English
Pok Chok. Worldly deities, meditation recitation, completion stage, which are six chapters. The sixth of these is to show the essence of holding the mind at the tip of the horn, and the first is: The right side of the horn dwells blue and red. Thus, only the horn face is revealed. In the fifth, there is the retinue face, so it is evident that the master considers both the retinue face and the horn face to be options. Both the first and fifth show one realization each. Except for the difference of whether or not to generate a vast mandala in front, it is in accordance with Zhiwa Yeshe. Focusing on painted images, etc., one practices in the manner of facing oneself and one's friend. The practice of the Kyolukpas is mainly based on the second chapter here. The actual teachings of the seven realizations, the unparalleled wheel of samsara and nirvana. This practice of Nyö, Ra, and Kyo is also clearly stated in the second chapter of this text. Those who consider themselves great scholars are doubtful because they have no basis for this, thinking that it must be a Han Chinese scripture, not included in the Tanjur, not seen, and showing an attitude of not understanding the meaning of the tantra. The fourth chapter here, the worldly deity, although it is a method of subjugating the Lord of Death, the Kyopas do not pay much attention to it. In the teachings of Zhiwa Yeshe, there is no practice of the Dharma protectors during the practice. The Kyoluk practice method, the ordinary oral tradition, is the combined practice of the yidam, Dharma protectors, and guardians, so this school does not have a separate practice for subjugating the Lord of Death, but it does not become incomplete. The practices and activities of this school are mostly in agreement with the Nyingma's Black Wrathful Dakini, etc., but there is no mixing between them, because they are oral instructions that come from the Guhyasamaja and the seven peaceful and wrathful activities, so there is no fault. Each other's witness can prove the other's qualities. Even so, these two may have appeared in India in the past, and the root of the oral instructions may be the same. Therefore, the mandala of the forty-nine-day practice made by Nyemdo Shakya Palwa, and the Ngor school, and later in U-Tsang, various practices following the Guhyasamaja, etc., are different from the Kyo school.
Chinese
以宗派之名，宣扬得来头很大，为了驳斥那些自命不凡的虚假之徒，将觉域派的修法仪轨稍微详细而清晰地阐述，因为口诀并非人人适用，所以这里没有写。此派的灌顶仪轨，上师们多有造作，而且大多依据不空金刚的坛城仪轨。 现在将乔沃·那若巴和乔沃·那日巴的口诀汇集起来，讲述从《七思择义释》中产生的单续部派系，即被称为怖畏金刚玛尔派的修法。此派的誓言与吉祥贤稍微相似，但并非其宗派。 一般来说，六面怖畏金刚的续部，除了藏语本身有错别字和细微的词语差异外，没有不同的译本。绒、宗、惹、觉、玛、尼等各派的追随者们，或许认为是由某某译师翻译的，但这只不过是为了满足各自的意愿而已。因此，有人说这是前弘期，或是前后弘期之间翻译的，我认为是有道理的。还有其他这样的续部，如《月密明点》和《金刚甘露》等续部现在也存在。前弘期时，有些秘密地翻译给国王和大臣，因为害怕而没有提及译师和班智达的名字，也没有写译序。中间时期翻译的一些，既没有像前弘期那样有敕令的规定，也没有像后弘期那样依赖他人，因此，知道是翻译的却没有译序，而创作的续部却有译序等，没有一定的规律。这里，关于六面怖畏金刚的续部，没有可信的旧译本的译序，所有听闻和讲解此续部的译师们，也都只依据一个旧译本进行讲解。黑怖畏金刚的两部续部有很多不同的译本，玛尔派及其追随者旧派，依据黑续部那措译本，在克洛格嘉的基础上进行讲解。《七思择》没有克洛格嘉的译本。如果有的话，玛尔派译本也可能会对其进行修改。玛尔译师本人的译序
English
Under the guise of sectarianism, proclaiming great origins, in order to refute those pretentious and false individuals, the practice rituals of the Chö lineage are explained in a slightly detailed and clear manner, but because the oral instructions are not for everyone, they are not written here. The empowerment rituals of this lineage have been created by many previous lamas, and they mostly rely on the mandala rituals of Amoghavajra. Now, the oral instructions of Jowo Naropa and Jowo Naripa are compiled, and the practice method of the single tantra lineage arising from the "Explanation of the Meaning of the Seven Contemplations," known as the Yamāntaka Mar lineage, will be explained. The vows of this lineage are slightly similar to Śrī Bhadra, but it is not his lineage. In general, for the six-faced Yamāntaka tantra, there are no different translations except for minor differences in spelling and wording in Tibetan itself. The followers of various lineages such as Rong, Zom, Ra, Kyo, Mar, and Nyo may think that it was translated by so-and-so translator, but this is only to satisfy their own desires. Therefore, some say that this was translated during the early dissemination period or between the early and later dissemination periods, which I think makes sense. There are other such tantras, such as the "Moon Secret Bindu" and "Vajra Amrita" tantras, which still exist today. During the early dissemination period, some were secretly translated for the king and ministers, and out of fear, the names of the translators and paṇḍitas were not mentioned, and no translation colophon was written. Some of the translations in the intermediate period did not have the regulations of the early dissemination period nor did they rely on others like the later dissemination period. Therefore, there is no translation colophon for those known to be translations, and there are translation colophons for composed tantras, etc., without any fixed rules. Here, for the six-faced Yamāntaka tantra, there is no reliable old translation colophon, and all the translators who listen to and explain this tantra also explain it based on only one old translation. There are many different translations of the two Black Yamāntaka tantras. The Mar lineage and its followers, the old lineage, explain the Black Tantra based on the Naktsö translation of the Black Tantra, which was revised by Klogskya. There is no Klogskya translation of the "Seven Contemplations." If there were, the Mar translation might also be revised accordingly. The translation colophon of Mar Lotsawa himself.
Chinese
這個，舊的註釋中說，是普蘭人瓊波·曲尊翻譯後，由麥洛修改的。麥洛的傳承來自帕塘巴大師。最初他聽聞了克洛嘉的教法，後來也聽聞了後來的帕塘巴的教法。據說他也向那日巴傳承的、被稱為哈度噶波的尼泊爾班智達瓦倫德拉·魯澤請教過。薩迦喇嘛欽向麥洛聽聞了教法，喇嘛欽為《七品論》作了註釋，並創作了被稱為「難解釋」的總義。他的兒子們為「難解釋」作了註釋，並創作了讚頌等。關於黑尊勝佛母，這裏有傑尊欽波的修法，似乎非常符合續部的意義。漢地的巴增的修法，詞句優美，加持力也很大。但就符合續部意義的程度而言，這個（傑尊欽波的修法）更勝一籌，雖然名聲不大。此外，還有沒有作者署名的黑尊勝續的註釋、章節劃分、一些簡短的筆記，以及真正的黑尊勝佛母壇城儀軌。關於金剛怖畏金剛，也有兩個可以結合使用的壇城儀軌。一個是從那若巴傳到帕塘巴的傳承，除了建立壇城時的供品和香之外，就像麥洛傳承的勝樂金剛壇城儀軌一樣。另一個據說是阿闍黎耶謝紮的口訣，是那日巴的傳承。這個傳承中，有以劍灌頂代替金剛灌頂等，與一般不同的獨特之處，似乎是一個令人驚嘆、引人入勝的灌頂儀軌。這兩個灌頂儀軌都沒有作者署名，也沒有收錄在薩欽的文集中，但據說作者是喇嘛欽本人。這個傳承是印度和尼泊爾班智達的清淨口傳，摻雜很少，或者說非常清淨。這些修法和壇城似乎非常奇妙。關於總義和詞義的解釋，沒有非常廣泛的論述，也沒有很多訣竅。然而，在講解時，有將續部本身轉化為現證，或者講解續部橛的提取方法的關鍵之處。
English
This, according to an old annotation, was modified by Mal Lo from the translation of Purangpa Khyungpo Chötsön. Mal's lineage comes from the great Phamtangpa. Initially, he heard the teachings of Klogkya, and later he also heard the teachings of the later Phamtangpa. It is said that he also consulted with the Nepalese pandita Varendra Ruci, who was known as Hadu Karpo and came from the Naripa lineage. Sakya Lama Chen heard the teachings from Mal Lo, and Lama Chen wrote a commentary on the "Seven Topics" and composed the general meaning known as the "Difficult Explanation." His sons wrote annotations on the "Difficult Explanation" and composed praises, etc. Regarding Black Vasudhara, the sadhana of Jetsun Chenpo here seems to be very much in accordance with the meaning of the tantra. The sadhana of Paljin from China has beautiful words and great blessings. However, in terms of conforming to the meaning of the tantra, this (sadhana of Jetsun Chenpo) is even better, although it is not well-known. In addition, there are annotations, chapter divisions, some short notes on the Black Vasudhara Tantra without authorship, and the actual Black Vasudhara mandala ritual. Regarding Vajrabhairava, there are also two mandala rituals that can be used in conjunction. One is the lineage from Naropa to Phamtangpa, which, except for the offerings and incense when establishing the mandala, is like the mandala ritual of Chakrasamvara in the Mal lineage. The other is said to be the oral instruction of Acharya Yeshe Zhap, which is the Naripa lineage. In this lineage, there are unique features different from the common ones, such as bestowing a sword empowerment instead of a vajra empowerment, and it seems to be an amazing and captivating empowerment ritual. Neither of these two empowerment rituals has authorship, nor are they included in the collected works of Sachen, but it is said that the author is Lama Chen himself. This lineage is the pure oral transmission of Indian and Nepalese panditas, with little adulteration, or rather, it is very pure. These sadhanas and mandalas seem very wonderful. The explanations of the general meaning and the meaning of the words are not very extensive, and there are not many key instructions. However, during the explanation, there are key points for transforming the tantra itself into direct realization, or for explaining the method of extracting the phurba of the tantra.
Chinese
在仪轨方面，似乎以前肯定有日巴所著的和其释论由拉钦所著的，但我没有见过。现在似乎不太可能见到或听说了。关于六面金刚的续部，这个派别除了略微的章节和注释外，也没有见过旧的文献和修法。对于这些，其他的旧文字和期间出现的文字不多，虽然晚期俄尔派（Ngorpa）的人们创作了一些，但其他的大多显得空洞无物。觉拉巴·达波·洛哲巴（skyed lhas pa bdag po blo gros pas）所著的一部与旧文字相符，所以认为稍微好一些。还有，声称弘扬此派的俄尔派人们这样说：玛尔派（mal lugs）的这个派别在黑敌续部（dgra nag gi rgyud）中，有巴珍（dpal 'dzin）所作的注释的广说，而且修法仪轨也说是遵循巴珍的。理由是拉钦的难解释中说：坛城仪轨应知是黑色的坛城仪轨，这里所说的黑色的坛城仪轨是巴珍的黑敌坛城仪轨。说这些只是猜测，非常愚蠢。只要稍微看一眼黑敌的修法巴珍的派别和这个派别不一样，以及修法是杰尊钦波（rje btsun chen po）所作的，就能明白。修法连一次也没有提及扎结秋波（gzhag 'brel chug po），这是个缺点。说灌顶仪轨是巴珍的派别，这是因为他们连这个派别有灌顶仪轨都不知道，完全是在说谎。总的来说，说玛尔和拉钦没有听闻或不知道巴珍的派别，这不一定，但实际应用和讲述的派别是续部和口诀的派别，而不是巴珍的论著。这个派别的黑敌的注释和文献等，与巴珍的注释和讲说不一样。怖畏金刚的修法巴珍所作的和这个派别也截然不同。说黑敌续部有巴珍所作的注释的广说，这完全是胡说八道。如果只用那个注释来讲解，根本没有什么可广说的。如果有很多定论和补充，那么这样的文字
English
Regarding the ritual texts, it seems that there must have been one written by Ripa and its commentary written by Lachen, but I have not seen them. Nowadays, it seems unlikely to see or hear of them. Regarding the Six-Faced Vajra Bhairava Tantra, in this tradition, apart from slight divisions and annotations, I have not seen old documents and sadhanas either. For these, there are not many other old writings and writings that appeared in the meantime. Although some were composed by the later Ngorpa followers, most of the others seem empty. A work written by Kyed Lhasepa Dakpo Lodro Pal (skyed lhas pa bdag po blo gros pas) is in accordance with the old writings, so it is considered to be slightly better. Furthermore, the Ngorpa people who claim to uphold this tradition say this: In this Mal tradition, in the Black Enemy Tantra (dgra nag gi rgyud), there is an extensive explanation with a commentary by Pal Dzin (dpal 'dzin), and the sadhana mandala is also said to follow Pal Dzin. The reason is that in Lachen's difficult commentary, it says: The mandala ritual should be known as the black mandala ritual, and the black mandala ritual mentioned here is Pal Dzin's Black Enemy mandala ritual. Saying this is just speculation and is very foolish. Just by looking at the Black Enemy sadhana, the tradition of Pal Dzin and this tradition are different, and the sadhana was composed by Jetsun Chenpo (rje btsun chen po), one can understand. The sadhana does not even mention Zhag Drel Chukpo (gzhag 'brel chug po) once, which is a flaw. Saying that the initiation ritual is Pal Dzin's tradition is because they are not even aware that this tradition has an initiation ritual, and they are completely lying. In general, saying that Mal and Lachen did not hear or know Pal Dzin's tradition is not necessarily true, but the tradition of practical application and explanation is the tradition of tantra and oral instructions, not Pal Dzin's treatises. The annotations and documents of the Black Enemy of this tradition are also different from Pal Dzin's commentary and explanations. The sadhana of Vajrabhairava composed by Pal Dzin and this tradition are also very different. Saying that there is an extensive explanation with a commentary by Pal Dzin on the Black Enemy Tantra is completely nonsense. If one only uses that commentary to explain, there is nothing to explain extensively. If there are many conclusions and supplements, then such writings