English
...starting from. From the lotus dance, with three dragging steps of two beats, the left hand resting on the hip and the right hand waving, and stepping three steps backward to the right side corner, then with one strong four-beat, the right index finger pointing towards the Bhaṇḍa, and extending the right leg, with a fierce gaze like Hūlu, three shaking steps inwards, from the wide lotus dance, the same manner is done to the left side corner and inwards by reversing the legs and hands. From the wide lotus, with the thumbs and index fingers of both hands joined in a stone-dropping manner, and looking at the Bhaṇḍa with the corner of the eye, three dragging steps are taken inwards with the left leg leading, while pulling from the Phur Dar 'Khrig Ma, with a frightened manner, with four side drags extending the left leg, coming back outwards with the same gait as a crow dragging its leg, after repeating this three times, from the inward drag, saying "four four", with a circling gait taken by circling the right leg outwards, entering the circling path with a tapping sound, and stopping the circling. With the Bam stone, the second examination starts from the jumping lotus. Repeat as before. Again, circling around one's own Bhaṇḍa with a tapping sound, and stopping the circling. With the Bam stone, the third examination starts from the jumping lotus. Repeat as before and enter the circling path with a tapping sound. The difference is that the latter two times, the heart becomes slightly larger, approaching the Bam inwards and making the outward steps smaller. The second is: Stopping the circling with a tapping sound. With the Bam Vajra gait, the examination starts from the jumping lotus. Following the rhythm. Gathering the lower garment up to the thigh and sitting in a squatting position. With three upper body waves with a four-beat like the center of the sky, then with three Vajra steps to the right in four large steps, and again with three waves, going three Vajra steps inwards showing the left front, then with the first one or two of the two four-beats, pulling the Bhaṇḍa's hair in a frightened manner, which is the conduct of a fallen dog, and smelling at three or four, which is the conduct of a jackal, and at the first one or two of the second, turning the Bam over, indicated by turning the Bhaṇḍa face upwards, which is the conduct of a tiger, thus gradually increasing the heart, and standing up at three or four and entering the tapping gait. At this point, the examination with the Vajra gait is repeated three times, first pulling the hair, second smelling, third turning over, etc., as found in old texts, and...
Chinese
与各种手印相配合，女性瑜伽士进入三摩地的方式；以及忿怒尊的力士威势；勇士的进入步伐等各种步伐；眼睛的注视变化；以及声调的变化方式等，虽然在续部和窍诀中广泛宣说，但由于非常多而令人畏惧，因此暂时只说这些。如果想要深入，可以根据情况加以配合即可。对于石子开头的挥舞，即使现在有进入也有出去的跛行步态，但在贤者阿达尔等的古籍中，就像这里所记载的那样出现。无论如何，这些是无上续部秘密行为中殊胜的部分，因此重要的是要与那些仅仅采取舞者姿态的人区分开来。第三部分是：暂停的转折点。铺开尸体进行供养。如此以“驱逐”的声音呼唤，并配合鼓乐。像之前一样蹲坐，从三次摇动后以金刚步走到颅器旁边，以乌龟姿势或半跏趺坐的任何一种姿势坐下。交替进行大小五次敲击。对于四圆满莲花和小的声音，向右一次抓取莲花。从这里以下，所有小的节拍都使用宽莲花，所有大的节拍都交替使用各自的手印，只有这两种交替进行。各自的手印有三种：一、迎请宾客。二、加持。三、超度并供养。第一种是：每一次大的敲击，举起右手从右侧挥动，迎请寂静本尊众。同样地，挥动左手，迎请忿怒本尊众。向前同时挥动，迎请上师。从右后方角落用右手挥动，迎请男性誓言护法。反方向挥动，迎请女性誓言护法。第二种也是：每一次大的敲击，在左拳上方用右手做赐予庇护的镜子手印，表示色。抬起左拳的手腕，用右手中指拨动，做琵琶手印，表示声。双手掌心向外的手印，表示胜香。同样的手印掌心向上，表示胜味。双手伸直如旗帜般举起的手印，表示触。即将所有要超度的尸体清晰地显现出来，其本质是加持为五种欲妙。第三种也是：每一次大的敲击，右肩，左肩，额
English
In conjunction with various gestures, the manner in which female yoginis enter samadhi, and the mighty strength of wrathful deities, and the gait of heroes entering, and so forth, various gaits, and the changes in gaze with the eyes, and the manner of changing vocal sound, etc., although extensively taught in the tantras and pith instructions, seeing that they are very numerous and daunting, for now it is just that much. If one wishes to elaborate, it is sufficient to combine them as appropriate. Regarding the waving at the beginning of the pebbles, even nowadays there is a limping gait that seems to enter but then goes out, but it appears as described here in the ancient texts of scholars like Adar and so forth. In any case, these are the excellent secret practices of the unsurpassed tantras, so it is important to keep them distinct from those who merely adopt the guise of dancers. The third part is: The turning point of the pause. Spreading out the corpse and offering. Thus calling out with the sound of 'expelling' and in accordance with the drum beats. As before, sit in a squatting posture, and from three swayings, proceed with a vajra gait to the side of the skullcup, and sit in either the tortoise posture or half-crossed legs. Alternate between large and small five beats. For the four full lotuses and the small sound, one lotus grab to the right. From here onwards, for all small turns, use the wide lotus, and for large turns, alternate with the respective mudras, only these two are alternated. The respective mudras are three: 1. Inviting guests. 2. Bestowing blessings. 3. Liberating and offering. The first is: For each large beat, lifting the right hand and waving from the right side invites the peaceful deity assembly. Similarly, waving the left invites the wrathful deity assembly. Waving both hands forward together invites the Guru. Waving with the right hand from the back right corner invites the male lineage of oath-bound protectors. Waving the opposite way invites the female lineage. The second is also: For each large beat, placing the right hand in the mudra of granting refuge over the left fist represents form as a mirror. Raising the left fist's wrist and flicking with the right middle finger represents sound as a lute. The mudra of both hands with palms facing outwards represents supreme smell. The same mudra with palms facing upwards represents supreme taste. The mudra of both hands extended like a banner and raised represents touch. This is clearly manifesting the collection of all things to be liberated/offered, essentially blessing their essence as the five desirable qualities. The third is also: For each large beat, the right shoulder, and the left, and the forehe
Chinese
在前额处各缠绕一根橛，向右摩擦后，击打在vam上进行驱逐，之后右手打入橛，然后是左手，一起依次进行击打。每次重击时，右边是寂静的，左边是忿怒的，中间是上师们，从眉间的位置献供。右后方供奉誓言神男性，左后方供奉誓言神女性，都在肩膀的位置献供。右边供奉男性朋友，左边供奉女性朋友，都在自己的脚的位置进行击打。然后是自己享用的方式，放入怀中的方式等做完后，猛烈敲击乐器，左手抓住班杂的头发，右手将橛插入地下，做出无法支撑和颤抖的样子，稍微缓慢地站起来，左脚抬起的同时，将班杂放在肩膀上，快速地敲击两次，然后快速地滑行，在绕行道上行走。第九，击打跳舞：大吉祥的击打跳舞。右脚向后转，左脚向行走的方向走三步四拍，第一拍右脚向右边轻放。第二拍，左右脚交替环绕抬起，然后左右脚像禅修一样向各自的方向放下环绕。右脚向内放下的同时，进行两次sbir sbrum的zam len，右脚先走，向行走的方向走三步四拍，第一拍左脚向左边轻放等，脚的动作相反，像之前一样放下环绕，然后左脚向内放下的zam len，右脚先走，四步三拍向中间走，之后进行两次sbir sbrum，左右手各做一个击打的姿势，然后停止乐器，这些都是坛城神灵的姿势。第十一，用橛来守护：上师从中央面向东方，将按照仪轨准备好的橛放置在前方，从眼睛等处的吽字 (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽)发出光芒。金刚地基的栅栏、网、帐篷、帷幔，外面是劫末的火焰猛烈燃烧的中央，从bhruṃ (藏文：བྷྲཱུྃ，梵文天城体：भ्रूं，梵文罗马拟音：bhrūṃ，汉语字面意思：种子字)中生出的黄色轮，八辐等等，根部尖端上下对齐，具有锋利的刀刃，腹部是法界和
English
In the area of the forehead, each stake is wrapped around once. After rubbing to the right, it is struck on the vam to expel. After that, the right hand drives in the stake, then the left hand, together striking in sequence. With each heavy strike, on the right is peaceful, on the left is wrathful, and in the center are the lamas, offered from about the space between the eyebrows. On the back corner of the right, offer to the male lineage of oath-bound ones, and on the back corner of the left, offer to the female lineage of oath-bound ones, both at the level of the shoulders. On the right, offer to the male friends, and on the left, offer to the female friends, striking at the level of one's own feet. Then, after performing the manner of enjoying oneself and the manner of entering into the embrace, the music is struck loudly. The left hand seizes the hair of the bhaṇḍa, and the right hand plants the stake in the ground, making a slight gesture of being unable to support oneself and trembling, then slowly rising. As the left foot lifts, the bhaṇḍa is placed on the shoulder, and with two quick strikes, one quickly slides and walks around the circumambulation path. Ninth, the striking dance: The striking dance of the Great Glorious One. The right foot turns back, and the left foot moves in the direction of travel with three steps of four beats. On the first beat, the right foot is placed lightly to the right. On the second beat, the left and right feet alternately circle and lift, then the left and right feet are lowered and circled towards their respective sides as in meditation. As the right foot is lowered inward, perform the zam len of two sbir sbrums. The right foot goes first, moving in the direction of travel with three steps of four beats. On the first beat, the left foot is placed lightly to the left, and so on. The foot movements are reversed, lowering and circling as before. Then, with the zam len of lowering inward to the left, the right foot goes first, moving four steps of three beats towards the center. After that, perform two sbir sbrums, making a striking gesture with the left and right hands, and then stop the music. These are the postures of the deities of the mandala. Eleventh, protection by planting the stake: The teacher faces east from the center, and the stakes prepared according to the ritual are placed in front. Light radiates from the syllable Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) from the eyes and so on. In the center of the vajra ground, fence, net, tent, and canopy, outside of which is a mass of kalpa-ending flames blazing fiercely, is a yellow wheel arising from Bhrūṃ (藏文：བྷྲཱུྃ，梵文天城体：भ्रूं，梵文罗马拟音：bhrūṃ，汉语字面意思：种子字), with eight spokes and so on, the roots and tips facing up and down, possessing sharp blades, the belly being the dharmadhātu and
Chinese
将所有（橛）如橛形般钉于十方魔障，观想彼等身体被刺穿，寂静不动，光明照耀。༈ 第十二，断除常断二边：伴随单音锣声，以及单次敲击的大四中间的嬉戏战斗，抬起右脚，左脚后跟擦地，依次落于坛城前方、右方、后方、左方，以小步使坛城平整。左脚抬起接住，以四击跳跃，莲花步出去，宽步抛掷，然后右脚单独寻找犄角，当念诵“二二”时，左右脚交替抬起落下的金刚半步，以三遍使三门显现为三金刚的自性，观想不可分割的摄集坛城。以四步为了摧毁能所执的内心结，以黑蛇盘绕之势逐渐进入陈设房间，解下所有装饰，收摄能依所依的坛城，观想融入不可见的明点法界，以此断除常边。再次穿戴日常服饰时，刹那间化为嘿汝嘎身，穿衣戴帽守护身体，以此断除断边。༈ 第十三，回向吉祥：以回向善根和说吉祥语来广为增益。并且了知这一切都是心和智慧自显现的体性，与任何时候的仪轨次第结合。༈ 如果不擅长前面所说的坛城本尊的姿势仪轨，喜欢简略的，那么在命令驱逐魔障之后，做大吉祥主尊与十忿怒尊的十一种姿势，如前一样钉橛作守护，也能成就所需。如是，以忿怒尊的姿势，伴随咒语、禅定和手印，于坛城周围巡绕，能摧毁一切魔众。如是说。那是什么样的仪轨呢？即圣者所说的《方便羂索》中的十一种姿势。其中，手印的结法词句和祈请咒语似乎有些许不同，但此处只书写续部的金刚语。首先，主尊大吉祥的四事业手印是，手