English
Also, like the Kalachakra, there are many without various vajras, and many without mentioning stairs. Those who make various vajras often do not make stairs. In the mandalas of the lower three tantra classes, there are also specific mentions of various vajras, but some may not have them, which is more common. Among Indian scholars, those after the Six Gates mostly make various vajras, but it is not certain for those before. Fifteenth, regarding Horse Descent (Rtababs): Generally speaking, regarding Horse Descent, it is said that Indian scholars also recognize three types: standard, non-standard, and mixed. The mixed type is like what Omniscient Rinchen Jungne of the time of strife said about manifesting the world. Horizontally, it is determined to be three gates, while vertically it is uncertain. For those who want non-standard, there is no need to determine anything. However, many old paintings built in India and Nepal have been seen. For the standard type, there is a saying of four gates for Horse Descent, which refers to the horizontal direction, not the vertical. The length of the current four-cloth Horse Descent matches the lower cloth of the eleven-cloth one-gate, so it can be combined with either one. Vertically, in the type of three gates, as stated in the Kalachakra, the decoration including the vase top is considered to be the size of the Horse Descent. Also, there are two types of three gates that do not include the decorations of the Horse Descent, as stated in the Mandala Ritual Vajra Garland. The two-gate type has eleven cloths and eight cloths. Here, the decorations of the Horse Descent are also not included. For the one-gate type, there is one gate vertically. Horizontally, the three gates have eleven cloths, as stated in the Garland. The four-cloth type has four gates horizontally and one gate vertically, there are two types. These two also do not include the decorations of the Horse Descent in one gate. Whether it is a cloth painting or colored sand, the one-gate type is considered less difficult, so in the Indian rituals, it is said that the one-gate type is more common. However, the saying of four cloths is the thread method of the armor of faith. There may be some others, but most do not mention the four-cloth type. In the kingdom under the sun in India and in Nepal, in the past...
Chinese
在世间有众多智者之时，虽然见到了许多所绘制的坛城图，但却没有见到四块布的（坛城），似乎尼泊尔等地想要这种（坛城）的人也很少。从克什米尔地区稍微出现的是，《信解盔甲》（Dadbjed Gochai）的图样，那是大译师翻译并且依此修持的，因此遍布整个藏区。因为从前就学习了那个法式，后来去印度的译师们，也多有仗着先学的优势而自以为是的。但是，信解线法的法式，不会出现在那若巴和嘎雅达拉的口诀中，也不会改变仲、郭、玛三家的观点。此时，阿阇梨行派的法式中，马降（Rta Babs）并非双重门限，在坛城仪轨中说：“从网以线环绕，作为马降之位置。”因此，马降本身就是双重门限。带伞盖的轮或单独的轮有二小分，带基座的有十分。对此，是八块布还是十一块布，没有明确说明，所以无论怎样做都可以，但暂时十一块布容易上手，所以按照那个法式做。因此，从门框到门侧墙面之间的墙壁高度要做十又三分之二小分。从门侧墙面向前测量每一小分，是杂色金刚的中心的外部边缘，外部边缘接触到那里，并且从门侧顶端的外部边缘，左右各留下一小分的间隙处，建立外面的两根柱子，那两根柱子的内侧正对着门边的外角，在门边的墙壁之间留下一小分的空隙，为了使另一侧的面接触到意想的布，建立里面的两根柱子，这样每一侧的马降都需要建立四根柱子。也就是，在堆叠了每一小分的方形台阶和一小分高度的宝瓶之上，建立五小分的柱子。宝瓶和台阶在信解线法和阿巴亚的法式中没有明确说明，是因为认为是进入了意想的二小分高度的布的缘故。许多早期的印度人从马降内侧柱子的外线处开始意想的布
English
In times when there were many wise scholars in the world, although many drawn mandala diagrams were seen, the four-cloth (mandala) was not seen, and it seems that few people in Nepal and other places wanted this (mandala). What slightly emerged from the Kashmir region was the pattern of "Faith and Understanding Armor" (Dadbjed Gochai), which was translated by the great translator and practiced accordingly, thus spreading throughout the entire Tibetan region. Because that style was learned from before, even the translators who later went to India often relied on the advantage of their prior learning and became self-righteous. However, the method of the Faith and Understanding Lineage will not appear in the instructions of Naropa and Gayadhara, nor will it change the views of the Drog, Go, and Mar lineages. At this time, in the method of the Acharya Conduct School, the Horse Descent (Rta Babs) is not a double door limit. In the mandala ritual, it says, "From the net, surround with a line, and make it the place of the Horse Descent." Therefore, the Horse Descent itself is a double door limit. A wheel with an umbrella or a single wheel has two small parts, and one with a base has ten small parts. Regarding this, it is not clearly stated whether it is eight cloths or eleven cloths, so it can be done in any way, but for the time being, eleven cloths are easier to handle, so it should be done according to that method. Therefore, the height of the wall from the door frame to the side wall should be ten and two-thirds small parts. Measuring each small part forward from the side wall is the outer edge of the center of the variegated vajra, the outer edge touches there, and from the outer edge of the top of the side wall, leaving a gap of one small part each on the left and right, establish the outer two pillars, the inner side of those two pillars directly faces the outer corner of the door edge, leaving a gap of one small part between the door edge and the wall, in order to make the other side of the face touch the imagined cloth, establish the inner two pillars, so each side of the Horse Descent needs to establish four pillars. That is, on top of stacking a square step of each small part and a vase with a height of one small part, establish a pillar of five small parts. The vase and the step are not clearly stated in the Faith and Understanding Lineage and the Abhaya method, because it is considered that it has entered the imagined cloth with a height of two small parts. Many early Indians imagined the cloth from the outer line of the inner pillars of the Horse Descent.
Chinese
没有。因为在绘画中也必须看到台阶和瓶子。门框的里面也没有铺垫，所以变得黑暗。虽然不清楚这位学者的坛城仪式与两者中的哪一个相符，但印度大多数古老的无上瑜伽密法都这样认为，即看到瓶子和柱基，这似乎符合这种观点的意图。我认为是这样。除了在那里是否有铺垫的区别外，柱子的禅修意义是相似的。台阶和瓶子也是柱基，所以属于柱子，五个小部分也包括柱子的长度。总的来说，名称是七个小部分的柱子。在其上方，金色的布料，一个小部分的1/3，内边缘与柱子的大小相同。外侧左右两侧比柱子高出一个小部分，像空心的长箱子一样悬挂在门房的左右两侧。前面没有超出柱子的部分，与柱子本身的大小相同，位于中央牛背的正上方。金色布料的下边缘，代替长箱子的底部，像梁垫一样的梁板，像线一样薄，但也允许一些灰尘。除此之外，真正的金色布料在牛背的正上方就结束了。在其上方，有夏布的布料、珍宝的布料和蹄子的布料，高度都相等，都是小部分的2/3。左右两侧，马镫内侧的边缘与金色布料相同，外侧比金色布料各高出一个小部分，是空心的。这些布料的正面和背面颜色不同，除了用各种工艺分割外，内部是空心相连的。门的正面，除了顶部的箭杆可以选择外，所有的十块布料都没有长短等差异，除了分割的线条凸起外，都是平的。虽然黑暗的外表面是空旷的，但由于网状的边缘悬挂在外侧，所以正面也与其他部分相同。就像没有盖子的金色长箱子一样。然后，这两块布料就像没有盖子且底部也空着的箱子一样，两个大小相同的布料像堆叠在前面的布料上一样。马蹄也与此相似，但就像盖上了盖子一样。然而，在左右两侧，
English
No. Because in painting, one must also see the steps and vases. Even inside the door frame, there is no mat, so it becomes dark. Although it is not clear which of the two this scholar's mandala ritual corresponds to, most ancient Anuttarayoga Tantras of India hold that seeing the vase and pillar base seems to be in line with the intention of this view. I think that's how it is. Except for the difference of whether there is a mat there, the meditation meaning of the pillar is similar. The steps and vases are also pillar bases, so they belong to the pillar, and the five small parts also include the height of the pillar. In total, the name is the pillar of seven small parts. Above it, the golden cloth, 1/3 of a small part, the inner edge is the same size as the pillar. The outer left and right sides are higher than the pillar by one small part, like hollow long boxes hanging on the left and right sides of the gatehouse. The front side does not protrude beyond the pillar, and is the same size as the pillar itself, located directly above the central ox back. The lower edge of the golden cloth, instead of the bottom of the long box, a beam plate like a beam pad, as thin as a thread, but also allows some dust. Other than that, the real golden cloth ends directly above the ox back. Above it, there are Xia cloth, jewel cloth, and hoof cloth, all equal in height, all 2/3 of a small part. On the left and right sides, the inner edge of the stirrup is the same as the golden cloth, and the outer side is higher than the golden cloth by one small part each, which is hollow. The front and back sides of these cloths are different in color, and except for being divided by various crafts, the inside is hollow and connected. On the front side of the door, except that the arrow shaft at the top can be selected, all ten cloths have no differences in length, etc., and are flat except for the raised dividing lines. Although the dark outer surface is empty, because the mesh edge hangs on the outside, the front side is also the same as the other parts. Just like a golden long box without a lid. Then, these two cloths are like boxes without lids and with empty bottoms, two cloths of the same size are like stacked on the front cloth. The horseshoe is also similar to this, but it is like a lid has been put on. However, on the left and right sides,
Chinese
在埃尔丝南（ེར་སྣམ་）上，夏布（ཤར་བུ）的布料超出部分仅一小块的地方，夏布的下面需要用珍贵的薄石板覆盖。在其上面，是黑暗的下层布料，高度为一小块。内部的周围环境与之前相同。外部四个角有柱子，牛背的左右也各竖立一根柱子。除此之外，这个外部空旷的地方和门廊的墙壁，与马道包含在内的墙壁高度相同。从整个门廊的屋顶边缘垂下像鸟翼一样长长的东西，即马道。门廊的墙壁之间，经过一小块空隙后，在马道自身正上方，黑暗下层布料的角落里，有像支撑下方马道的梁板，位于金布（གསེར་སྣམ་）之下那样的东西。柱顶柱基的柱子，在黑暗之下，马道的内部，以命脉支撑的方式存在，在其上面，梁也位于周围，与鸟翼的形状相吻合。上面像是铺设了石板一样，檐口都以不被看见的方式排列，在瓦兰达（ཝ་རཎྜ་）的前面，像木板竖立一样连接。左右两边，在梁的上面，像是涂抹了细腻的灰泥一样。那个瓦兰达的高度也是一小块的三分之二。内部在牛背的正前方中断。左右两边，从角落的柱子开始，各长出一小块，檐口的顶端向外看，像是排列着珍珠项链一样。前面，从瓦兰达的外边缘垂下半截网。柱子之间的间隔，门的两侧左右方向，有与柱子外边缘齐平的梁。在其上面，左右两边像是打了木楔一样，从那个末端开始，一小块的内部间隔垂下半截网。有些班智达认为，内部屋顶的梁的正上方，像用薄石板隔开一样。在牛背的正前方，那种方式看起来很美观。然而，在上层黑暗布料的前面，最好是做成遮挡石板的遮阳篷的样子。这样说。牛背的左右，是下层黑暗布料的柱顶，或者说，在柱子的上方，上层黑暗布料也要在牛背的左右各做一个柱子。那个上层黑暗布料就是门帘。