English
Although it would be better to summarize it into four faults, when it is not specifically determining the Kalachakra itself, but when teaching within the category of many types of mandalas, considering that it is convenient and good to introduce it as long as there is no conflict in meaning, that is what that teacher did. However, it is not certain that that teacher does not completely approve of this method either. In the case of the body-door guardians, the wrathful ones, the four wrathful ones, namely the wooden staff, arrow, club, and wooden stick, and the trident of the fierce-eyed mother, are clearly manifested. In the garland, although it is considered that the radiant mother and the other four hold the wheel, hammer, arrow, and sword as the signs of generation, if one mainly focuses on the self-lineage wrathful mother, then one must arise from their respective seed syllables and hand gestures. Saying that the fierce-eyed mother has a trident is only symbolic, and at that time, the radiant mother and others are also similar to the wrathful ones with wooden sticks and so on. If one mainly focuses on the wrathful ones, then the wrathful ones arise from the seed syllables and hand gestures, and the wrathful mothers arise only from the seed syllables. In this case of the body-door guardians, some Tibetans and Chinese make all the father deities with three faces and six arms, and the mother deities with four arms, and in some self-lineages, the crown is also made with three faces and six arms, and the five wrathful ones and six wrathful mothers are made with four arms. Since it is established as the door guardian of the body mandala, then the crown must also be made with four arms, let alone the other wrathful ones? Because the root deity of the speech mandala and the body mandala cannot have more than four arms. Then, in the case of the protection wheel, just as it will be taught about the crown chakra-ruler, it is made as the initial explanation, and it is identified as the realization of the practice sequence that will be taught, and in the case of the protection wheel, all the wrathful ones become three-faced and six-armed due to the power of the moon, then even if the body-door guardians do not have a clear explanation of faces and arms, it is necessary to transform the six, such as the wooden staff and blue one, into four arms due to the power of the moon residing in the same order, then wouldn't the number of faces and arms of these wrathful ones become uncertain? If it is said that it will become uncertain, then this is accepted, because the appearances and arms obtained by { are very numerous, because in one type of the twenty-five deities of the heart mandala, the retinue's lunar power and the arrangement of the mandala
Chinese
的差别，主要变成三面六臂，总摄大的时候等，总之比守门更重要的主母和有能力者也具有。因此在修法仪轨中，说顶髻等五部与五部佛的面容和手臂相同，这实际上只是就顶髻安放在心间而言。顺便说，害美国王等蓝色者，手印也相同，这也是就害美安放在心间而言。因此，安放在身门守护时，那些不能作为依据。那么，身之忿怒母们说一面四臂之后，同样在东、南、西、北门，分别是蓝色棍棒、欲王、大力者、不动者。说这是确定的。这样说，难道不是只说了四个门的四忿怒尊是四臂吗？不是的，这是在安放身语意圆满坛城的时候，这四个忿怒尊确定是四臂，而顶髻和害美是不确定的。意思是，安放在心间就是三面六臂，安放在身坛城就是四臂。另外，萨度布扎等许多汉藏人士，顶髻和害美是六臂，而佛母是四臂，这也有点不好，因为主尊父母不是言说的对象。其他身语意的坛城，直到墙内的所有本尊，在双运时，手印的数量是相同的。除了特别的梵天童女和梵天六面之外，面容也是如此。忿怒尊父母的种子字是下面的长短拉，是方便智慧，其他的是断除顶髻，是方便智慧。这也可以类推到其他许多情况。所有忿怒尊的蛇饰、虎皮等装饰和服装的差别，以及三眼、獠牙、红黄色头发向上竖立等，是忿怒尊共同的仪轨，所以是需要的。父尊们是六手印，母尊们是五手印，干骷髅头饰和湿人头项链等，虽然不是必须的，但如果出现也不矛盾，而且看起来很好。法称等一些人头鬘
English
The difference is that the main deity becomes three-faced and six-armed, and during the great Samvara, etc., in short, the main mother and the capable ones, who are more important than the gatekeepers, also have them. Therefore, in the sadhana, it is said that the five, such as the Ushnishachakra, have the same faces and arms as the five families of Buddhas, which is actually only in terms of placing the Ushnishachakra in the heart. By the way, it is also said that the blue ones, such as King Nodme, have the same hand gestures, which is also in terms of placing Nodme in the heart. Therefore, when placing them as body gatekeepers, those cannot be used as authority. Then, after saying that the wrathful mothers of the body are one-faced and four-armed, similarly, in the east, south, west, and north gates, there are blue clubs, King Kama, Mahabala, and Achala, respectively. It is said that this is certain. Having said that, isn't it only said that the four wrathful deities of the four gates are four-armed? No, it is not, because when arranging the complete mandala of body, speech, and mind, these four wrathful deities are definitely four-armed, while the Ushnishachakra and Nodme are not certain. It means that if placed in the heart, they are three-faced and six-armed, and if placed in the body mandala, they become four-armed. Also, many Han and Tibetan people, such as Sadhuputra, have the Ushnishachakra and Nodme as six-armed, while the mother is four-armed, which is also a bit inappropriate, because the main father and mother are not objects of speech. In other mandalas of body, speech, and mind, all the deities up to the inside of the walls have the same number of hand gestures when in union. Except for the special Brahma maiden and the six-faced Brahma, the faces are also the same. The seed syllables of the wrathful father and mother are the long and short la below, which are skillful means and wisdom, and the others are the removal of the topknot, which are skillful means and wisdom. This can also be analogized to many other situations. All the wrathful deities need the differences in ornaments and clothing, such as snake ornaments and tiger skins, and the common practice of wrathful deities, such as three eyes, fangs, and red-yellow hair standing upright. The father deities have six hand gestures, and the mother deities have five hand gestures. Although dry skull headdresses and wet human head necklaces are not necessary, it is not contradictory if they appear, and they look good. Some people, such as Dharmakirti, have head garlands.
Chinese
说需要一百个念珠。如果那样，就和金刚力没有区别了，所以上师喜饶僧格认为做五十个左右是合理的。第五，对身坛城底座上的龙众进行描述。身坛城外围底座附近，马头金刚柱子内侧的根部是八龙的座位。禅修时也是如此，但在绘画时，因为画在正对的底座上。有些人对此感到困惑，因为不理解这个要点，所以认为因为龙位于底座上就不是明咒，如果龙也是明咒就太过分了，这真是可笑。为什么呢？因为龙众是按照面朝内的方向，柱子的左右两侧显示出来。座位的正面与底座相连，位于底座外侧的地面上，而不是在柱子正对的底座上。关于顺序，虽然有人认为在供施咒语等情况下有所不同，但无边和具种，具种和无边等等只是细微的差别。嘉瓦南嘉的莲花座是七层，其他的是五层。萨度布扎如是说。如此，龙众以金刚跏趺坐的姿势安住。极忿怒母们也以金刚跏趺坐的姿势拥抱。龙众不一定非要从手印中产生，也可以只从种子字，或者作为手印的替代，从四大的坛城标志中产生。有些人说必须从宝瓶中产生，因为经中说八龙就是那些宝瓶。宝瓶是龙的手印，所以那样产生并不矛盾，但引用经文的方式非常愚蠢，因为那只是显示种类和有种而已。嘉瓦南嘉的种子字在装饰的章节中也有说是吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）和 刹（藏文：ཀྵུཾ，梵文天城体：kṣuṃ，梵文罗马拟音：kṣuṃ，汉语字面意思：刹）。自己的宗派没有在此处说明，这本身就是一种论证。极忿怒母们位于尸林轮的位置，与她们拥抱的龙众也是圆形的姿态。关于这些，在灌顶释文中，从“ཞེས་པ་ནས”到“འི་བར་དུ”之间，后面的七个字母是按照五行元素颠倒的方式叠加，从修法
English
It is said that a rosary of a hundred is needed. If so, there would be no difference from Vajra Power, so Lama Sher Sengba considers it reasonable to make about fifty. Fifth, the description of the Naga assembly on the pedestal of the body mandala. Near the outer pedestal of the body mandala, the base of the inner pillar of the horse-descent is the seat of the eight Nagas. It is the same in meditation, but in painting, it is because it is drawn on the pedestal directly opposite it. Some people are confused by this, because they do not understand this point, so they think that because the Nagas are located on the pedestal, it is not a mantra, and it would be too much if the Nagas were also mantras, which is ridiculous. Why? Because the Nagas are shown on the left and right sides of the pillar, facing inward. The front of the seat is connected to the pedestal, located on the ground outside the pedestal, not on the pedestal directly opposite the pillar. Regarding the order, although some people think that it is different in the case of offering mantras, etc., but Infinite and Possessing Lineage, Possessing Lineage and Infinite, etc. are only slight differences. Gyalwa Namgyal's lotus seat has seven layers, and the others have five layers. Sadhuputra said so. Thus, the Nagas abide in the vajra posture. The extremely wrathful mothers also embrace in the vajra posture. The Nagas do not necessarily have to be produced from the mudras, but can also be produced only from the seed syllables, or as a substitute for the mudras, from the symbols of the four elements' mandala. Some say that they must be produced from the vase, because the sutra says that the eight Nagas are those vases. The vase is the mudra of the Nagas, so it is not contradictory to produce them in that way, but the way of quoting the sutra is very foolish, because it only shows the kind and the possessor of the kind. Gyalwa Namgyal's seed syllable is also said to be Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) and Kṣuṃ (藏文：ཀྵུཾ，梵文天城体：kṣuṃ，梵文罗马拟音：kṣuṃ，汉语字面意思：刹) in the decoration chapter. Our own tradition is not explained here, which in itself is an argument. The extremely wrathful mothers are located in the charnel ground wheel, and the Nagas embracing them are also in a circular posture. Regarding these, in the commentary on the empowerment, from "ཞེས་པ་ནས" to "འི་བར་དུ", the last seven letters are stacked in the reversed manner of the elements, from the practice
English
From "ེ་ རྣམས་" to "འི་", it is stacked according to the Kham tradition. Did the eastern seed syllable appear in both at the beginning? Generally, it is permissible to do both, but it is not like stirring to prevent arbitrary entry. Some say that the stacking method during empowerment is the reverse of the Kham tradition, but the order of the sections is in ascending order, so some say that the term "ascending order" can generally be applied to both. It is similar to how "ཙ" and other letters conform to the order. This is how it is understood literally. Some explain that it is the purification of defilements during empowerment, so it is the order of gathering, and in the practice, it is the generation of the undefiled aggregate, so it is also shown by the generation stage, which needs to be examined. However, the usual explanation is that the mandala shown in the chapter on practice methods is unaltered. Regarding the animals on the seat, "བསེ་" is a wild animal with a body like an elephant and a head like a buffalo, a long neck, a rhinoceros horn on its forehead, its entire body covered with protrusions, and sparse, needle-like hairs. "བྷེ་རུཎྜ་" is a yellow bird said to have fragrant dung, but the claim of fragrant dung is mistaken. The color and shape also appear the same on the face of the Bibhuti Chandra's mind practice mask. "གཤད་གདོང་" is translated as bat in the new translation, which is the bat itself, and there are two types: male and female. "མིག་སྔོན་" is a bird about the size of the largest pigeon, turquoise in color, very beautiful, with long tail feathers. The vehicles of the two upper and lower Fierce Mothers are similar to the vehicles of the wrathful deities, father and mother. The seed syllables of the upper and lower Fierce Ones are also combined with the dark blue and Fierce-Eyed Mother's seed syllables, according to the tradition of Sadhuputra and others. In our own tradition, when writing "Stainless Light," we do not want the fault of being interrupted at that point, so we affirm not using seed syllables. These Nagas and Fierce Mothers residing above and below are the pervasive ones of others, and if we examine the similar aspects, they are not found in the mandala of the Lotus Seat One and the Glorious Constellations, and these two Fierce Mothers are not among the thirty-six yoginis, so it seems that it is permissible not to generate them separately, and even if we do generate them, there is no need for efforts such as searching for seed syllables and signs. Sadhuputra considers the toes to be Nagas and the fingers to be Fierce Mothers.