Chinese
应该做适合的马匹安置处。这样说之后，在妙音 仁钦坚赞 父子的上师仪轨的旁注中说，荟供的坛城有根本总体的坛城和各个分别的坛城两种。第二种又分为须弥山四大部洲，其中包含四大部洲女天神的坛城，被认为是根本坛城。分别坛城说了四种，即不动佛，以及三个时运好的坛城，总合起来是五个坛城。持明自在的听闻记录和亲传弟子邬金巴的听闻记录一致地说，人天乘有五种，即：清净恶趣的普明遍照，断除业障的不动佛，平息疾病劫的时值八日药师佛，平息兵器劫的鱼相无量光，平息饥荒劫的千尊释迦牟尼佛。这样说之后，可以确定前面的是根本坛城，后面的四种是分别的坛城。至尊嘉瓦的听闻记录中说，上面说的五种是分别的坛城，将它们合一的是二十五尊神的根本坛城，认为是六种。持明自在师徒的听闻记录中也是这样。如果归纳佐尔派和噶陀派两种，则每派只有一个总合的坛城，没有分别的坛城。噶陀派的上师传承目录中说有七个坛城，即根本坛城不动佛，三个时运好的坛城各一个，三时佛总合为一个，三宝总合为一个。虽然是这样认为的，但如果在这里详细考察自宗佐尔派的根本，并总结前辈的记录，那么如果将人天的坛城详细分开，则会变成十二个，即根本坛城须弥山四大部洲母，分别的坛城不动佛，三个时运好的神各一个坛城，三时佛各一个主尊转变的坛城，三宝中，佛和僧伽二者是主尊大能仁，法是大佛母，即三个坛城，以及一个总合的二十五尊神，总共十二个。而且，这个坛
English
It should be done appropriately whether there is a horse stable or not. After saying this, in the annotations of the guru example of Jamyang Rinchen Gyaltsen and his son, it says that the Tsokchen mandala has two types: the root general mandala and the individual specific mandalas. The second type is also divided into Mount Meru and the four continents, including the mandala of the four continent goddesses, which is considered the root mandala. Four specific mandalas are mentioned: Akshobhya, and the three auspicious time mandalas, making a total of five mandalas. The hearing record of Rigdzin Je and the hearing record of his direct disciple Orgyenpa agree that there are five vehicles for gods and humans: purifying the lower realms, Kunrig Vairochana; cutting through karmic obscurations, Akshobhya; pacifying the age of disease, the eighth-day Medicine Buddha; pacifying the age of weapons, the fish-faced Amitabha; and pacifying the age of famine, the thousand Shakyamuni Buddhas. After saying this, it is certain that the former is the root mandala and the latter four are the four specific mandalas. In the hearing record of the supreme Gyalwang, it says that the five mentioned above are the specific mandalas, and the twenty-five deity mandala, which combines them into one, is the root mandala, considering it to be six. This is also the case in the hearing record of Rigdzin Je and his disciples. If we summarize both the Zur tradition and the Kathok tradition, each tradition has only one combined mandala and does not create separate specific mandalas. In the lineage record of the Kathok tradition's lamas, it says there are seven mandalas: the root mandala Akshobhya, each of the three auspicious time mandalas, one combined for the three times Buddhas, and one combined for the Three Jewels. Although this is the belief, if we carefully examine the root of our own Zur tradition here and summarize the meaning of the previous records, then if we divide the mandalas for gods and humans in detail, it will become twelve: the root mandala Mount Meru and the four continents mother, the specific mandala Akshobhya, each of the three auspicious time deities has a mandala, each of the three times Buddhas has a mandala for the main deity's transformation, among the Three Jewels, the Buddha and the Sangha are the main deity Great Sage, and the Dharma is the Great Mother, which are three mandalas, and one combined twenty-five deity mandala, making a total of twelve. Moreover, this man
Chinese
五种坛城是不可或缺的，如果详细绘制，则需要十一种。中等程度可以绘制五种或七种。最简单的情况是，必须绘制根本坛城和二十五尊神，这一点毋庸置疑。至于如何绘制，首先以详细绘制为例。首先，根本坛城，即四大洲神人坛城，有一种特殊的线条绘制方法。也就是要画出续部线条的十六个大分。第一条和第二条线。从第五条线开始按压绘制，这样里面就不会有残留的线条，这是一个特点。内线的第一条线画成圆形，是莲花。第二条线分成四份，是须弥山。第三条线分成小份，分成七份，从边缘画一个小圆圈，是铁围山。里面是海洋和洲。从墙壁开始。第五条线，舍弃中间，画两边。等等，按照通常的方法。颜色方面，中心是白色。外面是代表方位的四瓣莲花。外面是须弥山，东面白，南面蓝，西面红，北面黄，七小份的间隔都做成黄色，这是七金山。中间的七海是蓝色。外面是蓝色的铁围山，画一个小圆圈，里面的四个方向的海洋颜色与须弥山的颜色相同，里面是四大洲和八小洲，东面是圆形的大洲，中间和左右各有一个小洲，是白色。同样，南面是三个三角形，蓝色。西面是三个月牙形，红色。北面是三个正方形，黄色。各自绘制乡村景色和宫殿的形状。因为周围是蓝色，所以墙壁是白色、蓝色、黄色、红色、绿色，按照里面的顺序。或者墙壁是绿色。屋檐。半网。箭楼。东柱。门。马厩。日轮。莲花。石墙。火焰山。神像方面，四瓣莲花的中央是毗卢遮那佛（རྣམ་སྣང་，Vairochana，वैरोचन，毗卢遮那）。东胜身洲的三尊神像，在东胜身洲的中央是帝释天夫妇，向内看去的右边是掌权者，左边是使者的形象，按照现观庄严经的方式排列。同样，其他的大洲也按照方位的三洲各自排列，四大天王排列在四个门上，这是按照Zur的传统。噶陀派的传统是在中央的十二瓣莲花上排列神像，格朗巴也这样说过。如果不做完整的门，则在中央画一个四瓣莲花。因此，从须弥山到铁围山之间绘制，中央是毗卢遮那佛和莲
English
The five mandalas are indispensable, and if drawn in detail, eleven are required. In the middle level, five or seven can be drawn as appropriate. In the simplest case, there is no doubt that the root mandala and the twenty-five deities must be drawn. As for how to draw it, first, let's take the detailed drawing as an example. First, the root mandala, the four continents, the mandala of gods and humans, has a special line drawing method. That is, sixteen major divisions of the tantric lines are drawn. The first and second lines. From the fifth line onwards, press down and draw, so that there is no residual line inside, which is a characteristic. The first line of the inner line is drawn in a circle, which is a lotus. The second is divided into four parts, which is Mount Meru. The third is divided into small parts, divided into seven parts, and a small circle is drawn from the edge, which is the iron fence mountain. Inside are the oceans and continents. From the wall onwards. The fifth line, discarding the middle, draws both ends. And so on, according to the usual method. As for the colors, the center is white. Outside are the four petals of the lotus representing the directions. Outside is Mount Meru, white in the east, blue in the south, red in the west, and yellow in the north, and the seven small divisions are all made yellow, which are the seven golden mountains. The seven intervening oceans are blue. Outside is a blue iron fence mountain, drawing a small circle, and the oceans in the four directions inside are the same color as Mount Meru, inside are the four continents and eight subcontinents, the eastern continent is a large circle, with one small continent each in the middle and on the left and right, which are white. Similarly, the south is three triangles, blue. The west is three crescent shapes, red. The north is three squares, yellow. Each draws the shape of the countryside and palaces. Because the surroundings are blue, the walls are white, blue, yellow, red, and green, in that order. Or the wall is green. Eaves. Half net. Arrow tower. East pillar. Door. Stable. Sun disc. Lotus. Stone wall. Volcano. As for the deity symbols, in the center of the four petals is Vairochana (རྣམ་སྣང་，Vairochana，वैरोचन，毗卢遮那). The symbols of the three deities of the eastern continent, in the center of the eastern continent are Indra and his consort, and to the right of those looking inward is the ruler, and to the left is the symbol of the messenger, arranged according to the Abhisamayalankara. Similarly, the other continents are also arranged according to the three continents of the directions, and the four great kings are arranged at the four gates, according to the Zur tradition. The Kathok tradition has a tradition of arranging deities on the twelve petals in the center, and Glen Ban also said this. If a complete door is not made, then a four-petaled lotus is drawn in the center. Therefore, draw from Mount Meru to the iron fence mountain, and in the center are Vairochana and the lotus.
Chinese
我認為用四瓣蓮花在四個方向上安排四位國王是合適的。據說其他的神被安排在四大洲和小洲上。在面前的生起次第中，由於必須觀想一個具有所有特徵的宮殿內的山和洲，所以完整地繪製門是合適的。即使不繪製，也沒有太大的問題。因為在祖爾派的根本中說：「那些門和馬梯的有或無，隨意即可。」第二，不動佛的壇城，八瓣蓮花的中央是藍色。東方白色，南方黃色，西方紅色，北方綠色，角落美麗的顏色。牆是綠色的，門廊和門等等都像通常一樣。以闡釋三個吉祥時代的壇城的方式，第三個壇城是平息饑荒劫的天空神，薄伽梵釋迦牟尼佛的壇城。第四個是平息武器劫的十五日魚神，無量光佛的壇城。第五個是平息疾病劫的初八神，藥師佛的壇城，這三個壇城的中央都是四瓣蓮花，方向顏色，牆是綠色的，門廊和門等等都是共同的。中心天空神是黃色的，魚神是紅色的，初八神是藍色的。如果像闡釋三個時代的佛和三寶的壇城那樣，第六個壇城是燃燈佛的壇城。第七個是釋迦牟尼佛的壇城。第八個是彌勒佛的壇城。第九個是佛的壇城。第十個是法的壇城。第十一個是僧伽的壇城，這六個壇城的中心都是黃色的。八瓣蓮花是美麗的顏色，牆是綠色的。門廊、門、馬梯、蓮花、金剛、火焰山等等，都根據種類來解釋。第十二個是一體壇城。如果像上面那樣詳細地繪製，那裡就完整了，所以不需要。但如果要簡略地做，就按照上師的口訣，這樣繪製一體壇城。須彌山、金山、遊戲海、四大洲、小洲，以及周圍的環境，為了這個緣故，門的完整與否隨意。四瓣蓮花的中心是毗盧遮那佛。四瓣蓮花的東方是不動佛。南方、西方、北方是三個吉祥時代的神。須彌山、四大洲、小洲上安排四大天王。大神父母，使者和差使等等，安排二十五神的這種方式，看起來既廣泛又合適。如果按照祖爾派和噶陀派兩種傳統來簡略，就在根本的壇城上
English
I think it is appropriate to arrange the four kings in four directions with four petals. It is said that the other gods are arranged on the four continents and subcontinents. In the front generation, since it is necessary to meditate on the mountains and continents inside a palace with all the characteristics, it is appropriate to draw the door completely. Even if it is not drawn, there is not much problem. Because in the root of the Zur tradition, it says: "Those doors and horse ladders, whether they exist or not, do as you please." Secondly, the mandala of Akshobhya, the center of the eight-petaled lotus is blue. East white, south yellow, west red, north green, corners beautiful colors. The wall is green, the porch and door, etc. are like usual. Taking the explanation of the mandalas of the three auspicious times as an example, the third mandala is the sky god who pacifies the famine kalpa, the mandala of Bhagavan Shakyamuni Buddha. The fourth is the fifteen-day fish god who pacifies the weapon kalpa, the mandala of Amitabha Buddha. The fifth is the eighth-day god who pacifies the disease kalpa, the mandala of the Medicine Buddha, the center of all three mandalas is a four-petaled lotus, the direction color, the wall is green, the porch and door, etc. are common. The central sky god is yellow, the fish god is red, and the eighth-day god is blue. If it is like explaining the mandalas of the Buddhas and Three Jewels of the three times, the sixth mandala is the mandala of Dipamkara Buddha. The seventh is the mandala of Shakyamuni Buddha. The eighth is the mandala of Maitreya Buddha. The ninth is the mandala of the Buddha. The tenth is the mandala of the Dharma. The eleventh is the mandala of the Sangha, the center of all six mandalas is yellow. The eight-petaled lotus is a beautiful color, the wall is green. The porch, door, horse ladder, lotus, vajra, flame mountain, etc. are all explained according to the type. The twelfth is the one-aggregate mandala. If it is drawn in detail as above, it is complete there, so it is not necessary. But if you want to do it briefly, draw the one-aggregate mandala like this according to the guru's oral instructions. Mount Meru, golden mountains, game sea, four continents, subcontinents, and the surrounding environment, for this reason, the completeness of the door is optional. The center of the four-petaled lotus is Vairochana Buddha. To the east of the four-petaled lotus is Akshobhya Buddha. South, west, and north are the gods of the three auspicious times. The Four Great Kings are arranged on Mount Meru, the four continents, and the subcontinents. The great god parents, messengers and envoys, etc., this method of arranging the twenty-five gods seems to be both extensive and appropriate. If it is abbreviated according to the two traditions of the Zur tradition and the Kathog tradition, it is on the root mandala