and breaks it open in accordance with the rite, the treasure
will be foimd there.”
40. Kosalalcunkara, TTP. Vol. 71, No. 3326, p. 37-3-1.
254
P a rt Four
“If one joins in the maha-mudra (of Sarvarthasiddhi) and searches

for the treasure troves, wherever one remains and takes possession
of (the mudrd), there one can point out (the treasure).
If one forms the supreme samaya {-mudrd) (of Ratnadrsti) and
searches for the treasures, wherever one remains and makes (the
mudra) steadfast, there one can point out the treasure.
If one joins in the samddhi-mudra (of Ratnapadma) and searches
for the treasure trove, wherever one remains and generates
knowledge, there one can point out the treasure.
If one forms the karma-mudra (of Ratnavrsti) and searches for the
treasures, wherever one remains and revolves the karma-mudra,
there one can point out (the treasure).”
These rites refer to the sadhaka performing deity-yoga together with the four
mudrds of the deity in order to gain hidden treasure. The common feature of these
rites is that each rite consists of the four verses or four segments corresponding to
not only the four mudrds, but also the deity-yogas of the four deities and their
families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma
and his family, and Ratnavrsti and his family. Thus, in each rite the first segment
describes the sadhaka performing the deity-yoga of Sarvarthasiddhi or one of his
family members while visualising the bodily image {maha-mudra) of the deity and
reciting the relevant hrdaya, and then the sadhaka visualises himself as the golden-
coloured bodily image of Akasagarbha, and generates Vajraratna abiding in himself.
Tire second segment describes the sadhaka performing the deity-yoga of
Ratnadrsti or one of his family members while forming the hand gesture {samaya-
mudra) of the deity with his hands and reciting the relevant hrdaya, and then the
sadhaka visualises himself as Ratnadrsti or one of his family members.
The third segment describes the sadhaka performing the deity-yoga of
Ratnapadma or one of his family members while visualising himself as Ratnapadma
or one of his family members, and draws the relevant hrdaya {dharma-mudrd) on
his tongue with his mind.
The fourth segment describes the sadhaka performing the deity-yoga of
Ratnavrsti or one of his family members while forming the hand gesture {karma-
mudra) of the deity with his hands and reciting the relevant hrdaya, and then the
sadhaka visualises himself as Ratnavrsti or one of his family members. In
conclusion, the sadhaka generates Vajraratna abiding in himself by means of his
deity-yoga, and discovers hidden treasure with tire help of the generated and
visualised Vajraratna.41
3-2. Secret Rite
41. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 59-3-6-60-5-5.
255
P a rt Four
The secret rite entitled ‘Manirahasyamudrajnana’,42 whose meaning is the secret

jwwJra-knowledge of the Jewel-family, employs, as a method of attainment, the
four mudrds and sexual deity-yoga, i.e. the perfect union between the sadhaka and
his deity.
“One should search for the treasure trove through the union of the
two organs (dvaya-indriya-samdpatti).43 If one meditates on the
maha-mudra (of Sarvarthasiddhi) and takes possession of it, one
can gain treasure.
While forming the supreme samaya (-mudra) (of Ratnadrsti), one
should love the female (deity) in the same way. Wherever one
makes the mudrd steadfast, there one can point out treasure.
One should search for the treasure trove through the union of the
two organs. If one meditates on the jndna-mudra (or dharma-
mudrd) (of Ratnapadma), one produces the knowledge of treasure.
One forms the karma-mudra (of Ratnavrsti) through the union of
the two organs. Then, wherever one should break open the mudrd,
there one can point out treasure.”44
This secret rite refers to gaining hidden treasure by means of the sexual union in
samadhi between the sadhaka's chosen deity visualised as himself and the deity's
consort. In this rite the sadhaka uses the four mudrds of his chosen deity in order
to summon, draw in, bind and subdue his deity effectively.
4. Conclusion
The Sarvarthasiddhi Mahamandala is revealed by Akasagarbha or Vajragarbha,
who is generated by Vajrasattva abiding in Vairocana and endowed with the image
and nature of Vajraratna. Since this mandala is dominated by Akasagarbha
symbolising giving or generosity and represents the Body of Akasagarbha, the
main characteristic of the mandala is that the four deities occupying the positions of
the four Tathagatas, i.e. Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti,
have the images of Akasagarbha. The other deities in the mandala also have the
characteristics of Akasagarbha because they are generated from the samadhi of
Akasagarbha. In addition, all the deities of the mandala except Vairocana hold then
own attributes signified by the gem or jewel. The purpose of this mandala guides
the sadhaka to generate Akasagarbha in his mind by means of deity-yoga and to
find hidden treasure with the help of Akasagarbha. Thus, the sadhaka eliminates
poverty for himself with gained treasure, and by sharing it with others he keeps
those who have already been converted as Buddhists and accomplishes perfection
of generosity (ddna-pdramitd).
42. Tibetan and Chinese 2 both read: “Rahasyamudrdjiidna”.

43. Chinese 2 in this paragraph interprets “the union o f the two organs” as “the union of vajra and
lotus”.
44 S. p. 398-2-9, T. p. 262-4-7-5-2, C2. p. 415-1-1-8.
256
P art Four
Chapter 20. Ratnaguhya Mudramandala

Chapter 20 of the STTS45 provides an exposition of the Ratnaguhya
Mudramandala, which is classified as the dharani-mandala and constitutes the
supreme samaya-mudrd of the Gem-family. Since this mandala symbolises the
minds of the main thirty-seven deities generated by Akasagarbha, it is called
‘Ratnaguhya (gem-secret)’ meaning the secret of the minds of the Gem-family. Like
the previous dharani-mandalas, all the goddesses generated through the samadhi
are manifested as their symbols in the mandala. Amoghavajra outlines this chapter
as follows:-
“The second mandala (of the Sarvarthasiddhi) is called the
guhya-samaya-mandala. It contains (the main) thirty-seven
deities. (This section of the tantra) explains the rite of guiding the
pupil to enter (the mandala). The text explains the method of
seeking the treasure trove (nidhdna), and the method of rapid
completion of the collection (samdsa) of merit (punya) for
perfection of generosity (ddna-paramitd).46”47
Lord once again”48 and ending with the words, “OM SARVABHISEKA49 PUTA
SAMAYE HUM”,50 provides an exposition of the second samadhi called the
supreme mandala-ldng of the Ratnaguhya Mudramandala.
(2) The next section starting with the words, “Then, the Lord”51 and ending with
the words, “Otherwise you will suffer great poverty, and you will fall into hell
immediately after death”,52 explains the mandala-rites of the Ratnaguhya
Mudramandala.
45. S. chapter 20, pp. 404~415, T. pp. 263-3-4-264-4-7, C2. pp. 416-2-1-419-1-4.
46. Dana-pdrainita is one of six or ten paramitds. The six chief param itds are ddna (giving,
generosity, liberality), sila (virtuous conduct, morality, righteousness), ksanti (forbearance,
patience), vitya (energy), dhyana (meditation) and prajna (wisdom). The four supplementary
paramitds are updya or upaya-kausalya (skilfulness in the choice or adaptation of the means
for conversion or welfare), pranidhdna (aspiration or resolution), bala (strength, power) and
jhdna (knowledge). (Har Dayal, The Bodhisattva Doctrine in Buddhist Sans/crit Literature,
the chapter five).
47. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-7-9.
According to the Sanskrit STTS, the explanation of the treasure trove (nidhdna) is mentioned
not in this chapter, but in the previous chapter (ch. 19, S. pp. 395-397, T. p. 262-3-1-4-7,
C2. p. 414-1-24-3-27).
48. atha bhagavdm punar a p t S. p. 404-2, T. p. 263-3-4, C2. p. 416-2-7.
4 9 . Tibetan reads: “SARVA-TATHAGATA ABHISEKA,\ Chinese 2 reads: “RATNABHISEKA”.
50. S. p. 405-6, T. p. 263-3-8, C2. p. 416-2-20-21.

51. atha bhagavdn: S. p. 405-7, T. p. 263-3-8, C2. p. 416-2-22.
Chinese 2 omits: “Lord”.
52. md te mahadarindtyam akdlalcriya narakapatanam sydd: S. p. 409-3-4, T. p. 263-5-5-6, C2.
p. 417-2-12.
257
P a rt Four
(3) The next section starting with the words, “One should generate the knowledge
of the pledge of one's jewel”53 and ending with the words, “<9M KARMA
SIDDHIH” 54 explains the attainment-knowledge of the Ratnaguhya Mudra
mandala gaining kingship and consecration. This section also includes a secret rite.
(4) The final section starting with the words, “Then, one should teach the binding of
the maha-mudras (explained) in this mandala”55 and ending with the words,
‘Having made the supreme secret-of-secret-fist into two, one should perform all the
actions”,56 describes the rites of binding the four mudrds of the Ratnaguhya
Mudramandala. Like the previous dharani-mandalas (chs. 2, 7, 11 and 16), all the
mahd-mudras of the Ratnaguhya Mudramandala appear in the form of hand
gestures.57
2. Structure o f the Ratnaguhya Mudramandala
“The supreme 58Mudramandala (of the Gem-family) has tire basic
‘Ratnaguhya (Gem-secret)5.
{Sarvarthasiddhi) Mahamandala. In its centre one should draw
the symbol {mudrd) of the Buddha (Vairocana) according to the
instruction. (On the positions of the four Paramitas), one should
draw a jewel placed on the seat (paryahka) before the
Vajradhatu,59 a jewel-garland,60 a jewel in the lotus,61 and a jewel
encircled by (minute) jewels62 (clockwise from the east).63
53. svamanisamayajndnany utpddayet: S. p. 409-4, T. p. 263-5-6, C2. p. 417-2-13.

54. S. p. 412-14, T. p. 264-2-8, C2. p. 418-2-1.
55. athatra mandate mahdmudrabandho bhavati: S. p. 413-1, T. p. 264-2-8, C2. p. 418-2-2,
56. guhyaguhydgrcimustis tu dvidhib'tya sarvakarmikd iti: S. p. 415-9-10, T. p. 264-4-6, C2. p.
419-1-3-4.
Chinese 2 reads: “One should execute all the m u drds employed in the secret worship o f this
family by means o f the supreme fist in conformity with the rite.”
58. Chinese 2 inserts: “self { s v a j \
59. Sakyamitra interprets the phrase “before the Vajradhatu” as referring to the place of
Sattvavajri. (Kosaldlamlcdra, TTP. Vol. 71, No. 3326, p. 41-3-5-6). It is evident that the
Vajradhatu in this context indicates the symbol of Vairocana because it is called
Vajradhatvlsvari (Queen of the Vajradhatu) according to the Vajraguhya Vajramandala (ch.
2).
60. Chinese 2 adds: “in the south”.
61. Chinese 2 adds: “in the west”.
62. Chinese 2 adds: “in the north”.
63. Concerning these four symbols occupying the places of the four Paramitas, Anandagarbha adds
that the place of Sattvavajri is occupied by a wish-granting-gem (cintdmani) signified by a
five-pronged vajra whose top faces the east and is endowed with a blazing (light); that the
place o f Ratnavajri is occupied by a garland o f the precious gem; that the place of
Dharmavajri is occupied by a wish-granting-gem in the centre of the sixteen lotus-petals; and
that the place ofKarmavajri is occupied by a wish-granting-gem encircled by minute jewels.
(!Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-2-3-6).
258
P art F our
Having approached the mandala of Sarvasiddhi64 with the vajra-

impulse, one should draw the great vayra-jewel65 in the centre of
the vajra-gem. On all sides of it, the gem-master should duly draw
(the four Mahasattvas') own symbols endowed with the jewel (-
sign) in correct order, (i.e. (1) a five-pronged vajra signified by
the jewel, (2) a hook signified by the jewel, (3) both an arrow and
a bow of the gem, and (4) the image of finger-snapping by the two
fists wrists of which bear the jewels66).
Having approached the second mandala67 in the same way, one
should draw in its centre the jewel possessed of two eyes. On all
sides of it, one should duly draw (the four Mahasattvas') own
symbols endowed with the jewel-sign in correct order, (i.e. (5) a
garland of the wish-granting-gem, (6) a jewel in the centre of the
solar disc, (7) a banner of the wish-granting-gem endowed with a
gem-handle on a half moon, and (8) a jewel in a set of teeth
inserted between the two vajras5S).
Having approached (the third mandala)69 with the vq/ra-impulse,
one should draw the jewel in the lotus (at its centre). One should
duly draw (the four Mahasattvas1) own symbols endowed with the
jewel-sign70 on all sides of it in correct order, (i.e. (9) a sixteen-
petalled lotus having the wish-granting-gem,71 (10) a sword
signified by the jewel, (11) a jewel in the centre of the eight-
spoked wheel, and (12) a tongue signified by a jewel72).
Having approached the fourth supreme mandala73 with the vajra-
impulse, one should place in its (centre) the gem-shower endowed
with the vajra and gem. It is duly surrounded by (the four) karma-
mudrds endowed with the jewel-sign in correct order, (i.e. (13) a
universal vajra signified by the jewel, (14) a set of armour
signified by a jewel, (15) a set of teeth signified by a jewel, and
(16) a five-pronged vajra signified by a jewel which is firmly
.clasped by the fist of the pledge74).”75
The external structure of the Ratnaguhya Mudramandala is the same as that of the
previous Sarvarthasiddhi Mahamandala. The main characteristic is that the
64. Chinese 2 adds: “positioned in the east”.

65. Only Sanskrit reads: “great gem-jewel (maha-ratna-mani)”.
68. Kosalalamkara, TTP. Vol. 71, No, 3326, p. 41-4-8—5-2; Tattvaloka, TTP. Vol. 72, No.
3333, p. 65-3-2-5.
70. Sanskrit and Tibetan both omit this sentence.
71. Concerning this first symbol, Sakyamitra asserts that an image of giving the jewel with both
hands on the lotus is drawn. (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 41-5-2-4).
75. S. pp. 405-9-408-9, T. p. 263-4-1-5-3, C2. pp. 416-2-24-417-1-26.
259
P a rt Four
mandala is filled with the deities' symbols which are basically similar to those of
the Vajragukya Vajramandala (ch. 2), but since the Ratnaguhya Mudramandala
belongs to the Gem-family, all the symbols in this mandala are either directly
related to or signified by the jewel (mani) or gem (ratna).
Though not specified in the above quotation, a stupa well placed on the seat
called Vajradhdtvisvari (Queen of the Vajradhatu) is the symbol of Vairocana
according to the Vajragukya Vajramandala (ch. 2). However, in the above
quotation, the great vajra-jewel in the centre of the vajra-gem, the symbol of
Sarvarthasiddhi, is explained by Sakyamitra as a great jewel signified by the vajra
in the centre of jewel consisting of eight parts, six comers, or twenty parts.76
Anandagarbha adds that a wish-granting-gem signified by the five-pronged vajra is
drawn in the centre of the eight-spoke-wheel-shaped jewel.77 The jewel possessed
of two eyes, the symbol of Ratnadrsti, is given a slightly different interpretation by
Sakyamitra and Anandagarbha. While the former comments a jewel drawn with two
eyes are made in its centre,78 the latter describes a wish-granting-gem drawn in the
middle of the two eyes.79 The jewel in the lotus, the symbol of Ratnapadma, which
according to Anandagarbha is a sixteen-petalled lotus having the wish-granting-gem
is the same as the symbol of Samadhijnanagarbha (marked as the indicated number
(9) in the above).80 The gem-shower, the symbol of Ratnavrsti, is endowed with the
vajra and gem, which according to Anandagarbha is a wish-granting-gem
showering gems encircled by minute jewels.81
In the above quotation, the indicated numbers refer to the sixteen Mahasattvas'
symbols in correct order. In addition, the description of the symbols of the eight
Offerings and the four Guardians is omitted because they are the same as the
symbols drawn in the Vajragukya Vajramandala (ch. 2), the only difference being
that they are signified by the jewel or gem. According to Anandagarbha, this
mandala bears the symbols of the Bhadrakalpa Mahabodhisattvas at the four
directions of the external mandala,82
3-1. Manisamayajndna
The attainment-knowledge83 of the Ratnaguhya Mudramandala is entitled
‘Manisamayajndna\ which means the knowledge of the samaya-mandala (or
dhdram-mandala) of the Jewel-family. This knowledge which guarantees the

78. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 41-4-6.
80 Ibid., p. 65-3-5-6.
81. Ibid., p. 65-3-7-8.
82. Ibid., p. 65-4-7-5-1.
83. S. pp. 409-4-411, T. pp. 263-5-6-264-2-4, C2. pp. 417-2-13-418-1-15.
260
P art Four
sadhaka kingship and consecration is generated from meditating on the symbol of

Sarvarthasiddhi, i.e. vajra-gQm (vajra-ratna) referring to the wish-granting-gem
signified by the five-pronged vajra.
“If one draws the vajra-gem in space through the samadhi of
Vajraratna (referring to the deity-yoga of Sarvarthasiddhi or one of
his family members), and places it on one's forehead, one can
surely become a king.
If one forms the supreme samaya (-mudrd)84 (of Ratnadrsti or
one of his family members) and draws the vajra-gem in space,85
and places it in the consecration-positions,86 one surely gains
kingship.87
If one draws the vajra-gem in space88 through the samadhi of
Vajraratna (referring to the deity-yoga of Ratnapadma or one of
his family members),89 and places it (in the position of
consecrating) the knowledge-gem, one can make oneself a king.90
If one forms the karma-mudra (of Ratnavrsti or one of his family
members) and draws the vajra-gem in space, and places it in one's
own position, one can make oneself a Icing.91”
“If one meditates on the vajra-gem over (one's) heart, and

visualises the bodily image (of one's deity), one attains the
supreme marvellous consecration (of Sarvarthasiddhi).
If one meditates on the vajra-gem on (one's) forehead with a well
concentrated mind, and forms (the samaya-mudrd of) Ratnavajri,
one can become a Icing everywhere.
If one meditates on the vajra-gem on (one's) tongue through the
samadhi of Vajraratna, one can attain consecration in Dharma-
lcingship.
If one meditates on the vajra-gem on one's crown with a well
concentrated mind, and forms the karma-mudra (of one's deity),
one can become a master of good-action,”
“If one draws the vajra-gem on a cloth (or wall, board) or

elsewhere (while conceiving of Vajraratna) as oneself, and
meditates on the maha-mudra, one can become a great king (of the
maha-mudrds).
If one draws the highest vajra-gem on a cloth or elsewhere (while
conceiving of Vajraratna) as oneself, and meditates on Sattvavajri
84. Tibetan reads: “(the samaya-mudrd of) Ratnavajri”.

85. Only Sanskrit omits: “in space”.
86. Tibetan reads: “at one's own position”.
87. Chinese 2 reads: “gem-consecration”.
88. Only Sanskrit omits: “in space”.
89. Chinese 2 reads: “the great dharma-gem-samadhi”.
90 Chinese 2 reads: “gains great Dharma-kingship”.
9 i, Chinese 2 reads: “gains iCarma-kingship”.
261
P a rt Four
(referring to the vajra in the moon), one can become a lord of the
samaya {-mudrds).
If one draws the vajra-gem on a cloth or elsewhere (while
conceiving of Vajraratna) as oneself, and meditates on the dhyana-
mudrd,92 one can surely become a lord of the dharma {-mudrds).
If one draws the highest vajra-gem on a cloth or elsewhere (while
conceiving of Vajraratna as oneself), and meditates on the karma-
mudra, one can become a lord of the karma {-mudrds).”
“If one conceives of the vajra-gem made of gold, silver, or any

other gem (as the highest vajra-gem) and visualises it at (one’s)
heart, one will be consecrated.
If one conceives of the vajra-gem made of gold or any other gem
as the highest {vajra-gem) and visualises it on (one's) forehead,
one can become a king with a great treasure.
(as the highest vajra-gem) and visualises it in one's mouth, one
can become a lord of speech.
(as the highest vajra-gem) and visualises it on (one's) crown, one
can become a lord of universal action.”
As in the attainment-knowledge of the previous Sarvarthasiddhi Mahamandala,
according to Anandagarbha,93 the four segments in each paragraph of the above
quotation refer to the deity-yogas of the four deities and their families, i.e.
Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his
family, and Ratnavrsti and his family. These four sets of rites refer to gaining
kingship and consecration in the mundane and supramundane worlds by means of
meditating on the vajra-gem and practising the deity-yoga together with binding the
deity's four mudrds.
3-b. Secret Rite
The secret rite of the Ratnaguhya Mudramandala entitled lManikulasamaya-
mudrarahasyajhdna (the secret-knowledge of the samaya-mudras of the Jewel-
family)’ refers to gaining the attainments by means of sexual yoga, i.e. the unity of
the divine and the mundane.
“If one binds the great vajra-jewel and inserts the jewel into the
female (deity's) sexual organ (stribhaga)94 while meditating on the
maha-mudra (of one's deity), one gains fulfilment.
92. Chinese 2 reads: “dharma-mudrd”.

93. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 66-l-l~67-3-5.
94. Sakyamitra interprets the above phrase ‘binding the great vajra-jewel’ as ‘making with a piece
o f wood or gold the great vajra-jewel which indicates the jewel signified by the vajra and
provides the supreme attainment o f wishes’. In addition, he comments that the term ‘female’
in this context symbolises the hand gesture (.samaya-mudrd) and ‘sexual organ’ indicates the
internal space (formed by both hands). Thus, when the sadhaka approaches or attains the
262
P art Four
If one binds the jewel of the supreme samaya {-mudrd) and

(inserts the jewel into) the female (deity's) sexual organ while
forming the supreme samaya (-mudra) (of one's deity), one can
gain fulfilment in all consecrations.
If one binds the great vajra-jewel and inserts the jewel into the
female (deity's) sexual organ while meditating on the dharma-
mudrd (of one's deity), one can gain the supreme fulfilment.
If one binds the jewel of the karma-mudra and (inserts the jewel
into) the female (deity's) sexual organ while forming the karma-
mudra (of one's deity), one can gain the supreme fulfilment in all
actions.”95
The above four segments also refer to the dzity-yogas of the four deities and their
families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma
and his family, and Ratnavrsti and his family respectively. This rite demonstrates
that by means of deity-yoga and the four mudrds, the sadhaka performs perfect
sexual union between his chosen deity, whose image is visualised as himself in
conformity with the description of the previous Sarvarthasiddhi Mahamandala,
and the corresponding female deity generated in the Ratnaguhya Mudramandala
because all the deities in this mandala are generated in the form of a goddess during
samadhi. As the result of this rite, the sadhaka is identical to and gains the power
of Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.
4. Conclusion
Since the Ratnaguhya Mudramandala representing the Mind of Akasagarbha is the
dharani-mandala of the Gem-family, the bodily images of the deities of the
Sarvarthasiddhi Mahamandala are replaced in this mandala by their symbols or
attributes, most of which are designed in conformity to those of the Vajraguhya
Vajramandala (ch. 2), but are signified by the jewel or gem symbolising
Akasagarbha or the Gem-family. Thus, in order to gain the attainments described in
this chapter, i.e. kingship and consecration, the sadhaka begins with the meditation
on the symbols such as the vayra-gem drawn in the mandala. By means of
meditating on the symbol of his chosen deity, the sadhaka attains his deity, and
finally generates Akasagarbha abiding in his mind. The kingship described in this
chapter symbolises D/mrma-kingship in that the sadhaka can perfectly control his
body, speech, mind and action.
deity, he puts the vajra-jewel into the hole (formed by both hands). (Kosalalamkara, TTP.
Vol. 71, No. 3326, p. 42-4-3-5).
95. S. p. 412-2-9, T. p. 264-2-5-7, C2. p. 418-1-17-24.
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Chapter 21. (Manikula) Jnanamandala

Chapter 21 of the STTS96 provides an exposition of the {Manikula)
Jnanamandala, which is classified as the dharma-mandala and constitutes the
supreme dharma-mudra of the Gem-family. This mandala also focuses on the
main thirty-seven deities, who in the mandala hold their own attributes and sit
cross-legged on the five-pronged vajras symbolising knowledge of the Gem-
family. According to Amoghavajra, the STTS in this chapter explains the method of
practising the samadhi of the Gem-family, which is a method of gazing at the
Bodhisattva Akasagarbha (or Vajragarbha), after calming the mind, making the
mind endure, making the mind gently harmonious, and liberating the mind.97
Lord once again”98 and ending with the words, “OM SARVABHISEKA-JNANA
H U M '99 provides an exposition of the second samadhi called the supreme
mandala-Icing of the {Manikula) Jnanamandala.
Akasagarbha”100 and ending with the words, “You should not tell101 anyone who
has not seen the Dharma-mandala,102 otherwise you will die instantly without
attaining success”,103 explains the mandala-rites of the {Manikula) Jnanamandala.
(3) The next section starting with the words, “One should generate the knowledge
of the dharma of the Gem-family”104 and ending with the words, “SARFA GUHYA
JNANA SARFA-SIDDHIM ME PRAYACCHA HUM”,105 explains the attainment-
knowledge of the {Manikula) Jnanamandala consisting of four sets of samadhi
rites. This section also includes a secret rite.
(4) The final section starting with the words, “Then, one should bind the maha-
mudra accordingly”106 and ending with the words, “One should establish
96. S. chapter 21, pp. 416-423, T. pp. 264-4-7—265-3-6, C2. p. 419-1-5-420-3-22.

97. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-10-13.
9S. atha bhagavan punar api: S. p. 416-2, T. p. 264-4-7, C2. p. 419-1-6.
" . S. p. 417-6, T. p. 264-5-3, C2. p. 419-1-23.
10°. athdkasagarbho bodhisattvo mahasattvah: S. p. 417-7, T. p. 264-5-3, C2. p. 419-1-24.
10f Chinese 2 adds: “this secret Dharma”.
102. Tibetan and Chinese 2 both omit: “mandala".
103. na tvaya adrstadharmamandalasya valctavyam md te maranakdlah sighram evdsiddhasya
sydd: S. p. 419-2-3, T. p. 264-5-8, C2. p. 419-2-26-3-2.
Chinese 2 reads: “without avoiding misfortune”, instead of “without attaining success”.
104. maniladadharmajndndny utpadayet: S. p. 419-4, T. pp. 264-5-8-265-1-1, C2. p. 419-3-3.
105. S. p. 422-14, T. p. 265-3-3, C2. p. 420-2-25-27.
106. tato mahdmudram yathdvad badhniydt. S. p. 422-15, T. p. 265-3-4, C2. p. 420-2-28.
264
P art Four
succinctly the karma-mudrds in conformity with the positions”,107 briefly describes

the rites of binding the four mudrds of the (Manikula) Jnanamandala,108
2. Structure o f the (Manikula) Jnanamandala
“The supreme Jnanamandala109 (of the Gem-family) has the basic
iRatnajhana (Gem-knowledge)’.110
(.Sarvarthasiddhi) Mahamandala. One should draw (the deities
who hold their own) emblems over their hearts in conformity with
the Dharmamandala.”111
Like the previous dharma-mandalas, the deities in the {Manikula) Jnanamandala
sit cross-legged and hold their own symbols over their hearts by forming the vajra-
bond with both hands.112 In addition, each of these deities is drawn in the centre of
the five-pronged-vajra on the lunar-disc.113
3-a. Manikuladharmajhdna
The attainment-knowledge114 of the {Manilaila) Jnanamandala entitled ‘Manikula-
dharmajhana’, which means the knowledge of the dharma {-mandala) of the
Jewel-family, consists of the following four sets of samadhis.
“Having drawn Vajragarbha (or Akasagarbha) on a cloth or
elsewhere in samadhi (i.e. with thought having attained one
pointedness), one should meditate on him. Then, one should plead
while uttering: ‘Bestow the gem (of accomplishing all) wishes!’.
Having drawn Vajragarbha on a cloth or elsewhere in samadhi,
one should meditate on him. Then, one should plead while uttering
once: ‘Bestow, bestow the gem!’.
Having drawn Vajragarbha on a cloth or elsewhere, one should
reflect on him in samdpatti. Then, one should plead for knowledge
(while uttering): ‘Bestow good dharmaW
Having drawn Vajragarbha on a cloth or elsewhere, one should
reflect on him in samdpatti. Then, one should plead (while
uttering): ‘Bestow good action!’.”
107. karmamudrah samasena ycitha sthanesu samsthayed iti: S. p. 423-4~5, T. p. 265-3-5, C2. p.
420-3-20.
109. Chinese 2 reads: “sva-jiidna-mandala”.
110 Chinese 2 reads: “Svaratnajndna
i n . S. p. 417-9-12, T. p. 264-5-3-5, C2. p. 419-1-26-2-1.
114 S. pp. 419-5-421, T. p. 265-1-1-2-7, C2. pp. 419-3-4-420-2-8.
265
P a rt F our
"One should visualise the Satsattva (or Mahasattva) Akasagarbha

in space or elsewhere with a well-concentrated mind, and should
plead for the fulfilment of intended wishes (artha).
One should visualise the Satsattva Akasagarbha in space or
elsewhere with a well-concentrated mind, and should plead for the
accumulation of gems.
perfection of dharmas.
accumulation of actions.”
“One should draw Vajragarbha in (one's) heart with a well-

concentrated mind and meditate upon him. Whenever one feels
(one's) heart throbbing, one will receive the treasure from the
attained (one's deity).
One should draw and meditate upon Vajragarbha on (one's)
forehead. Whenever one feels (one's) head shaking, one gains
consecration.
One should insert and meditate upon Vajragarbha in (one's)
mouth. Whenever one feels (one's mouth) open, one accomplishes
that word (= what one says).
One should place and meditate upon Vajragarbha on one's crown.
Whenever one feels (one's crown) radiating, one can fly.”
“If one meditates upon the bodily image (maha-mudra) of

Vajragarbha with a well-concentrated mind, and pleads: ‘Bestow
the siddhi on me!5 (while reciting): iILI-RATNA\ one attains the
siddhi.
If one forms the samaya (-mudra) of Akasagarbha with a well
concentrated mind, and pleads: ‘(Bestow) the consecrations (on
me)!5 (while reciting): ‘MILI-RATNA\ one attains (the
consecrations).
If one enters the samadhi of Vajragarbha with a well-concentrated
mind, and pleads: ‘Bestow the dharma on me!5 (while reciting):
‘CILI-RATNA\ one attains (the dharma).
If one forms the supreme karma (-mudra) of Akasagarbha with a
well-concentrated mind, and pleads: ‘(Bestow) all gems (on me)!5
(while reciting): ‘KILI-RATNA\ one gains (the gems).”
Four Vajragarbhas or Akasagarbhas described in each paragraph of the above
quotation refer to the four deities and their families, i.e. Sarvarthasiddhi and his
family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and
his family respectively. The above four sets of samadhis represent a practice of a
course of meditative techniques consisting of four stages. In the first stage, the
sadhaka begins his meditation through the visible external object, i.e. the image of
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P art Four
Akasagarbha or Vajragarbha drawn on the mandala. In the second stage, he

transforms the meditative object from the visible into invisible space. In the third
stage, he transfers it from the external world into his internal body, i.e. the four
consecration-places of the body. In the last stage, he completes his meditation by
generating the deity-yoga by means of the four mudrds and visualising his deity as
himself. As a result of these samadhi-practices, the sadhaka gains the power of
Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.
3-h. Secret Rite
The secret rite of the (.Manikula) Jnanamandala is entitled 6Manijndna-
rahasyamudrdjhdna ’ which means the knowledge of the secret mudrd of the Jndna
{-mandala) of the Jewel-family. Anandagarbha interprets the secret mudrd in this
context as rejoicing in the presence of Vajragarbha and being united with him115:-
“Through the union of the two organs116 {dvayendriyasamdpatti),
if one conceives of Vajragarbha in space or elsewhere, one attains
supreme success.
Through the union of the two organs, if one conceives of
Vajragarbha as if actually drawing (the image of Vajragarbha), one
can attain consecration.
Vajragarbha as if enjoying abeautiful woman, one can gratify the
whole world.
Vajragarbha (who assumes an infinite number of) forms of the
dust particles in all regions of space, one can surely attain
universal success.”117
According to Anandagarbha, the four segments of this quotation correspond to the
deity-yogas of the four deities and their families, i.e. Sarvarthasiddhi and his family,
Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family
respectively.118 As already seen several times in the previous chapters, this secret
rite also employs the method known as the dvayendriyasamdpatti, which according
to Sakyamitra119 is when at the time of executing the chosen deity-yoga, the
sadhaka summons, draws in, binds, and controls the deity's organ in his organ, and
then realises union with his deity. Through this dvayendriyasamdpatti, the sadhaka
perfects all his actions universally.
4. Conclusion
115. Tattvaloka, TTP. Vol. 72, No. 3333, p. 73-3-3~4.

116. Chinese 2 reads: “the union of vajra and lotus”.
117. S. p. 422-2-9, T. p. 265-2-8-3-2, C2. p. 420-2-10-17.
119. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 45-3-8-5-1.
267
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The {Manikula) Jnanamandala represents the Speech of Akasagarbha, which is

manifested in the mandala as the main thirty-seven deities of the Gem-family
abiding in samadhi. Since this mandala emphasises the samadhi, the sadhaka is
required to practise the various samadhi-skills in order to generate Akasagarbha
and to fulfil all the wishes of all living beings as a remedy for avarice. The
attainments gained as a result of the samadhi-practices described in this chapter are
summarised as the fulfilment of intended wishes, the accumulation of gems, the
perfection of dharmas and the accumulation of actions.
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Chapter 22-a. (Manikula) Karmamandala

Chapter 22-a of the STTS120 provides an exposition of the (Manikula)
Karmamandala, which is classified as the karma-mandala and constitutes the
supreme karma-mudra. of the Gem-family. Amoghavajra provides a brief outline
for this chapter as follows
“The fourth mandala (of the Sarvarthasiddhi) is called the karma
mandala. It contains (the main) thirty-seven deities. (This section
of the tantra) explains the rite of guiding the pupil to enter (the
mandala), and explains not only the method of empowerment of
the action of digging for the treasure trove, but also the rite of the
great worship of all the Buddhas in the Gem-family.”121
I. Structural Analysis o f Chapter 22-a
Lord once again”122 and ending with the words, “OM VI&VABHISEKE’\ 123
the (Manikula) Karmamandala.
AkaSagarbha”124 and ending with the words, “You will die. One should say
thus”,125 explains the mandala-rites of the (Manikula) Karmamandala.
(3) Tire next section starting with the words, “One should teach the knowledge of
the Karma {-mandala) of the Gem-(family)”126 and ending with the words, “One
can gratify the whole world”,127 explains the attainment-knowledge of the
(Manihda) Karmamandala. A secret rite is included in this section.
(4) The final section starting with the words, “Then, accordingly one gains the
supreme attainment through the knowledge of the mahd-mudras”128 and ending
with the words, “One should accomplish the karma-mudras”, 129 briefly describes
the four mudrds of the (Manilada) Karmamandala.13°
12°. S. chapter 22-a', pp. 424-429, T. pp. 265-3-6-266-1-4, C2. pp. 421-1-1-422-2-15.
121. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-14-16.
122 atha bhagavam punar api: S. p. 424-2, T. p. 265-3-6, C2. p. 421-1-7.
123. S. p. 425-2, T. p. 265-4-3, C2. p. 421-1-23.
Tibetan reads: “OM VlSVABHISEKA HUMP Tattvalolm reads: “OM VAJRA VISVABHISEKE
HUM.”
124. athakasagarbho bodhisattvo mahasattva'. S. p. 425-3, T. p. 265-4-3, C2. p. 421-1-24.
Tibetan reads: “aty a-Akasagarbha”.
125. maranam bhaved iti ulctva: S. p. 427-14, T. p. 265-5-4, C2. p. 422-1-3.
126. manikarmajnandni silcsayet: S. p. 427-15, T. p. 265-5-4, C2. p. 422-1-3.
Tibetan omits: “Gem”. Tattvalolm reads: “Gem-family”.
127. sarvalokam sa ragayed iti: S. p. 428-12, T. p. 266-1-1, C2. p. 422-1-21.
128. tato yathavan mahdmudrajndnenottamasiddhaya iti: S. p. 428-13, T. p. 266-1-1, C2. p.
422-1-22.
129. karmamudrah samddhayed iti: S. p. 429-7-8, T. p. 266-1-3, C2. p. 422-2-15.
13°. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 143-4-7-5-7.
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Part Four
2. Structure o f the (Manikula) Karmamandala
“The supreme Karmamandala (of the Gem-family) has the basic
‘Ratnakarma (Gem-Action)’.
(iSarvarthasiddhi) Mahamandala. In its centre one should duly
place the image of the Buddha (Vairocana). One should draw the
Ratnasattvis131 in conformity with the Mahasattvas.”132
As in the previous karma-mandalas, only the five deities occupying the five
Tathagatas' positions in the mandala, i.e. Vairocana, Sarvarthasiddhi, Ratnadrsti,
Ratnapadma and Ratnavrsti assume male forms and their images are the same as
those of the Sarvarthasiddhi Mahamandala, but the other deities including
Bhadrakalpa Mahabodhisattvas assume female forms though they refer to those of
the Sarvarthasiddhi Mahamandala. Since the {Manilmla) Karmamandala
symbolises worshipping all the Tathagatas, these deities make the gestures of
offering their attributes signified by the gem or jewel to the five deities occupying
the five Tathagatas' positions.
3-a. Manikarmajhdna
The attainment-knowledge of the {Manikula) Karmamandala entitled ‘Mani-
karmajhdna\ which means the (attainment-) knowledge of the karma {-mandala)
of the Jewel (-family), guides the sadhaka to achieve the following four goals, i.e.
the empowerment of all the Tathagatas, the consecration of all the Tathagatas, the
conversion of all living beings, and the accomplishment of all wishes.
“While making the bodily image {maha-mudra) of Vajragarbha
with a well-concentrated mind, if one worships all the Buddhas
with all offerings, one can control them.
While forming the supreme samaya-mudrd (of Vajragarbha) in
samadhi, if one worships all the Buddhas (with all offerings), one
can attain the self-133consecrations.
While joining in the samadhi of Vajragarbha with a well
concentrated mind, if one worships all the Buddhas (with all
offerings), one can destroy anything in the world.
While forming the karma-mudra (of Vajragarbha) in the samadhi
of Vajragarbha, if one worships all the Buddhas (with all
offerings), one can accomplish all wishes instantly.”134
According to Anandagarbha, these four goals correspond to the deity-yognw of the
four deities and their families respectively, i.e. Sarvarthasiddhi and his family,
13f Tibetan reads: “Ratnapujas”.

132. S. p. 425-5-9, T. p. 265-4-3-5, C2. p. 421-1-26-2-5.
133. Chinese 2 inserts: “gem”.
134 S. pp. 427-16-428-4, T. p. 265-5-4-7, C2. p. 422-1-4-11.
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P a rt Four
Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his
family.135 In this rite the sadhaka generates and visualises the image of his deity
described in the Sarvarthasiddhi Mahamandala by the four mudrds of the deity,
and worships the visualised deity with the female deities generated through tire
(Manikula) Karmamandala. Then, he gains the power of his deity.
3-b. Secret Rite
The secret rite of the {Manikula) Karmamandala called *Rahasyamudrakarma-
jhdna (the knowledge of the action of the secret mudra)’ refers to gratifying the
whole world by means of performing sexual deity-yoga and worshipping all the
Buddhas.
“If one performs the union of the two organs {dvaya-indriya-
samapatti)136 through the samadhi of Vajragarbha, and worships
all the Buddhas, one can gratify the whole world.”137
According to this quotation, while visualising himself as the bodily image of his
chosen deity described in the Sarvarthasiddhi Mahamandala, if the sadhaka
generates the deity's consort by means of reciting the relevant vidyd described in the
{Manikula) Karmamandala, and unites and worships himself as his deity with the
deity's consort, then he gains the power of his deity and gratifies the whole world.
4. Conclusion
The {Manilmla) Karmamandala represents the Action of Akasagarbha. In this
mandala, the female thirty-two out of the main thirty-seven deities of the Gem-
family offer their own attributes signified by the gem or jewel to the five male
deities, i.e. Vairocana, Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.
Thus, as the female deities worship these five deities in the mandala, if the sadhaka
visualises and worships Akasagarbha by means of the female deities generated
through the vidyds described in this chapter, then he can attain the nature of
Akasagarbha.

136. Chinese 2 interprets “the union of the two organs” as “the union of vajra and lotus”.
137. S. p. 428-11-12, T. pp. 265-5-8-266-1-1, C2. p. 422-1-20-21.
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Chapter 22-b. Epilogue of Part Four

As chapter 18-b serves as an epilogue of part three, so chapter 22-b of the
Sanskrit STTS serves as an epilogue of part four and provides information about
two mandalas and related rites, i.e. Manikula Caturmudramandala classified as the
catur-mudra-mandala and Sarvarthasiddhi Mandala classified as the eka-mudrd-
mandala.
A. Manikula Caturmudramandala
Since the Manikula Caturmudramandala138 consists of the basic and essential
qualities of the previous four mandalas of the Gem-family, corresponding to the
four mudrds, they are represented as four symbols in the mandala, and the sadhaka
gains the attainments described in the previous four mandalas by means of
performing the rite in this mandala.
A-1. Structural Analysis o f the First Part o f Chapter 22-b
(1) The first section of the first part of chapter 22-b of the STTS starting with the
words, “Then the Lord” 139 and ending with the words, “OM VlfVA DRSTT\]AQ
provides an exposition of the fifth samadhi called the supreme mandala-Icing of the
Manikula Caturmudramandala.
(2) The next section starting with the words, “Then, the Bodhisattva
Akasagarbha”141 and ending with the words, “You should not tell anyone”,142
gives a concise description for the mandala-rites of the Manilmla Caturmudrd-
mandala.
(3) The next section stalling with the words, “Then, one should generate the
knowledge”143 and ending with the words, “HA HA HA HA T R A H \144 explains the
attainment-knowledge of the Manikula Caturmudramandala,
(4) The final section, i.e. “Then, one should teach the four practices in conformity
with the binding of the four mudrds. One should be accomplished in like
manner.”,145 refers to the rite of binding the four mudrds of the Manikula
Caturmudra-mandala.146
13S. S. pp. 430-432 o f chapter 22-b, T. p. 266-1-4-2-4, C2. p. 422-2-16-3-22.

139. atha bhagavan: S. p. 430-4, T. p. 266-1-4, C2. p. 422-2-18.
140. S. p. 431-6, T. p. 266-1-7, C2. p. 422-2-29.
141. atharyakbsagarbho bodhisattva: S. p. 431-7, T. p. 266-1-7, C2. p. 422-3-1.
Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva Akasagarbha”. Tattvaloka reads:
“Bodhisattva Akasagarbha”.
142. na tvaya kasyacid valctavyam iti: S. p. 431-11-12, T. p. 266-2-1, C2. p. 422-3-5-6.
143. tato jnanany utpadayet: S. p. 431-13, T. p. 266-2-1, C2. 422-3-7.
144 S. 432-10, T. p. 266-2-4, C2. p. 422-3-20.
Tibetan reads: "PIA HA HA TVA". Tattvaloka reads: "HIHI HA HA HA TA'\
145. tato yathavac caturmudrdbandham caturvidham sikmyet tathaiva siddhaya iti: S. p. 432-
11-12, T. p. 266-2-4, C2. p. 422-3-21-22.
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Part Four
A-2. Structure o f the Manikula Caturmudramandala
The Manilmla Caturmudramandala focuses on Vairocana and the four symbols
representing the previous four mandalas of the Gem-family.
“As for the supreme Mudramandala147 (of the Gem-family), one
should construct the mandala by means of (drawing the previous)
Caturmudrd (-mandalas).”!48
A difference of interpretation concerns Vairocana placed in the centre of the
mandala. Whereas Anandagarbha comments that the image of Vairocana is drawn
in conformity with the description of the Sarvarthasiddhi Mahamandala,
Sakyamitra replaces the image of Vairocana with the symbol, i.e. the octagon-gem
shaped stiipa. However, both commentators agree that around Vairocana the four
symbols are drawn in the positions of the four Tathagatas, i.e. the gem signified by
the vajra for Sarvarthasiddhi, the gem signified by the gem for Ratnadrsti, the gem
signified by die lotus for Ratnapadma, and the gem signified by the crossed vajra
for Ratnavrsti.149 According to Amoghavajra, this mandala contains twenty-one
deities, excluding the sixteen Mahasattvas out of the main thirty-seven deities.150
The attainment-knowledge of the Manikula Caturmudramandala refers to gaining
the power of Vajraratna by means of executing the deity-yoga of Vajraratna on the
forehead as follows:-
“If one binds the vajra-gem in the samadhi of Vajraratna, and
places it on (one's) forehead, one can gain the universal
attainment”151
Sakyamitra explains that the samadhi of Vajraratna means the meditation {samadhi)
on the bodily image {maha-mudra) of Akasagarbha, and ‘binding the vajra-gem
{vajra-ratna) ’ refers to forming the gesture {mudra) of Vajraratna.152 While
Sakyamitra regards the vajra-gem as the hand gesture, Anandagarbha literally
interprets it as the wish-granting-gem signified by die five-pronged vajra. Thus,
according to Anandagarbha, while executing his deity-yoga, the sadhaka emanates
the golden coloured vajra-gem on the lunar disc of his forehead generated from the
syllable TRA (or TRAH, the vidyd of Vajraratna).153
Tibetan reads: “Then one should teach the four mudrds. One should accomplish all the
attainments accordingly .”
146, Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 143-5-7-144-1-8.
147. Chinese 2 reads: “Caturmudramandala”.
14S. Chinese 2 reads: “the previous Caturmudramandalas”.
S. p. 431-9-10, T. p. 266-1-8, C2. p. 422-3-3-4.
149. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 47-4-3-5; Tattvaloka, TTP. Vol. 72, No. 3333,
p. 77-3-8-4-4.
150 OEAVS, TSD. Vol. 18, No. 869, p. 286-1-17.
151. S. p. 431-14-15, T. p. 266-2-1-2, C2. p. 422-3-8-9.
152. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 47-4-7—8.
273
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A-4. Secret Rite

The STTS explains the following secret rite of the Manilmla Caturmudramandala
called ‘Rahasyamudra (the secret mudra)’
"If one puts together two foreheads of either the master and
consort or the female (deity) and male (deity), and makes the two
kiss (each other), one is successful.”154
According to Anandagarbha, the master in this quotation refers to the deities such
as Sarvarthasiddhi, and the consort refers to the female-shaped (sixteen)
Mahasattvas and (eight) Offerings described in the {Manilmla) Karmamandala,155
In this rite if the sadhaka visualises himself as the partner of his chosen male or
female deity and also generates his deity, and joins the pair together perfectly in his
sexual deity-yoga, then he is identical to his deity.
A S . Conclusion
The Manikula Caturmudramandala consists of Vairocana and the four symbols of
the four deities (i.e. Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti), in
which the four deities' symbols refer to the four Paramitas of the Gem-family
guiding the sadhaka to generate the four deities in his mind. Since this mandala has
the function of assembling the essential principles of the previous four mandalas of
die Gem-family, i.e. die Body, Mind, Speech and Action of Akasagarbha, the
sadhaka attains die four deides by means of meditating on die four symbols to
realise the Body, Mind, Speech and Action of Akasagarbha which are symbolised
as the four deities.
B. Sarvarthasiddhi Mandala
Since the Sarvarthasiddhi Mandala156 focuses on only the image of a predominant
deity of the family, i.e. Akasagarbha, or more specifically, Sarvarthasiddhi having
an image of Akasagarbha, and contains the essence of all the attainments of the
Gem-family, this is regarded as an eka-mudrd-mandala. Thus, if the sadhaka
successfully practises the d&ity-yoga of Sarvarthasiddhi in the mandala, then he
gains all the attainments of the Gem-family. According to Amoghavajra, the sixth
mandala (of the Gem-family) is called the eka-mudrd-mandala and contains
thirteen deities. This section of the tantra explains the rite of guiding the pupil to
enter the mandala, and also explains the samadhi of both cultivating a single deity
and cultivating all the Yaksas, who are the manifestations of the Lord Vajradhara
Akasagarbha.157
B-l. Structural Analysis o f the Second Part o f Chapter 22-b
154. Chinese 2 reads: “one gains the attainment of the secret method”.
S. p. 432-5-6, T. p. 266-2-3, C2. p. 422-3-15-16.
156. S. p. 433 of chapter 22-b, T. p. 266-2-4-8, C2. pp. 422-3-23-423-1-8.
157. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-19-21.
274
P a rt F our
(1) The first section of the second part of chapter 22-b of the STTS starting with tire
words, “Then the Bodhisattva Mahasattva Alcasagarbha”158 and ending with the
words, “VAJRA RATNA H U M V 59 provides an exposition of the second samddhi
called the supreme mandala-king of the Sarvarthasiddhi Mandala.
(2) The next section starting with the words, “Then, this is (the description of) the
mandala”160 and ending with the words, “One should draw the mandala of
universal161 success accordingly”,162 briefly explains the mandala-rites of the
Sarvarthasiddhi Mandala.
(3) The next section starting with the words, “Then, one should teach this mudrd-
knowledge of the secret knowledge”163 and ending with the words, “One obtains
the attainment of ordinance”,164 explains the attainment-knowledge of the
(4) The next section, i.e. “Then, one should teach the mwdra-knowledge of the four
signs.165 Having drawn either the sattvas on cloths, or the mudrds on mandalas,166
one is accomplished.”,167 refers to the rite of binding the four mudrds of the
together in a conclave”168 and ending with the words, “the compendium of the
Mahayana”,169 constitutes the closing section of part four, which includes a verse
praising Akasagarbha by all the Tathagatas.170
B-2. Structure o f the Sarvarthasiddhi Mandala
The Sarvarthasiddhi Mandala focuses on the mandala positioned in the eastern
quarter of the Sarvarthasiddhi Mahdmandala (ch. 19), i.e. the mandala of
Sarvasasiddhi, which is represented by only Lord Sarvarthasiddhi who has an
image of Akasagarbha or Vajragarbha.
“The supreme Mahdmandala (of the Gem-family) should be
drawn in conformity with the mandala of Sarvasiddhi.”171
158. athdlcasagarbho bodhisattvo mahasattva: S. p. 433-1, T. p. 266-2-4, C2. p. 422-3-23.

159 S. p. 433-4, T. p. 266-2-5, C2. p. 422-3-26-27.
160 athatra mandalain bhavati: S. p. 433-5, T. p. 266-2-5, C2. p. 422-3-28.
16f Tibetan and Tattvalolca both omit: “universal”.
162. yathavat tu samalelchyam sarvasiddhes tu mandalam iti: S. p. 433-7, T, p. 266-2-6, C2. p.
423-1-2.
163. athatra jndnarahasyamudrdjndnam silcsayet: S. p. 433-8, T. p. 266-2-6, C2. p. 423-1-3.
164 kalpasiddhim avdpnuta iti: S. p. 433-10, T. p. 266-2-7, C2. p. 423-1-5.
Tibetan and Tattvalolca both read: “karmasiddhi”.
165. Tibetan and Tattvalolca both read: “the knowledge o f the four muclrds'".
166 Chinese 2 adds: “the left lunar circles”.
167. tatas caturvidham mudrdjiidnam silcsayet evam patddisu sattvam mudrdm vd mandalesu
lilchya sadhayed iti: S. p. 433-11-13, T. p. 266-2-7~8, C2. p. 423-1-6-8.
168. atha sarvatathagatah punafi samajam agamya: S. p. 434-1, T. p. 266-2-8, C2. p. 423-1-9.
169. mahdydnabhisamgraham iti: S. p. 434-6-7, T. p. 266-3-2, C2. p. 423-1-14.
170 Cf. Tattvalolca, TTP. Vol. 71, No. 3333, p. 144-1-8-3-3.
171. S. p. 433-6-7, T. p. 266-2-5-6, C2. p. 423-1-1-2.
275
P a rt Four
Since the words ‘supreme mahdmandala’ have already been used for the
Sarvarthasiddhi Mahdmandala, the supreme mahdmandala in this quotation refers
to the supreme mandala of assuming all the bodily images (maha-mudrds) of the
main thirty-seven deities of the Sarvarthasiddhi Mahdmandala. As in the mandala-
structure section of chapter 19, the Sarvarthasiddhi Mahdmandala is also called the
mandala of Sarvasiddhi. Thus, the Sarvarthasiddhi Mandala is designed in
conformity with the Sarvarthasiddhi Mahdmandala, and then the image of
Sarvarthasiddhi is drawn on the lotus and the moon positioned in the centre of the
mandala while reciting the relevant hrdaya ,m As already mentioned, Amoghavajra
comments that this mandala contains the thirteen deities, which refer to
Sarvarthasiddhi, eight Offerings and four Door-guardians.
The attainment-knowledge of the Sarvarthasiddhi Mandala entitled ‘Jnana-
rahasyamudrdjhdna (the knowledge-secret-mwt/ra-knowledge)5refers to the secret
rite of the Sarvarthasiddhi Mandala.
“To the Buddhas, if one offers pleasure attached to 173desires
(kama) such as form (rupa), one gains the attainment of
ordinances (kalpa).”174
This rite demonstrates that the sddhaka gains all the attainments of the Gem-family
while experiencing positively the desires arising in his mind during his deity-yoga,
instead of repressing them.
B-4. Conclusion
In order to generate and to realise Akasagarbha, whereas die previous Manilaila
Caturmudrdmandala suggests the means of attaining the four deities (i.e.
Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti), the Sarvarthasiddhi
Mandala which is the eka-mudra-mandala of the Gem-family focuses on only
Sarvarthasiddhi because the four deities are the four different images of
Akasagarbha or Vajragarbha. Thus, if the sddhaka performs the deity-yoga of
Sarvarthasiddhi, he becomes identical to Sarvarthasiddhi and also attains the nature
of Akasagarbha. By means of the power of Akasagarbha, the sddhaka gains wealth
by means of discovering hidden treasure and accomplishes perfection of generosity
(ddna-pdramita).
172. According to Anandagarbha, the hrdaya recited in this rite is: lOM VAJRA MANIDHARA
SARVARTHASIDDHIM ME PRAYACCHA HO BHAGAVAN VAJRA RATNA HUM .
(Tattvalolca, TTP. Vol. 72, No. 3333, p. 80-2-7-8). This hrdaya appears in the STTS. (S. p.
433-3-4, T. p. 266-2-5, C2. p. 422-3-25-27).
173. Chinese 2 adds: “five”.
Sakyamitra comments that desires in this quotation indicate the five desires arising from the
objects o f the five senses, i.e. form, sound, smell, taste and touch. (Kosaldlamkara, TTP.
Vol. 71, No. 3326, p. 48-2-5-6).
174. Tibetan reads: “actions {karma)".
S. p. 433-9-10, T. p. 266-2-6-7, C2. p. 423-1-4-5.
276
P a rt Five
Part Five
Tantra, Uttaratantra and Anuttaratantra
of the Mahayana Sutra
Called the Compendium of Truth of All the Tathagatas
According to Amoghavajra,1 part five of the STTS first of all explains the
recitations of the verses about the secret-assistance-means (updya) of all the
mandalas. Then, it unfolds the enlightenment of Buddha Sakhyamuni as a
Transformation-body (nirmana-kciya) manifested in Jambudvipa. Finally, all the
Tathagatas praise Vajrasattva by invoking his one hundred and eight names. As
Amoghavajra concludes, most of part five consists of sets of verses which describe
methods of the various siddhis connected with all the families described in the first
four parts of the STTS.
In the Sanskrit STTS edited by Yamada Isshi, part five divides into four chapters,
i.e. chs. 23, 24, 25, 26-a and 26-b, under the title ‘Tantra, Uttaratantra and
Anuttaratantra of the Mahayana Sutra Called the Compendium of Truth of All the
Tathagatas’. David Snellgrove regards the meaning of tantra in this context as ‘a
woven pattern of threads of discourse’ because all four chapters of part five
comprise a series of ‘set discourses’, in which the attitude of each family in turn is
stated with regard to the various kinds of accomplishments (siddhis) which have
been dealt with throughout the STTS. In the first three chapters of part five, (i.e. chs.
23, 24 and 25), each set begins with a statement relating to ‘All the Tathagatas’, and
is followed by separate statements relating to the four families of the Tathagata,
Vajra, Padma (Lotus) and Marti (Jewel) or Ratna (Gem), corresponding to the
previous four parts of the STTS? Snellgrove adds that chapter 26 (ch. 26-a) entitled
‘Supreme Tantra of All the Kalpas' has a markedly different format, opening with
a set of long detailed descriptions of rites or procedures according to each of the
families in turn, and giving actual instructions, so becoming a treatise in its own
right. Advice is given on the recitation of the divine names for varying long periods
of time in front of images, suitable sites for the rites are listed and so on, all with the
objective to attain supernatural powers, namely, assuming various bodily forms,
K OEAVS, TSD. Vol. 18, No. 869, p. 286-1-21-25.

277
P a rt F ive
flying in the sky, becoming invisible, and subduing beings to one's will. There
follows a large number of short verses, some arranged in family sets, as in the
previous chapters of part five, but many just single statements, each referred to as a
tantra (thread). This chapter (ch. 26-b) ends with an epilogue.3
According to Anandagarbha,4 the terms tantra, uttara-tantra and anuttara
tantra have definite meanings within the context of the STTS. The collection of the
words explaining the nature of Vairocana and Mahavairocana is the tantra. This
tantra can be divided into three subordinate tantras, namely, mula-tantra, uttara
tantra and anuttara-tantra. The first four parts of the STTS (from ch. 1 to ch. 22-b)
are regarded as the mula-tantra, which explains the nature of all the Tathagatas
common to all sentient beings through the nature of all the dharmas of both the
mundane world and the supramundane world. The superior speech of the supreme
attainment of this mula-tantra is the uttara-tantra (chs. 23, 24, and 25), which is
not only the cause of attaining Buddhahood and Bodhisattvahood, but also the
essence of the beginningless and endless great pledge (maha-samaya) to be
received by the higher and the highest sddhakas who wish to gain the attainments
(siddhis) of the supramundane world. The anuttara-tantra (ch. 26-a) which
contains the detailed description of the ordinances (kalpas) of the STTS is explained
for those who prefer recitations and simple rites rather than meditation as a means
of attainment.
3. Ibid., p. 62.
4 Tattvalolca, TTP. Vol. 71, No. 3333, pp. 146-5-1-147-1-7.
278
P art Five
Chapter 23. Upayasiddhitantra

Chapter 23 of the STTS deals with the means of gaining the supreme attainments
by means of the uttara-tantra of the maha-mandalas described in the STTS, i.e.
Vajradhdtu Mahdmandala (ch. 1) for the five Tathagatas and the Tathagata-family,
Trilokavijaya Mahdmandala (ch. 6) for the Fq/ra-family, Sakalajagadvinaya
Mahdmandala (ch. 15) for die Padma-idxm\y and Sarvarthasiddhi Mahdmandala
(ch. 19) for the Mani- or Ratna-family. In order to understand this chapter, it is
necessary to bear in mind Anandagarbha's commentaiy quoted by Mkhas-grub-ije5
that the four families, i.e. Tathagata-family, Fayra-family,./Wma-family and Mam-
family (or Ttatoa-family) correspond to Body, Mind, Speech and Action, as well as
the four mudrds, i.e. Maha-mudra, Samaya-mudra, Dharma-mudrd and Karma-
mudrd. In addition, the four families also correspond to the four mental poisons, i.e.
passion or lust (rdga), hatred (dvesa), delusion (moha) and avarice (mdtsarya).
Thus, the purpose of the four families is to help the sddhaka in eliminating
completely these four poisons arising in the mind.
In the doctrinal analysis of the following chapters (chs. 23, 24, and 25), the
indicated letters, i.e. (a)~(e), refer to the five Tathagatas, Tathagata-family, Vajra-
family, Padma-fzmily and Mam-family respectively. In this analysis, most
quotations are summarised and translated from die STTS, and some are from the
commentaries.
Mahabodhisattva6 Vajrapani enimciated this tantra of the extensive rite of the great
essence of all the Tathagatas7”8 and ending with the words, “This is 9the extensive
rite to gain the supreme attainments of Buddhas and Bodhisattvas of the mudrds of
all the families”,10 describes the means of realising the nature of Buddhas and
Bodhisattvas by means of meditating on the four mudrds which are explained in the
maha-mandalas of the four families. This section refers to the means of generating,
5. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp.
221-225.
6. Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva”.
7. Chinese 2 reads “all the Tathagatas” as “all the families”. Tibetan reads: “the family of all the
Tathagatas”.
According to Anandagarbha, the difference between all the Tathagatas and the family of all the
Tathagatas is that the former refers to the nature o f the five Tathagatas (i.e. Vairocana,
Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi), but the latter refers to the main
thirty-two deities o f the Vajradhdtu Mahdmandala excluding the five Tathagatas. (Tattvalolca,
TTP. Vol. 72, No. 3333, p. 81-2-2-4). However, Sakyamitra regards all the Tathagatas as the
circle o f the Buddhas and Bodhisattvas. (Kosalalamlcdra, TTP. Vol. 71, No. 3326, pp. 48-5-
8-49-1-1).
8. at ha vajrapanir mahabodhisattva idam sarvatathagatamahdtattvavidhivistaratantram
uddjahdra: S. p. 436-2-3, T. p. 266-3-3, C2. p. 423-1-15—16.
9. Tattvalolca inserts: “the tantra o f ’.
10. saivalculamudranam buddhabodhisattvottamasiddhyavdptividhivistarah: S. p. 440-10-11, T.
p. 266-5-7, C2. p. 423-3-20-21.
279
P art Five
by means of executing the four mudrds of the deities, the nature of (a) Buddha, (b)
Vajradhara or Vajrasattva, (c) Vajrahumkara, (d) Avalokitesvara or Lokesvara, (e)
Akasagarbha or Vajragarbha.
Vajrapani”11 and ending with the words, “This is the tantra of the extensive rite of
l2the pledges (samayas) of all the families”,13 describes the means of perfecting the
pledges of all the families, i.e. (a) the meditation on passion (raga-samapatti) and
the purification of passion by passion, (b) non-aversion (aviraga) to desires
(kdmas), (c) the manifestation of the great wrath (mahd-Itrodha), (d) perception of
the purity of self-nature (sva~bhava), (e) generosity (dana). Anandagarbha
comments that the meditation on the four mudrds is accomplished while abiding in
the pledge ([samaya).14
perfecting the dharmas16 of all the families”,17 describes the means of attaining the
knowledge of the dharma-mudras of all the families. Thus, this section explains the
essence of dharmas of the five Tathagatas and the four families, i.e. (a) the essence
of the dharmas of the five Tathagatas is the Buddha, (b) the passion, which is the
essence of the dharmas of the Tathagata-family and is the cause of generating the
thought of enlightenment (bodhicitta), is pure, (c) the wrath which is the essence of
the dharmas of the Vajra-family is pure, (d) as the lotus is not stained with water,
the compassion which is the essence of the dharmas of the Padma-family is not
defiled with passion, (e) the essence of the dharmas of the Mam-family is
generosity.
perfecting the actions (karmas) of all the families”,19 describes the means of
perfecting the actions of all the families, i.e. (a) converting all sentient beings to
Buddhahood and Bodhisattvahood, (b) performing the rite of the four sets of
sixteen offerings, (which are explained in the Vajrakdrya Karmamandala (ch. 4),
i.e. four offoxing-mudrds of generating the thought of great enlightenment, four
offQiing-mudrds of all the Buddhas, four offermg-mudrds of dharma, and four
offering-mudrds of samadhi), (c) harming evil beings, (d) converting the sentient
n . S. p. 441-1, T. p. 266-5-7, C2. p. 423-3-22.

12. Tibetan and Tattvalolca both insert: “perfecting (siddhi)’\
13. sarvalatla samayavidhivistaratantram: S. p. 442-4, T. p. 267-1-5, C2. p. 424-1-10.
14. Tattvalolca, TTP. Vol. 71, No. 3333, p. 144-3-8.
15. S. p. 442-5, T. p. 267-1-5-6, C2. p. 424-1-11.
16. Tattvalolca reads: “dharma-mandalas”.
17. sarvalculadharmasiddhividhivistaratantram\ S. p. 443-10, T. p. 267-2-3, C2. p. 424-1-28.
18. S. p. 444-1, T. p. 267-2-4, C2. p. 424-2-9.
19. sarvalculalcarmasiddhividhivistaratantram: S. p. 445-4, T. p. 267-3-1-2, C2. p. 424-2-25.
280
P art F ive
beings, as giving safety to those having fears, (e) consecrating the Buddhas and
fulfilling all the wishes of the sentient beings.
Vajrapani”20 and ending with the words, “This is the tantra of attaining the
knowledge of the nature of all the families”,21 describes the means of attaining the
nature (dharmatd) of all the families, i.e. (a) meditating on the nature of the five
Tathagatas in the Vajrasattva-samadhi, (b) visualising the bodily image (mahd-
mudra) of the deity, (c) forming the hand gesture (samaya-mudrd) while
meditating on the maha-mudrd, (d) meditating on a five-pronged white vajra on the
tongue,22 (e) meditating on a crossed vajra in the heart. Thus, this section refers to
the means of accomplishing the evocation (Sanskrit, sddhana and Tibetan, bsgrub-
pa) common to the foxxx-mudras of all the families.
Vajrapani”23 and ending with the words, “This is die tantra of the extensive rite of
(attaining) the knowledge24 of all the families”,25 describes the means of attaining
the knowledge (jnana) of all the families, i.e. (a) abiding in the Vajrasattva-jama<#H
by means of visualising a vajra (refening to Vajrasattva) inside the moon (referring
to the lunar disc), (b) visualising the deity's bodily image {maha-mudrd) endowed
with the splendour of the lunar disc, (c) generating a wrathful thought by means of
performing the yoga of the wrathful deity, and beholding the mandala in space or
elsewhere, (d) beholding a subtle {suksma)-vajra or a line of letters {altsarapahldi)
in space or elsewhere, (e) perceiving the whole world (sarvaloka)26 and beholding
die reflected image.
Vajrapani”27 and ending with die words, “They appear in front”,28 describes the
means of gaining the attainment-knowledge (siddhi-jnana)29 of all the families, i.e.
(a) meditating on the image of the Buddha as oneself by means of empowering
(Vajra-) sattva,30 (b) beholding the yellowish-white mandala in space or elsewhere,
20 S. p. 445-5, T. p. 267-3-2, C2. p. 424-2-26.

21. sarvakuladharmatajhanasiddhitantram: S. p. 446-7, T. p. 267-3-8, C2. p. 424-3-17.
Tibetan and Tattvalolca both read: “This is the tantra of the extensive rite of the knowledge
o f the nature o f all the families.”
22 Kosalalam kara, TTP. Vol. 71, No. 3326, p. 52-5-7.
23. S. p. 446-8, T. p. 267-3-8, C2. p. 424-3-18.
24. Tattvalolca reads: “attaining the knowledge”. Chinese 2 reads: “attaining the knowledge-
mudra”.
25. sarvakulajnanavidhivistaratantram\ S. p. 448-6, T. p. 267-4-8, C2. p. 425-1-12.
26. Anandagarbha interprets sarvaloka in this context as referring to Akasagarbha. {Tattvalolca,
TTP. Vol. 72, No. 3333, p. 91-5-2-3).
27. S. p. 448-7, T. p. 267-4-8, C2. p. 425-1-13.
2^.prag darsayanti: S. p. 449-11, T. p. 267-5-6, C2. p. 425-2-2.
29. Sakyamitra explains that the attainment-knowledge means the knowledge of the sign of
attainment. {Kosalalamkara, TTP. Vol. 71, No. 3326, p. 53-5-5-6).
30 Kosalalam kara, TTP. Vol. 71, No. 3326, p. 54-1-1.
281
P art Five
and visualising the image of the deity as oneself, (c) observing (the image of the
deity) in the middle of the blue31 (lotus) (seen in the yellowish-white mandala), (d)
beholding the lotus having the colour blue like the sky (seen in the yellowish-white
mandala), (e) beholding in space or elsewhere an emanated ray of light endowed
with the purity like the sky. Concerning this section, Anandagarbha comments that
the meditation on the maha-mudrd and the others is accomplished at the time of
gaining the sign.32
Vajrapani”33 and ending with the words, “One experiences the five supernatural
knowledges. The Lord Akasagarbha said thus”,34 describes the means of attaining
the five supernatural knowledges (pahcabhijna, i.e. divine sight, divine hearing,
mind reading, recollection of the previous existence and miraculous powers) of all
the families, i.e. (a) abiding in the Vajrasattva-âmar/Zz/ and meditating on the forms
of all the Tathagatas and Bodhisattvas in one's whole body, (b) binding the maha-
mudrd of Vajrasattva (referring to performing the deity-yoga of Vajrasattva),35 (c)
binding the supreme mudra of Trilokavijaya, (d) binding the supreme mudrd of
Jagadvinaya, (e) binding the supreme mudrd of Sarvarthasiddhi.
(9) The next section starting with the words, “Then”36 and ending with the
words, “The Lord Buddhapuja said thus”,37 describes the means of gaining the
attainments by means of protecting the truth (satya) of all the families by swearing
an oath (a) (to the five Tathagatas) with the words bearing the truth, (b) to the
pledge from which generates the Tathagata-family, (c) to the Fo/ra-holders
(referring to the Vajra-family), (d) to the Good Dharma which is supreme for the
great Padma-family, (e) to the Buddha-offerings (referring to the Mam-family).
words, “One attains the self-existent offerings”,39 describes the means of attaining
the pledge-essence (samaya-tattva) of all the families by means of binding the
relevant samaya-mudras and reciting the following hrdayas, i.e. (a) “SAMA YAS
TVAM” (You are the pledge), (b) “SURATAS TVAM' (You are the delight), (c)
“HUM”, (d) “SARVA SUDDHA” (Everything is pure), (e) “O M \
31. Chinese 2 reads: “black”. Anandagarbha and Sakyamitra both interpret the blue {kydmci) in this
context as referring to the blossom o f the blue lotus (utpala). (Tattvalolca, TTP. Vol. 72, No.
3333, p. 92-3-5-6; Kosalalamkara, TTP. Vol. 71, No. 3326, p. 54-1-7).
32. Tattvalolca, TTP. Vol. 71, No. 3333, p. 144-5-2.
33. S. p. 450-1, T. p. 267-5-6, C2. p. 425-2-4.
34. paiicdbhijndm sa pasyatity aha bhagavan akasagarbhah: S. p. 452-11~12, T. p. 268-2-4, C2.
p. 425-3-14-15.
35. Kosalalam kara, TTP. Vol. 71, No. 3326, p. 54-3-6—7.
36. S. p. 453-1, T. p. 268-2-5, C2. p. 425-3-17.
37. ity aha bhagavan buddhapujah: S. p. 454-7, T. p. 268-3-4, C2. p. 426-1-9.
38. S. p. 454-9, T. p. 268-3-4, C2. p. 426-1-11.
39.pujds caiva svayambhuvdm iti: S. p. 455-13, T, p. 268-4-3, C2. p. 426-1-29.
282
P a rt Five
(11) The next section starting with the words, “Then, Vajrapani”40 and ending
with Hie words, “One can gain die attainment twice”,41 describes the means of
gaining the attainments of all the families by means of binding the mudrds of the
deities, i.e. (a) Buddha-mwdra, (b) maha-mudrd of Vajrasattva, (c) samaya-mudra
of Trilokavijaya or Vajrahumkara, (d) dharma-mudra of Lokesvara or
Avalokitesvara, (e) karma-mudrd of Vajragarbha or Akasagarbha, and also
meditating on the images of the deities, i.e. (a) Tathagata, (b) Vajrasattva, (c)
Trilokavijaya, (d) Lokesvara, (e) Vajragarbha. According to Anandagarbha, while
joining in his deity-yoga, if the sddhaka invokes his deity into forms such as cloth,
and then, meditates on and conjures up his deity, he will accomplish the four
mudrds 41
words, “The Lord Akasagarbha said thus”,44 describes the means of gaining all the
attainments (siddhis) of all die families by means of the evocation (sddhana), in
other words, by means of meditating on the bodily images (maha-mudras) of the
deities, i.e. visualising oneself as (a) Buddha (representing the bodily images of the
five Tathagatas), (b) Vajrapani or Vajrasattva (representing the bodily images of the
deities of the Tathagata-family) while thinking: “I am Desire” (kdmo ' ham), (c)
Vajra-form (representing the bodily images of the deities of the Faym-family), (d)
Padma-form (representing die bodily images of the deities of the Padma-family),
(e) blazing Maniratna-form (representing the bodily images of the deities of the
Maw-family).
(13) Hie next section starting with the words, “Then”45 and ending with the
words, “One gains all the attainments”,46 describes the means of attaining the
empowerment (adhisthdna), consecration (abhiseka), meditation (samddhi), and
worship ipujd) of all the families. Thus, according to this section, the empowerment
of all the families is accomplished by means of binding the mudrds, i.e. (a) mudrd
of Vajradhatvisvari with a well-concentrated mind, (b) mudrd of Sattvavajrf with
the Vajrasattva-âwdJ/zi, (c) mudrd of Vajrahumkara with a well-concentrated
mind, (d) mudrd of Vajrapadma witii the LokQsv&m-samddhi, (e) mudrd of
Mahavajramani with the Vajragarbha-samti^/zz, and then by means of empowering
these mudrds at the four sites of the body, i.e. heart, crown (urna), throat, and
forehead (with the mudrds of the four Paramitas).
The consecration of all the families is accomplished by means of (a) binding the
mudrd of Ratnavajri and placing this mudrd on the forehead, (b) binding the mifdrd
40 S. p. 456-1, T. p. 268-4-3-4, C2. p. 426-2-2.

41. siddhis tu dviguna bhavet: S. p. 457-3, T. p. 268-4-8-5-1, C2. p. 426-2-18.
42. Tattvalolca, TTP. Vol. 71, No. 3333, pp. 144-5-8-145-1-1.
43. S. p. 457-5, T. p. 268-5-1, C2. p. 426-2-20.
44. ity aha bhagavan alcdsagarbhah: S. p. 458-12, T. p. 268-5-8, C2. p. 426-3-12.
45. S. p. 459-1, T. p. 268-5-8, C2. p. 426-3-23.
46. sarvasiddhaya: S. p. 465-3, T. p. 269-4-6-7. Chinese 2 omits. (See, C2. p. 427-3-27).
283
P a rt F ive
of Vajradhatvlsvari and meditating on Vairocana on the crown; binding the mudrd

of Sattvavajri and meditating on Aksobhya on the forehead; binding the mudrd of
Ratnavajri and meditating on Ratnasambhava in the right ear; binding the mudrd of
Dharmavajri and meditating on Amitabha at the back of the head; binding the
mudrd of Karmavajri and meditating on Amoghasiddhi in the left ear,47 (c) binding
Vajrabhisekamaia and placing it on the forehead, (d) binding Dharmavajri and
placing it on the head, (e) binding Vajraratnankura and placing it on the forehead.48
The samddhi of all the families is accomplished by means of (a) binding the
mudrds of the five Tathagatas with a well-concentrated mind, (b) entering the
samddhi which empowers being (sattva-adhisthana)49 with the vajra-dharma, (c)
conceiving that you are generated from the passion and I am the wrath,50 (d)
expanding friendliness (maitri), (e) entering the sarvakasa-samddhi51 with a well
concentrated mind. In addition, all of these samddhi-rites are performed together
with reciting the relevant hrdayas, mudrds, mantras or vidyds.52
The worship of all the families is accomplished by means of (a) worshipping
oneself as the five Tathagatas with the four External Offerings, (i.e. Vajradhupa,
Vajrapuspa, Vajraloka and Vajragandha) with a well-concentrated mind, and then
accomplishing the desire of attainment, (b) worshipping oneself as Vajrasattva with
the four Secret Offerings (referring to the four Internal Offerings, i.e. Vajralasya,
Vajramala, Vajraglta and Vajranrtya) while reciting the vajra-song (namely, “OM,
Vajrasattva, Assembler! Vajraratna, Superior! Vajradharma, Song-holder!
Vajrakarma, Supreme-performer!”), and then with the sixteen Offerings described
in the Vajrakdrya Karmamandala (ch. 4), (c) worshipping oneself as
Vajrahumkara with the hand gestures (karma-mudras) of the Secret Offerings53
47. Kosalalam kara, TTP. Vol. 71, No. 3326, p. 58-5-3-6; Tattvdloka, TTP. Vol. 72, No. 3333,
p. 97-2-8-3-5.
48. According to Anandagarbha, Vajrabhisekamala refers to the terintiri-mudrd described in the
Trilokavijaya Mahdmandala, Dharmavajri refers to the samaya-mudra of Dharmavajri
described in the Sakalajagadvinaya Mahdmandala, and Vajraratnankura refers to the samaya-
mudra o f Ratnavajri described in the Sarvarthasiddhi Mahdmandala, ( Tattvdloka, TTP. Vol.
72, No. 3333, p. 97-3-5-5-2).
49. Sakyamitra interprets ‘being-empowerment (sattva-adhisthana)1 as referring to the method of
empowering the thought, i.e. the yoga of Vajrasattva. (Kosalalamkara, TTP. Vol. 71, No.
3326, p. 59-2-2-7).
50. According to Sakyamitra, the passion (raga) symbolises the thought o f enlightenment (bodhi-
citta), and the wrath generated from the thought o f enlightenment indicates Vajrahumkara.
(Kosalalamkara, TTP. Vol. 71, No. 3326, p. 59-2-8-3-1).
51. Chinese 2 reads: “sarvalcama-samadhi”.
52. According to Anandagarbha, the hrdayas, mudrds, mantras and vidyds refer to the magical
formulae described in the maha-, dhdrani-, dharma- and Icarma-mandalas o f each family.
(Tattvdloka, TTP. Vol. 72, No. 3333, pp.' 97-5-3-98-4-7).
53. Anandagarbha regards the Secret Offerings in this rite as the four Internal Offerings of the
Jfry'ra-family, i.e. Vajralasya, Vajramala, Vajraglta and Vajranrtya (Tattvdloka, TTP. Vol. 72,
No. 3333, p. 99-1-5), but Sakyamitra interprets them as referring to the sixteen Secret
Offerings described in the Krodhaguhya Mudramandala (ch. 7). (Kosalalamkara, TTP. Vol.
71, No. 3326, p. 59-4-5).
284
P art F ive
which are formed with the two separated wrathful vajra-fists (krodha-vajra-musti)
while reciting the vajra-song, (d) reciting a profound and great collection of Sutras
and presenting it to all the deities of the Padma-family with one's mind and speech,
(which means worshipping oneself as Avalokitesvara with the four Secret
Offerings of the Padma-family, and also with the sixteen Offerings described in die
Padmakula Karmamandala (ch. 18-a)), (e) honouring all the deities of the Mani-
family with the canopy, banner, trophy and royal offerings (rdja-pujds), (which r
means worshipping oneself as Akasagarbha with the four Secret Offerings of the
Mani-family, and also with the sixteen Offerings described in the Manikula
Karmamandala (ch. 22-a)).54
words, “The Lord Vajradhara said thus”,56 describes the means of attaining the
siddhis through die knowledge of the supernatural knowledges (abhijhd-jhand) of
all the families. Differing from the previous section (8) which describes the means
of attaining the five supernatural knowledges of all the families, this section, though
using the same methods, focuses on attaining the siddhis such as Buddhahood by
means of generating and realising the five supernatural knowledges of all the
families through {\xqyogas of the deities of all the families. As a result, the sddhaka
realises (a) Buddha, (b) Vajrasattva, (c) the supreme attainment (referring to the
powers of Vajrahumkara), (d) the attainment of purity (referring to the powers of
Lokesvara), (e) the best of all attainments (referring to the powers of
Sarvarthasiddhi). In this section, the words “wrath (Icrodha)”, “passion (raga)” and
“worship (puja) correspond to the Vajra-family, Padma-family and Mam-family
respectively. Concerning this section, Anandagarbha comments that at the time of
generating the supernatural knowledges in accordance with the previously explained
methods, the sddhaka should accomplish the mandala and the others as long as he
meditates on the four mudrds of his deity all night.57
words, “While meditating upon this knowledge of the great enlightenment, one can
gain the attainment51’,59 describes the means of attaining the knowledge of great
enlightenment (mahd-bodhi-jnana) of all the families, i.e. (a) abiding in the
Vajrasattva-saraa^/zz and visualising oneself as the Tathagata, (b) generating and
meditating on the bodily image (maha-mudrd) of Vajrasattva, (c) abiding in the
Krodharaj^-samddhi (referring to generating the bodily image of Vajrahumkara)
54. Tattvdloka, TTP. Vol. 72, No. 3333, pp. 98-4-8—99-3-8; Kosalalamkara, TTP. Vol. 71, No.
3326, p. 59-3-5~5-7.
55. S. p. 465-6, T. p. 269-4-7, C2. p. 427-3-29.
56. ity aha bhagavatn vajradharah: S. p. 466-12, T. p. 269-5-7, C2. p. 428-1-20.
58. S. p. 467-1, T. p. 269-5-7, C2. p. 428-1-22.
59. mahdbodhir iyam jndnam bhavayam siddhim apnuyad: S. p. 468-7, T. p. 270-1-7, C2. p.
428-2-13.
285
P a rt F ive
and binding the supreme samaya (referring to forming the hand gesture of
Trilokavijaya), (d) abiding in the Lokesvara-sawu<7/u (referring to generating the
bodily image of Lokesvara) and reciting the dharma-mudra, (e) abiding in the
Vajragarbha-samddhi (referring to generating the bodily image of Vajragarbha) and
performing the karma-mudrd.60
Vajrapani”61 and ending with the words, “The Lord Vajraraksa said thus”,62
describes the means of attaining gratification (anurdgana), subjugation
(■vaslkarana), destruction (mdrana) and protection (raksa) of all the families.
According to this section, the gratification of all the families is accomplished by
means of (a) visualising oneself as the Tathagata for the benefit of all sentient
beings and for the perfect enlightenment of oneself, (b) being possessed of the
objects in accordance with Vajrasattva (which means adorning oneself with the
ornaments of Vajrasattva) and visualising oneself as Vajrasattva, (c) enchanting evil
beings with the wrath (of Vajrahumkara) for the observance of the Buddha's
command and the purification of evil beings, (d) perceiving the passion, explaining
(the natural purity of all) the dharmas with friendliness (maitrT) and compassion
(karund) (towards all sentient beings), and giving complete protection (to all
sentient beings by means of explaining the perfection of wisdom), (e) presenting the
consecration (referring to consecrating oneself with the mudrd of Vajraratna) and
the collection of treasures (referring to adorning oneself as Akasagarbha with all the
ornaments of the Mara-family).63
The subjugation of all the families is accomplished by means of (a) meditating on
the nature of passion {raga) endowed with purity {visuddha), which gives bliss
(sukha), for the benefit of all sentient beings, (b) meditating on the nature of desire
(Itdma) having the essence of bliss, while reciting: “SURATAS TVAM* (You are the
delight), (c) killing evil beings through the deity-yogn of the Vajra-family for the
purpose of observing the Buddha's command, giving purification and protection to
sentient beings, and protecting the Buddha's teaching, (d) perceiving the purity of
passion (of maturing and liberating the sentient beings) through (observing) the
lotus whose petals being fully open, and giving mutual affection between oneself
and others (referring to the deities of the Padma-family) for conversion (of the
sentient beings), (e) placing the vajra-gem (vajra-ratna) on one's head (slrsci) daily
and consecrating oneself in order to receive the consecration of all the Buddhas.64

61. S. p. 468-10, T. p. 270-1-8, C2. p. 428-2-15.
62. ity aha bhagavdm vajraralcsah: S. p. 474-12, T. p. 270-5-5-6, C2. p. 429-2-20.
63. Tattvdloka, TTP. Vol. 72, No. 3333, pp. 101-2-1-102-2-7.
64. According to Anandagarbha, the sddhaka receives the consecration o f (Vajra-) Ratnankura in
the realm o f all the deities of the Mam-family through the mudra o f Vajraratna. (Tattvdloka,
TTP. Vol. 72, No. 3333, p. 103-1-2-4).
286
P art F ive
The destruction of all the families is accomplished by means of (a) killing (the
Tathagatas) with body, speech and mind (referring to killing the Tathagatas with the
mind while uniting in the yoga of Vajrahumkara65), (b) pricking and killing (oneself
or one's deity) by the great vajra (or by breathing out the subtle-vay'ra from the nose
while reciting the syllable ‘HUM with the wrathful mind),66 (c) killing (one's deity)
by reciting the syllable ‘HUM* (while uniting in the yoga of Vajrahumkara), (d)
calling out and killing one's deity through the enchanting-yogn (■abhicara-yoga)67 at
the time of breaking the promise by oneself, (e) killing one's deity at the time of
being unable to bear the sight of the poverty of sentient beings.68 This rite of killing
the deities of all die families symbolises the complete elimination of passion, hatred,
delusion and avarice.
The protection of all the families is accomplished by means of (a) never
abandoning all sentient beings (which means endeavour for the benefit of all
sentient beings), worshipping oneself as the Buddha, and thinking of the Buddha
constantly, (b) reciting the name of Vajrasattva, (c) respecting Vajrahumkara with
devotion, (d) reciting the name of Lokesvara (one hundred and eight times), (e)
presenting offerings69 to the Buddhas and sentient beings daily in one's power.
(17) The final section starting with the words, “Then”70 and ending with the
words, “This well-spoken siitra is the supreme Vajrayana, the secret of all the
Tathagatas, and the compendium of the Mahayana”,71 constitutes the closing section
of chapter 23, which includes a verse praising Vajrapani by all the Tathagatas.72

69. According to Sakyamitra, offerings in this rite refer to rice, flower or water. (.Kosalalamkara,
TTP. Vol. 71, No. 3326, p. 62-5-1-4). Anandagarbha explains that in this rite the sadhalca
presents all the deities and all sentient beings with food, fearlessness, Dharma and affection
through the deity-yoga of the Mam-family six times every day. (Tattvdloka, TTP. Vol. 72,
No. 3333, p. 104-3-5-4-2).
70 S. p. 475-1, T. p. 270-5-6, C2. p. 429-2-22.
71. subhasitam idam sutram vajraydnam anuttaram sarvatathdgatam guhyam maha-
yanabhisaingraham iti: S. p. 475-10-14, T. p. 271-1-1-3, C2. p. 429-3-1-4.
287
P a rt F ive
Chapter 24. Guhyatantra

Chapter 24 of the STTS concerns the method of gaining supreme attainments by
means of the uttara-tantra of the dharanl-mandalas as described in Vajraguhya
Vajramandala (ch. 2) for the five Tathagatas and the Tathagata-family, Krodha-
guhya Mudrdmandala (ch. 7) for the Fh/ra-family, Padmaguhya Mudrdmandala
(ch. 16) for the Padma-family and Ratnaguhya Mudrdmandala (ch. 20) for the
Mani- or Ratna-f&mily. In order to understand this chapter, it is necessary to bear in
mind that all the deities generated from the dharanl-mandalas have female forms,
and the term secret {guhya) used in this chapter refers to the female deities as
described in the dharanl-mandalas.
(1) The first section of chapter 24 of the STTS starting with the words, “Then,
the Mahabodhisattva73 Vajrapani”74 and ending with the words, “As soon as one
enters, one will cause to dance”,75 describes the means of attaining the nature of the
four mudrds of all the families explained in the dharanl-mandalas. Firstly, the
nature of the maha-mudrds of all the families explained in the dharanl-mandalas is
accomplished by means of (a) entering the Buddhabodhi-samadhi with a well
concentrated mind and meditating on the essence of all the Tathagatas, (b) binding
(or meditating on) the (maha-) mudrd of Sattvavajri in the heart while thinking:
“You are my beloved consort.”,76 and accomplishing all the mudrds (referring to
the perfect union with the female deity) while uttering: “DRDHl BHA PA” (Become
steadfast!), or otherwise “GUHYA BHARYAM’ (Secret consort!), (c) killing by
means of Vajrahumkara generated from the wrath through binding the mudrd of
Vajrahumkara, (d) binding the samadhi-mudra (referring to visualising the bodily
image of the female deity explained in the dharanl-mandala of the Padma-family)
and beholding the female deity with the vo/ra-vision77 (vajra-drsti), (e) practising
the samapatti of uniting the two organs (of the deity and his consort) while uttering
“Best Pleasure!”, and offering the organ to all the Tathagatas.
Secondly, die nature of the samaya-mudras of all the families explained in the
dharanl-mandalas is accomplished by means of (a) reciting: “SAMAYAS TVAM’
(at the time of forming the samaya-mudras) and gratifying all the female deities
(referring to the five Tathagatas having female images, i.e. Vajradhatvlsvari and the
others), (b) gratifying all the female deities without despising the passion
(symbolising the thought of enlightenment) and keeping this secret pledge of
73. Tattvdloka and Chinese 2 both read: “Bodhisattva Mahasattva”.

74 S. p. 476-2, T. p. 271-1-3-4, C2. p. 429-3-14.
75. Icsandd dvisya nartati: S. p. 482-11, T. p. 271-5-2, C2. p. 430-3-18.
76. According to Anandagarbha, “consort” in this context symbolises the nature o f gathering the
thought o f enlightenment (bodhi-citta), and “my consort” means generating this bodhi-citta
in oneself. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 105-2-7—8).
77. Chinese 2 reads: “vo/ra-fist (vajra-musti).
288
P a rt Five
Vajradhara (which means making firm the thought of enlightenment),78 (c)

destroying the whole world (referring to the female deities) with the body, speech
and mind (vajras) of Vajrahumkara or the deity for purification, (d) keeping the
pledge endowed with purity (i.e. performing the yoga of the female deity explained
in the dharanlrmandala of the Padma-family) because the passion endowed with
purity is pure but non-initiates' yogas are impure, (e) binding Vajramani79 in the
samddhi of Vajragarbha and taking away the treasures of evil beings.
Thirdly, the nature of the dharma-mudrds of all the families explained in the
dharanl-mandalas is accomplished by means of (a) conceiving of all the dharmas
as pure by nature with a well-concentrated mind, and performing all rituals, (b)
(performing thQyoga of the female deity while perceiving) that gratifying the female
deity is pure, (c) killing all evil beings (by breathing out the subtle-va/ra) from the
nose while reciting the syllable 'H U M \ and abiding in the samddhi of the subtle-
vajra (suksma-vajra), (d) gratifying all the female (deities) by meditating on the
subtlQ-vajra, and abiding in the samddhi of Vajradharma, (e) fulfilling all the
wishes by practising the samapatti of uniting the two organs (between the deity and
his consort).
Finally, the nature of the karma-mudras of all the families explained in the
dharanl-mandalas is accomplished by means of entering and possessing the body
of the sadhaka's chosen female deity through the female sexual organ by the male
deity generated from the samadhis, i.e. (a) abiding in Vajrasattva-sama^/zz, (b)
abiding in Vajrasattva-samddhi, (c) binding the mudrd of Vajrahmnkara (i.e.
performing the wrathful deity-yoga), (d) binding the karma-mudrd of the Padma-
family and abiding in Padma-samddhi, (e) binding Karmavajramani (i.e. forming a
gem with both middle fingers and stretching out the other fingers)80 and abiding in
Vajmmtna-samadhi. According to Anandagarbha, meditation upon the four mudrds
explained in the dhdranl-mandala of all the families is achieved in the uttara-tantra
(by the sddhaka) through generating deity-yogtz by means of the four mudrds
explained in the mahd-mandala of his family, and then by binding the maha-mudrd
and the others explained in the dhdranl-mandala.81
Vajrapani”83 and ending with the words, “The Lord Vajrasattva said thus”,84
7S. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 64-1-3-7.

79. According to Anandagarbha, Vajramani in this context refers to thesamaya-mudra of
Mahavajramani explained in the dharani-mandala o f the Mam-family, butSakyamitra
interprets Vajramani as referring to the samaya-mudra o f Vajraratnankura. ( Tattvdloka , TTP.
V ol. 72, No. 3333,'p. 107-1-3-4; Kosalalamkara, TTP. Vol. 71, No. 3326, p. 64-3-6).
81. Tattvdloka, TTP. V ol. 71, No. 3333, p. 145-2-8-3-2.
82. Tattvdloka and Chinese 2 both read: “Bodhisattva Mahasattva”.
83. S. p. 483-1, T. p. 2 7 1-5-2-3, C2. p. 430-3-21.
84. ity aha bhagavam vajrasattvah: S. p. 485-10, T. p. 272-1-7, C2. p. 431-2-3.
289
P a rt F ive
describes the secret attainment of the purity of the mandalas of all the families
explained in the dharanl-mandalas, i.e. by means of entering the mandalas
constructed in conformity with (a) Dharma-wheel {dharma-calcra), where the
Buddha is encircled by (the symbols of his four) Symbol-consorts (mudrd-
bharya),85 (b) {dharani-mandala of) Vajradhdtu, (c) {dharani-mandala of)
Trilokavijaya, (d) {dhdranl-mandala of) Sakalajagadvinaya, (e) {dharani-mandala
of) Sarvarthasiddhi, and then, uttering: (a) “These consorts are yours, O Lord.
Grant me all!”,86 (b) “Beloved, you are the Pledge, HOHl Vajrasattva, grant me
success now!”,87 (c) “You have your origin in passion!”,88 (d) “O Great Lotus of
the Law of Passion! Give me rapid success, O Lord!”,89 (e) “O Supreme Perfection
of the Expectations of Passion amongst all proposed perfections! O Lord, Great
Being, grant success, grant success in all perfections!”90.91 In the light of the
commentary by Anandagarbha,92 the centres of the mandalas are occupied by the
female images of the representative deities of the families, i.e. Vairocana,
Vajrasattva, Vajrahumkara, Jagadvinaya and Sarvarthasiddhi while the other places
of the mandalas contain the symbols described in the dhdrani-mandalas, though
these representative deities occupying the centres can be replaced by the sddhaka!s
chosen deities.
words, “The Lord Akasagarbha said thus”,94 describes the secret attainment of all
the mudrds of all the families explained in the dhdrani-mandalas by means of the
exhortation of truth {tattva-codana), i.e. by means of visualising and exhorting the
female deities explained in the dhdrani-mandalas, (a) exhorting the beloved great
goddesses of the Tathagatas (i,e. the four Paramitas) who give utter bliss to all the
five Tathagatas, (b) visualising Vajrasattva and uniting the chosen deity with the
visualised female deity while uttering: “I myself am Vajrasattva and you are the
85. According to Sakyamitra, the Symbol-consorts refer to the four Paramitas, i.e. Sattvavajri
sym bolising‘perfection o f knowledge (jhana-pdramitd) ’, Ratnavajri ‘perfection of generosity
{ddna-pdramitd)', Dharmavajri symbolising ‘perfection of wisdom (prajnd-pdramitd)', and
Karmavajri symbolising ‘perfection o f exertion iyirya-pdramitd)\ {Kosalalamkara, TTP.
Vol. 71, No. 3326, p. 65-3-8-4-4).
86. “bharya hy etas tava vibho dadasva mama sarvada”.
87. ilsurate samayas tvam hoh vajrasattvadyasidhya mam”.
88. “rdgat tvam asi sambhuta”.
89. ltrdgadharmamahapadma prasidhya laghu me vibho".
90. “sarvdbhiprdyasiddhinam ragasdsiddhir uttamd sidhya sidhya mahasattva bhagavan
sarvasiddhaye".
91. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, pp. 63~65.
92. According to Anandagarbha, the bodily images (mahd-mudra) of the representative deities ate
drawn in conformity with the descriptions of the maha-mandalas while reciting their
dhdrani-vidyas. According to this interpretation, therefore, the bodily images of the
representative deities are female. (Tattvalolca, TTP. Vol. 72, No. 3333, pp. 109-2-l~l 12-1-7).
93. S. p. 485-12, T. p. 272-1-7, C2. p. 431-2-5.
94. ity aha bhagavan akdsagarbhah: S. p. 487-11, T. p. 272-2-7, C2. p. 431-2-29.
290
P art Five
consort abiding in my mind!”,95 (c), (d), (e), in common, visualising the deity and
uniting with the visualised consort, while exhorting (the consort): (c) “Accomplish!
Accomplish now in the Pledge! I am the Pledge and you are my lover!”,96 (d)
“Wake up! Wake up! Great Being! You are my beloved consort!”,97 (e) “Performer
of all actions! You are my consort! Accomplish now! Fzy'ra-holder!”.98
Vajrapani”100 and ending with the words, “The Lord Ajnakara said thus”,101
describes the secret attainment of the pledges of all the families explained in the
dharanl-mandalas, when, according to Anandagarbha,102 at the time of (the
sadhaka's female deities) approaching in front, the sddhaka generates and meditates
on the dhdranl-mudrds through perceiving the following secret knowledges, i.e. (a)
perceiving that the Buddha's consorts are concealed by means of drawing the
mudrds for the benefit of the non-initiates, (b) perceiving that (the pledge of the
Tathagata-family) penetrating the thought of all sentient beings (i.e. the nature of the
beginningless and endless Dharmadhatu) and giving bliss to all sentient beings, is
the father of all sentient beings and the highest desire of the supreme pledges, (c)
perceiving that the supreme pledge (of the Vajra-family) kills the non-initiates who
are averse to the purity of passion or believe in the existence of self, (d) perceiving
that all (i.e. the three worlds) generated from the gross element (mahdbhuta) is not
impure, (e) perceiving that the female deity (of the Mcmz-family) is the supreme gem
because one can gather gems (i.e. realising the nature of the Mczm-family) from
uniting with the female deity.
words, “The Lord Vajraratna said thus”,104 describes the secret attainment of the
offerings of all the families explained in the dhdrani-mandalas by means of
meditating on the male deities, such as (a) a Tathagata encircled by the female
deities, (b) Vajrasattva, (c) Vajrahumkara, (d) Lokesvara, (e) Vajragarbha, and
offering these male deities the bliss generated from the union with the female deities
explained in the dhdrani-mandalas.
words, “The Lord Vajragarbha said thus”,106 describes the attainment of the secret
95. “vajrasattvah svayam aharn tvam me bharya hrdi sthitd”.

96. “sidhya sidhyddya samaye samayo 'ham tvam priya mama”.
97. “budhya budhya mahdsattvi bhatya me tvam atipriyd”.
98. “sarvalcarmakari bhatya tvam me sidhyddya vajrini”.
Tattvdloka and Chinese 2 both read: “Bodhisattva Mahasattva”.
100 S. p. 488-1, T. p. 272-2-8, C2. p. 431-3-2.
101. ity aha bhagavan ajnakarah: S. p. 489-11, T. p. 272-3-8~4-l, C2. p. 431-3-26.
102 Tattvdloka, TTP. Vol. 72, No. 3333, pp. 113-2-7-114-2-4.
103. S. p. 490-1, T. p. 272-4-1, C2. p. 431-3-28.
104. ity aha bhagavan vajraratnah: S. p. 491-8, T. p. 272-5-1, C2. p. 432-1-20.
105. S. p. 491-10, T. p. 272-5-2, C2. p. 432-1-22.
106. ity aha bhagavan vajragarbhah: S. p. 493-3, T. p. 273-1-1-2, C2. p. 432-2-15.
291
P a rt F ive
offerings of all the families explained in the dhdrani-mandalas by means of

visualising the male deities, such as (a) a Tathagata, (b) Vajrasattva, (c)
Vajrahumkara, (d) Lokesvara, (e) Vajragarbha, and worshipping these deities with
the four Secret Offerings, i.e. Lasya, Mala, Gita and Nrtya, explained in the
dhdrani-mandalas.107
words, “The Lord Sarvatathagatacakra said thus”,109 describes the secret attainment
of unveiling the essence of all the families. Anandagarbha explains that the essence
of both the Tathagatas and the families signifies the essence of all the Tathagatas,
which is attained by means of generating the bodily images of all the deities
described in the maha-mandalas710 According to this section, the Buddha-essence
arising from the knowledge of samddhi (i.e. five abhisambodhis) is attained by
means of gratifying the sattvas (i.e. by means of the thought of converting all
sentient beings while making the karma-mudrd of a Tathagata and visualising the
bodily image of the Tathagata).
words, “The Lord Sarvatathagatacihna said thus”,112 describes the secret attainment
of manifesting the symbols or signs of all the families, which is the method of
attaining the deity by means of the meditation on the deity's symbol. This section
explains the attributes of only die main sixteen Mahabodhisattvas' symbols of the
Tathagata-family described in the Vajraguhya Vajramandala (ch. 2), because the
characteristics of the corresponding symbols of the other three families are basically
the same as those of the Tathagata-family, though being different in that the
symbols of the Fq/ra-family are drawn in the centres of flames, whereas those of
the Padma-family are signified by the lotus {padma), and those of the Mani- or
Ratna-family are signified by the jewel (mani) or gem (ratna).
words, “The Lord Vajra114 said thus”,115 describes the secret attainment of
generating the mudrd-bonds of all the families. According to this section, the
method of generating die mudrd-bonds of the five Tathagatas is to sit in the vajra-
posture of meditation, form the vajra-bond, and abide in Vajrasa.ttv3.-samddhi.
107 Tattvalolca, TTP. Vol. 72, No. 3333, pp. 114-5-7-115-3-8.

108. S. p. 493-5, T. p. 273-1-2, C2. p. 432-2-17.
109. ity aha bhagavam sarvatathagatacalcrah: S. p. 494-8, T. p. 273-2-1, C2. p. 432-3-7.
110 Tattvalolca, TTP. Vol. 72, No. 3333, p. 115-4-5-6.
11 f S. p. 494-10, T. p. 273-2-2, C2. p. 432-3-10.
112. ity aha bhagavan sarvatathdgatacihnah: S. p. 495-12, T. p. 273-2-8, C2. p. 432-3-28.
113. S, p. 495-14, T. p. 273-3-1, C2. p. 433-1-2.
114 Tibetan reads: “Vajrasattva”, and Chinese 2 reads: “Drdha”.
115. ity aha bhagavan vajrah: S. p. 497-8, T. p. 273-4-2, C2. p. 433-1-27.
292
P art Five
words, “the compendium of the Mahayana”,117 constitutes the closing section of
chapter 24, which includes a verse praising Vajrapani by all the Tathagatas.118
116. S. p. 497-10, T. p. 273-4-3, C2. p. 433-1-29.

117. mahdyandbhisamgraham iti: S. p. 498-6-7, T. p. 273-4-6, C2. p. 433-2-7.
293
P a rt Five
Chapter 25. Guhyottaratantra

Chapter 25 of the STTS is divided into two different parts, the first explaining the
uttara-tantra of the dharma-mandalas119 described in the STTS, i.e. Vajrajhdna
Dharmamandala (ch. 3) for the five Tathagatas and the Tathagata-family,
Vajrakula Dharmajhdnasamayamandala (ch. 8) for the Fayra-family, (.Padma-
kula) Jndnamandala (ch. 17) for the Padma-family and (Manikuld) Jndnamandala
(ch. 21) for the Mani- or Ratna-f&miiy, and the second explaining the uttara-tantra
of the karma-mandalasm described in the STTS, i.e. Vajrakdrya Karmamandala
(ch. 4) for the five Tathagatas and the Tathagata-family, Vajrahda Karmamandala
(ch. 9) for the Vajra-family, (Padmakula) Karmamandala (ch. 18-a) for the
Padma-family and (.Manikula) Karmamandala (ch. 22-a) for the Mani- or Ratna-
family.
(1) The first section of chapter 25 of the STTS starting with the words, “Then,
the Mahabodhisattva121 Vajrapani”122 and ending with the words, “The Lord
Ratnadhvaja123 said thus”,124 describes the means of attaining the nature of the four
mudrds of all the families explained in the dharma-mandalas. Firstly, the nature of
the mahd-mudrds of all the families explained in the dharma-mandalas is
accomplished by means of visualising the bodily images of the deities described in
the dharma-mandalas, i.e. (a) Tathagata, (b) Mahabodhisattva out of the main
sixteen Mahabodhisattvas of the Tathagata-family, (c) the deity of the Fa/ra-family
such as Trilokavijaya, (d) the deity of the Padma-family such as Jagadvinaya, (e)
the deity of the Mam-family such as Sarvarthasiddhi. -
Secondly, the nature of the samaya-mudras of all the families explained in the
dharma-mandalas is accomplished by means of meditating on the subtle-va/ra
(sulcsma-vajra) and visualising oneself as (a) a Tathagata while reciting: “VAJRA
VAJRA", (b) Vajrasattva while reciting: “VAJRASATTVAM\ (c) Trilokavijaya while
reciting: “HUM HUM HUM H U M \ (d) Jagadvinaya while reciting: “&UDHYA
&UDHYA”, (e) Sarvarthasiddhi while reciting: “SIDHYA SIDHYA
Thirdly, the nature of the dharma-mudras of all the families explained in the
dharma-mandalas is accomplished by means of perceiving that (a) the Good
Dharma125 (i.e. the nature of all the dharmas) cannot be expressed in words and is
generated from the knowledge of samddhi, and the non-arising of the dharmas
(elements) is conceived of as the syllable lA \ (b) this sutra (i.e. the STTS) which
119. S. pp. 499-508, T. pp. 273-4-7-275-1-1, C2. pp. 433-2-8-435-1-22.

12°. S. pp. 509-518, T. pp. 275-1-1-276-1-8, C2. pp. 435-1-23-436-2-28.
121. Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva”.
122 S. p. 499-2, T. p. 273-4-7, C2. p. 433-2-10.
123. Chinese 2 reads: “Vajraratnadhvaja”.
124. ity aha bhagavan ratnadhvajah: S. p. 505-4, T. p. 274-3-7, C2. p. 434-2-27.
125. Anandagarbha interprets the good dharma as referring to the dharma-mudra described in the
dharma-mandala. {Tattvdloka, TTP. Vol. 72, No. 3333, p. 121-3-6-7).
294
P art Five
gathers the essence of all the Tathagatas is true, (c) killing is executed for the benefit
of evil beings, for the fulfilment of the Buddha-command and for the sake of the
conversion of wicked beings, (d) nature (of all the dharmas)126 is pure127 and
absolutely real, (e) giving gifts to all sentient beings is for the fulfilment of all their
wishes.128
Finally, the nature of the karma-mudras of all the families explained in the
dharma-mandalas is accomplished by means of (a) meditating on the karma (-
mudrds) of the samddhi of all the Tathagatas, (b) meditating on the karma (-
mudrds) of the Vajrasa.ttv&-samadhis)129 (c) killing all the sentient beings who
commit inexpiable sins as a token of the purification of .evil, as subduing all evil
beings by means of killing because evil is the cause of purification,130 (d)
performing the purification of others while imagining that one has already purified
all one's own sins, (e) visualising the deity of the Mani-family in order to fulfil all
the wishes of the poor.
(2) The next section starting with the words, “Then”131 and ending with tire
words, “The Lord Vajrapani132 said thus”,133 describes the means of attaining
subtle-knowledge (suitsma-jhdna) of all the families explained in the dharma-
mandalas, i.e. (a) meditating on the subtle-vayra (.sulcsma-vajra), (b) observing the
precept that one should not explain the mudrds and (mantras) to those who are
neither masters nor pupils, and (meditating on the maha-mudrd of the deity and
then meditating on the subtle-vq/ra134), (c) meditating on the subtle-vq/ra at the tip
of the nose while reciting the syllable ‘HUM’, and abiding in Vajralcrodha-
samddhi, (d) beholding with the vajra-vision (vajra-drsti, i.e. the eyes wide open
generating the extreme joy of passion) by means of meditating on the subtle-vajra,
and abiding, in Mahapadma-samadhi (i.e. Lokesvara -samddhi), (e) abiding in
Vajraratna-samfit//h, and (attracting) with the very subtle flaming-vision (dlpta-
drsti, i.e. blinking the eyes and pulling the eyelashes to and fro) by means of
meditating on the subtlQ-vajra. Concerning this section, Anandagarbha comments
that if (the sddhaka) meditates upon the subtle-vay'ra at the time of gaining the sign
through meditating upon the mahd-mudra and the others explained in the dharma-
mandala, he can generate the five supernatural knowledges.135
12fi. Kosalalam kara, TTP. Vol. 71, No. 3326, p. 73-3-1.

127. Only Tibetan reads: "passion is inherently pure”.
128. Cf. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, pp. 65~66.
129. Vajrasattva-samddhis refer to the samddhis o f the deities belonging to the Tathagata-family,
and the samddhis in this context refer to the dharma-mandala o f the Tathagata-family.
(Tattvalolca, TTP. Vol. 72, No. 3333, p. 122-4-7-8).
130 Tattvdloka,, TTP. Vol. 72, No. 3333, p.122-5-6-7.
13 h S. p. 505-6, T. p. 274-3-7, C2. p. 434-2-29.
132. Tibetan and Tattvdloka both read: “Vajramani”.
133. ity aha bhagavan vajrapdnih: S. p. 506-12, T. p. 274-4-6-7, C2. p. 434-3-21.
134 Tattvdloka, TTP. Vol. 72, No. 3333, p.123-3-7-4-7.
135. Tattvdloka, TTP. Vol. 71, No. 3333, p.145-5-2-3.
295
P a rt F ive
Vajrapani”137 and ending with the words, “The Lord Vajragarbha said thus”,138
describes the means of attaining the eye-knowledge (caksur-jhdna) of all the
families explained in the dharma-mandalas, i.e. (a) beholding in the space-sphere a
white light resembling the star at the time of endeavouring to accomplish the mudrd
or the samddhi, (b) beholding in space the movements of the reflected images of
phenomena (e.g. mountain, tree, etc.), (c) beholding with the eye139 from the left
side to the right side the elements of space (i.e. particles of dust) moving to and fro
quickly like clouds, (d) beholding the white-, red-, black-, or yz\\ov{{4()-mandalas
(in space with the mind), (e) beholding in space something which is equal to the
gem and resembles gold.141
Vajrapani” 143 and ending with the words, “The Lord Vajragarbha said thus”,144
describes the means of attaining the nature of the four mudrds of all the families
explained in the karma-mandalas. Firstly, the nature of the mahd-mudrds of all the
families explained in the karma-mandalas is accomplished by means of (a)
worshipping all the Tathagatas by means of the deity-yoga of the karma
mandala145 (i.e. visualising a Tathagata being worshipped by the sixteen female
deities explained in the karma-mandala), (b) conceiving that I am Passion (i.e.
visualising the deity of the Tathagata-family), and performing the worshipping-rite
of the Secret Offerings (i.e. Lasya, Mala, Gita and Nrtya), (c) conceiving that I am
Wrath (i.e. visualising the wrathful deity of the Vajra-fmvXy), and performing the
worshipping-rite of the Secret Offerings, (d) conceiving that desire is pure with a
concentrated mind, and worshipping the Tathagatas with the letters having melody,
(e) meditating on the vajra-pride {vajra-garva), making thoughts agitate, and
making salutations to the Tathagatas.
Secondly, the nature of the samaya-mudras of all the families explained in the
karma-mandalas is accomplished by means of (a) meditating on the karma-samaya
136 Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva”.

137 S. p. 507-1, T. p. 274-4-7, C2. p. 434-3-23.
13S. ity aha bhagavan vajragarbhah: S. p. 508-14, T. p. 274-5-8, C2. p. 435-1-21.
139. Chinese 2 reads: “knowledge-eye”.
14°. Tibetan adds: “multi-coloured”.
141. Sakyamitra and Anandagarbha both explain that the gem in this context indicates the gems of
Padmaraga and the others, and gold refers to the gold coin. In addition, according to
Anandagarbha, this rite means the sddhaka beholding in space the dharma-mandala of the
Maui-family through his deity-yoga o f the Mum-family. (Kosalalamkara, TTP. Vol. 71,
No.’3326, p. 75-1-4-6; Tattvdloka, TTP. Vol. 72, No. 3333, p. 124-4-7-5-3).
142 Tattvdloka and Chinese 2 both read: “Bodhisattva Mahasattva”.
143. S. p. 509-1, T. p. 275-1-1, C2. p. 435-1-23.
144 ity aha bhagavan vajragarbhah’. S. p. 515-8, T. p. 275-5-2, C2. p. 436-1-26.
145. Tibetan, Tattvdloka and Kosalalamkara read: “dharma-mandala”. (T. p. 275-1-2;
Kosalalam kara, TTP. Vol. 71, No. 3326, p. 75-1-8; Tattvdloka, TTP. Vol. 72, No. 3333,
p. 125-1-i),
296
P a rt F ive
(referring to the samaya-mudra, explained in the karma-mandala) in the Tathagata-

samddhi, and worshipping oneself as a Tathagata, (b) abiding in the Vajrasattva-
samadhi while thinking that I, Samantabhadra, am the Desire of bestowing bliss to
all sentient beings, and worshipping oneself as Vajrasattva, (c) abiding in the
Vajrahumkar a-yoga while thinking that I, Samantabhadra, am the Wrath of
bestowing benefits to all sentient beings, and worshipping oneself as
Vajrahumkara, (d) visualising oneself as the bodily image of Jagadvinaya while
thinking that I, Samantabhadra, am the Passion of bestowing all enjoyments to all
sentient beings, and worshipping oneself as Jagadvinaya, (e) visualising oneself as
the bodily image of Sarvarthasiddhi while thinking that I, Samantabhadra, am the
Lord of bestowing great wealth to all sentient beings, and worshipping oneself as
Sarvarthasiddhi.
Thirdly, the nature of the dharma-mudrds of all the families explained in the
karma-mandalas is accomplished by means of (a) forming (the mudrd of) the
armour by bending the right forefinger while abiding in samddhi and placing it on
the crown, (b) drawing a naked form of (the chosen) female (deity) on a wall146 and
making one's penis (medhra) erect, and then imagining sexual union with the
female deity, (c) drawing a ya/cva-face (i.e. the face of the female deity) on the
ground and scratching its eyes with the nail of the 147forefinger, (d) holding a lotus
with both hands148 while thinking of the purity of passion, and beholding the
female (deity) with the vajra-vision, (e) holding a jewel with both hands while
abiding in Vajmmtna.-samddhi, and performing the yoga of Ratnahumkara.149
Finally, the nature of the karma-mudrds of all the families explained in the
karma-mandalas is accomplished by means of performing the offering-rites
explained in the karma-mandalas while abiding in (a) Tathagata-samat/Az, (b)
Vajrasattva-tfamarf/u, (c) Krodha-samadhi, (d) LokeSvara-.samad/u, (e) the
V aj ragarbha-i'amao7h.
(5) The next section starting with the words, “Then, die Mahabodhisattva150
Vajrapani”151 and ending with the words, “The Lord Vajrakarma said thus”,152
describes the means of attaining the yogas of empowerment (adhisthdna) of all the
145 Chinese 2 reads: “ground”, instead o f “wall”.

147. Chinese 2 adds: “right”.
148. Anandagarbha interprets ‘holding a lotus with both hands’ as holding the vajraAotas (stalk)
arrogantly with the left hand and and opening the lotus over the heart with the right hand.
( Tattvdloka, TTP. Vol. 72, No. 3333, p. 127-4-2-3).
149. Sakyamitra explains that ‘holding a jewel with both hands’ symbolise ‘binding the mudrd of
Vajrankura (or Vajraratnankura)’ and ‘the yoga o f Ratnahumkara’ means performing the
Humkara-yogu while abiding in the Vajraratna-samddhi. (.Kosalalamkara, TTP. Vol. 71,
N o /3326, p. 76-4-5-8).
15°. Chinese 2 reads: “Bodhisattva Mahasattva”.
151. S. p. 515-10, T. p. 275-5-3, C2. p. 436-1-28.
Tibetan and Tattvalolca both read: “Then, the Lord Vajrapani”.
152, ity aha bhagavan vajrakarma: S. p. 517-4, T. p. 276-1-4, C2. p. 436-2-21.
297
P art Five
families explained in the karma-mandalas, i.e. (a) performing the Buddha-yoga and
meditating on the subtle-vajra, (b) empowering oneself while thinking:
“Vajrasattva, the essence of all, indeed abides in my body!”, and visualising oneself
as Vajrasattva while reciting: “VAJRASATTVO 'HAMY\ (c) empowering oneself
while thinking: “As Deity is Mudrd, so I am the MudrdV\ and visualising oneself
in union with the mudrd of the deity, (d) meditating on the white subtle-vajra on the
tongue while reciting the dharma-mudrd (of the deity),153 (e) conceiving that the
consecration of all the Buddhas, the worship, and the attainment of pledge are (the
essence of) the Lord (Akasagarbha).
words, “the compendium of the Mahayana”,155 constitutes the closing section of
chapter 25, which includes a verse praising Vajrapani by all the Tathagatas.156

154 S. p. 517-6, T. p. 276-1-5, C2. p. 436-2-23.
155. mahayanabhisamgraham iti: S. p. 517-12-13, T. p. 276-1-7, C2. p. 436-2-28.
156 Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 145-4-6-146-1-5.
298
P a rt Five
Chapter 26-a. Anuttaratantra

The M l title of chapter 26-a of the Sanskrit STTS is ‘Sarva-kalpa-anuttara-
tantrcT (the Supreme Tantra of All the Ordinances). Anandagarbha explains the
purpose and significance of this chapter as follows:-
“The anuttara-tantra of all the ordinances is explained for the
benefit of those who are fearful of meditation yet wholly desire
action. This anuttara-tantra of all the ordinances is bestowed by
the Lord in order to instruct sentient beings who prefer doing a
small amount of good action (bsod-nams) than the very extensive
action denoting the accomplishment of the hrdayas, mudrds,
mantras (or secret mantras) and vidyds explained in one's family
at the time of beholding the mahd-mandala of one's family. In
this, the words endowed with all the siddhis explained in the
mahd-mandala, dhdranl-mandala, dharma-mandala and karma
mandala of one's family are called hrdaya, mudrd, mantra and
vidya respectively.”157
As Anandagarbha points out, the anuttara-tantra of the STTS emphasises the
recitations of the four magical formulae, i.e. hrdayas, mudrds, mantras and vidyds,
which, in this chapter, mostly refer to the deities' names enumerated in the
mandalas of the STTS. As the means of gaining the attainments, whereas the
uttara-tantra of the STTS (chs. 23, 24, and 25) explains the principles and details of
the meditation or deity -yoga for the sadhakas who can reach the achievement of the
highest spiritual level, the anuttara-tantra of the STTS described in chapter 26-a
focuses on the recitations and relevant rites. Thus, this anuttara-tantra of the STTS
dealing with die recitation-rites relating to the STTS should be distinguished from
the anuttara-yoga-tantra emphasising sexual yoga.
(1) The first section of chapter 26-a of the STTS starting with the words, “Then,
die Bodhisattva Mahasattva158 Vajrapani”159 and ending with the words, “The
Lord, Holiness Vajradhara said thus”,160 describes the correct requisites and rites
(upacdravidhi) of all the families, i.e. the proper time of beholding the mahd
mandala, the number of recitations, the form of cloth, the offerings, the mudrd-
worship, the posture of sitting cross-legged, etc.
According to this section, the requisites for the /zrriaya-recitation rite are: (i)
beholding the mahd-mandala and worshipping (oneself) by (binding the karma-)
mudrds of (the four External) Offerings, i.e. Dhupa, Puspa, Aloka and Gandha, (ii)
beginning the recitation with the vq/Vvz-sound (in order to gather deities). The
157. Tattvalolca, TTP. Vol. 71, No. 3333, p. 146-1-5-2-1 or Vol. 72, No. 3333, p. 130-4-2-7.
158. Only Sanskrit reads: “Mahabodhisattva”.
159. S. p. 519-2, T. p. 276-1-8, C2. p. 436-3-2.
160. ity aha bhagavan aryavajradharah: S. p. 528-3-4, T. p. 277-5-7, C2. p. 439-1-7.
299
P a rt F ive
recitation-rite consists of (i) sitting in the right place at the four phases of the day
(i.e. morning, noon, evening and midnight) during four months and worshipping
(oneself and all the Tathagatas) with mudras of (the four External) Offerings, (ii)
praising all the Tathagatas by reciting the one hundred and eight names of the
Mahdydnabhisamaya of all the Tathagatas (i.e. the invocation-ceremony of reciting
the one hundred and eight divine names), (iii) making four separate salutations by
forming four separate hand gestures while reciting four relevant mantras}^1 (iv)
enjoying all foods (i.e. fish, meat, garlic, onion, etc.162) and all desires (i.e. bathing,
wearing clothes, perfuming the body, burning incense, wearing a coronet, and
ornamenting163), (v) meditating on oneself in front of the image of the Buddha (or
visualising oneself as the deity) while reciting (the hrdaya of the deity),164 (vi)
reciting (the hrdaya) one hundred and eight times with the vq/ra-sound.
The rite of the recitation and maâ/a-performance of the Tathagata-family
consists of (i) drawing the Lord Tathagata (Vairocana) in the centre of a cloth, (ii)
drawing the four Mahasattvas (i.e. Vajrasattva, Vajraratna, Vajradharma and
Vajrakarma)165 on the lunar discs (of the four Tathagata's positions) in conformity
with the (Vajrasiddhi) Caturmudrdmandala (ch. 5-A), (iii) drawing (the eight
Offering)-goddesses of the family at the (four internal and external) comers, (iv)
performing the rite of worship in front of this cloth by reciting (the hrdaya of the
deity) for four months, (v) reciting (the hrdaya of the deity) all night after the four-
month-recitation.
The rite of the recitation and mudra-^Qrfbrmance of the Tathagata-family consists
of (i) binding the (samaya-) mudrd (as a hand gesture) of Sattvavajri in front of
(the bodily images of deities drawn on) a cloth, (ii) reciting (the hrdaya of the deity)
with the vcyra-sound one hundred thousand times all night, (iii) releasing (the
mudrd) for a short time at the time of being tired, (iv) binding (the mudrd) again
and reciting (the hrdaya of the deity).
161. The four mantras described in this section have already appeared in the previous chapter 1.
See the section o f pupil's rite of the Vajradhatu Mahdmandala (ch. 1) for the details of these
mantras.
162 Tattvdlolca, TTP. Vol. 72, No. 3333, p. 131-2-4-5.
163. Kosalalamlcdra, TTP. Vol. 71, No. 3326, p. 78-3-6-8.
Anandagarbha regards ‘enjoying all desires’ in this rite as worshipping oneself as the deity
with twenty female deities, i.e. eight Offerings such as Lasya (or Vajralasya), and sixteen
Offerings explained in the Vajrakatya Karmamandala (ch. 4). (Tattvaloka, TTP. Vol. 72,
No. 3333, p. 131-2-3-6).
164. Reciting the hrdaya o f the deity refers to pronouncing the name of the deity, but in the case
of the five Tathagatas,1Vajradhatu' is pronounced, instead of the five Tathagatas' individual
names, i.e. Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi.
165. In this rite, Vairocana and the four Mahasattvas can be replaced by the other Tathagatas and
their Mahasattvas. For instance, in the case of drawing the Tathagata Aksobhya in the centre,
his four Mahasattvas occupy the four Tathagatas' position, i.e. Vajrasattva, Vajraraja,
Vajraraga and Vajrasadhu. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 132-4-4-5-3).
300
P a rt F ive
The rite of the recitation and samadhi-performance of the Tathagata-family

consists of (i) meditating on the subtle-va/ra, (ii) practising the samadhi in
accordance with the hrdaya (i.e. meditating on the deity while reciting the hrdaya of
the deity) for four months, (iii) abiding in samdpatti without destroying the posture
of sitting cross-legged all night.
The rite of the recitation and /caraa-performance of the Tathagata-family consists
of (i) practising the meditation on the subtle-vq/ra, (ii) making four separate
salutations, (iii) worshipping with offerings such as flower and perfume and
reciting (the hrdaya of the deity) one hundred and eight times with the vq/ra-sound,
(iv) performing the rite of worship in front of the mandala (i.e. the bodily images of
deities drawn on a cloth) by reciting (the hrdaya) during one month, (v) reciting
(the hrdaya) all night.166 According to Sakyamitra, these four rites (i.e. the
mandala, mudrd, samadhi and karma) refer to the ways of accomplishing the four
mudras of the Tathagata-family (i.e. maha-, samaya-, dharma- and karma-
mudras), but Anandagarbha interprets these rites as referring to the ways of gaining
the attainments explained in the maha-, dharant-, dharma- and karma-mandalas of
the Vajradhatu (oh, 1~4) respectively.167
The STTS in this section also describes the four rites of the other three families,
i.e. mandala, mudrd, samadhi and karma, whose basic procedures are similar to
those of the Tathagata-family, but with two main differences as in: Vairocana drawn
in the centre of a cloth is replaced by Vajrahumkara for the Vajra-family,
Jagadvinaya for the Padma-fsanily and Sarvarthasiddhi for the Mara-family, and
samaya-mudrd of Sattvavajri is replaced by samaya-mudrd of Vajrahumkara for
the Fq/ra-family, samaya-mudrd of Dharmavajri168 for the Padma-family and
samaya-mudrd of Vajraratna for the Mam-family.
words, “The Lord, Holiness Vajradhara said thus”,170 describes the rite of the
requisites (upacara) of the siddhi common to all the families, i.e. invoking the four
auspicious statements explained in this section, and reciting the corresponding
magical formulae, (i.e. hrdaya, mudrd, mantra and vidyd).
words, “The Lord Vajrasattva said thus”,172 describes the rite of the recitation
(japa) common to all the families. This section explains that while the sadhaka
recites his deity's name, e.g. Vajrasattva, he should visualise himself as the body of
166 Kosaldlamkara, TTP. Vol. 71, No. 3326, p. 79-3-6-8.

167 (Kosalalamlcdra, TTP. Vol. 71, No. 3326, pp. 78-4-5-79-3-8; Tattvaloka, TTP. Vol. 72,
No. 3333, pp. 132-3-3-133-3-3).
168. Sanskrit and Tibetan both read: “Padmavajri”.
169. S. p. 528-6, T. p. 277-5-8, C2. p. 439-1-9.
170. ity aha bhagavan ar)>avajradharah\ S. p. 528-18—19, T.p. 278-1-5, C2. p. 439-1-27.
171. S. p. 529-1, T. p. 278-1-5, C2. p. 439-1-28.
172. ity ciha bhagavan vajrasattvah: S. p. 529-4, T. p. 278-1-7, C2.p. 439-2-4.
301
P art Five
his deity, or while meditating on himself before the body of his deity, he should
recite hrdaya, mudrd, mantra and vidyd.
words, “The Lord Sarvatathagataratna said thus”,174 describes the rites of gaining
the various siddhis of all the families. This section explains the four siddhis of the
Tathagata-family, i.e. (i) the acquisition of hidden treasure, (ii) the attainment of four
supernatural powers, (iii) the attainment ofVidyadhara, (iv) the great attainment (of
all the Tathagatas), which have been dealt in the mudrd-knowledge section of the
Vajradhatu Mahdmandala (ch. 1); the four siddhis of the Vajra-family, i.e. (i) the
attainment of Trilokavijaya (or Vajrahumkara), (ii) the attainment of four
consecrations, (iii) the attainment of complete pleasure and satisfaction, (iv) the
supreme attainment (of Vajradhara); the four siddhis of the Padma-family, i.e. (i)
gratification, (ii) subjugation, (iii) protection, (iv) TWma-attainment (namely, the
attainment of Lokesvara); and the four siddhis of the Mam-family, i.e. (i) the
attainment of the consecration of all the Tathagatas, (ii) the attainment of Mahatejas,
(iii) the fulfilment of all wishes, (iv) Ratna-attainment (namely, the attainment of
Vajragarbha).
According to Anandagarbha, this section explains the fruits of the magical
formula-recitation in order to generate joy for the reciters.
(5) The next section starting with the words, “Now, I will explain the tantra of
the siddhi of the means of all the ordinances”175 and ending with the words, “It
gives (us) the best of all the siddhis”,176 describes the tantra of the attainment of the
means (upaya) of all the ordinances, i.e. the means of hrdaya, mudrd, mantra and
vidyd, because these four magical formulae cannot be accomplished without the
means.
words, “One attains the Buddhahood quickly”,178 describes the tantra of the
attainment of the merit (punya) of all the ordinances, which means that the nature of
the four magical formulae, i.e. hrdaya, mudrd, mantra and vidyd, confers merit.
words, “The Lord Sarvatathagataprajnajnana said thus”,180 describes the tantra of
the attainment of the wisdom (prajhd) of all the ordinances, which means that the
nature of the four magical formulae confers wisdom.
173. S. p. 529-6, T. p. 278-1-7, C2. p. 439-2-6.

174. ity aha bhagavan sarvatathagataratnah: S. p. 533-6, T. p. 279-l-5~6, C2. p. 440-2-8.
175. atha sarvakalpopayasiddhitantram anuvydkhydsyami: S. p. 533-8, T. p. 279-l-6~7, C2. p.
440-2-10.
176. sarvasiddhipradam varam: S. p. 534-6, T. p. 279-2-3, C2. p. 440-2-23.
177. S. p. 534-8, T. p. 279-2-3, C2. p. 440-2-25.
178. sighram buddhatvam dpnute: S. p. 535-6, T. p. 279-2-8, C2. p. 440-3-9.
179 S. p. 535-8, T. p. 279-2-8, C2. p. 440-3-11.
18°. ity aha bhagavan sarvatathagataprajnajnanah: S. p. 536-8, T. p. 279-3-6, C2. p. 440-3-27.
302
P a rt F ive
words, “One attains the siddhi quickly”,182 describes the tantra of the attainment of
the accumulation of all the ordinances, which means that die nature of the four
magical formulae confers accumulation.
(9) The next section starting with the words, “Then, the Bodhisattva
Mahasattva183 Vajrapani”184 and ending with the words, “The Lord Vajrasattva said
thus”,185 describes the tantra of the knowledge originating from the signs (<cihnas)
of all the families.
words, “The Lord Vajradhara187 said thus”,188 describes the tantra of the
knowledge originating from the ordinances of all the families.
words, “The Lord Vajradhara said thus”,190 describes the tantra of the knowledge
originating from hrdaya, mudrd, mantra and vidyd of the ordinances of all the
families.
(12) The next section starting with the words, “Then”191 and ending with Hie
words, “One can know the past, future and present with the mind”,192 describes the
tantra generated from the knowledge of all the ordinances. Anandagarbha
comments that if the reciter of the four magical formulae of all the families discerns
happiness and unhappiness through his words, he can enter (the mandala).
(13) The next section starting with the words, “Now comes the tantra of
accomplishing the mudrd of the secret body, speech and mind vajra common to all
the families”193 and ending with the words, “The Lord Sarvatathagatavajrasattva
said thus”,194 describes the tantra of accomplishing the mudrd of the secret body,
speech and mind vajra common to all the families. This section explains die body-
mudras, speech-mudras, mind-mudras and vajra-mudrds of the four families.
181. S. p. 536-10, T. p. 279-3-7, C2. p. 440-3-29.

182. sighram siddhim avdpnute: S. p. 537-9, T. p. 279-4-3 (or p. 280-1-1), 0 2 . p. 441-1-13.
The Tibetan text duplicates some equivalent Sanskrit pages (S. pp. 536-13-539-14) as
follows: T. p. 27 9 -3 -8 -5 -6 & T. pp. 279-5-6-280-2-4.
183. Only Sanskrit reads: “Mahabodhisattva”.
184 S. p. 538-1, T. p. 279-4-4 (or p. 280-1-2), C2. p. 441-1-15.
185. ity aha bhagavan vajrasattvah : S. p. 538-16, T. p. 279-5-1 (or p. 28 0 -1 -6 -7 ), C2. p. 441-2-
1.
186. S. p. 539-1, T. p. 279-5-1 (or p. 280-1-7), C2. p. 441-2-3.
187. Tattvalolca and Chinese 2 both read: “Vajraratna” . Tibetan reads: “Vajrasattva”.
188. ity aha bhagavan vajradharah : S. p. 540-4, T. p. 280-2-5, C2. p. 441-2-21.
189. S. p. 540-6, T. p. 280-2-6, C2. p. 441-2-24.
19°. ity aha bhagavan vajradharah : S. p. 541-4, T. p. 280-3-1, 0 2 . p. 441-3-7.
191. S. p. 541-6, T. p. 280-3-2, C2. p. 441-3-9.
192, vedayen manasa sa tu bhavyam bhiitam bhavisyam ca : S. p. 5 4 2 -6 -7 , T. p. 280-3-6, 0 2 . p.
441-3-21-22.
193. at ha sarvahilasddhdranaguhyakdyavdkcittavajramudrdsddhanatantram bhavati: S. p. 542-
1 0-11, T. p. 280-3-7, 0 2 . p. 4 42-1-8-9 .
194, ity aha bhagavan sarvatathagatavajrasattvah : S..p. 547-8, T. p. 281-1-7, 0 2 . p. 442-3-23.
303
P a rt Five
(14) The final section starting with the words, “Then” 195 and ending with the
words, “the compendium of the Mahayana” 196 constitutes the closing section of
chapter 26-a, which includes a verse praising Vajrapani by all the Tathagatas.197
195. S. p. 548-1, T. p. 281-1-8, C2. p. 442-3-24.

196. mahdydnabhisamgraham iti : S. p. 548-9-10, T. p. 281-2-3, C2. p. 443-1-2.
304
P a rt Five
Chapter 26-b. Epilogue
1. Analysis o f Chapter 26-b

Anandagarbha summarises this chapter 26-b198 as follows:-
“Having assembled the mandalas which have been explained, and
having consecrated (them) with all the consecrations, (the Lord
Sal^hyamuni) requests the deities to come accordingly, and induces ^
the manifested bodies to enter his body, and praises with one
hundred and eight names Vajrasattva who abides in the state of the
attainment of perfect enlightenment, and then remains with the
demeanour of whatever happiness.”199
This chapter 26-b begins and ends with the invocation-ceremony of two different
groups of one hundred and eight names. The first invocation-ceremony is
performed by Vajrapani in order to greet Vairocana, and die one hundred and eight
names recited in this ceremony starts with Vajradhatu and ends with Vairocana. The
second invocation-ceremony is performed by Sakyamuni in order to greet
Vajrapani, and the one hundred and eight names recited in this second ceremony are
based upon die names of the sixteen Mahabodhisattvas of the Vajradhatu
Mahdmandata, starting widi Vajrasattva and ending with Vajramusti.
Since this chapter 26-b is the concluding part of the whole STTS, it summarises
briefly the first four parts of the STTS. Sakyamuni as Vairocana turns the Dharma-
wheel, which refers to the five abhisambodhis described in the beginning section of
the STTS. Tathagata Vajradhatu as Vajrapani turns the Kq/ra-wheel; Tathagata
Trilokavijayin as Trilokavijaya turns the Krodha-wheel; Tathagata Dharmarajan as
Avalokitesvara turns the Padma-wheel; (maybe Tathagata Kannarajan) as
Akasagarbha turns the Mmz-wheel. These four wheels refer to the first four parts
of the STTS respectively.
The Sanskrit STTS pages 554 and 555 consist of a dialogue between
Vairocana200 and Vajrapani as Sakyamuni on the summit of Mount Sumeru.
According to the STTS text,201 Vajrapani requested Vairocana to descend to the
realm of human beings and to turn the supreme Vajra-wheel for die benefit of all
living beings. Thus, Vairocana invoked all the Tathagatas and induced them to enter
his heart. Then on the request of Vairocana, Vajrapani also entered the heart of
Vairocana with his body, speech and mind which became transformed into a vajra.
At last, Vajrapani as Sakyamuni became identical to Vairocana.
198. S. chapter 26-b, pp. 549-563, T. pp. 281 -2-3-283, C2. pp. 4 4 3 -1 -3 -4 4 5 .
200 Chinese 2 in this section uses the term Mahavairocana instead o f Vairocana.
201. S. pp. 5 5 4 -5 5 5 , T. pp. 281-5-7-282-2-2, C2. pp. 443-3-18-444-1-12.
305
P a rt F ive
The final section of the STTS202 focuses on the final event of the Buddha
Sakyamuni's returning from the summit of Mount Sumeru and gaining complete
enlightenment (anuttara-samyak-sambodhi) on his bodhi-manda under the Bodhi-
tree in Buddhagaya. In this section, having defeated the evil beings, the Buddha
Sakyamuni attains enlightenment, and praises Vajrapani residing in his heart with
one hundred and eight names.
2. Conclusion
The significance of the whole STTS is to guide the sadhaka to attain Pure-Absolute-
Wisdom and to be equal to Vairocana by means of eliminating the four mental
poisons (i.e. passion, hatred, delusion and avarice), and attaining the four Wisdoms
(i.e. Mirror-like-Wisdom, Equality-Wisdom, Discriminating-Wisdom and Active-
Wisdom). Thus, part one of the STTS (representing the Tathagata-family) explains
the means of generating the thought of enlightenment symbolised as Vajrasattva in
order to eliminate passion; part two (representing the Vajra-family) explains the
means of generating the wrathful thought symbolised as Vajrahumkara in order to
eliminate hatred; part three (representing the Padma-family or Dharma-fzmily)
explains the means of generating compassionate thought symbolised as
Avalokitesvara or Lokesvara in order to eliminate delusion; and part four
(representing the Mani-family or farmer-family) explains the means of generating
the thought of generosity symbolised as AkaSagarbha or Vajraratna in order to
eliminate avarice. As the means of attaining these goals, the STTS focuses on the
ways of controlling the sadhaka's body, mind, speech and action, which correspond
to the maha-, samaya-, dharma- and karma-mudras, and also maha-, dharani-,
dharma- and karma-mandalas in the rite. Part five of the STTS having the function
of a supplement to the previous four parts is divided into the uttara-tantra
emphasising meditation or deity-yoga and the anuttara-tantra emphasising
recitations and basic rites.
In conclusion, the STTS, which can be regarded as the perfection of Mahayana
philosophy and Bodhisattva doctrine, tries to demonstrate through its symbolism
the diverse phenomena of the mind which the sadhaka experiences in the process of
attaining enlightenment.
202. S. pp. 5 5 6 -5 6 3 , T. pp. 282-2-2-283-2-1, C2. pp. 444-1-13-445-2-1.
306
Appendix I
The following is the complete translation of the OEA VS (Outline of the Eighteen
Assemblies of the Vajra-sekhara-sutra-yoga), which was translated by
Amoghavajra into Chinese under the title ‘Jin-gang-ding-jing-yu-qie-shi-ba-hui-
zhi-guV }
The Vajra-sekhara-sutra-yoga2 consists of one hundred thousand gdthds and

eighteen assemblies.
The first assembly is called ‘King of the Ordinance of the Compendium of Truth
of All the Tathagatas’ (Sarva-tathdgata-tattva-samgraha-kalpa-raja). It comprises
four main parts: the first is called ‘ Vajradhatu (Fa/m-sphere)’,3 the second is called
*Trilokavijaya (Conquest of the Three Worlds)’,4 the third is called
‘Sakalajagadvinaya (Conversion of the Entire World)’,5 and the fourth is called
*Sarvarthasiddhi (Universal Success)’.6 These four parts manifest the four-
Vnowle&gG-mudras (catur-jhdna-mudra).
The first main part contains the following six mandalas
(The first mandala) is called the maha-mandala of the Vajradhatu.1 (This
section of the tantra) describes the Enjoyment-body (sambhoga-kaya) of Buddha
Vairocana, who has attained complete enlightenment (samyak-sambodhi) by means
of the five consecutive stages of perfect enlightenment8 (panca-abhisambodhi).9
Having become a Buddha, he generated the thirty-seven knowledges through the
f TSD. V ol. 18, N o. 869, pp. 284-3-9-287-3-14.

The footnote o f the OEA VS reads: ‘‘ Vajra-sekhara-yoga-sutra'’.
2. The footnote o f the OEAVS reads: “ Vajra-sekhara-yoga-sutrd1'.
3. S. part one, pp. 3~152, T. pp. 218-239-2-8, C2. pp. 341-369-2-22.
4 S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2. pp. 3 6 9 -3 -1-399-1-2.
5. S. part three, pp. 3 1 4 -3 8 1 , T. pp. 254-4-2-261-1-7, C2. pp. 399 -1 -3 -4 1 1 -3 -2 1 .
6. S. part four, pp. 3 8 2 -4 3 4 , T. pp. 261-1-8-266-3-3, C2. pp. 411-3 -2 2 -4 2 3 -1 -1 4 .
7. S. chapter 1. pp. 3 -9 9 , T. pp. 2 1 8-233-4-3 , C l. pp. 2 0 7 -223-2-21, C2. pp. 341 -3 5 9 -2 -1 9 .
8. According to the footnote o f the OEAVS, the five stages are: ‘perceiving the m ind’, ‘raising the
thought o f enlightenment (bodhi-citta)’, ‘perfecting the va/ra-thought’, ‘realising the vajra-
b o d y \ and ‘perfecting the Buddha-body’. Such are the perfections o f the five knowledges.
9. S. pp. 7 - 9 , T. pp. 219-4-2-220-2-1, C l. pp. 207-3-8-208-1-24, C2. pp. 3 4 1 -3 -18-342-2-12.
307
vajra-samadhi.10 The text extensively explains the rites of the mandala.11 For the
benefit of the pupil, the text sets forth the speedy-attainments of both the
Bodhisattva-Mwmz' and the Buddha-6/zwmz.12
The second (mandala of the Vajradhatu) is called the dhdranl-mandala.13 It
contains thirty-seven deities, all of whom abide in the form of Paramita
(Bodhisattvas). (This section of the tantra) explains in an extensive way the rites of
entering the mandala. For the benefit of the pupil, the text explains the four kinds of
eyes,14 which denote (the four homa) rites, namely, subjugation (vasikarana),
attraction (dkarsana), destruction (abhicdraka) and pacification (sdntilm).15
The third (mandala of the Vajradhatu) is called the su/csma-vajra-mandala
(subtle-vajra-mandala).16 It also contains the thirty-seven deities. Each deity is
drawn in the centre of a vajra, and has its own samddhi-mudrd. (This section of the
tantra) extensively explains the rites of entering the mandala, and guides the pupil
to make his mind endure, to make his mind gently harmonious, and to make his
mind liberated. The text explains the suksma-vajra-samadhi, which helps in
practising the four dhydnas, the four-perfect-states (hrahma-vihdras) and the three-
emancipation-entrances (vimoksa-mukhas).
The fourth (mandala of the Vajradhatu) is called the karma-mandala of frilly
worshipping all the Tathagatas (sarva-tathagata-vistara-pujd-karma-mandala).11 It
contains thirty-seven deities. Each deity holds its own symbol and abides in
worship. (This section of the tantra) explains die method of entering the mandala.
For the sake of the pupil, the text explains the method of making the sixteen great
offerings, and the method of making the four secret offerings.
10. S. pp. 10-58, T. pp. 220-2-1-228-4-6, C l. pp. 208-1-24-216-1-9, C2. pp. 342-2-13-351-2-
14.
n . S. pp. 6 3 -7 2 , T. pp. 229-2-6-230-4-8, C l. pp. 216-3-21-219-1-15, C2. pp. 352-2-8-354-2-
27.
12 S. pp. 7 3 -9 9 , T. pp. 230-4-8-233-4-3, C l. pp. 219-1-15-223-2-21, C2. pp. 354-2-28-359-2-
19.
13. S. chapter 2. pp. 100-115, T. pp. 233-4-3-235-1-8, C2. pp. 3 59-2-20-362-3-3.
14 S. pp. 108-6-109-5, T. p. 234-3-5-4-1, C2. p. 361-2-10-23.
According to the STTS, the four kinds o f eyes in this context indicate the gaze-mudras o f the
vq/Va-secret. They consist o f the vajra-gaze, the flaming-gaze, the wrathful-gaze and the
friendliness-gaze. They also correspond to the Four Rites or Four Homa rituals respectively.
(Cf. the four kinds o f eyes explained in the Dou-bu-tuo4uo-ni-mu in the general structure
section o f the introduction).
15. Regarding the above four rites, based upon the Sarvadurgatiparisodhana Tantra, David
Snellgrove states that the four rites consists o f pacification (sdntilca), acquisition o f prosperity
(paustika ), subjugation (vasikarana) and destruction (abhicdraka): He adds that while the
four rites may be performed by means o f mental concentration, they are more usually
accompanied by the performance o f an appropriate homa ceremony. (David Snellgrove, Indo-
Tibetan Buddhism, p. 238).
16. S. chapter 3. pp. 116-129, T. pp. 235-1-8-236-4-8, C2. pp. 3 6 2-3-4-365-2-2.
17. S. chapter 4. pp. 130-141, T. pp. 236-4-8-238-1-8, C2. pp. 36 5 -2 -9 -3 6 8 -1 -6 .
308
The fifth {mandala of the Vajradhatu) is called the catur-mudrd-mandala (fonr-
mudrd-mandala).18 For the sake of the pupil, (this section of the tantra) gives the
method for realising the four kinds of rapid attainment. Through this mandala, one
should aim to complete the attainments. Facing this mandala, one should aim to
realise the attainments of the previously mentioned four mandalas.
The sixth {mandala of the Vajradhatu) is called the eka-mudra-mandala (one-
mudra-mandala).19 If one possesses the mantra of Vairocana, one can summon
seventeen deities, or if one (possesses) the mantra of Bodhisattva Vajrasattva, one
can summon thirteen deities. (This section of the tantra) explains the rite of entering
the mandala. For the benefit of the pupil, the text explains the preliminary activities,
and then it guides the pupil to practise the samadhi that involves summoning up his
deity {sva-deva).
The second main part20 called iTrilokavijayd>2x includes the six m a n d a la s ■
Having attained complete enlightenment, the Tathagata (Vairocana) set in motion the
wheel of the Vajradhatu on the summit of Mount Sumeru, and conferred the names
and the titles upon all the Bodhisattvas. The evil beings, such as Mahesvara, were
too obstinate to be easily converted. Therefore, through the propitiatory-rite
(,santika),22 they could not be converted. All the Tathagatas, who pervaded all space
and were diffused in the Dharmadhatu, greeted Vajrasattva with the praises of one
hundred and eight names, and pleaded with him in one voice, ‘All such kinds of
deities cannot be converted by means of the propitiatory-rite.’ At that time,
Vajrapani having accepted the request of all the Tathagatas, entered the
compassionate-wrath-vajra-samddhi {karuna-krodha-vajra-samadhi)P Having
manifested his great dignified body, he subdued (all these deities) with various
expedients, and caused them to die.24 After Mahesvara died, he himself looked
down, and arrived in the world called ‘Ash-Decoration (Bhasma-alahkara)5 which
was located across the worlds as numerous as the sand grains in the sixty-two
Ganges rivers, and he attained complete enlightenment. Then, he was named
18.S. pp. 142-148 o f chapter 5, T. p. 238-1-8-5-7, C2. pp. 368-1-7-369-1-4.

19.S. pp. 149-151-6 o f chapter 5, T. pp. 238-5-7-239-2-3, C2. p. 36 9 -1 -5 -2 -6 .
20 S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2. pp. 369-3-1-399-1-2.
21.Trilokavijaya-mandala: S. pp. 153-252, T. pp. 239-2-8-250-1-3, C2. pp. 3 6 9-3-1-389-1-13.
22. According to the M W (p. 1065), the terra ’'santika'' literally means a propitiatory rite for
averting evil. According to the D oC (p. 348), it is translated as ji-jing-fa ’ in Chinese, which
means the ceremonies for restoring peace from calamity. This is one o f the homa rites.
23. The ‘compassionate-wrath-wy'ra’ is originally lbeV (compassion)-‘nw’ (wrath)-jin-gang'
{vajra) in Chinese. The Chinese word ’beV literally means ‘com passion’, but the footnote o f
the OEAVS identifies it with the word ‘fen ’ meaning ‘wrath’ in this context. The second word
‘nw’ also means ‘wrath’, and even the compound word 'fen-nV also means ‘wrath’. Thus, the
footnote reads the compound as ‘wrath-va/ra’, instead o f ‘compassionate-wrath-vy/ra’.
However, according to the Sanskrit STTS , the original title o f the ‘Imruna-lavdha-vajra-
samadhV is the lsarva-tathdgata-mahd-karuna-updya-krodha-samaya-vairan nama samadhi'.
(S. p. 157-19-158-1).
24 S. pp. 157-166-2, T. pp. 239-4-6-241-2-2, C2. pp. 370-1-22-371-3-24.
309
Tathagata Fear-Lord (Bhaya-isvara).25 Bodhisattva Vajradhara, pressing
(Mahesvara) with his leg, recited the vajra-dxising-mantra. As soon as
(Mahesvara) was revived, he was already converted. Then having explained the
maha-mandala (of the Trilokavijaya), Vajrasattva induced all the deities to enter
(the mandala) and conferred the va/ru-names upon them.”26
There are five kinds of deities. The first group consists of all the immeasurable
gods and their consorts, such as Lord Mahesvara, who live in the upper-spheres (of
form and non-form). The second group consists of all the immeasurable gods and
their consorts, such as Surya, who wander in space. The third group consists of all
the immeasurable gods and their consorts, such as the .chief Mara, who live in
space. The fourth group consists of all the immeasurable gods and their consorts,
such as Kosapala, who live on the earth. The fifth group consists of all the
immeasurable gods and their consorts, such as Varaha, who live beneath the
earth.27 Having led all of them to enter (the mandala), (Vajrasattva) ordered all the
deities to then* positions in the entire mandala, (and said): ‘If all of you come
together and enter (the mandala), all the attainments (siddhis) you wish to gain will
be accomplished/ All of these (deities) constitute the external- Fa/ra-family.
The first {mandala of the Trilokavijaya) is called the maha-mandala-vidhi. It
contains thirty-seven deities.28 (This section of the tantra) explains the method of
destroying (abhicaralca) and the method of practising the supernatural power.29
The second {mandala of the Trilokavijaya) is called the guhya-mandala (secret-
mandala).30 It contains thirty-seven deities. (This section of the tantra) explains the
rites of guiding the pupil (to enter the mandala). These rites include various sounds,
vajra-songs and va/ra-dances.
25. Regarding the above statement: “After Mahesvara died, he h im self looked down, and arrived
in the world called ‘Ash-Decoration (Bhasma-alarikara)’ which was located across the worlds
as numerous as the sand grains in the sixty-two Ganges rivers, and he attained complete
enlightenment. Then he was named Tathagata Fear-Lord (Bhaya-isvara)”, the Sanskrit STTS
(S. p. 169), which is the equivalent part, reads: “After Mahadeva fell down at the base o f the
foot o f Vajrapani he crossed the world-spheres as numerous as the sand grains in the thirty-
two Ganges rivers and as numerous as the infinite dust particles in the uppermost world-
sphere and, (having arrived) in the world-sphere called Bhasmacchatra (Umbrella o f Ashes), he
generated a Tathagata called BhasmeSvaranirghosa (Soundless Lord o f A shes)”. Thus, three
slightly different points are found in comparing these two texts. Firstly, w hile the place
which Mahesvara attained complete enlightenment is described in the OEAVS as ‘Ash-
Decoration’, the Sanskrit STTS calls it ‘Umbrella o f A shes’. Secondly, the number o f the
Ganges rivers is sixty-two in the former, but thirty-two in the latter. Finally, the name of
Mahesvara as the Tathagata in the OEAVS is ‘Fear-Lord’, compared to ‘Soundless Lord of
A sh es’ in the STTS.
26. S. pp. 170-173, T. pp. 241-4-7-242-2-5, C2. pp. 372-3-3-373-2-25.
27. S. pp. 172-173, T. pp. 241-5-7-242-2-5, C2. p. 373-1-7-2-25.
28. For the structure o f the Trilokavijaya Mahmnandala: S. pp. 186-5—194, T. pp.243-4-8-244-
3-3, C2. pp. 376-1-10-377-3-22. For the entry into the mandala : S. pp. 195-197-7, T. p.
244-3 -3 -4 -8 , C2. pp. 377-3-23-378-2-8.
29. S. pp. 197-8-210, T. pp. 244-4-8-246-1-7, C2. pp. 378-2-9-381-1-2.
30. S. chapter 7, pp. 2 1 1 -2 2 4 , T. pp. 246-1-8-247-3-2, C2. pp. 381 -1 -3 -3 8 3 -3 -8 .
310
The third (mandala of the Trilokavijaya) is called the dharma-mandala ? [ It
contains thirty-seven deities. (This section of the tantra) explains the rites of
guiding the pupil (to enter the mandala). They include the rites of executing the
abhicaraka (destruction) with compassion and generosity by means of controlling
the mind with the subtle-vq/ra.
The fourth {mandala of the Trilokavijaya) is called the karma-mandala?2 It
contains thirty-seven deities. (This section of the tantra) explains the rite of entering
the mandala. In this section, the homa-rite is explained to the pupil. If one makes
extensive offerings in front of the immeasurable Buddhas and Boddhisattvas, one
can then accomplish siddhis quickly. The text also explains twenty-five kinds of
homa hearths {,kunda)33 and the methods of offering in accordance with their types.
The fifth {mandala of the Trilokavijaya) is called the catur-mudra-mandala?4 It
contains twenty-one deities. (This section of the tantra) explains the method of
accomplishing all sensual enjoyments.35 Facing this mandala, one should aim to
realise the attainments of the previously mentioned four mandalas.
The sixth {mandala of the Trilokavijaya) is called the eka-mudra-mandala?6 It
contains seventeen deities. (This section of the tantra) explains the way of guiding
the pupil to enter the mandala and the way of the preliminary activities.
Then, for the benefit of the assembly of the external- Fa/ra-family, (Vajrapani)
explains four mandalas. Every (member of the external- Ku/'ru-family) explains both
its own mantra and mudrd, and presents them to the Buddha. For their sake, the
Buddha (as Vajrapani) explains the mahd-mandala (of the Trilokacakra)37 by the
(first) command {ajha) (of Vairocana). It contains thirty-seven deities. (This section
of the tantra) explains the rite of guiding the pupil to enter (the mandala). For the
benefit of the pupil, the text explains the rites of employing the external- Vajra-
family. In this, it explains the mantras and mudras of both the great Buddha-crown
{usnisa) and the glory-assembled-Buddha-crown {tejordsi), which can be
understood as the method of reciting a monosyllabic word-crown-wheel.
Then, (Vajrapani) explains the samaya-mandala (of the Trilokacakra)38 by the
second command (of Vairocana). Each of the goddesses presents her own mantra
(to the Buddha). Then the Buddha (as Vajrapani) explains the mandala for them. It
31. S. chapter 8, pp. 2 2 5 -2 3 5 , T. pp. 247-3-2-248-3-3, C2. pp. 3 83-3-14-385-3-25.

32. S. chapter 9, pp. 2 3 6 -2 4 5 , T. pp. 248-3-3-249-2-7, C2. pp. 3 85-3-26-388-1-4.
33. H owever in the Sanskrit STTS text, w e can find no description o f the hearths employed for the
homa rites. Instead, the Sanskrit STTS explains the sixteen kinds o f articles (dravya) used for
burning and the methods o f executing the homa rites by means o f burning them. (S. pp. 240-
3 -2 4 3 , T. pp. 248-5-2-249-2-1, C2. p. 387-1-7-3-10).
34. S. pp. 24 6 -2 5 0 -5 o f chapter 10, T. p. 249 -2 -7 -4 -8 , C2. p. 3 8 8-1-5-3-8.
35. The Chinese term yuo, which means ‘medicine or remedy’, can be read, in this context, as le,
which means ‘jo y or enjoyment’.
36. S. pp. 2 5 0-6-252-3 o f chapter 10, T. p. 249 -4 -8 -5 -6 , C2. pp. 3 8 8 -3 -9-389-1-3.
37. S. chapter 11, pp. 2 5 3-280, T. pp. 250-1-3-252-2-4, C2. pp. 389-1-14-393-3-15.
38. S. chapter 12, pp. 28 1 -2 9 1 , T. p. 252-2-4-5-8, C2. pp. 393-3-16-395-1-27.
311
contains thirty-seven deities. For the benefit of the pupil, (this section of the tantra)
explains the method of cultivating the male Yaksa and female Yaksa, and gives a
full description of all the rites.
Then, (Vajrapani) explains the dharma-mandala (of the Trilokacakra)39 by the
third command (of Vairocana). When all deities recite their mantras and present
them to the Buddha, the Buddha (as Vajrapani) explains the mandala for them. It
contains thirty-seven deities. (This section of the tantra) explains the rite of guiding
the pupil to enter (the mandala), and explains the dharma-mudrd of all the deities
for the benefit of the pupil. This mudrd enables (the pupil) not to transgress the
vow.
Then, (Vajrapani) explains the karma-mandala (of the Trilokacalcra)40 by the
fourth command (of Vairocana). It contains thirty-seven deities. The text explains
the rite of guiding the pupil to enter (the mandala). After each of all the deities
litters their own mantra, the Buddha (as Vajrapani) explains the mandala for them.
(This section of the tantra) explains the dance-rite of all the deities, and explains the
method of the speedy-accomplishment of all the actions.
(The third) main part called ‘Sakalajagadvinaya’ contains the six mandalas
The first {mandala of the Sakalajagadvinaya) is called the mahd-mandala 41 It
contains thirty-seven deities. All of them are the transformations of Avalokitesvara.
(This section of the tantra) explains the rite of guiding the pupil to enter (the
mandala), and also explains the sixteen kinds of the samadhi-rites for the rapid-
accomplishment of supernatural knowledge {abhijha).
The second {mandala of the Sakalajagadvinaya) is called the samaya-
mandala42 It contains thirty-seven deities. All of them are the transformations of
Avalokitesvara. (This section of the tantra) explains the rite of guiding the pupil to
enter (the mandala), and also explains the sixteen kinds of samadhis related to
attraction {dkarsana) and subjugation (vasilcarana).
The third {mandala of the Salcalajagadvinaya) is called the dharma-mandala 43
It contains thirty-seven deities. All of them are the transformations of
enter (the mandala), and also explains the sixteen kinds of methods of cultivating
mind, and seeking wisdom as well as eloquence.
The fourth {mandala of the Sakalajagadvinaya) is called the karma-mandala.44
It contains thirty-seven deities. All of them are the transformations of
39. S. chapter 13, pp. 2 9 2 -2 9 8 , T. pp. 252-5-8-253-3-3, C2. pp. 395-2 -1 -3 9 6 -1 -2 5 .

40. S. chapter 14-a, pp. 299—310, T. pp. 253-3-3—254-2-6, C2. pp. 396-1-26—398-3-2.
41. S. chapter 15, pp. 3 1 5 -3 3 9 , T. pp. 254-4-2-257-2-7, C2. pp. 3 9 9 -1 -8 -4 0 3 -3 -2 6 .
42. S. chapter 16, pp. 340-355, T. pp. 257-2-7-259-1-2, C2. pp. 403-3-27—407-2-13.
43. S. chapter 17, pp. 35 6 -3 6 4 , T. p. 259-1-2-4-7, C2. pp. 4 0 7 -2 -1 4 -4 0 9 -1 -7 .
44. S. chapter 18-a, pp. 36 5 -3 7 4 , T. pp. 259-4-7-260-3-8, C2. pp. 409-1-8—410-3-28.
312
enter (the mandala), and also explains the rite of worshipping the Lotus-family, the
methods of averting sin, protecting retribution, and preventing the karmic hindrance
of affliction (paryavasthana-karma-dvarana).
The fifth {mandala of the Sakalajagadvinaya) is called the catur-mudra-
mandala45 of the Lotus-family. It contains twenty-one deities. All of them are the
transformations of Avalokitesvara. (This section of the tantra) explains the rite of
guiding the pupil to enter (the mandala), and also explains the method of
accomplishing the preliminary activities and the method of accomplishing the
preliminary activities of the previous explained four mandalas.
The sixth {mandala of the Salcalajagadvinaya) is called the eka-mudrd-
mandala46 of the Lotus-family. It contains thirteen deities. All of them are the
transformations of Avalokitesvara. (This section of the tantra) explains the rite of
guiding the pupil to enter (the mandala), and also explains the method of practising
(the samadhi of summoning) one's chosen deity {sva-deva), and the method of
practising the perception of both the mundane world (loka) and the spiritual world
{aloka).
(The fourth) main part called ‘Sarvdrthasiddhi' contains the six mandalas:-
The first {mandala of the Sarvdrthasiddhi) is called the mahd-mandala 41 It
the pupil to enter (the mandala). By means of entering this mandala, (the pupil) can
eliminate the karmic effects of poverty. The text explains the ways of seeking
abundant riches, and seeking both Buddha-Bodhisattva-hood and glory in this
world.48
The second {mandala of the Sarvdrthasiddhi) is called the guhya-samaya-
mandala 49 It contains thirty-seven deities. (This section of the tantra) explains the
rite of guiding the pupil to enter (the mandala). The text explains the methods of
seeking the treasure trove {nidhana),50 and the methods of rapid completion of the
collection {samasa) of merit {punya) for perfection of generosity {dana-pdramita).
The third {mandala of the Sarvdrthasiddhi) is called the dharma-mandala.51 It
the pupil to enter (the mandala). The text explains the method of practising the
45. S. pp. 3 7 5 -3 7 8 o f chapter 18-b, T. p. 260-4-1-5-6, C2. p. 4 11-1-1-2-19.

46. S. pp. 37 9 -3 8 0 -7 o f chapter 18-b, T. pp. 260-5-6-261-1-5, C2. p. 4 1 1 -2 -2 0 -3 -1 5 .
47. S. chapter 19, pp. 3 8 3 -4 0 3 , T. pp. 261-1-8-263-3-4, C2. pp. 4 1 1 -3 -22-416-1-21.
48. According to the Sanskrit STTS, the way o f seeking both Buddha-Bodhisattva-hood and glory
in this world is explained not in this chapter, but in the next chapter (S. pp. 4 0 9 -5 -4 1 1 , T.
pp. 263-5-6-264-2-4, C2. pp. 417-2-14-418-1-15).
49. S. chapter 20, pp. 4 0 4 -4 1 5 , T. pp. 263-3-4-264-4-7, C2. pp. 41 6 -2 -1 -4 1 9 -1 -4 .
50. According to the Sanskrit STTS, the explanation for ‘the treasure trove (nidhanay is
mentioned not in this chapter, but in the previous chapter (S. pp. 3 9 5 -3 9 7 , T. p. 262-3-1-4-
7, C2. p. 414-1-24-3-27).
51. S. chapter 21, pp. 4 1 6 -4 2 3 , T. pp. 264-4-7-265-3-6, C2. p. 4 19-1-5-420-3-22.
313
samadhi of the Gem-family, which is the method of gazing at Bodhisattva
Akasagarbha (or Vajragarbha), after calming the mind, making the mind endure,
making the mind gently harmonious, and liberating the mind.
The fourth (mandala of the Sarvdrthasiddhi) is called the karma-mandala,52 It
the pupil to enter (the mandala), and explains not only the method of empowerment
(adhistdna) of the action of digging for the treasure trove (nidhana), but also the
rite of the great worship of all the Buddhas in the Gem-family.
The fifth (mandala of the Sarvdrthasiddhi) is the catur-mudrd-mandalaP It
contains twenty-one deities. (This section of the tantra) explains the rite of guiding
the pupil to enter (the mandala). The text explains the method of accomplishing the
preliminary activities, and the method of attainment of the previous four mandalas.
The sixth (mandala of the Sarvdrthasiddhi) is called the eka-mudrd-mandala.54
It contains thirteen deities. (This section of the tantra) explains the rite of guiding
the pupil to enter (the mandala), and also explains the samadhi of both cultivating a
single deity and cultivating all the Yaksas, who are the transformations of Lord
Vajradhara Akasagarbha.
Next, (the text) completely explains the recitations of the verses about the secret-
assistance-means (updyd) of each mandala mentioned previously. Then it unfolds
the enlightenment of the eight events of the Buddha's life55 as a Transformation-
body (nirmdna-kdya) of the Buddha Sakyamuni manifested in Jambudvipa. All of
these are the illusory transformations of Bodhisattva Samantabhadra. All the
Tathagatas praise again Vajrasattva with the one hundred and eight names. The first
assembly has thus been explained.
The second assembly is called "Yoga of the Secret-king of All the Tathagatas
(sarva-tathagata-guhya-adhipati-yoga)’. It was explained in the Akanistha heaven.
52. S. chapter 22-a, pp. 4 2 4 -4 2 9 , T. pp. 265-3-6~266-l-4, C2. pp. 4 2 1 -l-l~ 4 2 2 -2 -1 5 .

53. S. pp. 4 3 0 -4 3 2 o f chapter 22-b, T. p. 266-I-4~2-4, C2. p. 4 2 2 -2 -16~3-22.
54. S. p. 433 o f chapter 22-b, T. p. 2 66-2-4-8 , C2. pp. 422-3-23-423-1-8.
55. There are several different classifications o f the important events o f the Buddha's life, three of
which are given here:-
Firstly, the Sraddhotpada-sdstra lists the eight events as: (1) descent into and residence in
the Tusita Heaven, (2) entry into his mother's womb, (3) abiding there visibly preaching to
the devas , (4) birth from mother's side in Lumbini, (5) leaving home at 19 (or 25) as a
hermit, (6) after six years' suffering attaining enlightenment, (7) rolling the Dharma-wheel, or
preaching, (8) at 80 entering nirvana.
Secondly, the Chinese Tian-tai school gives an alternative list: (1) descent from Tusita, (2)
entry into womb, (3) birth, (4) leaving home, (5) subjugation o f Mara, (6) attaining perfect
wisdom, (7) preaching, and (8) nirvana. (DoC. p. 38).
Finally, Mahayana lists twelve events: (1) residing in the Tusita Heaven, (2) decision to
descend into the world, (3) entry into the mother's womb (Queen Mahamaya), (4) birth from
his mother's side in Lumbini, (5) marriage, (6) life in the palace, (7) leaving the palace and
practising meditation under two teachers, (8) giving up asceticism, (9) subjection o f Mara,
(10) attaining enlightenment, (11) preaching the doctrine, (12) nirvana. (David Snellgrove,
Indo-Tibetan Buddhism, p. 8).
314
It comprises four main parts. (The text) gives a full explanation with regard to the
principle of subtle reality and subjugation of Mahesvara. Mahesvara pledges with
the verse (gathd) before Vajrasattva.
The third assembly is called ‘Yoga of All the Teaching-collections {sarva-
pravacana-samudaya-yogdy. It was explained in the Palace of the Dharmadhdtu.
All the Tathagatas in one voice asked Vajrasattva one hundred and eight questions.
Vajrasattva answered those questions one by one. This text explains the maha-
mandala. It has five families, and each family contains five mandalas. Each
{mandala) contains thirty-seven (deities), all of which make up the mahd-mandala.
Each of the deities explains the four mudras one by one: maha-mudra, samaya-
mudrd, dharma-mudra and karma-mudrd. Each mudrd has' the methods of
(gaining) the siddhis. This text explains one hundred and twenty-five kinds of
homa hearths (,kunda). Each hearth is different depending on the purpose.
The fourth assembly is called *Vajra-yoga of Conquest of the Three Worlds {tri-
loka-vijaya-vqjra-yogaY. It was explained on the summit of Mount Sumeru. Each
of the eight Mahabodhisattvas, such as Vajragarbha, one by one explains the four
mandalas. The first assembly explains the subjugation of Mahesvara and states that
all the deities enter the mandala, and that they are conferred titles and names. It
explains the four mandalas, namely, the mahd-mandala, samaya-mandala,
dharma-mandala and karma-mandala, and also explains every individual deity (of
each mandala). (The text) explains the rite of guiding the pupil to enter (the
mandala) and the method of accomplishment. Afterwards, (the text) explains the
order of binding the pledges (samayas) of all the deities, and it explains the secret
commandments and the secret performances.
The fifth assembly is called 1Vajra-yoga of Mimdane World and Supramundane
World {loka-aloka-vajra-yogay. It was explained in the space-sphere of Varanasi.
(The text) briefly explains the mandalas of the five Buddhas, and the mandalas of
all the Bodhisattvas and all the external- Fq/ra-family. Each mandala contains the
four {mudras). Each of them has the rite of guiding the pupil to enter (the mandala)
and the method of gaining the siddhis.
The sixth assembly is called ‘Tmth-yuga of the Pledge of Unceasing-great-joy
{mahd-sukha-amogha-samaya-tattva-yogay. It was explained in the Palace of the
Paranirmitavasavartin heaven. This text explains the mandala of Bodhisattva
Samantabhadra, and then it explains the mandala of Vairocana. Afterwards, from
beginning with Vajragarbha to the ending with Bodhisattva Vajramusti and the
external-Fh/'ra-family, (the text) explains the meaning of the principle of wisdom
(prajna-naya). Each deity describes the four mandalas, and each {mandala) has the
rite of guiding the pupil to enter (the mandala). (The text) gives the meaning of the
principle of Perfection of Wisdom (prajnd-pdramita-naya) and the method of
(binding) the four mudras. In each chapter {varga), (the text) explains the method
of gaining the siddhis of the mundane world and the supramundane world.
315
The seventh assembly is called ‘Yoga of Samantabhadra’. It was explained in the
Palace of the Bodhisattva Samantabhadra. This text explains that from beginning
with the Bodhisattva Samantabhadra to the ending with Bodhisattva Vajramusti and
the external- Vajra-fsamfy, each deity describes the four mandalas. (The text)
explains the rite of guiding the pupil to enter (the mandala), and it explains the
method of gaining the siddhis of the mundane world and the supramundane world
by means of the four mudras. (This text) explains that for the practitioner, there is
no special time or place, and without depending on the prohibitions of the mundane
world, he should give priority to Buddhahood (bodhi-citta) and should depend on
the non-prohibition.
The eighth assembly is called Trimary-yoga’. It was explained in the Palace of
Samantabhadra. From beginning with Bodhisattva Samantabhadra to ending with
the external- Frz/'m-family, each deity explains the four mandalas. (The .text)
explains the principle of reality and discerning the rites of all die mandalas. It is a
little bit more detailed than the seventh assembly, but it is nearly the same.
The ninth assembly is called ‘Yoga of the Dakinl-conduct-net of the Assembly of
all the Buddhas (sarva-buddha-sangj'aha-dcikinl-sUa-jdla-yoga)’. It was explained
in the Palace of Mantra. (The text) explains that one should regard the body as the
deity for yoga. It blames the yogis who seek the image beyond the body. (The text)
extensively explains the principle of reality and the origin of the Five-families, and
the method of yoga, which contains the nine moods, namely, brilliance, bravery,
mercy, laughter, wrath, fear, abhorrence, admiration and tranquillity.56 From
beginning with Bodhisattva Samantabhadra to ending with Vajramusti, each deity
explains the four mandalas and the rite of guiding the pupil to enter (the mandala)
and receiving the four mudras. It also explains the praising-song and the dancing-
ritual of the five families.
The tenth assembly is called ‘Yoga of Great Pledge (mahd-samaya-yogay. It
was explained in the Palace of the Dharmadhatu. Each of the sixteen
Mahabodhisattvas, from beginning with Bodhisattva Samantabhadra to ending with
Vajramusti, explains the four mandalas and the rite of guiding the pupil to enter
(the mandala) and receiving the four mudras. In this (assembly), there is the
following verse:-
“The fool does not know the meaning of this principle because of
ignorance. He tries to seek the Buddha in other places, but he does
not know that here is the Buddha. He can not gain (the Buddha) in
other places of the worlds in all directions. The mind itself attains
the complete enlightenment, and the Buddha can not be said to be
in other places.”
56. According to the footnote o f the text, the above nine moods correspond to the nine deities, i.e.
Vajrasattva, Vairocana, Vajradhara, Avalokitesvara, Vajrateja (alias Vajraprabha),
Trilokavijaya, Sakyamuni Buddha, Vajrahasa and Vairocana in yoga respectively.
316
The eleventh assembly is called ‘Yoga of Perfect Comprehension of Mahdyana
(mahdydna-abhisamaya-yogay. It was explained in the Akanistha heaven. From
beginning with Buddha Vairocana to ending with Bodhisattva Vajravisvakarma and
the eight Offerings and the four Guardians, they generate together the yoga of the
compendium of truth (tattva-samgraha-yoga). Each deity contains the four
mandalas and the four mudras. (The text) extensively explains the principle of
reality and the rite of establishing the mandala in the mind.
The twelfth assembly is called ‘Supreme Yoga of Samayab It was explained on
the enlightenment-seat (bodhi-manda) of the Space-sphere. The leading
Bodhisattvas out of four families including Vairocana, and the eight Bodhisattvas
including Vajramusti, and the external- Vajra-family, explain the four mandalas and
the four mudras. This text explains establishing the mandala within the body and
regarding the body as the deity for yoga. It extensively explains that if one perceives
the syllable 'A’ in impurity and purity, one will have no hindrance in phenomenon
and non-phenomenon.
The thirteenth assembly is called *'Truth-Yoga of Great Pledge (;mahd-samaya-
tattva-yoga)1. It was explained on the mandala-seat of Vajradhatu. (The text)
explains that all the Buddhas in the worlds in all directions solicit Vajrasattva; “O
Vajrasattva, please explain the truth of pledge (samaya-tattva). We have already
received the instruction. For the sake of all the Bodhisattvas, please give an
instruction.” Then (Vajrasattva) explains the seventeen-word mantra of
Samantabhadra, and explains the delightful and efficacious mandala containing the
thirty-seven (deities). And (he) explains the four mandalas, and explains the one
hundred and eight path-covenants. (He) explains the attainment of perceiving both
the mundane world and the supramundane world. Following all these Bodhisattvas
and the external- Fh/ra-family, each deity explains their own mandala, mantra and
mudrd. Then (Vajrasattva) concludes (his instruction). Bodhisattva Samantabhadra
explains the limbs (ahga) of the seventeen deities of the mandala of the secret, each
of whom enters the body of its own deity, all of whom become the five deities, and
abide together in one lotus-platform. (He) explains that as soon as the monosyllabic
mantra is transmitted from eyes, mouth and all limbs (ahga), it becomes the mudrd.
It remains only in the karma-mudrd of the mahd-mudrd-bond, (The text explains)
that if one does not wait for the preparatory performance and does not depend on
empowerment (adhisthdna) of bond-protection and does not solicit falsely, the
hindrance of the previous karmic sin cannot build up pressure and cannot prevent
one from gaining the speedy-attainment.
The fourteenth assembly is called ‘Truth-ycgtf of the Tathagata-jamaya’, In this
text, Bodhisattva Samantabhadra, the sixteen Mahabodhisattva and the four
Guardians become merged into one body. (The text) explains the four mandalas
and the four mudras. (The text) extensively explains that the five families, having
united mutually as the Tathagata-family becomes the Fay'ra-(family) and the Lotus-
317
family becomes the Jewel-family, and then having entered each other,
Dharmadhdtu becomes the Real (tathatd) and Wisdom (prajna) becomes the Truth.
The phenomenal world is characterised by difference, but there is no difference in
its nature. After (the explanation of) Samantabhadra, all the Bodhisattvas and the
external- Lq/ra-family, explain their own mantra, mandala and mudrd.
The fifteenth assembly is called *Yoga of the Secret Assembly (guhya-samdja-
yoga)\ It was explained in the Secret-place, so called, ‘the place of the female organ
(bhaga) of the yoga’;51 It is named as the Palace of Prajhapdramitd. (The text)
explains the throne of teaching the doctrine (i.e. mandala), mudrd and mantra. (The
text) contains the moral precepts similar to the words of the mutual-response
(samprayukta) having the taint of desire for the world. Among the assembly,
Bodhisattva Sarvanivaranaviskambhin and the others having stood up from the seat,
salute the Buddha, and ask: “O Lord! Should not the Mahasattva speak the words
of the mutual-response having all kinds of moral infection?” The Buddha answers:
“What kind of form have your words of the mutual-response containing purity?
These my words are the empowered letters, so they should be the expedients for
converting and entering the Buddha-way, and there is no form and they accomplish
great benefits. Therefore, you should have no doubt about them.” After this, (the
text) extensively explains the samadhi of reality. All the Bodhisattvas separately
explain the four mandalas and the four mudras.
The sixteenth assembly is called ‘Yoga of Non-dual Equality (advaya-samatd-
yoga) ’. It was explained in the Palace of the Dharmadhdtu. The Buddha Vairocana,
all the Bodhisattvas and the external- Fq/ra-family, one by one, explain the four
mandalas containing the four-mudras. In this, (the text) explains that
transmigration (samsara) and cessation (nirvana), mundane world (lolca) and
supramundane world (aloka), tire one and the other, are same without duality.
Therefore, when one thinks and perceives, though the distorted consciousnesses of
sound, smell, taste, and sense, scatter the mind, if one knows that all of them are the
same as the real Dharmadhdtu without duality, one can attain the complete Buddha-
body.
The seventeenth assembly is called ‘Yoga of Like Space’. It was explained in the
Palace of Reality. Buddha Vairocana, Bodhisattva Samantabhadra and the extemal-
Fq/ra-family, one by one, explain the four mandalas containing the four mudras.
This text states that (if) a practitioner is united with every individual deity equal in
measure to (entire) space, and is united with the Dharma-body, (he can) give
benefits to all beings. The splendour of D/wrwra-embodiment equal in measure to
space is neither coming nor going. This text explains the method of uniting with the
samadhi of space.
57. The equivalent Chinese word for ‘the female-organ o f the yoga’ is 'yu-shi-po-jia'.
318
The eighteenth assembly is called 'Yoga of Kq/ra-gem-diadem (vajra-ratna-
kuta-yoga)\ It was explained in the Heaven of the fourth Dhydna. Bodhisattva
Vajrasattva having invited the Buddha, for the sake of Mahabrahma Sahapati,
explains the mandala of yoga of five families and the rite of guiding the pupil to
enter (the mandala). It contains thirty-seven (deities). (Vajrasattva) also explains the
four mandalas containing the four mudras. Down to the external- Fq/ra-family, for
the sake of the pupil, (Vajrasattva) gives (the way of) learning the mind-recitation:
“Having turned the letters of mantra onto the right-side on the lunar disc, (the
pupil) should concentrate the mind on every individual letter (of the mantra). When
(the pupil) is united with the principle of reality (in every letter), (the pupil) should
start it again.” (Vajrasattva) also explains (the way of) gaining the attainments of the
mundane world and the supramundane world: “Counting the beads, one should not
limit the number of beads. However, when one realises the entry into reality, one's
mind should not be scattered, and one should take the yoga of one's deity as the
source.” (This text) minutely explains the twenty kinds of non-accomplished-
characteristics, and explains the various characteristics which are close to the
attainment.
(The text) explains the eighteen assemblies of Toga-doctrine which have the four
thousand gdthds, the five thousand gdthds or the seven thousand gdthds.
Altogether they become one hundred thousand gdthds. (The text) contains the four
mandalas of the five families and the four mudras, and contains the thirty-seven
deities. Each family contains the thirty-seven (deities), or the one deity consists of
the thirty-seven (deities), and contains the four mandalas and the four mudras.
Each of them entered each other like Indra's network made of jewels, all of which
illuminate each other endlessly. If a practitioner can perceive the substance of this
yoga properly, like the universally shining Buddha, each chief member and minor
member of the body (ahga-pratyahga) and each hair-hole (roma-kupa) and each
major mark (laksana) and each secondary mark (anuvyanjana) and each instrument
of religious merit {punya-sambhara) and each instrument of knowledge (jnana-
sambhdra)58 abide in the enlightenment-position. (The text) states the Unique-
Buddha-qualities (avenika-buddhadharma)59 of two vehicles (dvi-ydna) of yoga.
(The text) explains the actions of dharma of the pledge of the mandala equal in
58, The punya-sambhara contains five out of six pdramitds, i.e. ddna, sila, Icsanti, virya and
dhydna, and the jnana-sambhdra indicates prajna.
59, According to the BHS, there are the eighteen avenika-buddhadharmas: (1) nasti tathagatasya
skhalitam, (2) nasti ravitam, (3) nasti musitasmrtita , (4) nasty asamahitacittam, (5) nasti
nandtvasamjiid, (6) nasty apratisamkhyayopeksd, (7) nasti chandasya hdnih, (8) nasti
viryasya hdnih, (9) nasti smrtihanih, (10). nasti samadhihanih, (11) nasti prajnaya hdnih,
(12) nasti vimulctihdnih, (13) sarva-kaya-karma jnanapurvam gamam jnananuparivarti, (14
and 15) id. with vak, manah, for kaya, (16-18) atlte (17 anagate, 18 pratyutpanne ) 'dhvany
asahgam apratihatam jndnadarsanam pravartate.
319
measure to space, and the accomplishment (of them) is the same with the mentioned
above. Though each is divided, each is not mixed and completely attains the four
Bodies, namely, Svabhava-kaya, Sambhoga-kaya, Nirmana-kaya and Nisyanda-
kaya. These immediately give welfare and happiness to all living beings,
Bodhisattvas, Sravakas, Pratyekabuddhas and Tirthakas, so it is named as the
Doctrine of Yoga-vajrayana,
This is the ‘Outline of Eighteen Assemblies of the Vajra-sekhara-yoga’.
320

Sarva Tathagata Tattva Samgraha: Compendium of All The Tathagatas

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SARVA TATHAGATA TATTVA SAMGRAHA

COMPENDIUM OF ALL THE TATHAGATAS

THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

SCHOOL OF ORIENTAL AND AFRICAN STUDIES

All rights reserved

INFORMATION TO ALL USERS

In the unlikely e v e n t that the a u thor did not send a c o m p le te m anuscript

Published by ProQuest LLC(2017). C opyright of the Dissertation is held by the Author.

All rights reserved.

This thesis constitutes a study of the Sarva-tathagata-tcittva-samgraha, the

BHS Buddhist Hybrid Sanslcrit Grammar and Dictionary, Franklin

Other Chinese Sources

7. Meaning o f the title Sarvatathagatatattvasamgraha

Buddhas, bodhisattvas and gods in a variety of celestial palaces or Pure Lands.

9. TSD. Vol. 18, No. 869, pp. 284-3-9-287-3-14.

historical existence containing a systematised exposition of the eighteen assemblies,

15. TSD. Vol. 18, No. 882, pp. 341-445-2-10.

28. TSD. Vol. 18, No. 869, p. 284-3-9-18.

35. TSD. Vol. 18, No. 869, p. 286-1-21-25.

39. TSD. Vol. 61, No. 2225, p. 124-1-20-23.

Aksobhya, Amitabha, Vajrasattva, Akasagarbha, Avalokitesvara

43. Ibid., pp. 223-2-26-3-11.

as the execution of homa rites. Furthermore, it seems that it employs a direct

47. Taranatha, History o f Buddhism in India, pp. 274-283.

btsan invited Buddhaguhya to Tibet, but Buddhaguhya declined the invitation.51

51. Taranatha, H istoiy o f Buddhism in India, p. 282.

57. Ibid., pp. 271-274.

64. TSD. Vol. 39, No. 1798, pp. 808-821.

Buddhism declined in India, there lived a bhadanta.66 First of all,

77. Taranatha, History o f Buddhism in India, p. 127.

81. Jin-gang-ding-jing-da-yu-qie-mi-mi-xin-di-ja-men-yi-jue, TSD. Vol. 39, No. 1798, p. 808-2-

"The first assembly is called King o f the Ordinance o f the

deal with Hie rites relating to Vajraguhya Vajramandala, Vajrajndna

Avesa (belongs to each of) the four families according to a specific

Effulgent Eye which indicates attraction (<akarsana), the Wrathful

homa rites consist of pacification, acquisition of prosperity (paustika), subjugation and

Gem-family, whose presiding Buddha is Ratnasambhava. The STTS only describes

Chinese versions translate ‘Lokesvararaja’ as ‘Avalokitesvararaja’. Both ‘Amitabha’ and

Ri-ta-s5-gya-ri-go-bu-shin-kan), several copies of which are extant in Japan," was

Ibid., pp. 16-18.

105. David Snellgrove [Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 13) regards the eighth

f OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-9-286-1-25.

Chapter 1. Vajradhatu Mahamandala

Tattvalolca reads: “Then this Buddha-field of all the Tathagatas”.

maturation body {vipaka-Myd) as Bodhisattva Sarvarthasiddha stayed on the bank of the

Vairocana.37 Paragraph (a) indicates Mirror-like-Wisdom and the character of

42. Both Chinese versions insert: “Tathagata”.

heaven. In contrast, Mahavairocana as Dharma-body is pervasive in the sphere of

48. Tattvaloka, TTP. Vol. 71, No. 3333, p. 148-4-5-7.

paragraph (j) indicates that Karma-paramita emerges from Active-Wisdom and is

53. Kosalalam kara, TTP. Vol. 70, No. 3326, p. 194-1-4-5-2.

conclave and approached the place where the Bodhisattva

57. Chinese 2 omits: “Mahasattva”.

UTPADAYAMI. (I raise the thought of enlightenment.)’ Then,

69 Chinese 2 adds: “to all the Tathagatas”.

Upon this being pronounced, the Mahabodhisattva84 Vajradhatu

84. Chinese 1 reads: “Bodhisattva Mahasattva”.

composition (yajrcitmaka) and the fifth abhisambodhi, which is paragraph (o), is

108. S. p. 10-7-18, T. p. 220-2-5-3-3, C l. p. 208-1-28-2-8, C2. p. 342-2-19-28.

114 Kosalalamkara, TTP. Vol. 70, No. 3326, p. 201-3-6-7.

anuraganajnanay and Vajrasadhu is ‘Great Joy (mahdtustty. These are ‘Great

118. S. p. 19-1-3, T. p. 222-1-2-3, C l. p. 209-3-13-15, C2. p. 344-2-8-9.

(6) Eight Goddesses of Offering:-