English
It is a small bird's head. The outer line of the third line, starting from the intersection of the center lines, the center of the two small parts of the ox's back, the dark outer line at the center position, after passing the two small parts on the left and right, circling as before the manifestation of darkness, encircling with one Muran small part. The dual appearance of the wheel, lotus, and umbrella are each a small part. The left and right horns of various vajras, the outer line of the third line, and, the intersection of the two center lines, starting from there, circle around the top of the pillar decoration. Then two lines outward one, after going out, circle with the previous size. The root width of the central horn, is one large section, even if it is not visible, the subtle edges are two small parts. Draw below the lotus wheel umbrella, circle one-third of the center into a circle. After that, circle three times, each circle a small part. After that, touch the corner line, inside the circle, one small part. Sequentially circle the center and, the outer edge, spokes, and spoke supports. The outer arrow line is on the outside, two small parts, two small parts, one large section, circling a little more than half is, the vidyadhara, silk, lotus, and, the graveyard, stone wall, and place of the fire mountain. The top floor, the peaceful mandala is, from the center to the fire mountain, because it is the same as the illusory peace, understand from other explanations, used for mandalas, etc. As mentioned above, it should be understood, this is the method explained by oral instructions. The direct instruction of the tantra is, here are the seven outer edges of the vajra, the order of manifestation is between six, the essence of the six-layered wheel is burning. As it is said, whenever the gate of the wrathful mandala is only nine-layered, as mentioned before, the nine gates are stacked to the east. As it is said, all qualified commentators explain it as a nine-layered gate, wanting eleven layers, etc., is just arbitrary play. Like this, at all times of drawing lines, the teacher and the line assistant go clockwise, and it should be thought that all directions are the same. When the work of the lines is completed, put the line in the previous container, after offering with Samantabhadra, foot washing water, four crosses, etc., with “Vajra Muh (བཛྲ་མུཿ，वज्र मुः，vajra muḥ，Vajra Muh)” dismiss the wisdom being of the line, and place it in a secluded place. Then the long sound of “Hrih (ཧྲཱིཿ，ह्रीः，hrīḥ，Hrih)”
Chinese
在五指上，于月亮之上安放佛母的五个种子字。用右手的五指聚拢，取左手的颜料，安放在坛城的孔穴之上。观想其义为智慧珍宝的自性，象征着变成巨大的骨骼山。或者说，在橛孔中，用充满天神的咒语倒入芥子。如果这样做，就只做画线的后续工作。然后，上师安住于坛城的中央，用左手的拳头从自在天开始，从外向内，按照绿、红、黄、白、蓝的顺序，画五层墙壁，不要倾斜，不要混杂，从自在天的交界处向东画一道门。用头盖骨覆盖，之后等到墙壁连接好的时候，抬起头盖骨来观察征兆。也有说从线的外面画，从里面涂颜色。首先由上师或者有能力的人来画，要高且直。如果画得不好，就像“线条低矮则不能成就”等所说的过失，要避免这些过失来画。如果不能如法成就，就用如实性的三摩地来消除一切过失。然后，弟子们也要用加持过的手来画。就像这样：上层房屋如幻化寂静，下层地基中央为蓝色，周围为青色。轮辐为黄色，边缘为红色，周围为青色。角落为绿色，走廊有九层。从内向外依次为黄、白、红、黄、红。白、黑，方位颜色为绿色。凸出的部分是门和柱子，各种金刚为方位的颜色。里面的八面墙壁为绿色，外面的五面墙壁涂上红色。父面为黄色，暗面为黑色。东面为蓝色，箭杆为白色。黑暗的牛背为黑色。马腿为蓝色，莲花为红色。框架为绿色，蜂窝为白色。垂下来的部分为黄色，缠绕的垂饰为黑色。东面为蓝色，中国式的屋顶为青色。莲花为红色，法轮为黄色。地面为绿色，周围为黄色。各种莲花、尸林，石围墙底座为蓝色，金刚为白色。火焰山有各种火焰。此外，凡是适合的，装饰的差别有多少，都要从修法本身和见传承中，知道它们是如何产生的。这样，用颜料绘画的工作全部完成后，用剩余的颜料、普贤供、洗脚水、四交等来供养，然后念诵班杂穆。
English
Having placed the five seed syllables of the Mother on the moon on the five fingers. Gathering the five fingers of the right hand, take the paint from the left hand and place it on the hole of the mandala. Contemplate its meaning as the essence of wisdom jewel, symbolizing the transformation into a great mountain of bones. Alternatively, it is said that mustard seeds are poured into the peg hole with the mantra that fills the deities. If so, only do the follow-up work of drawing lines. Then, the master dwells in the center of the mandala, starting from the Lord of Power with the left fist, from the outside to the inside, in the order of green, red, yellow, white, and blue, draw five layers of walls, without tilting or mixing, draw a door of one measure to the east from the boundary of the Lord of Power. Cover with a skull, and later, when the walls are ready to be connected, lift the skull and observe the signs. It is also said to draw from the outside of the line and apply color from the inside. First, the master or someone capable should draw, it should be high and straight. If it is not drawn well, like the fault mentioned in "If the line is low, it will not be accomplished," avoid these faults when drawing. If it cannot be accomplished as it should, then eliminate all faults with the samadhi of suchness. Then, the disciples should also draw with blessed hands. Like this: The upper house is like an illusion of peace, the lower foundation is blue in the center, and the surroundings are cyan. The spokes are yellow, the edges are red, and the surroundings are cyan. The corners are green, and the corridor has nine layers. From the inside to the outside, they are yellow, white, red, yellow, red. White, black, and the directional color is green. The protruding parts are the doors and pillars, and the various vajras are the colors of the directions. The eight inner walls are green, and the five outer walls are painted red. The father's face is yellow, and the dark face is black. The east side is blue, and the arrow shaft is white. The dark bull's back is black. The horse's legs are blue, and the lotus is red. The frame is green, and the honeycomb is white. The hanging part is yellow, and the coiled pendant is black. The east side is blue, and the Chinese-style roof is cyan. The lotus is red, and the dharma wheel is yellow. The ground is green, and the surroundings are yellow. Various lotuses, charnel grounds, the base of the stone wall is blue, and the vajra is white. The fire mountain has various flames. Furthermore, whatever is suitable, how many differences there are in the decorations, one should know how they arise from the sadhana itself and the vision lineage. Thus, after all the work of painting with colors is completed, offer with the remaining colors, Samantabhadra offerings, foot washing water, four intersections, etc., and then recite Vajra Mu.
Chinese
智慧尊已往生于虚空之神的心间，将劣者置于寂静之处。罪过的消除，应如线条之情形般，于此处亦应知晓。第二，关于安放之方式，分为如何安放和安放之仪轨两种。第一，分为标识之实物和陈设庄严两种。第一是，书写于树皮等之上，雕刻于石头和水晶石等之上，浇铸于金银等之上，如是等等的材料上，写上文字或者标识，或者名字或者圆点于物体之上。如是说。注释中说，于上述之材料上，恰卡利等，按照如何获得那般书写。如是说，若有身像等标识，则另行新做，按照下文将出现的安放仪轨安放，若无，则在用颜料绘画的后续中，尽力画出身像，或者字母，或者法器，或者与自身颜色相同的圆点之形状。第二是，先前已进行加持的宝瓶们，以香和乐器引导，于坛城右绕，在诸神各自的位置上，安放于曼扎等台座上。若汇集于一个宝瓶中，则与秘密宝瓶一同安放于中央，在班扎（梵文：Bhaṇḍa）碎片之上，书写父尊母尊之心髓，左右以金刚铃依靠，也如尊胜佛母和衣物般安放，班扎（梵文：Bhaṇḍa）具吉祥名称者，父尊母尊心髓书写者，置于中央之宫殿，最后以金刚铃依靠。如是出现般安放。于坛城之边缘涂抹香，散布鲜花，四面八方以幡和帷幔以及伞和胜幢以及彩带等各种装饰。外围的四方以绸缎装饰的箭幡，宝剑和，镜子和，彩色的网等等布置精美，供奉熏香和，鲜花和，灯和，香水等等与神祇数量相同或尽力而为，以及洗脚水等等外供，以及药供食子等等内供，以及田地之分割等等特殊物品，以及其他适合作为修法誓言物之所有器物也陈设汇集，供养。
English
Having passed into the heart of the wisdom deity of the sky, the inferior ones are left in solitude. The removal of faults should be understood here as in the case of lines. Secondly, regarding the manner of placement, there are two aspects: how to place and the ritual of placement. First, there are two aspects: the actual symbols and the spreading of ornaments. The first is: writing on tree bark, etc., carving on stone and crystal, etc., casting in gold and silver, etc. On these materials, write letters or symbols, or names or bindus on the objects. As it is said. In the commentary, it says, "On the materials of the above, Chakali, etc., write as you can obtain them." As it is said, if there are symbols such as images, make new ones separately and place them according to the placement ritual that will appear below. If there are none, then in the continuation of painting with colors, draw as much as possible images, or letters, or hand implements, or bindus of the same color as oneself. Secondly, the vases that have been blessed before are led with incense and music, circumambulating the mandala to the right, and placed on platforms such as manjas in the places of the respective deities. If they are gathered into one vase, then place it in the center together with the secret vase, and on a piece of Bhaṇḍa (梵文天城体：भण्ड,梵文罗马拟音：Bhaṇḍa,汉语字面意思：容器), write the essence of the father and mother, supported by vajra and bell on the left and right, and place it like the Namgyalma and clothes. On the Bhaṇḍa (梵文天城体：भण्ड,梵文罗马拟音：Bhaṇḍa,汉语字面意思：容器) with auspicious names, the essence of the father and mother is written, and placed in the central palace, finally supported by vajra and bell. Place it as it appears. Smear the edge of the mandala with good fragrance and scatter flowers. Decorate all directions with banners, curtains, umbrellas, victory banners, and various streamers. In the outer squares, decorate the arrow banners decorated with silk, swords, mirrors, and colored nets, etc., and arrange them beautifully. Offer incense, flowers, lamps, perfumes, etc., according to the number of deities or as much as possible, and outer offerings such as foot washing water, etc., and inner offerings such as medicine toras, etc., and special substances such as field divisions, etc., and all other implements suitable as samaya substances for practice are also arranged in a collection, offering.
English
All suitable items, and excellent supreme substances, should be arranged according to the Vajra Secret order. As it is said. Second, the ritual of arranging includes: expelling obstacles, blessing the symbols, and opening the doors. First, visualizing oneself as the Wrathful Vajra, reciting "PHAT PHAT.（Tibetan） VAJRAKRODHJVALAMANDALA.（Sanskrit Devanagari, vajrakrodhajvalamandala, Vajra Wrathful Flame Mandala） HALA HALA.（Tibetan）" etc., emanating clouds of wrathful deities and weapons, expelling obstacles with fierce intimidation, and binding the protective boundary. Second, purifying the mandala of the image with RAM YAM KHAM, visualizing oneself abiding as the lord of the mandala, emanating the five elements in successive layers with the palace from one's heart, dissolving into the mandala of the image, transforming the protective wheel into a palace with a seat. Again, reciting "HUM OM SVA AH HUM.（Tibetan） HUM HA HE PHAT BHYO RAM.（Tibetan）", from the space of union, the wheel of the mandala fully appears, dissolving into their respective symbols, visualizing the deities abiding clearly in their respective forms. Inviting the Vidyadharas, reciting "VAJRAYOGI JAH（Tibetan，वज्रयोगि जः，vajrayogi jah，Vajra Yogi Jah）", dissolving into the symbols, generating into their respective bodies. For the other offering substances, visualizing the blessings of all the Tathagatas pervading space gathered as "HUM（Tibetan，हुं，hum，Hum）", dissolving into each of the offering substances. Third, the Vajra inner binding outward opening mudra is the mudra of opening the doors. Reciting "OM VAJRA CAKRA MANDALA PRAVESHAYA PHAT（Tibetan，ॐ वज्रचक्रमण्डल प्रवेशय फट，om vajracakramandalapraveshaya phat，Om Vajra Chakra Mandala Praveshaya Phat）", reciting once from each of the four directions, or four times from the east, visualizing the doors of the mandala's four directions opening in succession, the faces of the deities appearing, and reciting "ALA LA HO（Tibetan）" as a salutation. Third, the act of consecration should be understood from the separately explained ritual. In that, generating the Samadhi mandala, and descending and dissolving the self-nature wisdom mandala, including the preparatory deities, into the practice mandala, then performing the purification of the sense faculties' faults, offerings, and enthronement. For a simple offering practice relying solely on a previously drawn Thangka, during the main practice, the key to the meaning is accomplished by dissolving the self-nature mandala into the image mandala. These are: after opening the Vajra secret door, the Samadhi mandala