Chinese
徒劳无益啊！关于娘氏十三尊法，似乎也有学者的吉祥狮子和哲布派的修法仪轨。嘉瓦拉囊巴的弟子，俄尔曲丁巴的修法坛城，我也是见过的。不仅如此，娘氏法中也有八大尸林之说，所以要谨慎啊！还有，饶译师是贤善之人，也具备上师的口诀，即使如此，如果缺少汉地经典的依据，就难以置信的想法，对于十三尊法来说，塔的汉地经典依据，也如上文所说。总的来说，如果那样认为，你们终生所修持的胜乐金刚口诀法又是怎么回事呢？不要背着土的重担，还去扔石头啊！你们在非常不精通的基础上，又被偏袒和嫉妒的厉鬼附体，做出疯狂的行为，我这是以慈悲心给予教诲啊！布顿等一些学者，查看丹珠尔后，对于各种修法仪轨寻找依据和进行研究，这对你们来说似乎是巨大的灾难。因为他们那样做了，你的上师口水直流，早晨起来就翻阅各种丹珠尔，如果出现错误，那么无休止的错误解释和邪说的冰雹，就会像魔鬼一样赤裸裸地降临到你们弟子的智慧上啊！在此说道：有的人见识是装饰品，有的人见识是珊瑚礁。学者见识广博才好，俄尔巴的见识会毁灭自己。说是俄尔巴的笔记会招致毁灭，从那时起就传遍四方。此外，我们这些人是这样说的：敌、面、怖三者虽然是相互协调的传承，但并非在事物上作为根本和解释的传承存在，因为是相似的缘故。为了相互补充，通过上师的口诀，出现了许多结合根本和解释的方法，这也是合理恰当的，并非错误。你们是承认敌、面、怖三者在事物上是根本和解释的传承，在想要相互补充的同时，又认为怖畏金刚不能有黑色的眷属，这实在是自相矛盾啊！现在
English
It is all in vain! Regarding the thirteen deities of the Nyos tradition, it seems that there are also the sadhanas of the scholar Pal Senge and Drik Phukpa. I have also seen the mandala of the sadhana of Gar Chodingpa, a disciple of Gyalwa Lhanangpa. Moreover, the Nyos tradition also has the eight charnel grounds, so be careful! Furthermore, even if Ra Lotsawa is a good person and possesses the guru's oral instructions, if there is no source from Chinese texts, one might think it is unbelievable. For the thirteen deities, the source of the Ta's Chinese texts is as mentioned above. In general, if you think that way, what about the Chakrasamvara oral instruction tradition that you practice throughout your life? Don't carry a load of earth and throw stones! On top of being very unskilled, you are possessed by the evil spirit of bias and jealousy, and you are engaging in mad behavior. I am giving this advice with compassion! Some scholars such as Buton, after examining the Tengyur, searched for sources for various sadhanas and conducted much research, which seems to be a great disaster for you. Because they did so, your guru drooled and got up in the morning to look through various Tengyurs. If there are mistakes, then the endless hail of misinterpretations and heretical teachings will descend nakedly like a demon upon the wisdom of your disciples! Here it is said: For some, knowledge is an ornament; for some, knowledge is a coral reef. It is good for scholars to have broad knowledge; the knowledge of the Ngorpa destroys oneself. It is said that the Ngorpa's notes will lead to destruction, and from that time on it has spread in all directions. Furthermore, we say this: Although enemy, face, and fear are mutually harmonious lineages, they do not exist as root and explanation lineages in things, because they are similar. In order to complement each other, through the guru's oral instructions, many methods of combining root and explanation have arisen, which is reasonable and appropriate, and not a mistake. You acknowledge that enemy, face, and fear are root and explanation lineages in things, and while wanting to complement each other, you think that Yamantaka cannot have black attendants, which is very contradictory! Now
English
A brief analysis. Here, many practices of Bhairava, such as the Wish-Fulfilling Treasury, its mandala rituals, and four minor practices, are considered to be the teachings of Ra Lotsawa. Although many criticize this view, reliable sources state that they were composed by Ra Sharwa Kunchok Sengge. This is more plausible. There are many reasons, but let me mention one example. In these sadhana mandalas, phrases like "All the Bhagavan Tathagatas" and "All the Buddhas" appear. These verses are from the translation of Drogmi Lotsawa, not Ra Lotsawa. Ra Lotsawa's translation is: "Arising from the three secret places, revered by all three realms, this great empowerment vajra, grant it to all the Buddhas." Therefore. Even so, apart from occasional minor errors in wording, most of Ra Lotsawa's instructions are correct. Understanding this way may dispel much of the slander and darkness that many people have held for a long time. I had previously written a concise sadhana for this mandala, but I cannot find it now. Now, if we extract the essence of this sadhana here, it should be accomplished. That is, taking refuge, generating bodhicitta, Vajrasattva meditation and recitation, invoking the field of merit, prostrations and offerings, constant confession, taking vows, the four immeasurables, purifying emptiness, and meditating on the protective wheel, should be done as the essence of the sadhana. Here, omitting the words of the generation stage, directly connect "From emptiness, from the syllable Hūṃ (藏文：ཧཱུྃ，梵文天城體：हुं，梵文羅馬擬音：hūṃ，漢語字面意思：吽) arises various." Then, Phaṭ Svāhā. Within the protective wheel, on the lotus and moon seat, from the syllable Saṃ (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思) arises white Samantabhadra, one face and two arms, holding a vajra and bell, seated in vajra posture, adorned with silk and jewels. It melts, and from it arises a triangular dharma source, white on the outside and red on the inside, with the tip pointing upwards. Inside it, from the syllable Paṃ (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思) arises a lotus, and from the syllable A (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思) arises a moon, upon which dwells the syllable Bhrūṃ (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思), from which arises a white twelve-spoked wheel marked with Bhrūṃ (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思). From this arises white Vairochana, one face and two arms, holding a wheel in the meditation mudra, seated in vajra posture, adorned with silk and jewels. It melts, and from it arises an immeasurable palace, square, with doors.
Chinese
寂静的。由五种珍宝组成。内部依次具有黑、黄、红、绿、白五层颜色的墙壁。其上有黄色飞檐，悬挂着网状和半网状的装饰，以及珍宝串。顶端以箭杆和伞盖宝幢的形状装饰。布署的周围竖立着伞、胜幢和幡旗。内部的神幡，东面白色，南面黄色，西面红色，北面绿色。中央的三角垛之下是金刚底座。上面是翻滚着波涛的血海。内部有八根柱子。其中心是用干人头骨做成的圆形围墙，只有一个门。内外所有的地面都混合着血和油。上面用四根金刚梁柱，以纵横交错的方式书写着铭文。内部变成九宫格，上方用骷髅的柱梁支撑。右侧的基座装饰着幡幢和生肉做的肉糜等物，中央隆起的顶端装饰着金刚和珍宝顶饰。墙壁外侧是供奉欲妙的绸缎，以及供养的明咒。四个门的上方，由四根柱子支撑的马面墙的顶端，装饰着莲花上的法轮、鹿和伞盖。回廊装饰着所有的供养物。其外是忿怒尊等，充满了各种事物。如是说。饶派的口诀中，也有将内曼荼罗做成圆形颅骨塔，以及在中央的九宫格中做颅骨塔两种方式。虽然这两种方式都有争议，但将内部的曼荼罗做成圆形颅骨塔，似乎更容易观修。这里俄尔巴派的人说，除了颅骨塔之外，没有其他可以采用的，说是没有新派续部经典的依据。许多其他人也这样认为。但《密集金刚》的注释，由饶西益西所著，以及没有署名的汉文注释，还有一些《俱生喜金刚》的修法中也有。这里在《七支》中说：“安住于勇士之位”，以及“在坛城的边上用血涂抹”，都清楚地表明了这一点。按照香巴的译本：“用头盖骨堆砌的高耸而令人恐惧的顶端”，也表明了这一点。我没有见过。
English
The peaceful one. Composed of five kinds of jewels. Inside, there are five layers of walls in the colors of black, yellow, red, green, and white, in order. On top of it are yellow eaves, hanging net-like and half-net-like decorations, and strings of jewels. The top is adorned in the form of an arrow shaft and a stupa-like canopy. Umbrellas, victory banners, and flags are erected around the perimeter. The inner banners are white in the east, yellow in the south, red in the west, and green in the north. Below the triangular gable in the center is a vajra base. Above it is a sea of blood with turbulent waves. Inside, there are eight pillars. In the center of it is a circular enclosure made of dry human skulls, with only one door. All the ground inside and outside is mixed with blood and fat. Above, four vajra beams are inscribed with inscriptions in a crisscross pattern. The interior is transformed into a nine-square grid, with the upper part supported by pillars and beams of skeletons. The base on the right is adorned with banners and raw meat, etc., and the raised top in the center is adorned with a vajra and a jewel finial. Outside the walls are silk fabrics for offering sensual pleasures, and mantras for offerings. Above the four doors, at the top of the horse-faced walls supported by four pillars each, are wheels on lotuses, deer, and umbrellas. The corridors are adorned with all the offerings. Outside of that are wrathful deities, etc., filled with various things. Thus it is said. In the oral instructions of the Ra tradition, there are also two ways of making the inner mandala into a circular skull tower, and making a skull tower in the central nine-square grid. Although there is controversy over these two methods, making the inner mandala into a circular skull tower seems easier to visualize. Here, the Ngorpa people say that there is nothing else to adopt besides the skull tower, saying that there is no basis in the new tantric scriptures. Many others also think so. However, the commentary on the Guhyasamaja Tantra, written by Rabzhi Yeshe, and an anonymous Chinese commentary, as well as some sadhanas of the Sahajasamvara Heruka, also have it. Here, in the Seven Limbs, it says, "Abiding in the place of heroes," and "Smearing blood on the edge of the mandala," which clearly shows this. According to the translation of Shangba, "The towering and terrifying peak piled up with skulls" also indicates this. I have not seen it.
Chinese
另外，有些圣者也曾见过，在莉拉金刚（Lila Vajra）的坛城仪轨中也说：“圆形九眼，以干湿头骨串为庄严。”据说有这样的说法。还有，您说的“取颅骨”是指忿怒尊胜的续部吗？如果是的话，那里根本没有显示颅骨殿的词语，难道是您在梦中见到的吗？真是可笑，有的人看不到，没有的人却能看到。中央的方格中，风轮上有人尸，头和手脚分离。其上，由邦（藏文：པཾ，梵文天城体：वं，梵文罗马拟音：vaṃ，汉语字面意思：种子字）化现出各种莲花，具有千瓣。八个方位上，东面是头，南面是两只手，西面是肠子，北面是两只脚，东南是头盖骨，西南是尸林，西北是尸布，东北是用明亮的木头刺穿的男人。在这些上面，东面是莲花月亮，南面是莲花太阳，西面是莲花上没有光芒的太阳，北面是莲花上的风轮，四个角落是莲花月亮的垫子。东面的神幡上，门的右边是弯刀、短斧、木桩，左边是水刀、卡纳亚、铁钩。南面的神幡上，右边是斧头、箭、卡杖嘎，左边是手杖、轮子、绳索。西面的神幡上，右边是金刚杵、手鼓、盾牌，左边是弓、铃、风幡。北门的右边是期克印、三尖矛、牛皮，左边是锤子、矛、火炉。东门是锤子，南门是手杖，西门是莲花，北门是剑，这四个都以躺卧的姿势安放，其上各有一个莲花和太阳的垫子。四个角落里，黑色僵尸，三个头，三只手，三只脚跳舞，或者观想两只手，右手扬起，左手在胸前做手印也可以。中央的垫子上，从阿（藏文：ཨ，梵文天城体：अ，梵文罗马拟音：a，汉语字面意思：种子字）化为月亮，再从德嘿（藏文：དྷཱིཿ，梵文天城体：धीः，梵文罗马拟音：dhīḥ，汉语字面意思：种子字）化为剑开始，九个尖端，角向上翘起，光芒四射，中心以吽（藏文：ཧཱུྃ，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：种子字）字为标志。从那之中，如来开始，高举以金刚杵为标志的弯刀，胸前拿着盛满鲜血的头盖骨，拥抱明妃，右手剩余的部分开始，智慧尊者文殊童子，在他的心中是定持尊者，五股金刚杵的中心是黑色的吽（藏文：ཧཱུྃ，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：种子字）字，光芒四射。就这样。饶派的