Chinese
又，花瓣的尖端竖起，与雌蕊的花粉齐平即可。中央的莲蓬略高于雌蕊。在那里，红色日轮上，大威德金刚和时母以头朝左右、脚朝内的姿势倒卧在与莲花莲蓬齐平的座垫上。这些（尸体）各自的身体大小不一定。但比眷属的尸体座垫小不好，所以要做得稍大一些。眷属的尸体座垫全部仰面朝天，呈男性尸体的姿态。最好是肥胖、肌肉发达、略带微笑、面露凶相等，要做成僵尸的样子。弯曲的脚压着头，伸直的脚压着脚。四张鸦面等（明妃）的坐垫，也可以安置在门边的唐卡上。因为坐在唐卡的边缘，后背会碰到门框。如果绘制唐卡，则座垫在唐卡上，身体要放在门框内。或者因为本身就是门神，所以坐在门框外面的门道里也没有冲突。怎么方便怎么安排都可以。眷属的尸体座垫下面也需要日轮。大乐轮坛城边上的四个颅骨座垫上，是满月，没有山兔。有些印度人说，半月形的座垫和颅骨的形状相同。据说如此。主尊的座垫上，大威德金刚脸朝下，头朝左，之后折断后颈，将头拉到肩胛骨处，右脸颊放在下面，左脸颊朝上，从耳朵处挤压，或者将后颈靠在肩胛骨上，脸朝上，从前额处按压，这是上师们的观点。同样，时母也是用脚压在肚子上，用脚后跟压在生殖器上。时母双手合十于头顶，四臂大威德金刚的前两只手持钺刀和颅碗，后两只手持手鼓和喀章嘎，上师们如是说。毗布底旃扎说，从嗡（藏文：ཨོཾ，梵文天城体：ओम्，梵文罗马拟音：oṃ，汉语字面意思：嗡）中生出的大威德金刚，前两只手合十，后两只手持手鼓和宝剑。
English
Also, the tips of the petals should be raised, just enough to be level with the pollen of the pistil. The central lotus seedpod should be slightly higher than the pistil. There, on the red sun disc, the great Bhairava and Kālī should be lying down with their heads facing left and right and their feet facing inward, on a seat that is level with the lotus seedpod. There is no fixed size for each of these (corpses). However, it is not good for them to be smaller than the corpse seats of the retinue, so they should be made slightly larger. The corpse seats of the retinue should all be lying face up, in the form of male corpses. It is best to make them fat, muscular, slightly smiling, with fierce expressions, etc., so that they look like zombies. The bent feet should press on the head, and the stretched feet should press on the feet. The seats of the four crow-faced (consorts) can also be placed on the thangkas by the door. Because they are sitting on the edge of the thangka, their backs will touch the door frame. If you are drawing a thangka, the seat should be on the thangka, and the body should be placed inside the door frame. Alternatively, since they are door guardians themselves, there is no conflict in having them sit outside the door frame in the doorway itself. Whatever is convenient is fine. Underneath the corpse seats of the retinue, there should also be sun discs. On the four skull seats at the edge of the great bliss mandala, there should be full moons without rabbits. Some Indians say that the half-moon seats are the same shape as the skulls. It is said that this is the case. On the main deity's seat, the great Bhairava should be face down, head to the left, then break the back of the neck and pull the head to the shoulder blades, with the right cheek placed underneath and the left cheek facing up, squeezing from the ear, or with the back of the neck against the shoulder blades, face up, pressing from the forehead, which is the view of the upper lamas. Similarly, Kālī should also have her feet pressing on the stomach and her heels pressing on the genitals. Kālī has her palms joined at the crown of her head, and the first two of the four arms of Bhairava hold a chopper and skull cup, and the latter two hold a damaru and khatvanga, as the upper lamas say. Vibhuticandra says that the first two of the four arms of Bhairava, born from Om (藏文：ཨོཾ，梵文天城体：ओम्，梵文罗马拟音：oṃ，汉语字面意思：嗡), are joined in prayer, and the latter two hold a damaru and a sword.
Chinese
我，从ཧྲཱིཿ（藏文，梵文天城体：ह्रीः，梵文罗马拟音：hrīḥ，汉语字面意思：诃利）中出生的时母像，第一双手是合掌，下面两手说是拿着颅骨和喀章嘎。或者两手都表示第二双手掉了法器，没有手印，或者两手都拿着刀和颅骨也不矛盾。印度和尼泊尔的原始绘画和雕塑中，一般来说，不确定的情况有很多，但有法器的居多。还见到过拿着金刚铃和三叉戟，时母像拿着刀和颅骨的也很多。怖畏金刚非常愤怒，矮胖，有虎皮。黄头发向上竖起，额头上装饰着半月或满月。用蛇做装饰，戴着人头顶饰和项链。时母像多为枯瘦愤怒相，但这里要充分展现出寂静又不失愤怒，且带有贪欲的神态。黑发散开，身材匀称，赤裸，乳房和生殖器丰满，需要用精美的骨饰来装饰。有没有头鬘都可以，但怖畏金刚和时母像都有三只眼睛。一般来说，关于用脚踩踏的方式，《词汇释》中，第三十二品和第二品中也说了怖畏金刚用右脚踩踏。此外，还有各种各样的坐姿和踩踏方式不确定。经典中也有各种各样的说法。但这里是按照之前所说的。认为诸佛的身量比例都是一样的，对于有很多眷属的佛来说是不可能的。对于多、少、中等的情况也不适合，所以不需要确定那样的比例。朗卡嘉参（Lanka Gyaltsang）所说的本尊和眷属的身量一样，有时还可以，但大多数时候是不好的。所以本尊的身量要做得大一些，眷属们的身量则大多要彼此均衡。其中，本尊的位置和莲花的中心一样，是日垫。粗略计算，如果和本尊的脚尖边缘一样，有些人认为五分之一是坐垫。引用“五分之一是坐垫”的说法，认为本尊的身高是五，但那部经的意思不是那样，已经在其他地方解释过了。无论如何，那样的话，本尊的身高大概是六到七。如果本尊的身高是十，那么按照这个比例来计算就可以了。
English
Me, the Timeless Mother image born from Hrīḥ (藏文, Devanagari: ह्रीः, Romanized Sanskrit: hrīḥ, Literal Chinese meaning: He Li), the first two hands are in the gesture of añjali mudrā, and the lower two hands are said to hold a skull cup and a khaṭvāṅga. Alternatively, in both cases, the second two hands represent the loss of implements, without mudrās, or it is not contradictory to have both hands holding a knife and a skull cup. In original Indian and Nepalese paintings and sculptures, there are generally various uncertain situations, but most have implements. It has also been seen that some hold a ḍamaru and a triśūla, and many Timeless Mother images hold a knife and a skull cup. Bhairava is very wrathful, short and stout, with a tiger skin. The yellow hair is raised upwards, and the forehead is adorned with a crescent or full moon. He is adorned with snakes, a garland of human heads, and a necklace. Timeless Mother images often appear emaciated and wrathful, but here, the expression of peacefulness without losing wrathfulness, and with a sense of desire, should be fully expressed. The black hair is loose, the figure is well-proportioned, naked, with full breasts and genitals, and adorned with fine bone ornaments. Whether or not there is a garland of heads is fine, but both Bhairava and Timeless Mother have three eyes. Generally, regarding the manner of trampling with the feet, in the Abhidhānottara, it is also said in the thirty-second and second chapters that Bhairava tramples with the right foot. Furthermore, there are various uncertain postures and manners of trampling. There are also various statements in the scriptures. But here, it is as previously stated. The idea that the proportions of all deities are the same is impossible for deities with many retinues. It is also unsuitable for situations with many, few, or medium numbers, so there is no need to fix such proportions. The statement by Lanka Gyaltsang that the size of the main deity and the retinue are the same is sometimes acceptable, but mostly it is not good. Therefore, the size of the main deity should be larger, and the sizes of the retinue should mostly be balanced with each other. Among them, the position of the main deity is the sun disc, which is the same as the center of the lotus. Roughly calculated, if it is the same as the edge of the tip of the main deity's feet, some consider one-fifth to be the seat. Quoting the statement that "one-fifth is the seat," they believe that the height of the main deity is five, but that scripture does not mean that, and it has already been explained elsewhere. In any case, in that case, the height of the main deity is approximately six to seven. If the height of the main deity is ten, then it is acceptable to calculate according to that proportion.
Chinese
眷属众的位置中央，如果设置一个略小的日垫，就会出现与之相称的身像，因此这个坛城就是这样。一般来说，根据本尊的多少和坐垫的大小，必须确定身像的尺寸，因此各个坛城的身像尺寸大小不一。但对于此，有些前辈认为，无论什么坛城，都必须是同样大小的身像，并以此为基础进行讲解，导致所有智者和愚人都未经考察就如兔子般盲目追逐，产生了许多辩论。追溯根源，根本看不到任何理由。主尊的父母也应稍微缩小母亲的身像尺寸，否则会遮挡主尊的面容等，产生过失，因此母亲的身像应缩短约八指，并使其粗细与之相称。眷属众也只是粗略地说身像尺寸相同，但仔细来说，与父母交合的本尊，是主尊父母的种姓。这样，十七个要点就已清楚地概括完毕。为了展示宫殿的特征，对于具有三个轮的坛城，内部细节上虽有一些不同，但一般来说，应如下了解其清晰的来源：在吉祥空行海中说：从梵天的线的外侧，设置两个三十二份。门是轮的八分之一，与中心的莲花相同。从心髓的瓣面上，也要知道那是三分。其中的一份是三个轮，剩余的是颜色的地基。那的三分之一是花鬘，金刚、莲花和轮的辐条比中央轮小，二一相加为粗细。柱子是普遍给予的，八三是三个轮。从门的三倍是马落，门环具有门的份量。台阶是那的一半，边缘和侧面也是如此。这里的护身布和，是珍宝花鬘的布。头部的花鬘是那的一半，黑暗的布也是如此。从柱子的顶端伸出尖端，是各种金刚大光明。小铃、网、衣服等，以及幡、铃发出声音。那之外是所有莲花。
English
In the center of the retinue's positions, if a slightly smaller sun cushion is set, a corresponding image will appear, so this mandala is like that. In general, based on the number of deities and the size of the cushions, the size of the images must be determined, so the sizes of the images vary in different mandalas. However, some predecessors believed that no matter what mandala, the deity images must be of the same size, and based on this, they explained, which led all wise and foolish people to blindly chase like rabbits without investigation, resulting in many debates. Tracing the root, no reason can be seen at all. The main deities, the father and mother, should also slightly reduce the size of the mother's image, otherwise it will obscure the main deity's face, etc., causing faults, so the mother's image should be shortened by about eight fingers, and its thickness should be made to match. The retinue are also roughly said to be the same size, but in detail, the deities in union with the father and mother are of the lineage of the main deities, the father and mother. Thus, the seventeen points have been clearly summarized. In order to show the characteristics of the palace, for mandalas with three wheels, although there are some differences in the internal details, in general, one should understand its clear source as follows: In the Glorious Ocean of Dakinis it says: From the outside of Brahma's line, set two thirty-two parts. The door is one-eighth of the wheel, the same as the central lotus. From the surface of the heart's petals, also know that it is three parts. One part of that is the three wheels, the remainder is the base of colors. One-third of that is the garland, the spokes of the vajra, lotus, and wheel are smaller than the central wheel, two and one combined are the thickness. The pillars are universally given, eight and three are the three wheels. Three times from the door is the horse landing, the door ring has the portion of the door. The steps are half of that, the edges and sides are also the same. Here, the protective cloth and, is the cloth of the jewel garland. The garland of the head is half of that, the dark cloth is also the same. From the top of the pillars protrude the tips, are various vajras of great light. Small bells, nets, clothes, etc., as well as banners, bells making sounds. Outside of that are all the lotuses.
Chinese
一切时。于心要等，如实书写。此处为种种金刚之鬘，以及光焰炽盛之鬘。其外围之环境，应以地基之层次来描绘。应布施弯刀之鬘，头和手等亦如是。于心要莲花之外，如实书写珍宝之鬘。应描绘八大尸林，即从一切暴恶等开始。如是说。其意义为，梵线之墙基线内，有四大份，将此四大份再分为四份，则成为三十二份。又将其分为两份，则左右各得三十二份。中央之莲花与门相等，故以七份环绕左右，即为莲花。若加上等分三份，则每一侧以两份和三分之一份环绕中心。以三分之二和四份环绕花瓣，则变为等分三份。于其一上环绕大乐轮之鬘。于花瓣之外的三轮上，各有七组，其中六组为辐条，一组为轮辋。一切之间隙中，亦必须有柱子。每一轮之轮辋与莲花之一侧相等，故珍宝鬘之尺寸小于莲花。三轮之轮辋，必须以金刚莲花轮之鬘来装饰，故柱子、围墙、栋梁和屋顶等，亦暗示必须以此等来装饰。马落处较门高三倍，此已明确说明。此处因阐述黑暗之布幔，若以横向计算，则会变成四倍等，故不合理。三轮之剩余部分为颜料之地，若为天衣，则其上有三小份。其内侧砌墙之内一份，为种种金刚鬘之地，是誓言轮和身之界限，此乃此派独有之特殊法。咒语之布幔，即欲布，以及珍宝之鬘，即项链之地，为大份之一半布幔。此处单独出现台阶和咒语之布幔，似为范本有误或翻译错误。头部之鬘为箭杆。墙壁、