English
From "yin" onwards, up to "satisfying by scattering," all of it is the text for tasting nectar. In the summary, because it says, "True blessing and, tasting nectar and, Brahma's four abodes, practice," therefore, one should visualize the five Buddha families with seats. Since the nectar blessing section itself is related, this Ra Lotsawa's nectar blessing ritual seems to have completely not reversed the necessity of the three tantra summaries. These are the Samadhi of the Supreme Mandala King. Like this, for the wheel of the appearing mandala, also completely knowing it to be like a dream, therefore, practicing expansion and contraction is the Samadhi of the Supreme Karma King. At the end of the Samadhi Being, arranging mantra garlands and so on, clarifying these objects of focus as similar to the general Yamantaka class, then reciting "Om Hrih Shti Vikritanana Hum Hum Phat Phat Svaha." Recite as much as possible. The thirty-two letters and vowels and consonants should also be recited five times each. And the mantras for generating the retinue deities mentioned above, etc., should also be recited appropriately. If you want to conclude a session, then, the palace is the thirty-seven factors of enlightenment. The main Bhagavan is, the wisdom of the all-pervading Dharmadhatu. The four immeasurables are equality, Vajra Rolangma. Ignorance Vajra and so on are, the nature of the four wisdoms such as the mirror. The four goddesses are the nature of the four immeasurables. The eight coquettish ones and so on are, the essence of the eight such as generosity. The four doorkeepers are, those who have perfectly subdued the four maras. Having remembered purity in this way, from "light radiates from one's own heart" onwards, up to the three realms, containers and contents, etc., and the dedication of merit, it is also the same as what was said in the previous blood-drinking Red One section. Regarding the Torma ritual, the Torma blessing is the same as the inner offering blessing. The offering mantra is, for the transcendent ones, the same as what was said in the Black Enemy Dharma Protector ritual. When transforming the direction protectors into wisdom beings, they should be the same as the main deity. The direction protectors' Torma mantra is also the same as Black Enemy. Or, for this, it is also acceptable for the direction protectors not to transform their body forms.
Chinese
总的来说，仅凭这些来研究是不够的。此处的净化之精华在于，坛城直至其基座都与十三尊红黑怖畏金刚的情况相似。在所净化的阶段，不应区分父母子女等。从五种现证菩提中，主要生起的是，胎生和卵生的存在净化生起次第与通常的次第一致。虽然没有单独针对疾病等中阴的净化方法，但在此阶段，首先生起的是（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字。这本身就是中阴的净化方法，第二刹那象征着进入子宫。一般来说，在简略仪轨的体系中，没有单独的中阴净化方法的情况也非常多。三重菩萨的堆叠与之前相同。四手印依次象征着心、语、身和受用的圆满。就像主尊有单独的智慧迎请和融入一样，那也包含在心的圆满之中。眷属的本尊们仅从咒语中生起，是净化风所生之有情和化生的方法。从眼睛等和金刚三处的本尊处生起，是净化湿热所生之有情的方法。加持金刚三处，以及智慧的迎请和融入，是圆满那些本尊的身语意和智慧之力量。灌顶、供养、赞颂等也与通常的相同。同样，五种现证菩提是，从命脉阿瓦都底处元素和气的结合中，生起圆满次第的智慧。四手印是分别念的消融，气的消融，元素的凝固消融于梵穴，以及从八脉清净的力量中显现欲望的安乐。开展眷属众是，蕴、界、处、根身等依次清净的智慧。眼睛等的加持以下与通常的相同。如果与果联系起来，五种现证菩提是五种智慧，四手印是四身，眷属众是蕴界等清净或二十空性的智慧。其他方面则按照通常的净化方法进行。此处没有特殊的坛城仪轨和广大的仪轨，因此，拉瓦和觉巴的仪轨是按照各自的体系，将怖畏金刚的坛城仪轨搬过来使用。香巴噶举派也与黑品的坛城仪轨结合。以前的玛尔派也是如此。
English
Generally speaking, it is not enough to study only these. The essence of purification here is that the mandala up to its base is similar to the case of the thirteen red and black Vajrabhairavas. In the stage of what is to be purified, one should not distinguish between parents, children, etc. From the five Abhisambodhis, the main arising is that the existence purification arising sequence of womb-born and egg-born beings is consistent with the usual sequence. Although there is no separate purification method for the intermediate state of illness, etc., in this stage, the first arising is the syllable (Tibetan: ཧཱུྃ, Sanskrit Devanagari: हुं, Sanskrit Romanization: hūṃ, Chinese literal meaning: Hum). This itself is the purification method of the intermediate state, and the second moment symbolizes entering the womb. Generally speaking, in the system of abbreviated rituals, there are very many cases where there is no separate purification method for the intermediate state. The stacking of the three Bodhisattvas is the same as before. The four mudras successively symbolize the perfection of mind, speech, body, and enjoyment. Just as the main deity has a separate wisdom invitation and absorption, that is also contained within the perfection of mind. The retinue deities arise only from mantras, which is the method of purifying beings born from wind and transformation. Arising from the deities of the eyes, etc., and the three vajra places is the method of purifying beings born from heat and moisture. Blessing the three vajra places, as well as the invitation and absorption of wisdom, is the perfection of the body, speech, mind, and wisdom power of those deities. Empowerment, offerings, praises, etc., are also the same as usual. Similarly, the five Abhisambodhis are the arising of the wisdom of the completion stage from the combination of elements and winds at the central channel Avadhuti. The four mudras are the dissolution of conceptual thoughts, the dissolution of winds, the congealing of elements dissolving into the Brahma aperture, and the manifestation of the bliss of desire from the power of the purification of the eight channels. Developing the retinue assembly is the wisdom of the gradual purification of the aggregates, elements, sense fields, and sense bases. The blessing of the eyes, etc., below is the same as usual. If connected with the result, the five Abhisambodhis are the five wisdoms, the four mudras are the four bodies, and the retinue assembly is the wisdom of the purification of the aggregates, elements, etc., or the twenty emptinesses. Other aspects should be purified according to the usual methods. Since there is no special mandala ritual or extensive ritual here, the rituals of Lhawa and Kyopa are used by moving the Vajrabhairava mandala ritual according to their respective systems. The Shangpa Kagyu lineage also combines with the mandala ritual of the Black Tradition. The former Marpa lineage was also like that.
Chinese
被称为是随自宗的黑法坛城和合修。然而这里是中间时期出现的大德们听闻所有旧派的法，汇集为一，所以除了念诵需要改变的差别外，红黑坛城是依止吉祥持（法）的宗派。此续部的轮涅是，从上师和本尊的加持力中宣说，无论藏文写在哪里，都没有按照续部的意义，都是没有宣说和邪说。龙树菩萨稍微宣说的那部分，也极其不清晰。因此需要这样理解：纵向和横向画八条线，就形成四十九个格子。或者做四个圆圈的圆形轮，也勉强可以，续部的观点是正方形。也就是外面的四个角上画རྀ་（藏文，梵文天城体ṛ，梵文罗马拟音ṛ，苗），ལྀ་（藏文，梵文天城体ḷ，梵文罗马拟音ḷ，梨）四个。中间的四个角上画ཨ་（藏文，梵文天城体a，梵文罗马拟音a，阿）等四个。里面的四个角上画ཨེ་（藏文，梵文天城体e，梵文罗马拟音e，诶）等四个。外圈上面的五个格子里画ཀ་（藏文，梵文天城体ka，梵文罗马拟音ka，嘎），左边的五个格子里画ཙ་（藏文，梵文天城体ca，梵文罗马拟音ca，擦）组，下面的五个格子里画ཊ་（藏文，梵文天城体ṭa，梵文罗马拟音ṭa，扎）组，右边的五个格子里画ཏ་（藏文，梵文天城体ta，梵文罗马拟音ta，达）组。依次中间的上面的第三个画ཕ་（藏文，梵文天城体pha，梵文罗马拟音pha，帕），左边的三个画བྷ་（藏文，梵文天城体bha，梵文罗马拟音bha，巴）མ་（藏文，梵文天城体ma，梵文罗马拟音ma，玛）ཡ་（藏文，梵文天城体ya，梵文罗马拟音ya，亚），下面的三个画ར་（藏文，梵文天城体ra，梵文罗马拟音ra，ra）ལ་（藏文，梵文天城体la，梵文罗马拟音la，拉）ཝ་（藏文，梵文天城体va，梵文罗马拟音va，瓦），右边的三个画ཤ་（藏文，梵文天城体śa，梵文罗马拟音śa，夏）ཥ་（藏文，梵文天城体ṣa，梵文罗马拟音ṣa，沙）ས་（藏文，梵文天城体sa，梵文罗马拟音sa，萨）。里面的四个方向上顺时针画ཧ་（藏文，梵文天城体ha，梵文罗马拟音ha，哈）和长音ཨཱུ་（藏文，梵文天城体ā，梵文罗马拟音ā，啊），以及ཨཾ་（藏文，梵文天城体aṃ，梵文罗马拟音aṃ，啊木）རྣམ་བཅད་（藏文，梵文天城体visarga，梵文罗马拟音visarga， विसर्ग， विसर्ग）都要写上。里面的九个格子的四个方向和中间的四个岔口空出的十二个格子里，写ཡ་（藏文，梵文天城体ya，梵文罗马拟音ya，亚）等十七个字母。外圈的二十四个格子里，首先从角上开始写ཨོཾ་（藏文，梵文天城体oṃ，梵文罗马拟音oṃ，嗡），中间空一个格子写十四个字母，ཧཱུཾ་（藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽）两个和ཕཊ་（藏文，梵文天城体phaṭ，梵文罗马拟音phaṭ，啪）两个写在各自的格子里。在中心ཡ་（藏文，梵文天城体ya，梵文罗马拟音ya，亚）的中间写ཀྵ་（藏文，梵文天城体kṣa，梵文罗马拟音kṣa，恰），在它的里面也写名字。其他都是头朝外，元音辅音在外，头朝内，咒字在外。有单独元音辅音的二十个格子里，在元音辅音的字母下面，写ཧྲཱིཿ（藏文，梵文天城体hrīḥ，梵文罗马拟音hrīḥ，赫利）字或者以ཧཱུཾ་（藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽）两个为结尾的名字，比如上面是ཀ་（藏文，梵文天城体ka，梵文罗马拟音ka，嘎），下面是ཧྲཱིཿ（藏文，梵文天城体hrīḥ，梵文罗马拟音hrīḥ，赫利）或者ཧཱུཾ་（藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽）两个三个一组出现，就像汉字“川”一样，是三圈的意思。这个也要按照轮涅图画的念诵方法等去做。这里说了。
English
It is said to be the black mandala ritual and union according to one's own tradition. However, here, the great ones who appeared in the intermediate period listened to all the old traditions and combined them into one, so except for the differences in the recitations that need to be changed, the red and black mandala is based on the tradition of glorious holding (of Dharma). The wheel of this tantra is to be explained from the power of the blessings of the lama and the yidam deity. Wherever Tibetan letters are written, they are not according to the meaning of the tantra, but are only unsaid and wrong explanations. Even the slight explanation by Nagarjuna is very unclear. Therefore, it should be understood as follows: Draw eight lines vertically and horizontally, forming forty-nine squares. Alternatively, a circular wheel with four concentric circles can also fit, but the view of the tantra is a square. That is, on the four outer corners, draw four ṛ (藏文，梵文天城体ṛ，梵文罗马拟音ṛ，苗) and ḷ (藏文，梵文天城体ḷ，梵文罗马拟音ḷ，梨). On the four middle corners, draw four a (藏文，梵文天城体a，梵文罗马拟音a，阿) and so on. On the four inner corners, draw four e (藏文，梵文天城体e，梵文罗马拟音e，诶) and so on. On the five squares on the top of the outer circle, draw ka (藏文，梵文天城体ka，梵文罗马拟音ka，嘎). On the five squares on the left, draw the ca (藏文，梵文天城体ca，梵文罗马拟音ca，擦) group. On the five squares below, draw the ṭa (藏文，梵文天城体ṭa，梵文罗马拟音ṭa，扎) group. On the five squares on the right, draw the ta (藏文，梵文天城体ta，梵文罗马拟音ta，达) group. In order, on the third square on the top of the middle circle, draw pha (藏文，梵文天城体pha，梵文罗马拟音pha，帕). On the three squares on the left, draw bha (藏文，梵文天城体bha，梵文罗马拟音bha，巴), ma (藏文，梵文天城体ma，梵文罗马拟音ma，玛), and ya (藏文，梵文天城体ya，梵文罗马拟音ya，亚). On the three squares below, draw ra (藏文，梵文天城体ra，梵文罗马拟音ra，ra), la (藏文，梵文天城体la，梵文罗马拟音la，拉), and va (藏文，梵文天城体va，梵文罗马拟音va，瓦). On the three squares on the right, draw śa (藏文，梵文天城体śa，梵文罗马拟音śa，夏), ṣa (藏文，梵文天城体ṣa，梵文罗马拟音ṣa，沙), and sa (藏文，梵文天城体sa，梵文罗马拟音sa，萨). On the four inner directions, clockwise, draw ha (藏文，梵文天城体ha，梵文罗马拟音ha，哈) and the long ā (藏文，梵文天城体ā，梵文罗马拟音ā，啊), as well as aṃ (藏文，梵文天城体aṃ，梵文罗马拟音aṃ，啊木) and visarga (藏文，梵文天城体visarga，梵文罗马拟音visarga， विसर्ग， विसर्ग). In the twelve squares left out of the four directions of the nine inner squares and the four intermediate intersections, write seventeen letters starting with ya (藏文，梵文天城体ya，梵文罗马拟音ya，亚). In the twenty-four squares of the outer circle, start by writing oṃ (藏文，梵文天城体oṃ，梵文罗马拟音oṃ，嗡) on the first corner, leaving one square in between and writing fourteen letters. Write two hūṃ (藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽) and two phaṭ (藏文，梵文天城体phaṭ，梵文罗马拟音phaṭ，啪) in their respective squares. In the center, write kṣa (藏文，梵文天城体kṣa，梵文罗马拟音kṣa，恰) in the middle of ya (藏文，梵文天城体ya，梵文罗马拟音ya，亚), and write the name inside it as well. If the others are head outwards, the vowels and consonants are outside. If the head is inwards, the mantra syllables are outside. In the twenty squares with single vowels and consonants, below the letters of the vowels and consonants, write the hrīḥ (藏文，梵文天城体hrīḥ，梵文罗马拟音hrīḥ，赫利) syllable or the name ending with two hūṃ (藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽). For example, if there is ka (藏文，梵文天城体ka，梵文罗马拟音ka，嘎) on top, and hrīḥ (藏文，梵文天城体hrīḥ，梵文罗马拟音hrīḥ，赫利) or two hūṃ (藏文，梵文天城体hūṃ，梵文罗马拟音hūṃ，吽) below appear in a group of three, it is like the Chinese character "川", which means three circles. This also requires doing the recitation methods etc. according to the drawn wheel diagram. Here it is said.