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Nitartha Digital Library Tibetan འཚོལ་བཤེར་གདམས་ཀ
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English
Nitartha Digital Library Tibetan Table of Contents Distribution Search Options previous The Memorandum of the Blood-Drinking Wrathful Dance, The Play of Samantabhadra's Various Manifestations. Dharmashri. next The Memorandum of the Blood-Drinking Wrathful Dance, The Play of Samantabhadra's Various Manifestations. Dharmashri.
Chinese
在寂静之处。取此金饮，增长瑜伽士威势！如此翻译后，作了回向。第三，前往跳神场。对于任何尚未成熟的众生，为了舍弃泄露秘密的过失，应观修此意之坛城。如此说道。如《明示》中所说：为了无边有情的自明，无论何者，皆非异于自己。当一切法清晰地证悟为自明自显的神变时，因为所教之境与能教之人二者不分别观待，故以“此处没有任何不适合的众生”的方式，虽然不会产生泄露秘密的过失，但对于尚未获得稳固证悟的瑜伽士，通过相信一切众生本来即已成就为清净的坛城，以具足将器情清晰显现为坛城的等持之方式，身体得以变化，共同珍贵的肢体是：头部威严，上身如狮，腰部婀娜，膝部柔韧，四肢关节奇妙，脚部舒适，肌肉放松，姿态傲然，肌肉变化生动，行为缓慢而突出。手印向右结则向左解，向左结则向右解，在中央结解时直视前方并傲然，精于结、变、解。此外，切开肩胛的平肌，解开鬃毛的缠绕，展现身体的微笑。依次具有如同大鹏鸟翱翔于空中、狮子抖动鬃毛、老虎在森林中傲然行走般的功德。从外部燃香，并交替敲击一下大鼓和三下小鼓，伴随铙钹的碰撞，以此激励。内部的跳神者由上师引导。之后，东方、北方、西方、南方各组，各自有多少眷属，让方主来到中央，并按顺序排列整齐。随着乐步，在金饮供养结束时的第一次铙钹落下时，跳神主进入。在第二次铙钹敲击时，一同散开。从第三次铙钹敲击开始乐步。注：其意义是到达坛城绘制处和绕行道时，如同排成一列般整齐地行走。临近绕行时，上师
English
In a peaceful place. Take this golden drink, increase the power and might of the yogi! Having thus translated, they made the dedication. Third, going to the 'cham (ritual dance) area. For whichever beings are unripe, in order to abandon the fault of revealing secrets, one should meditate on this mandala of the mind. Thus it is said. As it is said in the *Sal Tra*: For the self-awareness of limitless sentient beings, whatever is, is not other than oneself. When all phenomena are clearly realized as the miraculous display of self-awareness and self-manifestation, because the object to be taught and the person teaching are not apprehended separately, although the fault of revealing secrets does not arise in the manner of "Here there are no unsuitable sentient beings," for yogis who have not attained stable realization, by believing that all beings are primordially established as the pure mandala, through the samadhi that clearly manifests the container and contained as the mandala, the body transforms, and the common precious limbs are: the head is majestic, the upper body is like a lion, the waist is graceful, the knees are supple, the four joints are wondrous, the feet are comfortable, the muscles are relaxed, the expressions are stately, the muscle movements are vibrant, the actions are slow and prominent. When mudras are made to the right, they are released to the left; when made to the left, they are released to the right; when made and released in the center, one looks straight ahead and is stately, skilled in making, transforming, and releasing. Furthermore, cutting the flat muscle of the shoulder blade, releasing the entwined mane, displaying the body's smile. Possessing qualities like, in sequence, a Garuda soaring in the sky, a lion shaking its mane, and a tiger stalking proudly in the forest. From outside, incense is offered, and music, with one large beat and three small beats, accompanied by clashing cymbals, is struck alternately, thus inspiring. The inner dancers are led by the master. After that, the eastern, northern, western, and southern groups, with their respective retinues, have their direction leaders come to the center, and are arranged without disorder in sequence. With the musical gait, at the first cymbal drop at the end of the golden drink offering, the 'cham master enters. At the second cymbal beat, they spread out as one. From the third cymbal beat, the musical gait begins. Note: The meaning is that upon reaching the mandala drawing area and the circumambulation path, they walk evenly like a lined-up row. When nearing the circumambulation, the master
Chinese
从空性中，供品容器化为燃烧的莲花，内外秘密的供品清澈无碍，具有一切所欲功德，以无量幻化云般散发，充满虚空。 （ཨ་ལོ་ཀེ་ཧྲཱིཿ，आलोके ह्रीः，Āloke hrīḥ，光明 赫利）。 （ༀ་ཨཱཿཧཱུྃ་སརྦ་པཉྩ་ཨ་མྲྀ་ཏ་ཧཱུཾ་ཧྲཱིཿཋཱཿ，ॐ आः हूँ सर्वपञ्चामृत हूँ ह्रीः ठः，Oṃ āḥ hūṃ sarvapañcāmṛta hūṃ hrīḥ ṭhaḥ，嗡 阿 吽 一切五甘露 吽 赫利 塔）。 （ༀ་མ་ཧཱ་རཀྟ་ཛྭ་ལ་མཎྜ་ལ་ཧཱུཾ་ཧྲཱིཿཋཱཿ，ॐ महारक्त ज्वालामण्डल हूँ ह्रीः ठः，Oṃ mahārakta jvālamaṇḍala hūṃ hrīḥ ṭhaḥ，嗡 大红 炽燃坛城 吽 赫利 塔）如此加持。然后上师，将自己生起为主要父佛母，或者以子佛的行事散发眷属，如同仪轨中所说；如果不能进行如此广大的观修，则念诵： 如此念诵后，自己成为薄伽梵大乐金刚嘿噜嘎父佛母，以五种智慧灌顶，以身语意咒语加持后，念诵： （ས་མ་ཡ་ཧོཿ，समय होः，Samaya hoḥ，三昧 霍）。 （ཛཿཧཱུྃ་བཾ་ཧོཿ，जः हूँ वं होः，Jaḥ Hūṃ Vaṃ Hoḥ，惹 吽 班 霍）。 如此念诵后，从父佛母平等结合的心云中，散发出四部嘿噜嘎父佛母以及处所、领域、守门者等，并从心间散发出自在母们，到各自的座垫
English
From the state of emptiness, into a blazing lotus offering vessel, the outer, inner, and secret offering substances, clear and unobstructed, having all qualities of desire, emanating as immeasurable clouds of magical illusion, filled the sky. (ཨ་ལོ་ཀེ་ཧྲཱིཿ, आलोके ह्रीः, Āloke hrīḥ, Light, Hrīḥ). (ༀ་ཨཱཿཧཱུྃ་སརྦ་པཉྩ་ཨ་མྲྀ་ཏ་ཧཱུཾ་ཧྲཱིཿཋཱཿ, ॐ आः हूँ सर्वपञ्चामृत हूँ ह्रीः ठः, Oṃ āḥ hūṃ sarvapañcāmṛta hūṃ hrīḥ ṭhaḥ, Oṃ āḥ hūṃ, all five nectars, hūṃ hrīḥ ṭhaḥ). (ༀ་མ་ཧཱ་རཀྟ་ཛྭ་ལ་མཎྜ་ལ་ཧཱུཾ་ཧྲཱིཿཋཱཿ, ॐ महारक्त ज्वालामण्डल हूँ ह्रीः ठः, Oṃ mahārakta jvālamaṇḍala hūṃ hrīḥ ṭhaḥ, Oṃ great red, blazing mandala, hūṃ hrīḥ ṭhaḥ) thus bless. Then the master, having generated oneself as the principal father-mother, or emanating the retinue by the activity of the sons (deities) according to the sadhana; if such elaboration cannot be performed, then recite: By reciting thus, oneself becomes the Bhagavan Great Bliss Vajra Heruka Father-Mother, empowered by the five wisdoms, having been blessed by the body, speech, and mind mantras, then recite: (ས་མ་ཡ་ཧོཿ, समय होः, Samaya hoḥ, Samaya, hoḥ). (ཛཿཧཱུྃ་བཾ་ཧོཿ, जः हूँ वं होः, Jaḥ Hūṃ Vaṃ Hoḥ, Jaḥ Hūṃ Vaṃ Hoḥ). By reciting thus, from the mind cloud of the father-mother in equal union, the Heruka father-mothers of the four families together with the place, realm, and gatekeepers are emanated, and from the heart, the powerful goddesses are emanated, to their respective seats
Chinese
十方无余三时之， 诸佛菩萨请垂念， 为利一切有情故， 我今修持大坛城， 为摄受我等故， 请加持此地吉祥， 祈请善逝作此行。 以金刚视贪欲， 清净故眼极睁大。 如是，自身以随贪之相，眼睛凸出地睁大，以金刚视遍观一切。右手挥动金刚杵，左手摇动铃，双脚行如后文将述之寻求界限之金刚半步走，但与“一、二二”时双手不撑腰，仅是站立挺直之区别，走向东北方。与将要解释的九击配合，四方主也进入围场，阿阇黎...
Chinese
其左侧为东和南，右侧为西和北的方主们就座的末端，被其他手持鼓的舞者们围绕着。紧接着之前半步舞步末尾的“二二”之后，将鼓转向朝上。从两次“斯比尔斯布拉姆”的“扎姆”开始，击鼓九次，到第八拍时先抬右脚，双脚交替抬起、摆姿、拉伸，以寻找金刚围。到第九拍时抬起右脚。下到中央围，并在那里坐下两个“扎格”。
English
To the left are the East and South, to the right are the West and North direction lords seated at the end, surrounded by other dancers holding drums. Immediately after the previous 'two by two' at the end of the half-pace, the drum is turned upwards. From taking the 'sbir sbram' twice with 'dzam', beating the drum nine times, up to the count of eight, lifting the right [foot] first, alternately lifting and posing with both feet, pulling to seek the vajra enclosure. On the ninth count, lift the right [foot]. Descend to the central enclosure, and sit there for two 'dzag'.
Chinese
从东方出来，做威猛状，焚烧古古尔香，撒芥子，猛烈念诵四吽咒。从心间的吽字发出忿怒的忿怒云，从双眼的日月，从脚底的金刚发出燃烧的光芒，烧毁、摧毁、驱逐一切障碍，观想坛城的基础坚固如金刚。再次做左起步的二扎姆九绕二扎嘎玛相合的步伐后，放下乐器。 第十，关于坛城天众的舞步。从扼要总说和实际舞法讲解两方面来说。第一方面也有，如所说：讲解姿态与乐句相合之法，讲解遍行身姿要点，讲解前后行事的结合。从这三方面来说。第一方面是，应知如下：舞姿的相合，也依赖于鼓的声音节奏，因此首先学习击鼓的次第。 乐步左右跳跃步， 以及行步走向右跳时， 各有一个大单击。 之后旋转并傲然站立时， 大约三次小击并伴随乐器配合。 行步左右如画圆般， 落下时猛烈地切断大击。 挥手也如行步般， 落下时以稍小的声音切断。 从乐器傲然站立的状态中，舞步声音刚转换完毕，右脚立刻向前落下， 向右和向左摇摆傲然站立时， 各有一个称为“扎姆”的大击。 摇摆傲然站立进入四拍时， 右边四拍完成，左边是其一半。 大击相同，左边的 第三、四拍稍大而慢地击打。 四莲花跳、莲花、宽莲花时， 各是三次小击。 小扎姆是极其小的三次击打。 莲花和扎姆两者的扎姆、比尔、巴姆， 这三者依次加大击打。 单击乐器的扎姆是大声的， 拍数稍小，击打次数之后， 四五次小击并伴随乐器配合。 挥手上中下的扎姆， 像那样特别地做小击。 莲花乐器进入四拍时， 跺脚舞动时有大击， 乐器中仅显露一次是关键。 转换各自手印时， 旋转舞步并激发威猛后，保持
English
Emerging from the east, making a fierce appearance, burning guggul incense, sprinkling mustard seeds, and fiercely reciting the four Hūṃ mantra. From the Hūṃ syllable in the heart, wrathful clouds of wrath arise, and from the sun and moon of the eyes, and the vajras on the soles of the feet, burning rays of light emanate, burning, destroying, and expelling all obstacles, and visualizing the foundation of the mandala as firm like a vajra. Again, after performing the steps combined with the left-initiated two Zam nine circumambulations two Zagama, the musical instruments are put down. Tenth, regarding the dance steps of the mandala deities. From the two aspects: explaining the general outline by summarizing the key points, and explaining the actual dance method. The first aspect also has three parts as stated: explaining the method of aligning postures with musical phrases, explaining the essential summary of pervasive body movements, and explaining the combination of preliminary and concluding actions. From these three. The first is, it should be known thus: The alignment of the dance body movements also depends on the sound and rhythm of the drum, therefore first learn the sequence of drum beats. For musical steps, right and left jumping steps, and for moving steps going towards the right jump, there is one large single beat each. After that, while circling and standing proudly, about three small beats with musical accompaniment. For moving steps right and left like drawing a circle, when dropping, cut off with a fierce large beat. For waving also, similar to moving steps, when dropping, cut off with a slightly smaller sound. From the state of musical proud standing, immediately after the dance sound conversion is complete, the right foot drops forward, and when swaying and standing proudly to the right and left, there is one large beat called "Zam" each. When swaying and standing proudly enters four counts, the right side completes four, the left is half of that. The large beats are equal, for the left side, the third and fourth beats are struck slightly larger and slower. For the four lotus jumps, lotus, and wide lotus, there are three small beats each. For the small Zam, there are three extremely small beats. For the Zam, Bir, Bam of the two, Lotus and Zam, these three are struck with increasing loudness respectively. The Zam of the single beat music is large, after striking the count slightly smaller number of times, four or five small beats with musical accompaniment. For the Zam of the upper, middle, and lower waving, a particularly small beat is done like that. When the Lotus music enters four counts, when stomping and dancing, there is a large beat, In the music, only one appearance is key. When changing the respective mudras, after circling the dance and generating fierceness, holding
Chinese
从驱逐之间，除了悬挂的装饰，从大摇摆开始，妃之间，单次敲击，四次四次，法界颅鼓敲击两次和五次。上方、中间、下方三者敲击八次，头部的项链敲击六次，敲击'dram'，对于这些数字，稍微强调后分开嘴（或开口），这是色阿卓祖的优秀传统。对于所有这些，在最后一个数字一处，稍微小声敲击并采取'gzhol'时，那也从'dram'大大增加后敲击。除了采取'gzhol'，对于所有的间隔，在所谓的'dram sbir dram'中，第一次小，然后逐渐增大。对于两种类型的'grol bsdus gzhol stabs'，在'sbir dram'之后也有一次小敲击。对于'gzhol'，在主要数字完成后，作为间隔采取的'dram'也很大。对于风和水的坛城，以及八位忿怒母和'bam spro stob'，敲击五次，大小交替。那时，对于所谓的“四”，做一次带有轻微跛行（或停顿）的大敲击是好的。金刚半步、伸展和收拢，以及空和地坛城、骷髅火，守门员的'bam'金刚步，以及包括'stob 'chams'和'brdog 'gros'在内的这些，对于数字四，开头和结尾是大的。有时，对于所谓的中间一，当通常做两次两次相等敲击时，是大敲击，但对于'ldem 'gros'，进入时那本身应该是一个小敲击。对于八位'phra men'，四次敲击是大小声音/敲击交替。这个和'gnas ma'的右脚的释放-收拢有时是大声音，但据说做中等敲击是美丽的。无量力女神的'dur 'chams'，以及'rol pa'和黑蛇，寻找'bam'，用小石子检查，以及带着剩余物奔跑的，大多是两次敲击带有跛行/停顿。小石子的右摇摆和左摇摆，内部和金刚步从右内部进入，扔出小石子后向外走的，是四次四次敲击，大、相等、快速。总之，对于各自的手印，转换时除了一些特殊情况外，是大敲击，而各自的间隔、'rol 'gros'、'ldem 'gros'等，是小敲击，以此类推，到处都有大声音和小声音发出，停顿、慢和快根据情况进行。一般来说，慢的音乐是美丽的。这只是一个说明。第二点也应该这样知道：到处行走，上方和下方，重要的聚集的身体变化...