English
Sana Lekpa said that the outer edges of such a vast and deep area, touching and erecting the four sides, each side has two pillars, and each of the four corners has one, a total of twelve pillars supporting black or blue beams. On top of that and the green beams, rafters are laid and a roof is built. The east and west column heads and the north and south eaves seem to be needed on the outside of these green beams as well. There is something like a square awning surrounding all sides. The height of the Sugata's enhanced roof is twice the height of the door in the heart center (referring to the center of the mandala), which is exactly 25,000 yojanas. On the twelve pillars surrounding the main deity's position, there are twelve short pillars with column heads and bases, on which beams and short pillars are erected, forming the shape of a parasol-like Harmika in the center. From the bottom of the Sugata's enhanced roof to the top of the Vajra Jewel on the roof of the main deity's position, the height is the same as the height of the Sugata's enhanced roof, which is exactly 25,000 yojanas. Thus, the height of the roof of the main deity's position is 25,000 yojanas, the Sugata's enhancement is also 25,000 yojanas, the heart center is 50,000 yojanas, the speech center is 100,000 yojanas, and the body center is 200,000 yojanas, totaling 400,000 yojanas. Therefore, the baseline of the body center up to the (mandala) width and height are equal. The three types of desire offerings (referring to external offerings) are piled up on the base side outside their respective walls, so the height of the mandala is not calculated separately, but their height can be a quarter or half of the door height. These two statements are not contradictory, but it is best to be a quarter. Up to the desire offerings, the height of the temple's foundation and the external offering ground is not clearly stated, but it is better to make the inside slightly higher, so it can be done appropriately according to a quarter of the door height, etc. Because it is not clearly stated, it is okay not to do it in one way. The boundary line between the outer land surroundings belongs to the offering ground itself, and the edge lines of other parts also belong to their respective inner surroundings. Now, where the cutting line is drawn, each enclosure should be slightly higher than its respective foundation. All other offering grounds and four surroundings are
Chinese
应当如是作。 其次，关于四个方向的周围，下方的金刚地基如同挖掘过的坑一般，土地是凹陷的，是充满地水火风的形态。在风的外侧，下方的金刚地基的中央部分有金刚围墙，高耸的铁栅栏，围墙内外周围实际上是天空空旷，然而被绿色光芒所遍布，这被称为天空的周围。因此，金刚地基之上，除了高低的差别之外，金刚围墙存在于需要作为周围地基的中间，而且在围墙的外侧也如同张开的口一样，其上有外部的天空环境，也有身之六门，与此没有丝毫间断，比它稍微长一点的地方也有周围，因此那里呈现出火焰燃烧的形态。 第四，其他装饰与宫殿总体相似。宫殿的角落装饰着各种金刚，无论是角落的中央还是根部方向，各种金刚都以向上竖立的姿态，在左右两侧的表面上，以如同半个模具压印般的形态突出。门和门框的交界处，墙壁的外侧，在丝绸之上，装饰着位于半月形上的九角形宝石。同样地，只有东北角的正上方，在土坛城的正上方，与身坛城的箭杆高度相同的天空中，有满月。西南角的正上方，在与其自身高度相同的天空中，有太阳存在。绘制坛城的时候，因为其正上方的土地周围被箭杆和箭衣遮蔽，所以需要绘制成如同东北角的内侧和真理之外的背面一样，但观修的意义如这里所说。马落处悬挂于门廊之上，支撑的四根柱子与总体一致，竖立之上，横梁环绕四周。其上覆盖屋顶，外部的飞檐等不显现，用木板装饰，也是为了书写等目的，在横梁的高度上计算柱子。门面方向的门楣分成三部分，在两个交界处有装饰。
English
It should be done equally. Then, regarding the four directions of the surroundings, the lower Vajra ground is like a dug-out pit, the land is concave, and it is in the form of being filled with earth, water, fire, and wind. Outside the wind, the central part of the lower Vajra ground has a Vajra fence, a towering iron fence, and the surroundings inside and outside the fence are actually empty sky, but it is covered with green light, which is called the sky's surroundings. Therefore, on top of the Vajra ground, apart from the difference in height, the Vajra fence exists in the middle that needs to be the foundation of the surroundings, and outside the fence, it is also like an open mouth, with the outer sky environment on it, and there are also six doors of the body, without any interruption from this, and there are also surroundings in a place slightly longer than it, so there is a form of burning flames. Fourth, other decorations are similar to the palace in general. The corners of the palace are decorated with various Vajras, whether it is the center of the corner or the root direction, various Vajras are in an upright posture, and on the left and right sides of the surface, they are protruding in a form like a half-mold impression. At the junction of the door and the door frame, on the outside of the wall, on top of the silk, it is decorated with a nine-pointed gemstone located in a half-moon shape. Similarly, only directly above the northeast corner, directly above the earth mandala, in the sky with the same height as the arrow shaft of the body mandala, there is a full moon. Directly above the southwest corner, in the sky with the same height as its own height, there is the sun. When drawing the mandala, because the surrounding land directly above it is obscured by the arrow shaft and the arrow robe, it needs to be drawn like the inner side of the northeast corner and the back outside of the truth, but the meaning of meditation is as described here. The horse landing is hung above the porch, and the four supporting pillars are erected in accordance with the general, and the beams surround it. The roof is covered on it, and the outer eaves are not visible, and it is decorated with wooden boards, which is also for the purpose of writing, etc. The pillars are calculated at the height of the beams. The lintel in the direction of the facade is divided into three parts, and there are decorations at the two junctions.
Chinese
竖立柱子，并在其上从门楣到门边的交界处也架设横梁，在覆盖物之上，外侧门的四分之一处左右与墙壁对齐，中央的左右两侧在两根横梁之上竖立柱子。柱子稍微向外突出，设置醉酒保护。还有长梁之间的横梁。屋顶建造方式等同上述，建造两层楼的房屋。第三层也以同样的方式建造，顶部做成哈尔米马背的形状。门房上方第一层四角柱子的侧面，以柱饰的形式雕刻贵重材料制成的牛狮堆叠物。中间层和上层则使用名为夏拉巴尼奇卡的柱饰，关于夏拉巴尼奇卡，有人说是紧那罗的女儿，有人说是杀豺狼者，有人说是支撑用柱。众说纷纭，但将其做成天女形象的说法没有错。而将紧那罗等做成男性或柱子桩子形状的想法是错误的。其含义是，过去转轮王出现时，在游乐园中嬉戏多日，用珍宝制成的宫殿的屋顶支撑物，由真正的紧那罗女代替柱子支撑的情景。后来用坚硬的好木材或石头做柱子，其外形是模仿天女的姿态，在柱子的表面雕刻双手支撑栋梁的样子，这种柱子的特殊名称叫做夏拉巴尼奇卡。其形态是雕刻的天女形象，而不是真正的生物。同样，佛像台阶下层法轮的右侧是雄鹿，左侧是雌鹿，菩提树左右两侧的紧那罗男女也是珍宝制成的雕像。大鼓右侧的棒槌是带有珍宝顶端的木棍。左侧的锤子也不需要金刚杵等装饰。木棍顶端有四方形的顶端，或者与整体相符。供养的地面上各种供品很容易理解。火风轮的边缘被称为坟场，指的是火轮的外半部分。
English
Erect pillars, and on top of them, also install horizontal beams from the lintel to the edge of the door. On top of the covering, align the quarter of the door on the outside with the walls on the left and right, and erect pillars on top of the two horizontal beams on the left and right of the center. Slightly protrude the pillars outwards and install drunken protection. Also, horizontal beams between the long beams. The roofing method, etc., is the same as above, and a two-story house is built. The third floor is also built in the same way, and the top is made into the shape of a Harmi horse's back. On the sides of the four corner pillars of the first floor above the gatehouse, bull-lion stacks carved from precious materials are used as pillar decorations. The middle and upper floors use pillar decorations called Shālabhañjikā. Regarding Shālabhañjikā, some say it is the daughter of a Kinnara, some say it is a jackal killer, and some say it is a supporting pillar. There are various opinions, but the idea of making it into the image of a goddess is not wrong. The idea of making Kinnaras, etc., into male or pillar-like shapes is wrong. Its meaning is that in the past, when a Chakravartin king appeared, he played in the pleasure garden for many days. The roof supports of the palace made of jewels were supported by real Kinnara women instead of pillars. Later, pillars made of hard, good wood or stone imitated the posture of a goddess, with the appearance of carving two hands supporting the beams on the surface of the pillar. The special name of this pillar is called Shālabhañjikā. Its form is a carved image of a goddess, not a real creature. Similarly, on the lower wheel of the Buddha's pedestal, there is a male deer on the right and a female deer on the left, and the Kinnara men and women on the left and right of the Bodhi tree are also statues made of jewels. The mallet on the right side of the big drum is a wooden stick with a jewel top. The hammer on the left does not need Vajra decorations, etc. The top of the wooden stick has a square top, or it matches the whole. The various offerings on the offering ground are easy to understand. The edge of the fire-wind wheel is called the cemetery, which refers to the outer half of the fire wheel.
Chinese
并且，风轮的内半部分是安放尸林，或者说是安放在摇动之轮上，称之为尸林，因此，即使不放在火轮中，而是全部安放在风轮中也可以，这是一种选择。诸位本尊安住在风轮的后半部分，因此，尸林地基上说是本尊的集合也是可以的。按照通常的说法，成就者本尊的集合是安住在尸林之外的。如果只做风轮的话，那么，极忿怒母众安住在内侧边界，不是充当护方神的角色，而是额外的。护方神等和其它尸林相同。如果安放周围环境的话，也安放在风轮的后半部分。按照通常的说法，尸林中不放置护方神和镇守神，极忿怒母本身就是他们的替代。无论如何，其它的尸林都和通常的一样。有些人说，像父续一样没有尸林也不是不行，像母续一样广大的也不是不行，即使零星地画一些骨骼等也没有矛盾。还有些人说，八个白红轮就是尸林的意思，不需要其它的，等等，这些随口说说的话，又能做什么呢？这里也出现了一种不画实际尸林的传统，即{不具备功德者聚集的地方不画尸林。}在印度，有一段时间流行这样的传统，不仅时轮如此，其它也是如此。因为没有尸体、鸟、野兽和骨骼等的空地上不能使用尸林的名称，所以在禅修的时候必须观想为尸林，在绘制坛城的时候，即使放置尸林也没有矛盾的情况也曾出现过。但是在印度和尼泊尔建造的时轮坛城中，几乎都画有广大的尸林。第五，主尊的莲花本身是绿色的，其下面的地基必须确定为蓝色，即使将大乐轮依次做成蓝色也没有矛盾，做成方位颜色也是可以的。凡是下面的地基是蓝色的，其上面的顶层也是绿色的。如果将大乐轮依次做成蓝色，那么，其台阶的侧面也是蓝色的。其它的地基和顶层全部由主尊的颜色来区分，即东方黑色，南方红色。
English
And, the inner half of the wind circle is where the charnel ground is placed, or it is said that the charnel ground is placed on the moving wheel, so even if it is not placed in the fire wheel, it can be placed entirely in the wind wheel, which is a choice. All the deities reside in the latter half of the wind circle, so it is also acceptable to say that the collection of deities is on the charnel ground base. According to the usual saying, the collection of accomplished deities resides outside the charnel ground. If only the wind circle is made, then the extremely wrathful mothers reside on the inner boundary, not as protectors of the directions, but as extras. The protectors of the directions, etc., are the same as other charnel grounds. If the surrounding environment is placed, it is also placed in the latter half of the wind circle. According to the usual saying, protectors of the directions and guardians are not placed in the charnel ground, the extremely wrathful mothers themselves are their substitutes. In any case, the other charnel grounds are the same as usual. Some say that it is not impossible to have no charnel ground like the father tantra, nor is it impossible to have a vast one like the mother tantra, and it is not contradictory to draw some scattered bones, etc. Others say that the eight white and red wheels are the meaning of the charnel ground, and no others are needed, etc. What can be done with these casual remarks? Here, a tradition of not drawing actual charnel grounds has also emerged, that is, {charnel grounds are not drawn in places where those without merit gather.} In India, there was a period when such a tradition was popular, not only in Kalachakra, but also in others. Because the name charnel ground cannot be used for empty places without corpses, birds, beasts, and bones, it is necessary to visualize it as a charnel ground during meditation, and there was a time when it was not contradictory to place a charnel ground when drawing a mandala. However, in the Kalachakra mandalas built in India and Nepal, almost all of them have vast charnel grounds drawn. Fifth, the lotus of the main deity itself is green, and the base below it must be determined to be blue, and it is not contradictory to make the great bliss wheel blue in sequence, and it is also possible to make it the color of the directions. Wherever the base below is blue, the top layer above it is also green. If the great bliss wheel is made blue in sequence, then the sides of its steps are also blue. All other bases and top layers are distinguished by the color of the main deity, i.e., east black, south red.