English
At all times. Write accurately about the essence and so on. Here, there are garlands of various vajras and garlands of blazing flames. The surrounding environment should be depicted with layers of earth. Offer garlands of curved knives, and likewise, heads and hands. Outside the lotus of the essence, accurately write a garland of jewels. The eight great charnel grounds should be depicted, starting with all fierce and violent ones, and so on. Thus it is said. Its meaning is that within the wall base line of the Brahma line, there are four large parts, and dividing these four large parts into four parts each results in thirty-two parts. Dividing that into two parts each results in thirty-two parts on each side, left and right. The central lotus is equal to the door, so the lotus is made by encircling seven parts on the left and right. If three equal parts are counted, then each side encircles the center with two parts and one-third of a part. The petals are encircled by two-thirds and four parts, thus becoming three equal parts. On one, encircle the garland of the great bliss wheel. Outside the petals, on the three wheels, there are seven sets each, of which six each are spokes and one each is a rim. There must also be pillars in between everything. Each side of the wheel, including the rim, is equal to one side of the lotus, so the jewel garland is smaller than the lotus in the size of one part. The rims of the three wheels must be adorned with garlands of vajra, lotus, and wheel, so it is implied that the pillars, walls, beams, and roofs must also be adorned with these. It is clear that the horse landing is three times higher than the door. Here, since the dark cloth is explained, it would be unreasonable to calculate it horizontally as four times, and so on. The remainder of the three wheels is the color ground, and if it is a celestial cloth, then there are three small parts on it. One part inside the inner wall is the place for the garland of various vajras, which is the boundary between the samaya wheel and the body. This is a special dharma unique to this tradition. The cloth of mantras, that is, the desired cloth, and the garland of jewels, that is, the place of the necklace, is half of the large part of the cloth. Here, the appearance of the platform and the cloth of mantras separately seems to be due to an incorrect template or a translation error. The garland of the head is the arrow shaft. Walls,
Chinese
虽然没有明确说明儿子的情况，但总体上是成功的。所谓从柱顶伸出尖端，现在假设马厩左右各有一根柱子，外面各有柱饰飘带的场地，并非从柱顶伸出。一般来说，在描述绘画细节的词语中，也包含着许多修行的意义。在此，如果把柱子看作是修行意义还是绘画细节，经过考察，两者都不合理。如果是修行意义，那么柱顶就没有理由出现各种金刚的角；如果是绘画细节，虽然有可能出现在柱顶，但由于马厩的设置，柱顶无法伸出。因此，这是一种不在许多坛城布局中使用飘带，而是绘制四根柱子的方式。很明显，从外柱的顶端绕着角的内线。这也能让人明白，所谓的“隐藏角”是没有根据的。在二十角的情况下，认为两根内角的外侧又生出两根角，这种说法也是错误的。总的来说，这就像上面所说的，是描述绘制各种金刚的部分，而且是按照十二角的情况来说的。铃铛等也可以说是描述宫殿的装饰，但主要是描述外院供养场地的装饰。其外是莲花角，其中有花蕊和花丝等。其外是各种金刚链的栅栏，是誓言轮的边界。其外是火焰链。在其外还要绘制尸陀林的场地环境。尸陀林的周围要绘制弯刀链、人头链和手臂链。中央核心主莲花的周围要绘制珍宝链。尸陀林的场地有暴怒等八大尸陀林。也就是说，这也很明显是在尸陀林火山的外面绘制。尸陀林的末端用三条链环绕是这里的特殊之处。这些词语是金刚亥母猪面。
English
Although the details of the son are not clear, it is generally successful. The so-called "emerging tip from the top of the pillar" refers to the fact that there are now pillars on the left and right sides of the stable, and outside of them, there are grounds for pillar decorations and streamers. It is not that it emerges from the top of the pillar. In general, there are many explanations of meditative meanings within the words that describe drawing details. Here, if we consider the pillar as either a meditative meaning or a drawing detail, after investigation, neither seems reasonable. If it is a meditative meaning, then there is no reason for various vajra horns to appear from the top of the pillar; if it is a drawing detail, although it is possible to appear on the top of the pillar, it cannot emerge from the top of the pillar because of the arrangement of the stable. Therefore, this is a method of drawing all four pillars without using streamers in many mandala layouts. It is clear that the inner line of the horn is drawn from the top of the outer pillar. This also makes it clear that the so-called "hidden horn" is unfounded. In the case of twenty horns, the idea that two other horns grow outside the two inner horns is also refuted. In general, this, as mentioned above, describes the part of drawing various vajras, and it is according to the case of twelve horns. Small bells and so on can also be said to describe the decoration of the palace, but mainly they describe the decoration of the outer courtyard offering ground. Outside of that is the lotus fence, and inside it are the pistil and stamens, etc. Outside of that is the fence of various vajra chains, which is the boundary of the wheel of vows. Outside of that is the flaming chain. Outside of that, the environment of the charnel ground should be drawn. Around the charnel ground, chains of curved knives, chains of human heads, and chains of arms should also be drawn. Around the central core main lotus, a jewel chain should be drawn. The charnel ground has the eight great charnel grounds, such as the wrathful ones. That is to say, it is also very clear that it is drawn outside the charnel ground volcano. The fact that the end of the charnel ground is surrounded by three chains is a special feature here. These words are Vajravarahi with a pig face.
Chinese
虽然是讲述大坛城的时候，但由于对于胜乐金刚的坛城总体的结构非常重要而且清晰，所以稍微讲述一下。这在《词汇释》中也说：“从那完全变化中，轮为最胜，观想为楼房重叠。四角具备四门，以四马道加以庄严，以网和半网装饰，以幡幢花鬘加以庄严，所有的角隅之处，以及门和门框的交界处，都以金刚珍宝装饰，外面的坛城就是这样。”《黑品坛城仪轨》中说：“门是轮的八分之一，庭院是它的一半，门框的尺寸与门的尺寸相同，与天衣的尺寸相同。”这些都必须明确。一般来说，也有将无量宫殿做成殊胜的佛塔形状等等，似乎有许多不确定的形式。在事部和行部的许多情况下，坛城的布置有繁有简，各种各样。这样，如果能将作为所依的坛城的意义的要点牢记在心，就能如实地理解自己的宗派，也能理解其他人所作的各种文字，从而区分什么是善说，什么是恶说。无量宫的门楣等其他布置，因为文字会变得繁多，所以这里没有列出。因此，许多前人和后人，有的只做得很低，有的只确定做得很高等，对于四马道的天衣，有的在四面做成圆形台阶，有的不向外做牛背，而是做成空心的，有的将四马道的第四层台阶与宫殿的墙壁相连，有的在门前的门楣的栋梁上不做这些，有的不希望有支撑它的柱子，因此对于门楣的上栋梁，即使只有短柱子也没有进行研究，有的将十一层天衣只用在门前，有的将门房和宫殿做成一个楼层，有些靠歪曲事实为生的人说四个台阶就是四马道的天衣，对于牛背三眼相连的样式
English
Although it is about explaining the great mandala, it is important and clear for the overall structure of the Heruka mandala, so I will explain it a little. This is also stated in the 'Nomenclature': 'From that complete transformation, the wheel is the most excellent, contemplate it as a multi-storied building. The four corners have four doors, adorned with four horse ramps. Adorned with nets and half-nets, adorned with banners and garlands. All the corners, and the boundaries of the doors and door frames, are adorned with vajras and jewels. The outer mandala is just like that.' It also appears in the 'Black Mandala Ritual': 'The door is one-eighth of the wheel, the courtyard is half of that. The size of the door frames is the same as the size of the door, the same as the size of the divine cloth.' These should also be understood. In general, there are also instances where the immeasurable palace is made in the shape of a stupa, and there seem to be many uncertain forms. In many cases of Kriya and Charya tantras, the arrangement of the mandala is varied, sometimes elaborate and sometimes concise. Thus, if one keeps in mind the essential points of the meaning of the mandala as the support, one will understand one's own system without distortion, and one will also understand the various writings made by others, thereby distinguishing between what is well-spoken and what is poorly spoken. Other arrangements such as the lintels of the immeasurable palace are not listed here because the text would become too long. Therefore, many predecessors and successors either make it very low or only determine to make it very high. For the four horse ramps, some make four circular steps on all sides, some do not make a bull's back outwards but make it hollow, some connect the fourth step of the four horse ramps with the wall of the palace, some do not do this on the beams of the lintel in front of the door, some do not want pillars to support it, therefore, even if there are only short pillars for the upper beams of the lintel, they have not been studied, some use eleven layers of cloth only in front of the door, some make the gatehouse and the palace into one floor, and some who make a living by distorting the facts say that four steps are the four horse ramps, and for the style of the bull's back with three eyes connected
Chinese
说没有，以及时轮金刚、空行母、不动、无上等续部和印度论典中多次说到马降门的三个高度，却说除了鬘论师的宗派外，没有三门高度的说法。一边说鬘论不是具有尺度的论典，一边又承认《事续总集》和扎亚斯亚纳的论典具有尺度，这是矛盾的。在歌谱的第二十个坛城仪轨和扎亚斯亚纳的观点中，明明只说明了立柱为三门高度，却认为不是这样。一边说这两种宗派没有十一布，一边又在这两种宗派的坛城仪轨中，自己也做了立柱为三门高度、十一布，这是自相矛盾的。把所有说马降门一个高度的说法，都牵强附会地作为四布的后盾，以及很多作为这些论证的看似正确的理路，以及把四布与第一禅的不同寻思和妙观察等结合起来，认为这是下三禅过失的象征，有很多粗糙的修正方法。把四布说成是柱子无法承受的沉重之物来悬挂，以及没有确定悬挂十一布的方法，只是做做样子，不做详细指导。还有，把其他宗派在密集金刚中把因陀罗尼罗的地面做高的做法偷过来，用在胜乐金刚上。认为塑造佛像时，身体一半的尺度是腰部。一边做着四根小柱子的结构，一边又认为是五根柱子。对于没有说一定需要一个高度，而且也不需要的东西，却愚昧地认为一定要有，把不是依据的东西作为依据来炫耀等等，所有的错误都自然而然地得以纠正，从而如实地证悟要点。第二，依靠生起本尊，第一，加行。坛城之王殊胜，事业之王殊胜，共有三种。第一种，有念诵修持的四支，即念诵支、近修支、修持支、大修支。第一种，有前行，即生起能仁金刚持，以及造作等；正行，即迎请果位金刚持，以及加持等。第一种，从何处生起金刚萨埵的因
English
Saying there is not, and although the Kalachakra, Vajra Yogini, Achala, Anuttara, etc., tantras and many Indian treatises state that the horse-descent door is three times the height, they say that apart from the garland master's tradition, there is no term for a three-door height. While saying that the garland is not a treatise with measure, they contradictorily acknowledge the Compendium of Deeds and the treatises of Jayaśāna as having measure. In the twentieth mandala ritual of the song chart and Jayaśāna's view, it is clearly stated that the height of the pillars is only three door heights, but they think it is not so. While saying that there is no eleven-cloth in the tradition of these two, they contradictorily make the pillars three door heights and eleven-cloth in their own mandala ritual of these two. They forcibly cut off all statements that the horse-descent door is one height, citing them as support for the four-cloth, and many seemingly correct reasonings as proofs for these, and combine the four-cloth with the different searchings and subtle observations of the first dhyana, etc., thinking that they symbolize the faults of the lower three dhyanas, and there are many rough methods of correction. They hang the four-cloth as a heavy object that the pillars cannot bear, and there is no definite method of hanging the eleven-cloth, only making a show without giving detailed instructions. Also, they steal the practice of raising the ground of Indranila in the Guhyasamaja of other traditions and apply it to the Chakrasamvara. They think that half the measure of the body of the deity being built is the waist. While making the structure of four small pillars, they think it is five pillars. For something that is not said to necessarily need one height and is not needed, they ignorantly think it must be, and cite what is not a source as a source to show off, etc. All errors are naturally corrected in their own place, and thus the key points are realized as they are. Second, relying on the generation of the deity, first, the preparation. The king of mandalas is supreme, the king of actions is supreme, there are three. The first has four branches of recitation and accomplishment, namely the branch of recitation, the branch of near accomplishment, the branch of accomplishment, and the branch of great accomplishment. The first has the preliminary, which is the generation of the Vajradhara who is capable, along with the actions, and the main part, which is the invitation of the Vajradhara of the result, along with the blessings. The first is the cause from which Vajrasattva is generated.