Chinese
至于那里，（经文说：）“在猛厉无身二者的心间，胜者之自在主极度嬉戏之足乃是右伸之姿。”如是所说的“在火之上”乃至之前，并非是宫殿的座，而是生起所依之坛城时，显示生起主尊之莲花，因为有“从嗡字（藏文：ཨོཾ，梵文天城体：ॐ，梵文罗马拟音：oṃ，汉语字面意思：嗡）所生”的决定之故。释论中说：“在月亮、太阳、火之上”，其中“拉那”和“惹萨那”以及“阿瓦都提”之上，“猛厉无身二者”是指魔和烦恼之方，如所说“左和右的极度降临者们的心间”一样。总之，在种子字的场合是三个，清净方面也仅仅说了三根本的清净之故。上面宫殿的所依生起时的词句中，“空、风、火、水和地，以及天神之山、莲花、月亮、太阳、火等”，其中“火”的解释中说：“在其之上，从圆满成为明点而来的火，是指罗睺的坛城，深蓝色。”由于与此智慧相同等原因，经续释论实际所示的要点是座、坛城三层叠加。因此，有些人这样说，在外面也是，在日食的时候，日月罗睺三者叠加，罗睺头尾不可能同时遮挡日月，因此，此处罗睺时火叠加是不合理的。如果日月叠加被罗睺遮挡，有时罗睺头，有时罗睺尾遮挡一样，那两者中任何一个观修即可，主要以阿瓦都提本身是清净结合的自在，而认为观修罗睺头本身也是有理由且坚定的。虽然如此，但做日月所引导的三个坛城时，如果安置时火坛城，那它是黄色的，普遍适用的金刚三者的颜色是白红蓝三色，或者与方便智慧各自的身语意相结合等，从颜色方面不适合，因此要做深蓝色的罗睺。又有些人这样说，所说的短阿（藏文：ཨ，梵文天城体：अ，梵文罗马拟音：a，汉语字面意思：阿）的种子字，从声明的角度来说，短阿表示长阿和短阿两种，在堪布列谢迥努的七双的场合，长阿短阿
English
As for that, (the scripture says:) "In the heart of the fierce bodiless two, the feet of the Lord of the Victorious One, who is extremely playful, are in a right-extended posture." As stated, "above the fire" and so on, it is not the seat of the palace, but when generating the mandala of the support, it shows the lotus generating the main deity, because of the certainty of "born from the syllable Om (Tibetan: ཨོཾ, Devanagari: ॐ, IAST: oṃ, literal meaning: Om)." The commentary says: "Above the moon, sun, and fire," among them, "above Lana" and "Rasana" and "Avadhuti," "the fierce bodiless two" refers to the side of demons and afflictions, just as it is said, "in the hearts of those who descend extremely on the left and right." In short, in the case of the seed syllable, there are three, and in terms of purification, only the purification of the three roots is mentioned. In the words of the generation of the support of the palace above, "emptiness, wind, fire, water, and earth, as well as the mountain of gods, lotus, moon, sun, fire, etc.," in the explanation of "fire," it says: "Above it, the fire that comes from being completely transformed into a bindu refers to the mandala of Rahu, deep blue." Due to the same reason as this wisdom, the main point of the actual teaching of the tantra commentary is the three-layered seat and mandala. Therefore, some people say that outside, too, during the eclipse, the sun, moon, and Rahu are stacked, and it is impossible for Rahu's head and tail to block the sun and moon at the same time. Therefore, it is unreasonable to stack Rahu's fire here. If the sun and moon are stacked and blocked by the planet, sometimes Rahu's head and sometimes Rahu's tail block, then either of the two can be meditated upon. Mainly, Avadhuti itself is the freedom of pure union, and it is also reasonable and firm to think that meditating on Rahu's head itself. However, when making the three mandalas guided by the moon and sun, if the fire mandala is placed at the time, it is yellow, and the colors of the three vajras that are generally applicable are white, red, and blue, or combined with the body, speech, and mind of the respective methods and wisdom, etc., it is not suitable in terms of color, so the deep blue Rahu should be made. Also, some people say that the short A (Tibetan: ཨ, Devanagari: अ, IAST: a, literal meaning: A) seed syllable is said, from the perspective of phonetics, the short A represents both long A and short A. In the case of the seven pairs of Khenpo Lekshe Jungne, long A and short A
Chinese
其次，因为说罗睺和劫火的种子字是ཨཾ་（藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思），ཨཿ（藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思），ཨ་（藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思），所以用它们来表示日月罗睺劫火四者都是合理的。因此，必须叠加四个坛城。其他智慧的分类，如中脉和海螺脉也与此相关。如果罗睺和劫火是同一个神的首尾，那么说罗睺或火就意味着两者。因为没有母体的身体，所以一个头一个尾不能作为坐垫。还有人说，在味平等的时候，经文作为论证说：在极乐之上，即在月亮、太阳、罗睺和劫火的坛城之上。叶氏的二百三十五页说：说罗睺、火、月亮和太阳四者，即地、水、焚烧、星宿、风和空性。根本释也阐述了这一点。他们这样说。像这样说的人，一定认为必须叠加日月罗睺劫火四者作为坐垫的那些论证，看起来似乎是这样。叶氏的经文与种姓部相符，因为这是在说将外在的作者所附加的事物都包含在自己身体中的情况，所以没有解释。也就是说，日月罗睺劫火四者、五大、十大星宿中剩余的六个、四种姿势、五种欲望、三种功德都只是计算包含在内在身体中的方式。在浓缩了这些核心意义的修行中，结合的方式是不同的。那么，有人会想，那时这些的结合就是四者，也就是四个坐垫。但那是种姓部的诸神各自的坐垫要用日月罗睺劫火四者。这是这个意思，并不是在展示时轮金刚的座位，也不是叠加的意思。味平等时候的经文看起来像是可靠的论证，但由于Ra和Shong的翻译，所以才变成了那样。在自己的翻译和A Sha等一些旧译中，有罗睺或劫火的坛城。那个“或”字也是表示同义词的词语，所以禁止了四重叠加，两个坛城也不是选择性的词语。又，统一地显示为罗睺、卡拉、阿耆尼，也是因为佛陀释迦
English
Secondly, because it is said that the seed syllables of Rahu and Kalagni are Aum (藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思), Ah (藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思), and A (藏文，梵文 देवनागरी，梵文罗马 chữ nôm，汉语字面意思), it is reasonable to use them to represent the four: Sun, Moon, Rahu, and Kalagni. Therefore, four mandalas must be stacked. Other classifications of wisdom, such as the central channel and the conch channel, are also related to this. If Rahu and Kalagni are the head and tail of the same deity, then saying Rahu or fire means both. Because there is no mother's body, one head and one tail cannot be used as a cushion. Some also say that in the case of equal taste, the scripture argues: "Above great bliss, that is, above the mandala of the moon, sun, Rahu, and Kalagni." The two hundred and thirty-fifth page of the Ye lineage says: "Saying the four: Rahu, fire, moon, and sun, that is, earth, water, burning, constellations, wind, and emptiness." The root commentary also explains this. They say this. Those who say this must think that those arguments that require stacking the four: sun, moon, Rahu, and Kalagni as a seat, seem to be so. The Ye lineage scripture is in accordance with the Gotra lineage, because it is talking about the situation where the things attached to external agents are all contained in one's own body, so there is no explanation. That is, the four: sun, moon, Rahu, and Kalagni, the five elements, the six remaining from the ten planets, the four postures, the five desires, and the three qualities are just counting the ways in which they are contained in the inner body. In the practice that condenses the core meaning of these, the way of combining is different. Then, one might think, at that time the combination of these is the four, that is, the four seats. But that is the four: sun, moon, Rahu, and Kalagni, which are to be used as the respective seats of the deities of the Gotra lineage. This is the meaning, and it is not showing the seat of the Kalachakra, nor is it the meaning of stacking. The scripture at the time of equal taste seems to be a reliable argument, but it became that way due to the translation of Ra and Shong. In one's own translation and some old translations such as A Sha, there is the mandala of Rahu or Kalagni. That word "or" is also a word that shows synonyms, so it prohibits quadruple stacking, and the two mandalas are not selective words. Also, it is shown uniformly as Rahu, Kala, Agni, because Buddha Shakya
Chinese
如是。中脉和海螺脉虽然在一个脉系中相连，但因结扣极其紧密而阻隔，并且脉的体性和作用极其不相似，因此，此续部的规矩是，将六条主要脉分别设立，这才是主要的。罗睺星和时火也是在外面的神，虽然同属一个脉系，但先前上下断裂，变成两个生命，上下分别安住而行事，广为人知。为了在十曜之时，使诸神各自能够独立自主，并且为了与这些相符，其他续部的修法中也多有只出现罗睺星上半身的说法。将脱离身体的头尾单独安立是不合理的，这对您来说也是一样的。按照您的观点，罗睺星是头，时火是尾巴，这样就变成了只有头尾而没有身体的头尾被按压的情况了。声论的论证也极其不相关，那是因为著书时为了文字简略，如“乌特及其眷属”等，声论的术语和文字的缩略等，是为了将许多意义包含在少数文字中，所以是由声明家们新造的，并非事物本身就是如此。即使“咕”字代表“嘎”部，但“咕”字也不是嘎咔嘎嘎阿。因此，那些是因为文字少，通过臆造而组合的，而在这里，写一个长长的“阿”字没有困难，也没有必要说是因为隐藏在口耳相传中，并且就事物的存在方式而言，短“阿”永远不可能既是短“阿”又是长“阿”。因此，我方的观点是，续部注释的观点是不将时火单独分开，而且在外面，罗睺星也比时火更为著名，在内部，阿瓦都帝也比海螺脉更为重要，此外，在生起次第中，金刚亥母的脚踩着大威德金刚等，与此要点相同，因此这里也是如此。即便如此，如果认为《阿怖畏鬘》二种、《萨度布扎拉》和《赞颂连绵》等中讲述了四重坛城，那么，那些论师们是按照各自上师的口诀
English
It is as it is said. Although the central channel and the conch channel are connected in one channel system, they are blocked by extremely tight knots, and their nature and functions are very dissimilar. Therefore, the rule of this tantra is to establish the six main channels separately, which is the most important. Rahu and Time Fire are also deities that exist externally. Although they belong to the same lineage, they were previously severed at the top and bottom, becoming two lives, residing separately at the top and bottom and acting accordingly, which is widely known. In order to make each deity independent during the ten planets, and in accordance with these, many sadhanas of other tantras also mention that only the upper body of Rahu appears. It is unreasonable to establish the head and tail alone without the body, which is the same for you. According to your view, Rahu is the head and Time Fire is the tail, so it becomes a situation where only the head and tail are pressed down without the body. The arguments of grammar are also very irrelevant, because it is for the sake of brevity in writing, such as "Ut with its retinue," etc. The terms and abbreviations of grammar are newly created by grammarians in order to include many meanings in a few words, and it is not that things are like that in themselves. Even if the letter "ku" represents the "ka" group, the letter "ku" is not ka kha ga gha nga. Therefore, those are combined by fabrication because there are few letters, but here, there is no difficulty in writing a long "A" letter, and there is no need to say that it is hidden in oral transmission, and in terms of the way things exist, a short "A" can never be both a short "A" and a long "A". Therefore, our view is that the view of the tantra commentary is not to separate Time Fire separately, and externally, Rahu is more famous than Time Fire, and internally, Avadhuti is more important than the conch channel, and in addition, in the generation stage, Vajravarahi's feet stepping on Yamantaka, etc., are the same as this point, so it is here as well. Even so, if you think that the two Abhaya Malas, Sadhuputrala, and Continuous Praise, etc., describe the four-layered mandala, then those teachers are according to the oral instructions of their respective gurus.