English
Two. Twelve Independents. The total of large and small assemblies is said to be five types. That is, in the common language of the scriptures, like a rhinoceros horn, it exists alone, so it is called solitary practice. Like a parrot, it gathers and exists in large numbers, so it is called assembly practice. The Kathog tradition says that like a rhinoceros horn and a parrot, each is a separate mandala. Gylan Ban Sonam Gonpo and others combine them and consider them as one. In short, it seems sufficient to have two, a rhinoceros horn and a parrot, or just combine them into one. However, it is also permissible to write it as the five types as described by Zur Hwang Shakya Jung's Lhathim and Rigdzin Je's direct disciple, Ugyenpa, and others. For ease of practice, it is best to condense them into two, a rhinoceros horn and a parrot. That is, the signs of the twelve links of interdependence are arranged in the corridor. Because the meaning of the twelve links of interdependence resides in the minds of the twelve independents. Because the meaning of interdependence has a basis. It is also said that when those noble independents exist alone, they are like a rhinoceros horn, and when they exist in assembly, they are called parrots, so the emanations and self-continuums of the medium assembly practice are also included in the category of parrots. However, the emanations and self-continuums of the medium assembly practice are said to be the same as the sixteen arhats of the Hearers, so if you like, you can separate them in that way. If you condense them, the previous explanation is sufficient. If the mandala is divided too elaborately, it will be a little inconvenient during the generation stage and offering, so it is not contradictory and good to condense it into two here, and the practice is mostly like that. Like a rhinoceros horn, the center is a yellow square with a narrow waist. Therefore, there are red petals or twelve decorations. The center of the parrot-like one is yellow. Therefore, there are four petals. Therefore, it is said that there are eight petals, but in practice, all twelve are red decorations, and the colors of the five walls are the same as those of the Hearers. In the corridor of the gate and the horse-landing place, and in the corridor of the horse-landing place of both mandalas, draw the roots, sprouts, trunks, leaves, flowers, and fruits of the wish-fulfilling tree, as well as the colors or names of the sky, wind, fire, water, earth, and the four seasons such as spring. On the outer corridor, also draw the signs of the twelve links of interdependence, namely, ignorance is a blind old woman, and action is a potter.
Chinese
ཁན་རྫ་的制作方法： 识如猿猴，名色人如入舟，六处如城市，触如哺乳，受如膝盖中箭，爱如饮乳，取如采花，有如男女行淫，生如孕妇产子，老死衰败如死亡之相。因此，绘制象征三界的莲花、金刚、火焰山三者。根本颂中说： 第二，来源是根本赞颂中说： 依赖缘起之义，圣者独觉十二支，生起和止灭完全融入其中。这样说很容易理解。根本颂中说： 第三，陈设供品与声闻乘相同，瓶上作骷髅的标志。所说的意思是： 坛城的两种陈设方式与前面所说相同，各自的末尾像先前一样右旋绕供，也陈设一个共同供施诸佛的食子。两个坛城的中央，随意安放释迦牟尼佛的身像，绘制或塑造皆可。十二瓣莲花上安放十二独觉。外坛城内部的四瓣莲花上，安放四部坛城的擦擦。佛像、佛经和佛塔也按各自的情况陈设。瓶按照第三和第四部分所说的那样，装满瓶物精华，戴上颈饰和顶饰，系上护身结、金刚结，并安放骷髅或干颅的标志。用白色檀香磨成的粉末与墨汁混合，在镜子上书写七遍缘起咒，每写一遍念诵七遍，然后放在瓶子上。将两个坛城中的任何一个放置在中央的法座上。增补息、增、怀、诛四种食子，三份等像先前一样陈设。本尊像前也陈设丰盛的供品。也准备好灌顶物品。根本颂中说： 第四，开光是坛城的地基用香水涂抹，瓶子、颈饰、顶饰、瓶中之物用谷物和水装满，系紧护身线，端正，进行供养、清净、加持，修持四无量心。用磨碎的白檀香粉末和墨汁在镜子上写七遍缘起咒。每写一遍念诵七遍，然后放在瓶子上。在那里，从月亮上的白色咒鬘中发出光芒，将所有世界都融化成甘露的自性，聚集到瓶中。
English
Khan Rinpoche's method of construction: Consciousness is like a monkey, name and form are like a person entering a boat, the six sense bases are like a city, contact is like breastfeeding, feeling is like an arrow piercing the knee, craving is like drinking milk, grasping is like picking flowers, existence is like a man and woman engaging in sexual intercourse, birth is like a pregnant woman giving birth, and aging and death are like the signs of decay and death. Therefore, draw the three symbols of the three realms: the lotus, the vajra, and the fire mountain. In the root text, it says: Second, the source is from the root praise: Relying on the meaning of dependent origination, the twelve noble Pratyekabuddhas, arising and ceasing are completely integrated within it. This is easy to understand. In the root text, it says: Third, the arrangement of offerings is the same as that of the Shravakas, and the symbol of a skeleton should be placed on the vase. The meaning of what is said is: The arrangement of the two mandalas should be done in the same way as described above, and at the end of each, the offerings should be circumambulated clockwise as before, and a torma for the common offering to all the Buddhas should also be arranged. In the center of both mandalas, place a statue of Shakyamuni Buddha, either painted or sculpted, whichever is convenient. Place twelve Pratyekabuddhas on the twelve petals. On the four petals inside the outer mandala, place the tsakli of the four classes of tantras. Also arrange the representations of body, speech, and mind as appropriate. The vase should be filled with the essence of vase substances, adorned with a neck ornament and a top ornament, tied with a protective cord and a vajra knot, and marked with a skeleton or dry skull, as described in the third and fourth sections. Mix powdered white sandalwood with ink and write the essence of dependent origination seven times on a mirror, reciting it seven times for each writing, and then place it on the vase. Place either of the two mandalas on a throne in the center. Supplement the tormas for pacifying, increasing, subjugating, and wrathful deities, and arrange the three portions as before. Also arrange abundant offerings in front of the statue of the original deity. Also prepare the empowerment substances. In the root text, it says: Fourth, the consecration is that the base of the mandala is anointed with fragrant water, the vase, neck ornament, top ornament, and vase substances are filled with grains and water, the protective thread is straightened, and offerings, purification, blessings, refuge, and the four immeasurables are meditated upon. Write the essence of dependent origination seven times on a mirror with ink made from ground white sandalwood powder. Recite it seven times for each writing, and then place it on the vase. There, light radiates from the white mantra garland on the moon, dissolving all the realms of the world into the nature of nectar, gathering into the vase.
English
Thinking thus, cover the vase with your right hand and recite the mantra one hundred and eight times. Then pour the water from the mirror into the vase. Again, with the light of the mantra garland, invite the Buddhas, Bodhisattvas, Shravakas, etc., of the ten directions, and think that they dissolve into the deities of the supports and mandala. Then actually bathe the representation of the body, etc. Bathe painted scrolls and books with the mirror. Sprinkle all the offerings with that water and purify the impurities. Think that the color, smell, taste, and power are perfect, and bless them by reciting the mantra. The meaning of what was said is derived from the ritual of the three vases, self, front, and vase. First, bless the ground and the offerings. Practicing refuge, bodhicitta, and the four immeasurables should be done as before. As for the self-generation, in the Kathok tradition, it is done as a complete mandala, which is not contradictory as a branch of the extensive practice. Here, as in the case of the Shravakas, the self-generation of the Muni as the main focus, reciting the Muni mantra and the essence of dependent origination equally. As for the vase generation, although only the recitation of dharanis is explained at the time of consecration, it is said in the commentary that the Muni should be generated inside the vase. The method is as follows: first, purify the vase. From emptiness, from BHRŪṂ (藏文，梵文天城体，梵文罗马拟音，bhrūṃ，seed syllable), a vase with all the measurements and characteristics completely perfect appears, and inside it, on a lotus and moon cushion, is the golden Shakyamuni, with the earth-touching mudra, in meditative equipoise, wearing the three robes, adorned with marks and signs, with OṂ (藏文，梵文天城体，梵文罗马拟音，oṃ，Om) on his crown, ĀḤ (藏文，梵文天城体，梵文罗马拟音，āḥ，Ah) on his throat, and HŪṂ (藏文，梵文天城体，梵文罗马拟音，hūṃ，Hum) on his heart. From that, light radiates. Invite the wisdom being identical to oneself from Akanishta, VAJRA SAMĀJAḤ JAḤ HŪṂ VAṂ HOḤ PADMA KAMALAYE SVAṂ MAHĀ MUNI ARGHAM (藏文，梵文天城体，梵文罗马拟音，vajra samājaḥ jaḥ hūṃ vaṃ hoḥ padma kamalaye svaṃ mahā muni arghaṃ，Vajra Samaja Jah Hum Vam Hoh Padma Kamalaye Svam Maha Muni Argham) and make offerings. Praise with pure body. Holding the mantra cord, recite any Muni mantra as appropriate. Focus on the mirror on top of the vase, and light radiates from the garland of mantras residing on the moon. All phenomena dissolve into the nature of nectar. Think that it is drawn back and dissolves into the vase. Cover the vase with your right hand or make the gesture of covering, and recite one hundred times the Ye Dharma mantra. Pour the water that washed the mirror into the vase. Again, from the mantra garland residing on the moon in the heart of the deity inside the vase, light radiates. Invite all the Buddhas, Bodhisattvas, Shravakas, and Pratyekabuddhas of the ten directions, think that they dissolve into the vase, and recite any Ye Dharma mantra as appropriate. Make offerings and praises as before, the light of the Muni.
Chinese
思维将甘露融入瓶水中。事业瓶也如前一样修，用本尊瓶也可以。生起本尊法：根本是，第五是仪轨正文，第六是三部分，第七是请证人，第八是沐浴，第九是律仪所依，第十是座，第十一是具饰，第十二是示导，第十三是祈请，第十四是律仪以上与声闻相同。这样说，如果按根本的章节来说，座和登上座是两个不同的，但这里合为一个，第五到第十四章节与声闻相同，所以想如上做就可以了。但在生起本尊时，坛城本尊的差别，仪轨也稍微不同。根本是，之后生起坛城，如所说之义，要做生起本尊，用本尊瓶之水洒在坛城和处所供品上，念诵缘起咒，清净不净，思维供品具有色香味触能力圆满。清净两个坛城。从空性中，在各种金刚的中心，从བྷཱུཾ་（藏文，भूम，bhūṃ，地）中，由各种珍宝组成的四方形四门殿，在黄蓝红绿白的五层墙壁上，有黄色屋檐，垂着珍宝网和半网，装饰着箭和橼。里面有八根柱子，上面由四根金刚栋梁抬着，中央隆起，装饰着金刚和珍宝顶。四门由四根柱子抬着，有四层台阶，有宝瓶、量器、法轮、伞顶等，外面是如意绸缎，由供养天女们围绕。外围是各种莲花金刚墙，光芒的链条四处照射，里面的中央是蓝、东白、南黄、西红、北绿的，首先中央是四方形，腰细，外面是十二瓣莲花，外面里面是四瓣莲花，外面是十二瓣莲花，成为两个坛城。两个坛城的中央是莲花月亮座上，能仁释迦王金色，以妙相庄严，触地定印，具有三种法衣，光芒普