Chinese
初出家，后在家。又右边是比丘，左边是比丘尼，前面是近事男，后面是近事女。又右边是阿罗汉，左边是不来，前面是一来，后面是预流。因此，从他们那里分出的化身有八个。因此，自续部有八个。又从前面依次是十六尊胜者：阿难陀持扇，舍利子珍宝，目犍连莲花，罗睺罗月亮，无障碍镜子，查卡轮，康迪尼亚珍宝匣，马胜鬘，近圆持钵，牛王持灯，邬波鞠多莲花树，罗睺罗持伞，难陀水壶，大名钳子，财天鼠鼬，江波持宝。都是头剃光脚赤裸的出家形象。又是十六位长老，每一方各有四位：从东方依次是婆罗堕遮乞食者，金者，不退者，商君者，树皮者，贤者，逝者，婆罗堕遮，牧牛者，大道，小道示，罗睺罗，龙部，角落，无能胜，尊者，达摩多罗。都是阿罗汉，持锡杖钵。尊者是沙弥，达摩多罗是近事男。说这些的目的是为了不缺少根本的词句。其他许多善说都很好地确定了这些的意义。所依之本尊生起法是：第一个坛城，三世佛和三大节日坛城的中央，在六瓣莲花的中心，在珍宝座和莲花月亮垫子上，能王释迦牟尼佛是黄色，触地印，等持。六瓣莲花，每一瓣莲花月亮垫子的东方是燃灯佛，黄色，以讲说真实之法而具有缘起的印。东南方是释迦牟尼佛，黄色，触地印，等持。西南方是弥勒佛，黄色，右手施胜和施甘露，左手施救护和持龙树。西方是鱼神无量光佛，红色，具有禅定印。西北方是八日之神药师佛，蓝色，在等持之上拿着甘露钵。东北方是虚空神能仁，黄色，具有降魔印。因此，门内的
English
Initially ordained, later a householder. Also, on the right is a Bhikshu, on the left a Bhikshuni, in front a Upasaka, behind a Upasika. Again, on the right is an Arhat, on the left a Non-Returner, in front a Once-Returner, behind a Stream-Enterer. Therefore, emanations branching out from them are eight. Therefore, the Svātantrika are eight. Also, from the front in order are the sixteen supreme ones: Kundgawo holding a fan, Sharibu precious one, Mngalbu Padma, Rabjor moon date, Ma'gagpa mirror, Charka wheel, Kandinya precious box, Tatul garland, Nyewa holding a begging bowl, Balangdag lamp, Odzung lotus tree, Grachenzin umbrella, Gawo water pot, Mingchen tongs, Norshyin mongoose, Gangpo holding a jewel. All are with shaved heads and bare feet, in the manner of the fully ordained. Also, the sixteen Arhats are four in each direction: from the east in order are Bharadhvaja the almsman, Golden One, Invincible One, Shangkunpa, Bark-Clad One, Good One, Deceased One, Bharadhvaja, Cowherd, Great Path, Small Path Show, Rahula, Naga Group, Corner, Invincible One, Cunda, Dharmatala. All are Arhats holding a staff, bell, and begging bowl. Cunda is a novice monk, Dharmatala is a lay follower. The reason for citing the source of these statements is to ensure that the root words are not missing. Furthermore, many excellent explanations have thoroughly established the meaning of these. The deity generation based upon is: the first mandala, in the center of the mandalas of the Buddhas of the three times and the three great festivals, on a lotus with six petals, on a precious throne and a lotus-moon cushion, the Powerful One Shakyamuni, yellow, earth-touching, in equipoise. The six petals, on each lotus-moon cushion, to the east is Dipamkara, yellow, showing the true Dharma with the mudra of dependent origination. To the southeast is Shakyamuni, yellow, earth-touching, in equipoise. To the southwest is Maitreya, yellow, right hand in supreme generosity and sprinkling, left hand in refuge-granting and holding a naga tree. To the west is the fish god Amitabha, red, with the mudra of meditative absorption. To the northwest is the eighth-day god Medicine Buddha, blue, holding an nectar-filled begging bowl on top of equipoise. To the northeast is the sky-void god Thukpa, yellow, with the demon-subduing mudra. Therefore, the inside of the door
Chinese
于虚空中，在莲花月轮的座垫上，从释迦牟尼佛到能生信心的佛陀之间，贤劫千佛等以手印五部等各种方式示现。所有主尊和眷属都以妙相好庄严，是化身无染的形象，具有三种法衣。在此第一个坛城中，根据噶陀派的记录和口诀，六瓣莲花的中央是释迦牟尼佛，从东方开始依次是燃灯佛、慈氏佛、药师佛、无量光佛、观世音菩萨、能生信心的佛陀。据说观世音菩萨和能生信心的佛陀在重大节日和吉祥日都不在，因此难以考证。而且，虽然有将他们迎请到积资田，仅仅供养七支供而不作其他询问的说法，但在竹尔派和噶陀派中都没有这样的说法依据。特别是，在竹尔派的听闻记录中，第一个坛城的主尊是导师，以吉祥日的三尊神和三世诸佛被千佛眷属围绕来讲述。然而，如果按照根本的十八品章节来划分，第一个坛城中有舍利子，以及四位出家和在家的曼嘎拉，或者四种眷属，或者四对补特伽罗等多种解释方式。在此，第一个眷属的殊胜双尊属于殊胜八尊之中，其他将在下面出现，因此吉祥日和重大节日的神只有竹尔派才有，而贤劫千佛是按照拉钦的意图安排的。第二个坛城是被四种眷属围绕的坛城，在四瓣莲花的中央，狮子座莲花月轮的座垫上是黄色触地印和禅定印的释迦牟尼佛。四瓣莲花上有四种眷属，即主尊右侧南方的莲花上有比丘，左侧北方的莲花上有比丘尼，前方东方的莲花上有优婆塞，后方西方的莲花上有优婆夷，比丘和比丘尼都具有三种法衣和锡杖，优婆塞和优婆夷都具有在家的装束。第三个坛城是被四对补特伽罗围绕的坛城，在四瓣莲花的中央，狮子座莲花月轮的座垫上是黄色触地印和禅定印的释迦牟尼佛。四瓣莲花上，右侧是阿罗汉，左侧是不还者，前方是一来者，后方是预流果，都是出家的装
English
In space, on a lotus and moon cushion, from Shakyamuni Buddha to the Buddha who generates faith, the thousand Buddhas of the Fortunate Aeon are manifested in various ways such as the five mudra families. All the main deities and retinues are adorned with excellent marks and signs, having the appearance of an emanation body free from attachment, and possessing the three kinds of Dharma robes. In this first mandala, according to the Kathok tradition's notes and oral instructions, in the center of the six petals is Shakyamuni Buddha. From the east, in order, are Dipamkara Buddha, Maitreya Buddha, Medicine Buddha, Amitabha Buddha, Avalokiteśvara, and the Buddha who generates faith. It is said that Avalokiteśvara and the Buddha who generates faith are not present on major festivals and auspicious days, making it difficult to verify. Moreover, although there is a tradition of inviting them to the field of accumulation and offering only the seven-branch offering without asking further questions, there is no such source of explanation in both the Zur tradition and the Kathok tradition. In particular, in the Zur tradition's listening records, the main deity of the first mandala is the Teacher, who is described as being surrounded by the thousand Buddhas with the three deities of auspicious days and the Buddhas of the three times. However, if we consider the eighteen chapters of the root text, there are many ways to explain the first mandala, such as Shariputra, and the four ordained and lay Mangalas, or the four kinds of retinues, or the four pairs of individuals. Here, the supreme pair of the first retinue belongs to the supreme eight, and the others will appear below. Therefore, only the Zur tradition has the deities of auspicious days and major festivals, and the thousand Buddhas of the Fortunate Aeon are arranged according to Lha-them's intention. The second mandala is the mandala surrounded by the four kinds of retinues. In the center of the four-petaled lotus, on the lion throne lotus and moon cushion, is the yellow Shakyamuni Buddha in the earth-touching and meditative mudras. The four petals have the four kinds of retinues, namely, a Bhikshu on the right southern petal of the main deity, a Bhikshuni on the left northern lotus, an Upasaka on the front eastern petal, and an Upasika on the back western lotus. The Bhikshu and Bhikshuni both have the three Dharma robes and a staff, and the Upasaka and Upasika both have the appearance of householders. The third mandala is the mandala surrounded by the four pairs of individuals. In the center of the four-petaled lotus, on the lion throne lotus and moon cushion, is the yellow Shakyamuni Buddha in the earth-touching and meditative mudras. On the four petals, on the right is an Arhat, on the left is a Non-Returner, in front is a Once-Returner, and behind is a Stream-Enterer, all of whom are ordained.
Chinese
身着三法衣，手持锡杖和钵。第四个坛城，由十六胜士围绕的八瓣双层坛城中央，狮子座莲花月轮垫上，黄色能仁王，触地印，等持印。内八瓣从东开始顺时针依次是：阿难尊者持凉扇，舍利子尊者持珍宝，目犍连之子持莲花， 罗睺罗持新月，不退尊者持镜子，持世尊者持轮，迦旃延尊者持珍宝匣，马胜尊者持念珠。这些也被称为四双八辈、八胜士或八化身。外围八瓣是八随行者，即近圆持钵者，牛主持明灯树，光护持莲花树，罗睺罗持伞，均喜持壶，名护持剃刀，持宝者持宝鼠，持力者持宝珠。这十六位全部都是头戴发髻，赤足，身着三法衣。此处的八瓣做成双层。在《天梯》中说：第四，八眷属，化身自性。八眷属，莲花八瓣双层。这是其含义。第五个坛城，胜士与常住者结合，中央莲花月轮垫上，黄色能仁王，触地印，等持印。内部八瓣是八胜士，即上面所说的八化身，从东开始顺时针：阿难尊者持凉扇，舍利子尊者持珍宝，目犍连之子持莲花， 罗睺罗持新月，不退尊者持镜子，持世尊者持轮，迦旃延尊者持珍宝匣，马胜尊者持念珠。因此，十六瓣上有十六位圣常住大阿罗汉，从东开始顺时针：大阿罗汉优波崛多持香炉和拂尘，无胜尊者等持印，森林住尊者右手期克印，左手拂尘，时授尊者持耳环，金刚子尊者期克印和拂尘，贤尊者说法印和等持印，金牛尊者持珍宝钩索，婆罗堕遮持金柄等持印，薄拘罗持宝鼠，罗睺罗持发髻，道贤尊者等持印，婆罗堕遮持乞食，右手经书，左手持钵，道示尊者右手说法印，左手经书，龙军尊者持锡杖和宝瓶，隐身尊者持经
English
Wearing the three types of monastic robes and carrying a staff and alms bowl. The fourth mandala, in the center of the eight-petaled double-layered mandala surrounded by sixteen supreme ones, on a lion throne lotus moon cushion, yellow Thubwang, earth-touching mudra, meditative equipoise. The inner eight petals, starting from the east in order, are: Venerable Ananda holding a fan, Venerable Shariputra holding a jewel, Son of Maudgalyayana holding a lotus, Rahula holding a crescent moon, Avikṣipta holding a mirror, Carka holding a wheel, Katyayana holding a jewel box, Asvajit holding a rosary. These are also known as the four pairs and eight individuals, the eight supreme ones, or the eight emanations. The outer eight petals are the eight self-existing ones, namely, Near Round holding an alms bowl, Bull Owner holding a lamp tree, Light Protector holding a lotus tree, Rahula holding an umbrella, Younger Joyful holding a water pot, Name Holder holding a razor, Wealth Holder holding a jewel bag, i.e., a mongoose, Powerful One holding a jewel, i.e., all sixteen are wearing hair knots, bare feet, and wearing the three types of monastic robes. The eight petals here are made into a double layer. In the "Ladder to the Gods," it says: Fourth, eight retinues, emanation self-nature. Eight retinues, lotus eight petals double. This is its meaning. The fifth mandala, a combination of the supreme ones and the abiding ones, in the center on a lotus moon cushion, yellow Thubwang, earth-touching mudra, meditative equipoise. The inner eight petals are the eight supreme ones, i.e., the eight emanations mentioned above, from the east clockwise: Venerable Ananda holding a fan, Venerable Shariputra holding a jewel, Son of Maudgalyayana holding a lotus, Rahula holding a crescent moon, Avikṣipta holding a mirror, Carka holding a wheel, Katyayana holding a jewel box, Asvajit holding a rosary. Therefore, on the sixteen petals are the sixteen great Arhats, from the east clockwise: Great Arhat Upagupta holding an incense burner and a whisk, Ajita holding meditative equipoise, Vanavasa holding a threatening mudra with the right hand and a whisk with the left hand, Kalika holding earrings, Vajriputra holding a threatening mudra and a whisk, Bhadra holding a Dharma discourse and meditative equipoise, Kanakavatsa holding a jewel lasso, Bharadvaja holding a golden handle and meditative equipoise, Bakula holding a mongoose, Rahula holding a hair knot, Dharmatrata holding meditative equipoise, Bharadvaja holding alms, a scripture in the right hand and an alms bowl in the left hand, Dharmadeva holding a Dharma discourse in the right hand and a scripture in the left hand, Nakula holding a staff and a vase, Jayata holding a scrip
Chinese
“门由四大天王守护， 由国王和菩萨掌管。 仅仅进入佛陀教法的门， 所有守护的护法， 对九乘都是相同的， 特别是每一乘都有一个护法。 因此，依止他们就能获得果报。” 这样以良好的理由之论证成立，因此如下：东门由持国天王白色持琵琶守护，南门由增长天王蓝色持剑守护，西门由广目天王红色持佛塔和蛇索守护，北门由多闻天王黄色持胜幢守护。因此，为了观修这些罗汉的证悟，以及在绘画和雕塑中塑造他们有所助益，有如下的善说出现：在利玛瓦大师所著的《罗汉供养仪轨》的附录中说：这里主要是应卓嘎瓦等人的劝请，为了佛陀教法兴盛的缘起而作，也为了对塑造佛像绘画有所帮助而作。现在绘制罗汉像的人很多，但没有见到符合仪轨的，像这样具有特殊必要性的情况也没有听说过。画老者四位，青年四位，壮年四位，衰老四位，这样没有必要目的的说法，被苯教徒欺骗，画成老年人被衰老疾病折磨的样子，牙齿脱落，眼珠失去光泽的样子，以及画成侍者等任何不悦意不吉祥的样子，这对于世间大众，特别是施主来说是不合适的。