English
Continue as before. At the syllable "ba," the right foot is slightly raised and lowered, and the left foot is dragged, then stomped forcefully in the center. At "tar ra," the left foot moves in the direction of travel, and the right foot is dragged back. At "'a wa'i," the left foot is lifted and received, entering the rhythm of the dance. The courageous blue one, possessing a circle of light, glorious and radiant with splendor, I prostrate. These two lines also repeat the previous two melodies. Then, A dense mass of light, gathered like clouds, dwells in a terrifying and majestic posture of stretching and contracting. The devourer burns like the fire of the eon's end, leading all wickedness into the vajra's mouth. Revealing unbearable fangs, with a gaping mouth gnashing, with a guttural sound ready to devour the three realms. With eyes of hatred blazing like the sun and moon, burning the seven armies, I prostrate. In these two shlokas, the root melody shown by the divine footsteps is inserted, and at "a dense mass of light," the left leg is extended and the hands are joined. At "like clouds," with the upper body swaying, the right foot moves to the right. At "gathered," the left foot is dragged and both hands stomp to the right. At "la 'a," the left foot is lifted and lowered into the posture of "yi ya." At "'a wa'i 'e ya," remain in place. In the posture of "terrifying and majestic," alternate the feet and hands on one foot, stomping to the left. In this way, alternating left and right, at the end of the first shloka, at the final "'e ya," the right foot moves to the right, starting from receiving, towards the direction of arrival, starting from the left foot, entering the four-step dance, with the left step, at "three four," at the end of the wide lotus, the hands are raised upwards and joined. For "unbearable fangs," etc., other melodies are as before, initially stomping to the left, and finally starting from the right, the four-step dance rotates in the direction of travel, and finally the hands are raised upwards and joined. Increasing and expanding the three poisons: The flesh of ghosts is more delicious than food, the offering of ignorance is unsurpassed. Please accept this unsurpassed offering, and grant the accomplishment of the body. The blood of ghosts is more delicious than wine, the offering of desire is unsurpassed. Please accept this unsurpassed offering, and grant the accomplishment of speech. The bones of ghosts are more delicious than butter, the offering of hatred is unsurpassed. Please accept this unsurpassed offering, and grant the accomplishment of mind. These three shlokas, each one moves to the right, left, and center, and then gathers.
Chinese
如果喜欢萨帕，为了诛杀三毒的怨敌，将血、肉、骨三种等的颂歌，仅仅用三毒的镇伏根本旋律覆盖，从吽字上抬起左脚开始。要知道在所有词句的下面抬起右脚，向各个方向返回的方法。双手做出镇伏的姿势，左右交替，左右脚也轮流抬起放下，以称为“摇摆步”的方式，第一句走向前方，第二句走向侧方，第三句走向背后，第四句走向中央。这些被称为金刚罗刹的镇伏跳法。然后，在“旋律结尾的祈请”处，抬起左脚开始，用“啪”字转变，以金刚半步三次和黑蛇盘旋步的方式，依次进入法衣房间，这就是根本跳法。这里有些随意说话的人说，根本跳法和成就跳法是金刚橛的跳法，所以与幻化等结合是不合理的，这样说是仅仅显示了各自的见识和智慧狭小。理由是幻化饮血尊的跳法，从手势的大小开始，逐渐地趋于稳定。正如法王索南坚白所说，以智慧之光忍受道路的艰难，前往安达尔顿处，精通地学习了这种方法。之后，传授给法王艾旺等，甚至在金刚橛法中也进行了两次幻化忿怒尊的根本跳法的实践，后来才转变为金刚橛跳法，这是从身幻显现中得知的。我获得了上师的许可，按照教言前往难行之地，如其所愿地找到了殊胜的导师，如法地勤奋学习了此义，如其所愿地获得了如意的身幻，献给法王观看，法王说完全如实并给予了认可，传授给了包括教法眷属在内的众人，对此进行了两次实践。之后，添加了五大元素血供和骨骼宫殿等，以及卡日僧哈的跳法等，将手印、细微手势转变为手势。对此进行了多次实践。如是所说，因此，在此与幻化忿怒尊结合，是自己享用自己的财物，所以非常合理且恰当。
English
If you like Sapa, in order to subdue the enemies of the three poisons, cover the verses of the three substances of blood, flesh, and bone with the root melody of subduing the three poisons. Starting from raising the left foot at Hūṃ, one should know the method of raising the right foot under all the phrases and turning in different directions. The two hands make the gesture of subduing, alternately left and right, and the left and right feet are alternately raised and lowered, in a manner known as the "swaying step," with the first phrase going forward, the second phrase going to the side, the third phrase going to the back, and the fourth phrase going to the center. These are called the Vajra Rakshasa's Subduing Dance. Then, at the phrase "prayer at the end of the melody," start by raising the left foot and transform it with the syllable "Phaṭ." The manner of gradually entering the costume room with three Vajra half-steps and the Black Serpent Coiling Step is the root dance. Here, some who speak rashly say that the root dance and the accomplished dance are the dances of Vajrakīla, so it is unreasonable to combine them with illusion, etc. To say this only shows that their own views and wisdom are narrow. The reason is that the practice of the dance of the Illusion Wrathful One, starting from the size of the hand gestures, gradually becomes stable. As Dharma Lord Sonam Gyenpa said, enduring the hardships of the path with the light of wisdom, he went to Andar Ton and expertly learned this method. Afterwards, he taught it to Dharma Lord Ewam and others, and even in the Vajrakīla practice, he performed the practice of the root dance of the Illusion Wrathful One twice, and later it was transformed into the Vajrakīla dance, which is known from the Body Transformation Appearance. I received the permission of the Lama, went to the difficult place according to the instructions, found the excellent teacher as desired, diligently studied this meaning according to the method, obtained the desired Body Transformation Appearance as desired, presented it to the Dharma Lord for viewing, the Dharma Lord said it was completely true and gave his approval, and taught it to everyone including the Dharma retinue, and performed this practice twice. Afterwards, the five elements of Rakta and the Bone Palace, etc., and the dance methods of Kari Singha, etc., were added, and the hand gestures and subtle gestures were transformed into mudras. This was practiced many times. As it is said, therefore, here, combining it with the Illusion Wrathful One is like using one's own wealth, so it is very reasonable and appropriate.
Chinese
是。因此，此法的实修传承是，从国王匝（ཛཿ）传给三位智者，再传给藏地的译师如玛涅、努钦父子、祖琼瓦、兰曲瓦巴、嘉瓦嘉、贡普巴、达顿哲嘉、通松嘉波、达顿兄弟、达秋旺、巴达师兄弟和卓顿，之后传给达顿仁嘉、秋隆瓦索南华、堪布扎多巴、秋索二位、秋嘉扎巴炯内、噶提巴秋旺，他传给持明鄂旺扎巴、人王贝匝亚、噶提巴衮炯、智者洛桑饶丹，我们也是在他们的座前，将至尊上师的教言顶戴于头，在此邬金敏珠林大经堂中如法修习，才敢稍微自诩为了解。此外，还见到了森嘉喀瓦和索隆瓦的饮血根本金刚舞，以及祖扬本的护法神舞，对金刚舞的要点稍作分析。此文主要依据达的旧抄本和身相显现中的五十八忿怒尊大手印的转变方式等，并对色和若的文字等也进行了详细考察，使其清晰易懂地传播开来。 殊胜饮血幻化金刚舞， 普贤尊胜嬉戏之妙用， 清晰显现此乃妙尊噶提巴， 达玛师利著成此备忘录。 由此所获最胜白净诸善根， 依仗金刚身之稀有行持力， 令诸众生事业与胜成就增， 愿皆获得具足善妙之福分！ शुभमस्तु (śubhamastu，愿吉祥！)，सर्वजगतम् (sarvajagatam，愿一切世界)！ 上一篇 血饮忿怒尊金刚舞之备忘录 普贤尊胜嬉戏之妙用 达玛师利 下一篇
English
Yes. Therefore, the lineage of practical instruction for this is: from King Ja it was transmitted to three wise men, then to the great translators of Tibet such as Ma Gnyags, Nubchen father and son, Zur Chungwa, Lan Chu Waba, Gyalwa Gya, Gom Pukpa, Darton Drupgyal, Tongsum Gyalpo, Darton brothers, Dar Chöwang, Ba Dar brothers and Droton. From them, it was transmitted to Darton Ringyal, Chö Longwa Sonam Pal, Abbot Drakdorpa, Chö Sö brothers, Chögyal Drakpa Jungne, Gartikpa Chöwang, who transmitted it to Ngakchang Ngawang Drakpa, the Lord of Men Bijaya, Gartikpa Kunjong, and the wise Lobsang Rabten. It is at their feet that we, too, having placed the command of the venerable Lama upon our heads, have studied properly in this great Ugyen Mindroling monastery, and dare to boast of understanding a little. Furthermore, we have seen Seng Gya Khawa and the blood-drinking root cham of So Lungwa, as well as the Damchen cham of Zur Yangwen, and have analyzed the key points of the cham dance. This text mainly relies on the old manuscripts of Dar and the transformation methods of the great mudras of the fifty-eight wrathful deities within the manifestation of body forms, and has also thoroughly examined the letters of Se and Rok, etc., so that it is spread clearly and easily understood. Glorious dance of the Heruka Vajrakila, The play of Samantabhadra's victorious sport, Clearly shown, this is the Gartikpa of Myötsun, Dharma Shri composed this memorandum. By whatever supreme white merit is obtained from this, Through reliance on the wondrous conduct of the vajra body, May all beings' activities and great siddhis increase, May they all experience the good fortune of possessing it! śubhamastu (梵文天城体：शुभमस्तु，梵文罗马拟音：śubhamastu，汉语字面意思：愿吉祥！), sarvajagatam (梵文天城体：सर्वजगतम्，梵文罗马拟音：sarvajagatam，汉语字面意思：愿一切世界)! previous\tMemorandum on the Blood-Drinking Wrathful One's Cham Dance, The Play of Samantabhadra's Victorious Sport. Dharma Shri next