English
Then, upon urging, the goddesses dissolve into bindus. The bindu itself transforms into a blue Hum, from which arises a blue five-pronged vajra, marked in the center by a blue-green Hum. Om Ah Kaya Waka Citta（Sanskrit Devanagari: चित्त, Sanskrit Romanization: citta, Chinese literal meaning: mind） Vajra Hum Phet Hoh. From this complete transformation, one becomes the Fruit-Holder Vajra. As the Blessed Heruka arises while reciting this mantra, one should view the entire mandala of heroes and yoginis as being perfected in an instant. Furthermore, in the center of the lotus's heart, upon the circles of the sun and the fire of the eon's end, on the seat of Great Terrifier and Time's Night, the Blessed Heruka's body appears with a form of left black and right green, possessing a mass of splendor that blazes like the light of a billion suns. Having seventeen faces and seventy-six arms, the root face is the same color as the body. The three faces above the root face, and the one face above all, these four are as black as bees and extremely wrathful. The four stacked faces on the left are green, the four stacked faces on the back are red, and the four stacked faces on the right are yellow. Each face is red and radiant, possessing three extremely agitated eyes, biting down on four sharp fangs. All faces display ever-changing wrathful wrinkles. The two foremost hands hold a vajra and bell, embracing the consort, and the last two hands of all the hands hold an elephant hide draped over the upper body as a garment; these are the four root hands. The remaining seventy-two emanation arms are: The first pair holds a sword and great shield in the right and left hands. The second pair holds a large, long spear. The third holds a three-pronged spear and a mallet. The fourth holds a battle-axe and a lasso. The fifth holds a curved knife and lightning blood. The sixth holds a large arrow and a bow. The seventh holds a bright khatvanga. The eighth holds a hammer and a book. The ninth holds a wheel and a small shield. The tenth holds a hand drum and a threatening gesture. The eleventh holds a water knife and a string of bells. The twelfth holds a single-pointed staff and a sheep gut cord. The thirteenth holds a single-pointed weapon and a rocky mountain. The fourteenth holds a white conch shell and cemetery ashes. The fifteenth holds a copper horn and cymbals. The sixteenth holds a three-pronged staff and a damaru. The seventeenth holds peacock feathers and wet leather. The eighteenth holds crow wings and a hair rope. The nineteenth holds hair and corpse oil.
Chinese
驱策之木。二十、火炉嘎达之杖。二十一、山岳盾牌和矛。二十二、手杖人头和。二十三、镜子骨骼和。二十四、琵琶飞镖啊。二十五、脚的头和眼睛。二十六、手头肾脏即。二十七、肺部穗子和。二十八、肠子行星和。二十九、有声响的橛子啊。三十、铁钩比扎普尔。三十一、笸箩和刮刀即。三十二、杜布萨和针。三十三、鱼兜皮革肺叶剥。三十四、无头尸体和降雨云。三十五、燃烧的酥油灯树即。三十六、怖畏大身形铁钩执。这些之中，盾牌是四角长方形。大盾如犀牛皮盾般圆形。小盾是手盾，里面有握柄和面具。水刀是短刀。羊肠线是细绳。有些人没有羊肠线而是用环扣。笸箩是船桨、商用工具和捕捉动物的陷阱等各种，但我觉得后者更合理。博冈应遵从上师们解释为短矛的说法。但也可以解释为铜号的内芯。达卡是鼓，帕塔哈。杜布萨是鱼篓，肺叶剥有些认为是狮子的肺叶剥。生处手印，此时误将母的手认为是父的手。说最后的怖畏铁钩和牛皮一起，红黑怖畏一起，树铁钩一起等，出现了错误，所以需要广阔的见识，说了非常多。又进入正文，右脚伸展，踩在夜晚红色仰卧女人的乳房上。左脚弯曲，踩在黑色怖畏俯卧的左耳上。下身所穿虎皮裙子的下摆松开。头发蓬乱的发髻，在头顶束起的顶端有轮宝如意宝珠，左侧有半月，头发前面装饰着各种金刚杵。每个头上都用黑色金刚杵串着五个人头骨作为头饰，勇士的彩带。
English
A piece of wood for urging. Twenty, the stove gada stick. Twenty-one, mountain shield and spear. Twenty-two, cane human head and. Twenty-three, mirror skeleton and. Twenty-four, lute dart ah. Twenty-five, foot's head and eyes. Twenty-six, hand head kidney that is. Twenty-seven, lung spike and. Twenty-eight, intestines planet and. Twenty-nine, sounding peg ah. Thirty, iron hook Bijapur. Thirty-one, basket and scraper that is. Thirty-two, dubusa and needle. Thirty-three, fish trap leather lobe peeled. Thirty-four, headless corpse and rain cloud. Thirty-five, burning ghee lamp tree that is. Thirty-six, terrifying large form iron hook holds. Among these, the shield is a four-cornered rectangle. The large shield is round like a rhinoceros hide shield. The small shield is a hand shield, with a handle and mask inside. The water knife is a short knife. Sheep gut string is a thin rope. Some do not have sheep gut string but use loops. The basket is a boat oar, commercial tool, and animal trap, etc., but I think the latter is more reasonable. Bogam should follow the masters' explanation as a short spear. But it can also be explained as the inner core of a copper horn. Dhaka is a drum, pataha. Dubusa is a fish basket, and some consider the lobe peeling to be a lion's lobe peeling. The birthplace hand seal, at this time, mistakenly considers the mother's hand to be the father's hand. Saying that the final terrifying iron hook and cowhide are together, the red and black terrifying are together, the tree iron hook is together, etc., errors have occurred, so a broad vision is needed, and much has been said. Again, entering the main text, the right foot is extended, stepping on the breast of the red woman lying supine at night. The left foot is bent, stepping on the left ear of the black terrifying one lying face down. The hem of the tiger skin skirt worn on the lower body is loosened. The disheveled hair is tied into a topknot on the top of the head, with a wish-fulfilling jewel on the wheel, a crescent moon on the left side, and various vajras decorating the front of the hair. Each head is adorned with five human skulls strung on a black vajra mala, and a hero's banner.
Chinese
我所缚者，是具有百人头颅鲜血淋漓项链者，以六臂和臂钏，以及脚镯，和下巴等所有饰品庄严自身，具有舞蹈的九种姿态，身体具有毛发的连串，身体的所有关节都被喜乐所浸润，并伴随着各种各样的化身黑鲁嘎。这是修法。与其相拥的明妃金刚亥母，身色赤红，如劫末之火般光辉炽盛，是伟大的忿怒母，具有四面十二臂和三只眼睛。前两只手持金刚杵和铃，拥抱着本尊。其余右四手持铜刀、斧头、达玛茹鼓、三叉戟，左四手持嘎巴拉碗、束缚用的木杖、梵天头颅。最后两只手在头顶上结生殖之印。具有红黄蓝绿四面，赤裸，毛发竖立并充满汗水，头发散开。所有的肢体都涂满了天界的香气，并覆盖着天界的花朵花环。头饰以半月金刚杵装饰。右脚弯曲，左脚伸展的姿势与本尊吉祥黑鲁嘎结合。具有五印和颅骨宝冠，具有五十个干人头颅的连串，散发着无数的化身瑜伽母，安住在智慧火焰猛烈燃烧的中央。这是伟大的修法。在此稍微解释一下名相的确定。本尊的双足，这是简略的规式。也被认为是阐释续部十二轮时的密意。因为在第二品金刚亥母十二臂时，以及第十五品十二轮时，在因位金刚持时仅仅说到用脚踩踏怖畏之时，既然是双足，那么可以想到在果位金刚持时也同样是踩踏怖畏，所以双足也和之前一样自然成立。因此嘉赛（རྒྱལ་སྡེ་，可能是人名或机构名）也作双足，实际上怎么会有矛盾呢？然而仅仅凭借踩踏怖畏的坐垫，很难成立仅仅是双足，而且其他时候出现的情况也不确定，像这样制作佛像泥塑等，稍微有些不妥当的情况也会发生。
English
I am bound to the one who has a garland of a hundred bleeding human heads, adorned with all ornaments such as six arms, armlets, anklets, and chins. Endowed with the nine sentiments of dance, the body has a string of hairs. All the joints of the body are moistened with bliss, and accompanied by various emanated Herukas. This is the practice. The consort embracing him is Vajravarahi, with a red-colored body, blazing with splendor like the fire of the eon's end. She is the great wrathful mother, with four faces, twelve arms, and three eyes each. The first two hands hold a vajra and a bell, embracing the father. The remaining four right hands hold a copper knife, an axe, a damaru drum, and a trident. The four left hands hold a kapala bowl, a binding wooden staff, and the heads of Brahma. The last two hands make the mudra of the source of generation above the crown of the head. She has four faces, red, yellow, blue, and green. Naked, with hair standing on end and full of sweat, with disheveled hair. All limbs are anointed with divine fragrances and covered with garlands of divine flowers. The headdress is adorned with a crescent vajra. In a posture with the right leg bent and the left leg extended, she is united with the father, glorious Heruka. She has five mudras and a crown of skulls, and a string of fifty dry human heads. Countless emanated yoginis radiate forth, and she resides in the center of a fiercely blazing fire of wisdom. This is the great practice. Here, I will briefly explain the certainty of the categories. The father's two feet, this is the condensed style. It is also considered to be the intention of explaining the twelve wheels of the tantra. Because in the second chapter, Vajravarahi with twelve arms, and in the fifteenth chapter, the twelve wheels, it is said that at the time of the cause, Vajradhara, only the act of pressing down on fear with the feet is mentioned. Since it is two feet, it can be thought that at the time of the result, Vajradhara, fear is also pressed down, so the two feet are naturally established as before. Therefore, Gyalsay (རྒྱལ་སྡེ་) also makes it two feet, how could there be any contradiction? However, it is difficult to establish only two feet with just the seat of pressing down on fear, and it is also uncertain because it has occurred at other times. In this way, making statues and clay figures, etc., some inappropriate situations may occur.
Chinese
如大猪面母所说，十八足踩踏十八大天为中等。如第五十章所说，七面，千手，根本的十八足踩踏包括小妾在内的十八大天为广式。三世诸佛一切智者作赞时，仅说了踩踏怖畏时，没有明确说明足的数量。在简略的修法和所绘的誓言图中，画有十八足，下面画一个大的怖畏时，其上踩踏十八天神，如此看来，无论是绘画、雕塑还是观修等，都容易，我认为应该从这些类别中确定这个。在大猪面母的场合中，十八天神有风神、土地神、水神、夜叉、魔、轮王等。在千手者的场合中，那六个的位置上是编织精美的图案、阿罗汉、上师、救护者、第二上师邪引者，后面的五个是胜者达玛、金刚橛、人施、巴桑、阿育王。此时如果按照大猪面母的方式做则容易。主尊与面手相同的是广式，如常轨所列的四面十二手是中等，这是十二轮所说之意，一面二手是简式。广简二式在第五十章中说：母猪拥抱，彼有形或生二手。这表明，关于二手的方面，做生殖手印和持刀颅都可以，一般做什么都可以，但扎亚萨亚稍微犯错的错误追随者也很多。续部中说：其前方的女神，金刚亥母与先前相同。这是指先前第二品中所说的十二手亥母。那里说：怖畏时如火焰般的光芒。这不仅是光辉的比喻，也显示了火焰燃烧，而且认为身色也显示为红色也很好。父尊说是眼药颜色。亥母成为主尊，以方便拥抱的场合，最后的手拿着魔的皮。
English
As stated in the case of the Great Sow Face Mother, the eighteen feet treading on the eighteen great gods is the medium. As stated in the fiftieth chapter, seven faces, a thousand hands, and the fundamental eighteen feet treading on the eighteen great gods including consorts is the elaborate style. When the all-knowing great Buddhas of the three times praised, they only mentioned treading on the fearful time, without explicitly stating the number of feet. In the concise sadhana and the drawn samaya picture, there are eighteen feet, with a large fearful time drawn below, and the eighteen gods are shown treading on it. In this way, whether it is painting, sculpture, or meditation, it is easy, and I think this should be identified from these categories. In the case of the Great Sow Face Mother, the eighteen gods include the wind god, earth god, water god, yaksha, demon, and wheel-ruler. In the case of the thousand-handed one, in place of those six are finely woven patterns, arhat, guru, protector, and the second guru, the misleader. The latter five are the Victorious Dharma, Vajrakila, Manudana, Pasang, and Ashoka. At this time, it is easy to do it according to the method of the Great Sow Face Mother. The main deity with the same face and hands is the elaborate style. The four faces and twelve hands as listed in the regular order are the medium, which is the meaning of what the twelve wheels said. One face and two hands is the concise style. The elaborate and concise styles are mentioned in the fiftieth chapter: The sow embraces, it has form or two hands are born. This indicates that regarding the two hands, it is permissible to make the gesture of generation and to hold a knife and skull cup, but in general, whatever is done is permissible, but there are many followers who follow the errors of Jayasya who made slight mistakes. The tantra says: The great goddess in front of it, Vajravarahi is the same as before. This refers to the twelve-handed Varahi mentioned in the second chapter earlier. There it says: The fearful time has flames like fire. This is not only a metaphor for splendor, but also shows the burning of flames, and it is also good to think that the body color is also shown as red. The father deity is said to be the color of eye medicine. When Varahi becomes the main deity, in the case of embracing for convenience, the last hand holds the skin of the demon.