English
Moreover, in the past, the joyful gatherings of the transmission period assembled four times. The flourishing of the lineage lord is also complete in the countenance of Manjushri. If you prefer brevity, this is sufficient. Generally, it is not to prevent extensiveness. The practice method of Glorious Holder is also similar to the meaning of this time, and in that practice method, it is said that offering is the act of blessing and partaking of the samaya substances and so forth. Therefore, it is considered that the praises and offerings before the recitation are not indispensable. Furthermore, if one meditates only on the main deity and does not perform praises and offerings at this time, then, as the old, pitiable mantra practitioners wished, it is good to perform extensive praises and offerings during the tsok gathering. In the practice method of Peaceful Wisdom, it is said that at this time, it is necessary to perform the blessings of body, speech, and mind, and the empowerment blessings, but there is no explicit mention of mixing samaya and wisdom. In the old texts, the blessings of the generation stage are also performed, and the wisdom invitation is done together with the meditation on the mandala below, so it is not done at this time. Dzimpa integrates the empowerment deity into the wisdom deity, and it is not bad to unite them into one. I think like this: As explicitly stated in the practice method of Peaceful Wisdom, during the meditation on the mandala, if the blessings of body, speech, and mind, and the generation stage, and the empowerments are not done, then it is necessary to do them at this time. If those are done during the mandala meditation below, as some old pitiable ones and Dzimpa and others wished, it is generally not bad, but in that case, it is sufficient to do those together with the deities of oneself and the front generation at that time. Therefore, I think those are not needed at this time. Peaceful Wisdom also performed the three-place blessings and empowerments at this time, without the wisdom invitation, and the lower mandala time has the wisdom invitation without those two, which is also considering that those are not needed twice. Even so, Dzimpa has strengthened his familiarity with Rinchen Yoga, thinking that this self-generation time can replace the self-completion of the Yoga Tantra, and therefore thinks that as its branch, the wisdom invitation and empowerment blessings are needed, and at the time of the front generation, one generates faith by thinking that one is returning from Akanishta, and so on.
Chinese
之后说从色究竟天降临，是没有必要和功能的，只是掺杂而已，所以不好。此时关于身相，在《修法勇士合集》中说：“右角上的第一面是蓝色的”，左边也同样说了。因此，该论典认为角是面。寂静智慧也认为角是面，如云：“右面的第一个是蓝色，第二个是红色，第三个是黄色，位于角边。”意思是说，角边是位于角的侧面。如果按照觉巴们所依据的论典，那么所说的角面就是这两个。另外，在智作慧所著的论典中也说：“右边依靠角上的面，第一个是蓝色，能摧毁。”以及“左边依靠角上的面，第一个是白色，能迷惑。”等等。因此，大部分藏人认为角面没有依据，这只是随便说说而已。即使如此，觉巴们自己的实践中，也遵循《阿谟伽小论》和《四十九法》的论典，在口诀的时候只做轮面，而且在其中的根面中，也只是依次做左右。现在进入正文，在自己的头顶上，从嗡（藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡）字生出白色轮，以嗡（藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡）字为标志，化为身金刚，身色白色。右边手持轮，在心间也是。轮的中心是嗡（藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡）字。在喉间，从阿（藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿）字生出红色莲花，以阿（藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿）字为标志，化为语金刚，身色红色。右边手持莲花，在心间也是莲花上的阿（藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿）字。在心间，从吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字生出金刚，以吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字为标志，化为意金刚，身色蓝色。右边手持金刚，在心间也是金刚的中心是吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字。所有都左手持铃，是嬉戏的大忿怒尊。如果喜欢广说，就按照《修法精要》中所说的，在眼睛里观想克希姆（藏文：ཀྵིཾ，梵文天城体：क्षं，梵文罗马拟音：kṣiṃ，汉语字面意思：克希姆）等字。灌顶是，从主尊心间的吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字放出光芒，直到“在头顶盘旋，不动佛为头饰”之间，与《四十九法》的情况相同。灌顶者的坛城本尊也融入自身。念诵 扎（藏文：ཛཿ，梵文天城体：ज，梵文罗马拟音：jaḥ，汉语字面意思：扎） 吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽） 邦（藏文：བཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：邦） 霍（藏文：ཧོཿ，梵文天城体：ह，梵文罗马拟音：hoḥ，汉语字面意思：霍）。这只是加入智慧的顺带方法，并不是根本的
English
Later, saying it descended from Akanishta is unnecessary and ineffective, it's just mixing things up, so it's not good. Regarding the body posture at this time, in the 'Condensed Collection of Sadhana Heroes,' it says, 'The first face on the right horn is blue,' and the same is said for the left. Therefore, that text considers the horn as a face. Peaceful Wisdom also considers the horn as a face, as it says, 'The first of the right faces is blue, the second is red, the third is yellow, located on the side of the horn.' It means that the side of the horn is located on the side of the horn. If we follow the texts relied upon by the Kyopa, then the horn faces mentioned are these two. Furthermore, in the text composed by Jnana Kara, it also says, 'The face on the right relying on the horn, the first is blue, destroying,' and 'The face on the left relying on the horn, the first is white, bewildering,' and so on. Therefore, most Tibetans consider the horn face to be without basis, which is just speaking carelessly. Even so, in the practice of the Kyopa themselves, following the texts of the 'Small Amogha' and the 'Forty-Nine Dharmas,' they only do the wheel face during the oral instructions, and within that, they only sequentially do the right and left of the root face. Now entering the main text, on one's own crown, from Om (藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡) arises a white wheel marked with Om (藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡), transforming into Body Vajra, body color white. In the heart, the right hand holds a wheel, and in the center of the wheel is Om (藏文：ཨོཾ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡). In the throat, from Ah (藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿) arises a red lotus marked with Ah (藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿), transforming into Speech Vajra, body color red. The right hand holds a lotus, and in the heart, on the lotus is Ah (藏文：ཨཱཿ，梵文天城体：आ，梵文罗马拟音：ā，汉语字面意思：阿). In the heart, from Hum (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) arises a vajra marked with Hum (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽), transforming into Mind Vajra, body color blue. The right hand holds a vajra, and in the heart, the center of the vajra is Hum (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽). All hold a bell in the left hand, and are great wrathful deities of play. If one likes elaboration, then bless the sense organs by visualizing Kshim (藏文：ཀྵིཾ，梵文天城体：क्षं，梵文罗马拟音：kṣiṃ，汉语字面意思：克希姆) etc. in the eyes, as explained in the essence of the sadhana. The empowerment is, from the Hum (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) in the heart of the main deity, rays of light emanate, until 'coiling on the crown, Akshobhya adorns the head,' which is the same as in the case of the 'Forty-Nine Dharmas.' The mandala deities of the empowerer also dissolve into oneself. Recite Jah (藏文：ཛཿ，梵文天城体：ज，梵文罗马拟音：jaḥ，汉语字面意思：扎) Hum (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) Vam (藏文：བཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：邦) Hoh (藏文：ཧོཿ，梵文天城体：ह，梵文罗马拟音：hoḥ，汉语字面意思：霍). This is just a supplementary method of incorporating wisdom, not a fundamental one.
Chinese
即使我不融入其中而逝世也可以。在那之后，应当修习坛城。这算是自生仪轨吗？虽然有念诵和修持结合的方式，但按照一些人的观点，不依赖于图像的坛城，仅仅专注于画像，或者仅仅通过禅定也可以。在自生仪轨的环节中修习坛城，念诵和修持结合的方式，以及观想修习的方式在某些方面相似，但这不是念诵和修持结合的方式。这是大坛城的念诵，有自生和他生两种，如同朋友一样念诵，而不是修持的意义。如果对此习惯了，就可以不用念诵和修持结合的方式而直接进入修持，因此也考虑到了容易入门。寂静智也说这是念诵，而不是修持。因为修持和事业是分开的，所以有人说嘉喀尔的格西等将此作为修持，这只是猜测，是由于没有完整阅读这部论典的过失。寂静智的这部修法，念诵、修持、事业各有章节，能够涵盖七种思辨的主要内容，是阐释续部意义的论典。虽然看起来是将金刚怖畏的修法翻译成藏文后意义较好的一种，但大多数人并不了解，只是借着好听的名声追逐。念诵着成就者拉利塔，成就者阿莫伽，导致后来的萨迦派和许多格鲁派人士非常疲惫。说多了，就到此为止。在那之后，这样说：自性空。从空性中，从埃（藏文：ཨེ་，梵文天城体：ए，梵文罗马拟音：e，汉语字面意思：埃）中生出三角形的法生，外面白色里面红色，尖端朝上。其中，从扬（藏文：ཡཾ，梵文天城体：यं，梵文罗马拟音：yaṃ，汉语字面意思：扬）中生出黑色的风轮，以半月形的旗帜为标志。其上，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）中生出红色的火轮，以燃烧的三角形为标志。其上，从旺（藏文：བཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：旺）中生出白色的水轮，以圆形的水瓶为标志。其上，从朗（藏文：ལཾ，梵文天城体：लं，梵文罗马拟音：laṃ，汉语字面意思：朗）中生出黄色的土轮，以方形的金刚杵为标志。其上，从桑（藏文：སུཾ，梵文天城体：सुं，梵文罗马拟音：suṃ，汉语字面意思：桑）中生出山王须弥山，由四种珍宝组成，有四层
English
Even if I pass away without merging into it, it is acceptable. After that, one should practice the mandala. Is this a self-generation practice? Although there is a method of combining recitation and practice, according to some, without relying on the mandala of images, one can focus solely on the painted image, or even through mere meditation. In the stage of self-generation, one practices the mandala, and the method of combining recitation and practice, and the method of visualization are similar in some aspects, but this is not a method of combining recitation and practice. This is the recitation of the great mandala, and having both self-generation and other-generation is like reciting to a friend, not for the purpose of practice. If one is accustomed to this, one can enter practice without the need for combining recitation and practice, so it also takes into account the ease of entry. Shantipa also said that this is recitation, not practice. Because practice and activity are separate, some say that Geshe of Gyakhar and others have taken this as practice, but this is just speculation, and it is a fault of not having read this text completely. This practice method of Shantipa has a chapter for each of recitation, practice, and activity, and it can encompass all the main topics of the seven speculations, so it is a commentary on the meaning of the tantra. Although it seems to be a good translation of the Vajrabhairava practice into Tibetan, most people do not understand it and are just chasing after good names. Reciting "Accomplished One Lalita, Accomplished One Amogha," which has exhausted many Sakyapas and Gelugpas. Enough talk, let's stop here. After that, one should say this: Purify into emptiness with Svabhava. From the state of emptiness, from E (Tibetan: ཨེ་, Sanskrit Devanagari: ए, Sanskrit Romanization: e, Literal meaning: E) arises a triangular Dharmadhatu, white on the outside and red on the inside, with the tip pointing upwards. Within it, from Yam (Tibetan: ཡཾ, Sanskrit Devanagari: यं, Sanskrit Romanization: yaṃ, Literal meaning: Yam) arises a black wind mandala, marked with crescent-shaped banners. Above it, from Ram (Tibetan: རཾ, Sanskrit Devanagari: रं, Sanskrit Romanization: raṃ, Literal meaning: Ram) arises a red fire mandala, marked with burning triangles. Above it, from Vam (Tibetan: བཾ, Sanskrit Devanagari: वं, Sanskrit Romanization: vaṃ, Literal meaning: Vam) arises a white water mandala, marked with a round vase. Above it, from Lam (Tibetan: ལཾ, Sanskrit Devanagari: लं, Sanskrit Romanization: laṃ, Literal meaning: Lam) arises a yellow earth mandala, marked with a square vajra. Above it, from Sum (Tibetan: སུཾ, Sanskrit Devanagari: सुं, Sanskrit Romanization: suṃ, Literal meaning: Sum) arises Mount Sumeru, the king of mountains, made of four kinds of precious jewels, with four levels