Chinese
以ཨེ་ཡཾ་རཾ་ཝཾ་ལཾ་安置于虚空、风、火、水、土的次第累积之土坛城上。第二，于完整坛城的八个台阶的第二个以上，安置声闻于因位。于装饰的马座第二个以下，安置声闻于果位。第三，绘画有五种：莲花四瓣有两个，内有四瓣。因此有八瓣。因此又有八瓣。做十六瓣。有两个。那些的中心是黄色。花瓣是方位颜色。边角用美丽颜色。第二，来源是：从阶梯中说：具有十种认识的声闻们。因为这样说了。它的意思是，以基础坛城的状态，以及道中坛城的观修方式，像那样绘画的方式这三者来表示，第一，基础坛城是：声闻的坛城安住在次第累积的诸元素之土坛城上。第二是：在大会聚集的八个马座的第二个上，依次安置安住在声闻的因和果位上的人们。第三，所画的坛城，根本上说了五种，但在压印时，四瓣的有两个，里面有四瓣，因此有八瓣，双重有八瓣的有两个，确定是四个，但在神道携带时，主要显示时，有吉祥时的三位神，以及盛大时的三位神，说是用六位围绕的坛城，所以变成五种。喀托巴们的笔记中说，前面四个是应该画的，后面这个是会供田的坛城，所以不同。祖尔派和喀托派两种的旧坛城中，声闻的坛城中央画有一个莲花四瓣因此有八瓣。同样，喀托多桑的仪轨中也这样说。然而，如果将根本段落第一的内心第三个所画的坛城，与根本段落第十八的两位神进行比较，那么所有主要的就是导师一人。在绘画部分，说了两个四瓣的，第一个是舍利子和目犍连之子，由出家和在家四众围绕。第二个是由四种眷属围绕。第三，在绘画部分，里面有四瓣，因此有八瓣，因此又有八瓣，意思是里面的四瓣是阿罗汉，外面
English
With ཨེ་ཡཾ་རཾ་ཝཾ་ལཾ་, place on the earth mandala of the successively layered space, wind, fire, water, and earth. Second, above the second of the eight steps of the complete mandala, place the Shravakas in the causal stage. Below the second of the ornamental horse-seats, place the Shravakas in the fruition stage. Third, there are five ways of drawing: two with four lotus petals, and four petals inside. Therefore, there are eight. Therefore, again eight. Make sixteen petals. There are two. The center of these is yellow. The petals are the color of the directions. The borders are beautifully colored. Second, the source is: From the ladder it says: The Shravakas who possess ten kinds of knowledge. Because it is said so. Its meaning is that the state of the basic mandala, and the way of meditating on the mandala in the path, and the way of drawing it like that, are shown by these three. First, the basic mandala is: the mandala of the Shravakas dwells on the earth mandala of the successively layered elements. Second, on the second of the eight horse-seats where the great assembly gathers, place those who dwell in the cause and effect of the Shravakas in order. Third, the drawn mandala is said to have five roots, but when pressed, there are two with four petals, and four petals inside, therefore there are eight, and two with double eights, so it is certain that there are four, but when the deity path is carried, when mainly showing, there are three deities of auspicious times, and three deities of great times, so it is said that there is one mandala surrounded by six, so it becomes five. In the notes of the Kathogpas, it is said that the first four should be drawn, and the latter is the mandala of the merit field, so it is different. In the old mandalas of both the Zur and Kathog traditions, in the center of the Shravaka mandala, there is only one drawn with four lotus petals, therefore there are eight. Similarly, it is also said in the Kathog Dorzhang ritual. However, if the third mandala drawn in the first section of the root, and the two deities in the eighteenth section of the root are compared, then all the main ones are only the teacher. In the drawing part, it is said that there are two four-petaled ones, the first is Shariputra and Maudgalyayana's son, surrounded by four ordained and lay people. The second is surrounded by four retinues. Third, in the drawing part, there are four petals inside, therefore there are eight, therefore again there are eight, meaning the four petals inside are Arhats, outside
Chinese
不来，一来。常住四。八瓣内有殊胜八，外有化身八。第四和第五，在简写中做十六瓣。二。如是所说的十六，第一是殊胜十六。第二是十六位声闻，这样理解没有错。这里以自宗为主。在遍知释迦炯乃的附录中说，对于声闻来说，主要的是：一般来说，三世佛和，特别是贤劫千佛。如是第一个坛城，主要对导师来说，大时节的三尊神和好时节的三尊神，总共六尊神被千佛围绕。第二个四喜坛城是，比丘、比丘尼、优婆塞、优婆夷宣说。第三个是僧众殊胜十六。第四个是八眷属化身自续。第五个是供养和声闻结合。如是所说的第一个容易理解。第二个有四瓣，中央是能仁王，四方是比丘父母和优婆塞父母，四者围绕的坛城。第三个殊胜十六是，对于能仁王来说，多闻第一的阿难陀。智慧第一的舍利子。神变第一的大目犍连子。询问和回答者中的第一善现。具有天眼的第一阿那律。于学处恭敬的第一邬波离。调伏边地者的第一憍陈如。在家信徒中行持的第一迦留陀夷等殊胜八，和持律第一的优波离。止息等持的第一婆罗堕阇。安住于清净功德者的第一大迦叶。于学处恭敬的第一罗睺罗。具足妙相的第一难陀。于如来教法恭敬的第一摩诃男。救济贫困的第一檀尼。说法者中的第一或供养者中的第一江波等自续八，总共殊胜十六围绕的坛城。现在通常的做法是，第三个坛城，四瓣的中央是导师，四瓣是阿罗汉，不来，一来，常住四围绕的坛城，在下面详细阐述。第四个是八眷属，也就是所谓的四双八士，四双是上面的殊胜
English
Non-returner, Once-returner. Four Abiders. Eight excellent ones inside eight petals. Eight emanations outside. In the fourth and fifth, sixteen petals are made in abbreviation. Two. As it is said, the first of the sixteen is the sixteen excellent ones. The second is the sixteen Arhats, there is no mistake in understanding it this way. Here, mainly following our own tradition. In the supplement of Omniscient Shakya Jungne, it says, for the Shravakas, the main ones are: Generally, the Buddhas of the three times, and especially the thousand Buddhas of the Fortunate Aeon. Thus, the first mandala, mainly for the Teacher, the three deities of the great time and the three deities of the good time, a total of six deities are surrounded by a thousand Buddhas. The second mandala of the four joys is, Bhikshus, Bhikshunis, Upasakas, Upasikas are explained. The third is the Sangha's sixteen excellent ones. The fourth is the eight attendants, emanation, self-continuum. The fifth is the combination of offerings and Arhats. As it is said, the first is easy to understand. The second has four petals, with the King of Sages in the center, and the Bhikshu parents and Upasaka parents in the four directions, the mandala surrounded by the four. The third sixteen excellent ones are, for the King of Sages, Ananda, the most learned. Shariputra, the most wise. Maudgalyayana, the most miraculous. Subhuti, the most excellent among those who ask and answer. Aniruddha, the most excellent with divine eyes. Upali, the most respectful of the precepts. Kaundinya, the most excellent of those who tame the border regions. Kalodayin, the most excellent of the faithful householders, etc., the eight excellent ones, and Upali, the most excellent of those who uphold the Vinaya. Bharadvaja, the most excellent of the Samadhi of cessation. Mahakashyapa, the most excellent of those who abide in purified qualities. Rahula, the most respectful of the precepts. Nanda, the most excellent with marks and signs. Mahanama, the most respectful of the Buddha's teachings. Dhanika, the most excellent of those who relieve poverty. Ganga, the most excellent of those who preach the Dharma or the most excellent of those who make offerings, etc., the eight self-continuum, a total of sixteen excellent ones surrounding the mandala. Nowadays, the common practice is that the third mandala, with the Teacher in the center of the four petals, and the Arhats in the four petals, the Non-returner, the Once-returner, the Four Abiders surrounding the mandala, will be explained in detail below. The fourth is the eight attendants, which are known as the four pairs and eight individuals, the four pairs are the excellent ones above
Chinese
第八，八个“雅”指的是八个自续部。因为这些有化身和自续的差别，所以说“第四轮八化自续”。然而，如通常所说，四双八辈士，指的是四种果位：须陀洹、斯陀含、阿那含、阿罗汉为四双，八辈是将其细分的，即须陀洹果有入流和住流两种，斯陀含果有入流和住流两种，阿那含果有入流和住流两种，阿罗汉果有入流和住流两种。因此，这里将仅仅阿罗汉果称为四双八辈，也应加以考察，而且八胜也与通常说法不一致。在书写仪轨中，有将八瓣双层莲花内部画八化身，外部画八自续部的传统。第五是，在释迦牟尼佛像的上方，除了上述十六声闻外，还安置了十六位长老，因此说是由三十二众围绕的坛城。这样的长老也有，《拉登》中说：“十六长老如旧派，皆持锡杖钵盂同。新派觉沃杰一样，四名不同十三同。”在解释中说：长老婆罗堕阇乞食第一，持金杖第二，不退转第三，贤善第四，名为逝者即具时第五，婆罗堕阇持金第六，大道第七，小道示第八，罗睺罗执持第九，龙族第十，角落逝者或角落智者，即住于林中或住于处所第十一，无热恼第十二，树居第十三，树皮衣第十四，养牛第十五是比丘穿粪扫衣者，第十六尊者是沙弥不穿粪扫衣者。居士达摩波罗或达摩达是具有在家相者，为第十七位。如觉沃杰的长老，树居者、树皮衣者、养牛者、尊者等的名称，被称为隐匿者或安乐者，肢生者，婆拘罗，金刚女之子等，法器也分别说了。因此，隐匿者，肢生者，婆拘罗，金刚女之子四者的名称是……
English
Eighth, the eight "Ya" refer to the eight Svātantrika schools. Because these have the distinction of Nirmāṇakāya and Svātantrika, it is said, "The fourth wheel of eight emanations and Svātantrika." However, as commonly said, the four pairs and eight individuals refer to the four fruits: Srotaāpanna, Sakṛdāgāmin, Anāgāmin, and Arhat are the four pairs, and the eight individuals are their subdivisions, namely, the Srotaāpanna fruit has two types: entering the stream and abiding in the stream; the Sakṛdāgāmin fruit has two types: entering and abiding; the Anāgāmin fruit has two types: entering and abiding; and the Arhat fruit has two types: entering and abiding. Therefore, here, the Arhat fruit alone is called the four pairs and eight individuals, which should also be examined, and the eight supreme ones also do not agree with the usual saying. In writing rituals, there is a tradition of drawing eight emanations inside the eight-petaled double-layered lotus and eight Svātantrikas outside. Fifth, above the image of Śākyamuni Buddha, in addition to the above sixteen Śrāvakas, sixteen elders are also placed, so it is said to be a mandala surrounded by thirty-two assemblies. Such elders also exist. The Lha-them says: "The sixteen elders are like the old school, all holding staffs and alms bowls alike. The new school is like Jowo Je, four names are different, thirteen are the same." In the explanation, it is said: "The elder Bharadvāja is the first to beg for alms, the second to hold a golden staff, the third to be irreversible, the fourth to be virtuous, the fifth to be called the deceased, that is, the timely one, the sixth to be Bharadvāja holding gold, the seventh to be the great path, the eighth to be the small path, the ninth to be Rāhula holding, the tenth to be the Naga clan, the eleventh to be the corner deceased or the corner wise, that is, living in the forest or living in a place, the twelfth to be without heat, the thirteenth to be a tree dweller, the fourteenth to be a tree bark garment, the fifteenth to be a cowherd who is a Bhikṣu wearing discarded rags, and the sixteenth Venerable Cunda is a Śrāmaṇera who does not wear discarded rags. The layman Dharma-pāla or Dharma-data is the seventeenth with the appearance of a householder. According to Jowo Je's elders, the names of the tree dweller, the tree bark garment wearer, the cowherd, and Venerable Cunda are called the concealer or the comforter, the limb-born, Bakula, the son of Vajra-woman, etc., and the Dharma instruments are also mentioned separately. Therefore, the names of the concealer, the limb-born, Bakula, and the son of Vajra-woman are..."
Chinese
有人称之为树林，有人称之为树皮，有人称之为牧牛人，虽然被称为尊者，但似乎与广为人知的形象相似。但吉祥贤劫的行为与班禅绛林巴的十六罗汉证悟相同。据说隐藏者是牧牛人，树皮者是婆拘罗。瑜伽士约摩瓦也这样认为。金刚女之子比丘尊者似乎倾向于旧译派，但经部中金刚女之子与比丘尊者的讨论基础不同，若合二为一则易生过失。若与讨论基础结合，则似乎是金牸牛或牧牛人。然而，此处上师们的言教不会有错谬，因此改变并不稳妥，若有人能证明此理合理，则可以提出异议。然而，如今在竹尔派和噶陀派中，罗汉们的证悟都不清晰。尊者和达玛达都需要被列为十六罗汉等，存在各种差异。但在此处，一些智者认为十六莲瓣代表十六罗汉，东南角是比丘尊者，东北角是沙弥达玛达，这种说法很好，因此在下面的仪轨中也这样写了。法器方面，自宗是全部手持锡杖、净瓶。广为人知的是各自持有不同的法器，据说这是觉阿底峡的传统，但从认识的差异来看，后者似乎更好。这些的讨论基础等，也将在下面详细阐述。总之，先讲述自宗的合理性，然后按照实际操作来书写，这样就没有重复的过失，我认为是合理的。其方式是：第一层是莲花，用六瓣美丽色彩装饰；第二层和第三层是四瓣，颜色各异；第四层是八瓣，双层美丽色彩装饰；第五层内部有八瓣，因此是十六瓣美丽色彩装饰。五个的中心都是黄色区域，颜色各异。墙壁从内到外依次是黄、蓝、红、绿、白或绿色。门、马、台阶、莲花、金刚等与之前相同。按照下面的仪轨，在神殿中用颜料堆积来绘制标记。如果按照章节划分，第一部分是基础坛城的状况，第二部分是道路坛