Chinese
饶洛。那些混合在一起完全转化后，从诸佛如来，到以手持鲜花花环者所庄严之间，坛城生起之法也与十三尊红阎魔敌时相同。坛城上下之基，东白、南黄、西红、北绿、中蓝。墙壁内侧以天衣环绕的中央之基上，有八辐蓝色法轮。法轮的中心，从邦（藏文：པཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：邦）字生出各种莲花之上，从让（藏文：རཾ，梵文天城体：रं，梵文罗马拟音：raṃ，汉语字面意思：让）字生出日轮。法轮的辐条，东面为月亮，南面为珍宝，西面为莲花，北面为金刚交杵之座。四隅的辐条，以及外侧的四个角，和内侧的四个角，共十二处，各自为月轮之座。中央的座垫之上，阿啊（藏文：ཨ་ཨཱ，梵文天城体：अ आ，梵文罗马拟音：a ā，汉语字面意思：阿啊），伊伊（藏文：ཨི་ཨཱི，梵文天城体：इ ई，梵文罗马拟音：i ī，汉语字面意思：伊伊），乌乌（藏文：ཨུ་ཨཱུ，梵文天城体：उ ऊ，梵文罗马拟音：u ū，汉语字面意思：乌乌），热热（藏文：རྀ་རཱྀ，梵文天城体：ऋ ॠ，梵文罗马拟音：ṛ ṝ，汉语字面意思：热热），勒勒（藏文：ལྀ་ལཱྀ，梵文天城体：ऌ ॡ，梵文罗马拟音：ḷ ḹ，汉语字面意思：勒勒），诶艾（藏文：ཨེ་ཨཱཻ，梵文天城体：ए ऐ，梵文罗马拟音：e ai，汉语字面意思：诶艾），哦奥（藏文：ཨོ་ཨཽ，梵文天城体：ओ औ，梵文罗马拟音：o au，汉语字面意思：哦奥），昂啊（藏文：ཨཾ་ཨཿ，梵文天城体：अं अः，梵文罗马拟音：aṃ aḥ，汉语字面意思：昂啊），从双运融化中生起的如镜般的月轮智慧。其上，喀卡嘎嘎阿（藏文：ཀ་ཁ་ག་གྷ་ང་，梵文天城体：क ख ग घ ङ，梵文罗马拟音：ka kha ga gha ṅa，汉语字面意思：喀卡嘎嘎阿），匝擦匝匝尼亚（藏文：ཙ་ཚ་ཛ་ཛྷ་ཉ，梵文天城体：च छ ज झ ञ，梵文罗马拟音：ca cha ja jha ña，汉语字面意思：匝擦匝匝尼亚），扎叉扎扎纳（藏文：ཊ་ཋ་ཌ་ཌྷ་ཎ，梵文天城体：ट ठ ड ढ ण，梵文罗马拟音：ṭa ṭha ḍa ḍha ṇa，汉语字面意思：扎叉扎扎纳），达塔达达纳（藏文：ཏ་ཐ་ད་དྷ་ན，梵文天城体：त थ द ध न，梵文罗马拟音：ta tha da dha na，汉语字面意思：达塔达达纳），帕帕巴巴玛（藏文：པ་ཕ་བ་བྷ་མ，梵文天城体：प फ ब भ म，梵文罗马拟音：pa pha ba bha ma，汉语字面意思：帕帕巴巴玛），亚ra拉哇夏卡萨哈恰（藏文：ཡ་ར་ལ་ཝ་ཤ་ཥ་ས་ཧ་ཀྵ，梵文天城体：य र ल व श ष स ह क्ष，梵文罗马拟音：ya ra la va śa ṣa sa ha kṣa，汉语字面意思：亚ra拉哇夏卡萨哈恰），亚ra拉哇达达（藏文：ཡ་ར་ལ་ཝ་ཌ་ཌྷ，梵文天城体：य र ल व ड ढ，梵文罗马拟音：ya ra la va ḍa ḍha，汉语字面意思：亚ra拉哇达达），从双运融化中生起的平等性日轮智慧。此时经中说：“亚等非舍弃，第三之二第四也。”所说的就是指亚ra拉哇达达。经中说现证菩提的第二是太阳，在生起本尊的修法中也如经中所说。有些藏人认为修法海中所说的与月亮交合，但在此处依据的是续部总集第三品，所以是太阳。二者之间，从吽（藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字生出的金刚杵，以吽（藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字为标志，以及从阿（藏文：ཨཱཿ，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿）字生出的弯刀，以阿（藏文：ཨཱཿ，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿）字为标志，是各别自证的智慧。从中放射出各种光芒，供养圣众，将一切众生安置于阎罗敌之果位，再次汇聚而融入，是成所作智。那些完全转化后，身圆满的舍（藏文：ཧྲཱིཿ，梵文天城体：ह्रीः，梵文罗马拟音：hrīḥ，汉语字面意思：舍）字等是法界体性智，自身成为薄伽梵阎罗，身色如时间之黑暗般漆黑，张口吞噬，具有妩媚等九种姿态之味，焚烧所有魔众坛城。
English
Ra Lo. After those are mixed together and completely transformed, from the Buddhas, to those adorned with garlands of flowers, the method of generating the palace is also the same as in the case of the thirteen red Yamāntakas. The upper and lower bases of the palace are white in the east, yellow in the south, red in the west, green in the north, and blue in the center. On the central base surrounded by divine cloths inside the walls, there is an eight-spoked blue wheel. In the center of the wheel, from Paṃ (藏文：པཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：邦) arises a lotus of various kinds, and from Raṃ (藏文：རཾ，梵文天城体：रं，梵文罗马拟音：raṃ，汉语字面意思：让) arises a solar disc. The spokes of the wheel have a moon in the east, a jewel in the south, a lotus in the west, and a crossed vajra seat in the north. The four corner spokes, the four outer corners, and the four inner corners, totaling twelve, each have a seat of a lunar disc. Above the central seat are A Ā (藏文：ཨ་ཨཱ，梵文天城体：अ आ，梵文罗马拟音：a ā，汉语字面意思：阿啊), I Ī (藏文：ཨི་ཨཱི，梵文天城体：इ ई，梵文罗马拟音：i ī，汉语字面意思：伊伊), U Ū (藏文：ཨུ་ཨཱུ，梵文天城体：उ ऊ，梵文罗马拟音：u ū，汉语字面意思：乌乌), Ṛ Ṝ (藏文：རྀ་རཱྀ，梵文天城体：ऋ ॠ，梵文罗马拟音：ṛ ṝ，汉语字面意思：热热), Ḷ Ḹ (藏文：ལྀ་ལཱྀ，梵文天城体：ऌ ॡ，梵文罗马拟音：ḷ ḹ，汉语字面意思：勒勒), E AI (藏文：ཨེ་ཨཱཻ，梵文天城体：ए ऐ，梵文罗马拟音：e ai，汉语字面意思：诶艾), O AU (藏文：ཨོ་ཨཽ，梵文天城体：ओ औ，梵文罗马拟音：o au，汉语字面意思：哦奥), Aṃ Aḥ (藏文：ཨཾ་ཨཿ，梵文天城体：अं अः，梵文罗马拟音：aṃ aḥ，汉语字面意思：昂啊), from the melting of the union arises the mirror-like wisdom of the lunar disc. Above that are Ka Kha Ga Gha Ṅa (藏文：ཀ་ཁ་ག་གྷ་ང་，梵文天城体：क ख ग घ ङ，梵文罗马拟音：ka kha ga gha ṅa，汉语字面意思：喀卡嘎嘎阿), Ca Cha Ja Jha Ña (藏文：ཙ་ཚ་ཛ་ཛྷ་ཉ，梵文天城体：च छ ज झ ञ，梵文罗马拟音：ca cha ja jha ña，汉语字面意思：匝擦匝匝尼亚), Ṭa Ṭha Ḍa Ḍha Ṇa (藏文：ཊ་ཋ་ཌ་ཌྷ་ཎ，梵文天城体：ट ठ ड ढ ण，梵文罗马拟音：ṭa ṭha ḍa ḍha ṇa，汉语字面意思：扎叉扎扎纳), Ta Tha Da Dha Na (藏文：ཏ་ཐ་ད་དྷ་ན，梵文天城体：त थ द ध न，梵文罗马拟音：ta tha da dha na，汉语字面意思：达塔达达纳), Pa Pha Ba Bha Ma (藏文：པ་ཕ་བ་བྷ་མ，梵文天城体：प फ ब भ म，梵文罗马拟音：pa pha ba bha ma，汉语字面意思：帕帕巴巴玛), Ya Ra La Va Śa Ṣa Sa Ha Kṣa (藏文：ཡ་ར་ལ་ཝ་ཤ་ཥ་ས་ཧ་ཀྵ，梵文天城体：य र ल व श ष स ह क्ष，梵文罗马拟音：ya ra la va śa ṣa sa ha kṣa，汉语字面意思：亚ra拉哇夏卡萨哈恰), Ya Ra La Va Ḍa Ḍha (藏文：ཡ་ར་ལ་ཝ་ཌ་ཌྷ，梵文天城体：य र ल व ड ढ，梵文罗马拟音：ya ra la va ḍa ḍha，汉语字面意思：亚ra拉哇达达), from the melting of the union arises the wisdom of equality, the solar disc. At this time, the tantra says, "Ya and others are not abandoned, the second of the third is also the fourth." What is said refers to Ya Ra La Va Ḍa Ḍha. The tantra says that the second of manifest enlightenment is the sun, and in the method of generating the deity, it is also as stated in the tantra. Some Tibetans think that what is said in the Ocean of Methods is combined with the moon, but here, based on the third section of the Tantra Collection, it is indeed the sun. Between the two, the vajra hammer arising from Hūṃ (藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽), marked with Hūṃ (藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽), and the hooked knife arising from Āḥ (藏文：ཨཱཿ，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿), marked with Āḥ (藏文：ཨཱཿ，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿), are the wisdom of individual self-awareness. From that, various rays of light radiate, offering to the noble ones, placing all sentient beings in the state of Yamāntaka, and then gathering and dissolving, which is the wisdom of accomplishing activities. After those are completely transformed, the form perfected with the letter Hrīḥ (藏文：ཧྲཱིཿ，梵文天城体：ह्रीः，梵文罗马拟音：hrīḥ，汉语字面意思：舍) is the wisdom of the Dharmadhatu, oneself becoming the Bhagavan Yama, the color of the body as black as the darkness of time, devouring with open mouth, possessing the taste of the nine moods such as coquetry, burning all the mandalas of the demons.
Chinese
安住于作事业之智慧火焰猛烈放射燃烧之中，从光荣的喉间发出（藏文：ཧྲཱིཿ，梵文天城体：ह्रीः，梵文罗马拟音：hrīḥ，汉语字面意思：啥）字的声音，具有六面六臂六足，根本面孔黑色极度愤怒，具有如千龙轰鸣般的巨响，右面第一面红色，舌头卷动，第二面绿色，收缩着怒纹，左面第一面白色的，微笑绽放，第二面黄色，极为重视，上面面孔黑色，极其恐怖张着嘴。上面面孔的头发格外燃烧，其他面孔的头发从根部束起，用干人头的鬘缒装饰，六臂中右边第一个以扬起二十尖头的金刚杵的方式执持，将所有损害之魔全部摧毁成灰烬，左边第一个以套索和恐吓印指向所有不驯服者发出恐吓，中间两臂右边以燃烧的宝剑将所有不悦意者砍成碎片，左边拿着木槌将所有仇恨化为粉末，最后前面的两只手拿着金刚杵和铃，拥抱明妃，前面两足结金刚跏趺坐，中间两足右屈左伸，踩在黑色愤怒傲慢的母水牛头上，以黑色的死神男女的力量镇压着，后面两足以左伸的半跏趺舞姿站立。此处班智达龙菩提和《成就法海》中，认为前两足是心跏，但现在有的续部和德瓦阿嘎拉按照金刚跏趺坐。脚下的死神男女，续部经典中没有特别的说明。藏地前后诸师有交叉捆绑、胫骨捆绑、空行秘密结合、口秘密相接等基于文字错乱的各种说法，但右屈是男俯卧，左伸是女仰卧压制。每个面孔都具有红色圆润的三只眼睛，面容极其扭曲，具有愤怒的皱纹，尖利的牙齿向上龇着，身体粗壮短小，腹部下垂，具有忿怒尊的装束，下身围着虎皮。
English
Residing in the midst of fiercely radiating and blazing flames of wisdom that accomplish activities, proclaiming the sound of the letter (Tibetan: ཧྲཱིཿ, Sanskrit Devanagari: ह्रीः, Sanskrit Romanization: hrīḥ, Literal Chinese meaning: sha) HRIH from the glorious throat, possessing six faces, six arms, and six legs, the root face black and extremely wrathful, with a roar like the thunder of a thousand dragons. The first face on the right is red, the tongue swirling and moving; the second is green, contracting in a frown. The first face on the left is white, smiling and beaming; the second is yellow, exceedingly dignified. The upper face is black, utterly terrifying and with mouth agape. The hair of the upper face blazes especially fiercely, while the hair of the other faces is bound from the roots, adorned with a garland of dry human heads. The first of the six arms on the right holds a twenty-pointed vajra hammer in a threatening gesture, utterly destroying all obstructing forces into ashes. The first on the left threatens all the unruly with a noose and a threatening finger gesture. The middle two arms, the right one cutting the malevolent into pieces with a blazing sword, and the left one holding a club, pulverizing all hatred. The final two hands in front hold a vajra and bell, embracing the consort. The two front legs are in vajra posture. The middle two legs, with the right bent and the left extended, tread upon a black buffalo, arrogant and wrathful, its head turned to the right, suppressed by the power of the black male and female Yama. The two rear legs stand in a half-vajra posture with the left leg extended. Here, the Pandit Klu-byang and in the Sadhana Ocean, the first two legs are considered to be in a mind posture, but as in the currently existing tantras and Deva Akara, they should be in vajra posture. Regarding the male and female Yama beneath the feet, there is no special mention in the tantric texts. Among the earlier and later Tibetans, there are various interpretations based on textual errors, such as crossing the ankles, crossing the shins, combining the secret spaces of the dakinis, and joining the secret mouths, but the right bent leg is the male lying face down, and the left extended leg is the female lying supine, suppressed. Each face has three red and round eyes, with a countenance extremely distorted, with wrathful wrinkles, sharp fangs bared upwards, the body stout and short with a hanging belly, possessing the ornaments of a wrathful deity, with a tiger skin wrapped around the lower body.
Chinese
并且，以狮子皮做腰带，以六种骨饰庄严，具有血流不止的五十人头项链，以蓝色无边龙王束发。从这到具有燃烧的鬘，如同十三尊血红饮血尊的时候一样。依偎着她的薄伽梵母金刚起尸母，身色深蓝，一面二手三眼，右手上扬着金刚钺刀，左手持满血颅器，父亲从颈部搂抱。裸体，五印等装饰和装束与薄伽梵几乎相同，以干骷髅项链作为区别。双足以莲花跏趺坐姿势，方便智慧平等进入。是圆满忿怒母自在之王的所有装束。主尊心间有与自己相同的智慧勇识，其心间莲花和日轮之上，有等持勇识五股金刚杵，或者以锤子（藏文：ཐོ་བ་），（梵文天城体：ह्रीः，梵文罗马拟音：hrīḥ，汉字字面意思：舍）字作为标识。明妃心间也是莲花日轮上，钺刀的刀柄上有（藏文：ཨ་，梵文天城体：अ，梵文罗马拟音：a，汉字字面意思：阿）字。这里，几乎所有以前的藏人都为每个头颅制作干骷髅头饰，虽然符合通常的做法，但是，经续中说干骷髅鬘是用来束发的，因此这是必须的。此后，即使没有干骷髅头饰也可以，这很明显。关于面部的颜色，拉夏尔巴（Ra shar pa）等人将白色、红色、蓝色三种颜色制作成双层。荣巴·谢僧（Rongpa Sher Seng）等中间时期的许多人，将右侧的脸制作成白色双层，左侧的脸制作成红色双层。香派（Shangpa）和拉派（Ra）的一些盟誓中，中间的脸是三层，上下两层是黑色，中间是白色，右边是黄色，左边是绿色，后面是红色。在《成就法海》中出现的，也有说是黑色、蓝色、白色、黄色、红色、黑色等。如果具有口诀，则没有矛盾。即使那样，如果要进行面部彩绘，则应如上所述进行，或者将六张脸都涂成深蓝色也是非常好的，因为经续中说上面的脸是黑色的，而没有说左右的颜色，这是默认理解的缘故。这样说也可以。龙菩提（Klu'i byang chub）班智达所作的成就法中，文殊菩萨
English
And, with a lion skin belt, adorned with six bone ornaments, possessing a necklace of fifty bleeding human heads, with hair bound by the blue Naga King Ananta. From this to possessing a garland of flames, just like during the time of the thirteen red wrathful deities. The Bhagavati Vajra Vetali embracing him, with a dark blue body, one face, two arms, and three eyes, the right hand slightly raising a vajra chopper, the left hand holding a skull cup filled with blood, the father embracing her from the neck. Naked, the five seals and other ornaments and attire are mostly the same as the Bhagavan, distinguished by a necklace of dry skulls. The two feet are in lotus posture, with skillful means and wisdom equally engaged. It is the complete attire of the supreme queen of wrathful deities. At the heart of the main deity is a wisdom being identical to oneself. At its heart, on a lotus and sun disc, is the samadhi being, a five-pronged vajra, or marked with the syllable (Tibetan: ཐོ་བ་, Sanskrit Devanagari: ह्रीः, Sanskrit Romanization: hrīḥ, Chinese literal meaning: 舍) on a hammer. At the heart of the consort, also on a lotus and sun, is the handle of a chopper with the syllable (Tibetan: ཨ་, Sanskrit Devanagari: अ, Sanskrit Romanization: a, Chinese literal meaning: 阿). Here, almost all previous Tibetans made dry skull ornaments for each head, although it is in accordance with common practice, the tantras themselves say that a garland of dry skulls is used to bind the hair, so this is necessary. After that, it seems that even without a dry skull ornament, it is acceptable. Regarding the color of the faces, Ra Sharpa and others made the three colors of white, red, and blue in double layers. Rongpa Sher Seng and many others in the middle period made the right face white in double layers and the left face red in double layers. In some vows of the Shangpa and Ra traditions, the central face is triple-layered, the top and bottom layers are black, the middle is white, the right is yellow, the left is green, and the back is said to be red. In what appears in the Sadhana Samudra, it is also said to be black, blue, white, yellow, red, black, etc. If one has oral instructions, there is no contradiction. Even so, if one is to paint the faces, one should do as described above, or it is also very good to paint all six faces in dark blue, because the tantras say that the upper face is black, and the colors of the left and right are not mentioned, which is due to the power of implicit understanding. It is also acceptable to say it this way. In the Sadhana composed by the Pandit Klu'i Byang Chub, Manjushri