English
and the great powerful mother, who is constantly shedding tears. At the wilderness of the thumb, there is Vairochana and the Chakravartin mother, who drools. At the knee of Kuluta, there is Vajrasattva and the Great Diligent Mother, who is a child with a runny nose. As before, in the directions, the Nirvanas of the body mandala dwell evenly. The east gate is the Crow-faced Mother. The north is the Owl-faced Mother. The west is the Dog-faced Mother. The south is the Pig-faced one, the Dakinis and others have their own colors and characteristics, riding on corpses, and emitting light from them, their faces completely changing, transforming into various forms, which is in accordance with the ritual. The messenger mothers are not in accordance with the ritual, so they must be properly placed. In the fire corner is Yama Firm Mother. In the Rakshasa corner is Yama Messenger Mother. In the wind corner is Yama Grinning Mother. In the Ishvara corner is Yama Destroyer Mother, these are also two-colored. The pleasing mother rides on the corpse like the former. The glorious Heruka and other heroes are those with the mudra of embracing the vajra and bell. All the goddesses hold curved knives and skull bowls in their hands, possessing graceful postures and other qualities, the three-eyed mother bares her fangs, adorned with skull rosaries, emitting and burning various rays of light, looking with angry, twisted eyes, pressing down on the corpse and emitting light from it, dancing on the sun. The Crow-faced Mother and others who are described are those with tiger skin lower garments, adorning the neck with a jewel in the hair knot, earrings, necklaces, bracelets, a vajra belt, and a skull rosary. Similarly, the two feet are adorned with jingling bells, dwelling in a very left-extended posture. The twenty-four heroes above are born from the Heruka auspicious lineage. The twenty-four Dakinis are born from the Pig Mother lineage. Thus, after such detailed explanation and combination, the Dakinis from the outer mandala and the body mandala, embracing the outer and inner, dance and dwell in their respective places. Inside, the eastern petal of the heart is the channel through which water and air flow, and the eastern lotus of the eight-petaled yellow lotus of the Great Bliss Wheel
Chinese
名为“达布空行母”。是女神玛玛吉（藏文：མ་མ་ཀཱི）的本体，名称的别名是“杀戮者”。身色蓝而带灰光，是蓝而白的色彩。如果角变化，则显现为白色和蓝色，手持弯刀和颅骨。此处也说明了法器。内部是心脏的北方风的脉流动，外部是极乐轮的北方莲花瓣上的拉玛，身色绿色而带白色光彩。拉玛的意思有三种翻译：美丽者、快乐者和嬉戏者。这三种翻译都从意义的某个方面有所涉及。内部是心脏的西方脉火风流动，外部是极乐的莲花瓣西方上的杜姆杰玛，红色而带有白色光彩。内部是心脏的南方土风流动之脉，外部是极乐的莲花瓣南方上的形貌母，黄色而带有白色光彩的颜色。也就是说，空行母是蓝灰色，而其他的是绿黄色、红黄色，之所以这样说，是因为在汉文中，“高若”（藏文音译：གཽ་ར་）这个词有两种含义，既可以指白色，也可以指黄色。由于丝绸大多将“高若”翻译成黄色，所以这个文本的再翻译的根本是跟随翻译。因此，其他的都翻译成黄色，如果将空行母做成蓝黄色，考虑到与拉玛的绿色重复，所以做成蓝灰色或白蓝色。然而，在金刚空行中说：“北方是祖母绿白色的颜色。”以及“西方是红色且白色的颜色。”等等。因此，这里“高若”（藏文音译：གཽ་ར་）这个词全部是白色的意思。这是因为四大等元素的所有自性都是完全清净的，原本没有被污垢所染，并且象征着方便大乐嘿热嘎的菩提心遍布全身。认为带有黄色光彩的人的想法是：是珍宝的种类。然而，这里不这样结合。关于诸神的名称含义，朗卡嘉桑等有其他的名称解释，但这里不需要采用。一般来说，世间的罗刹女具有巨大的神通，依靠起尸作为坐骑，在天空中行走，夺取他人的生命，所以被称为空行母和杀戮者。
English
Named "Dabtu Khadroma." It is the essence of the goddess Mamaki (Tibetan: མ་མ་ཀཱི), and another name for it is "The Slayer." Her body is blue with a grayish light, a blue and white hue. If the horns change, they appear white and blue. She holds a curved knife and a skull cup in her hands. Here, the hand implements are also explained. Inside, the northern wind of the heart flows through the vein, and outside, on the northern lotus petal of the Great Bliss Wheel, is Lama, whose body is green with a white glow. The term "Lama" can be translated in three ways: as "beautiful," "joyful," and "playful." All three translations touch upon a certain aspect of the meaning. Inside, the western vein of the heart, the fire wind, flows, and outside, on the western lotus petal of Great Bliss, is Dumkyema, red with a white glow. Inside, the southern earth wind of the heart flows through the vein, and outside, on the southern lotus petal of Great Bliss, is Zukchenma, yellow with a color that has a white glow. That is to say, the Khadroma is blue-gray, while the others are green-yellow and red-yellow. The reason for this is that in Chinese, the word "Gaura" (Tibetan transliteration: གཽ་ར་) has two meanings, referring to both white and yellow. Since silk fabrics mostly translate "Gaura" as yellow, the root of the re-translation of this text is to follow the translation. Therefore, the others are translated as yellow, and if the Khadroma were made blue-yellow, considering the repetition with Lama's green, it would be made blue-gray or white-blue. However, in Vajra Khadro it says, "In the north, the color of emerald white." and "In the west, the color of red and white." and so on. Therefore, here the word "Gaura" (Tibetan transliteration: གཽ་ར་) entirely means white. This is because the inherent nature of all the elements, such as the four great elements, is completely pure, originally unstained by defilements, and symbolizes the bodhicitta of the skillful means of Great Bliss Heruka pervading the body. Those who think of it as having a yellow glow believe it to be a type of jewel. However, here it is not combined in that way. Regarding the meaning of the names of the deities, Langka Gyaltsang and others have other explanations of the names, but there is no need to adopt them here. In general, worldly Rakshasis have great magical powers, relying on corpses as mounts, traveling in the sky, and taking the lives of others, so they are called Khadromas and Slayers.
Chinese
萨（ས་ཟེར）说，有些时候，如果以供养使之欢喜，则会赐予人的相貌圆满，以及各种玩乐的喜悦，以及性爱的真谛。因此被称为拉玛（ལཱ་མ་），而她本身也以喜悦来进行欲望的艺术，并且也让人们通过迷惑心意的方式来活动身语，因此是欲望的艺术，而迷惑就是舞蹈，因此是舞蹈的自在母。还有一些，将面容等身体的各个部分转变为不同的片段，并通过各种声音制造恐惧，并且进行预言，以及宣说密咒，因为从片段的身体中产生声音文字，所以被称为片段生母（དུམ་སྐྱེས་མ་），即掌控和勾召世间。有些则转变为美与丑、老与少、中间状态等各种各样的形象，以及人和家畜和树木等等各种形象，为了使人们迷惑、愚昧和衰败，所以被称为有形母（གཟུགས་ཅན་མ་），是行使堕落之业的女性。因此，为了调伏那些应调伏的众生，考虑到意图的确定意义，也以那些名字来称呼薄伽梵母们，即，因为智慧在无有戏论的虚空中自在游走，所以是空行母（མཁའ་འགྲོ་མ་），因为从片段的身体中产生语言的显现，所以是片段生母，因为示现身体的化身成为一切有形之物的形象，所以是有形母，因为享受一切智慧的喜悦，所以是拉玛。如此，这四位空行母全部都是在尸体的座垫上，以右腿伸展的舞姿而安住，因为右腿伸展本身就是舞蹈的姿态，所以称为舞姿，而不是以半跏趺坐的舞姿而安住。而且，在汉（རྒྱ་）语中，纳尔达巴（ནརྟ་པ་）的意思是，如果直接翻译，就是舞姿，是舞蹈姿态的总称，而半跏趺坐的姿势则被称为丹达巴（ཏན་ཌ་བ་），没有称为舞蹈的词语。右手和左手拿着弯刀和颅骨碗，头发一半向上竖起并扎起来，一半向下披散，而且，在其他一些译本中，有头发向上燃烧的说法，就像头发染成红色和黄色
English
It is said that some, when pleased by offerings from time to time, bestow the perfection of human form, various joys of play, and the very essence of sexual union. Therefore, she is called Lama, and she herself engages in the art of desire with joy, and also causes beings to move their body and speech through the bewilderment of their minds, hence the art of desire, and bewilderment is dance, therefore she is the sovereign mother of dance. Some also transform faces and other parts of the body into different fragments, and create fear with various sounds, and prophesy, and teach secret mantras, because sound and letters arise from the fragmented body. Therefore, she is called Fragment-born Mother, who controls and summons the world. Some transform into various forms such as beautiful and ugly, old and young, and intermediate states, and various forms of humans, animals, and trees, in order to bewilder, delude, and degrade beings. Therefore, she is called Form-possessing Mother, a female who performs the work of falling. Thus, in order to subdue those who are to be subdued, considering the definitive meaning of the intention, the Bhagavati Mothers are also named with those names, that is, because wisdom freely moves in the sky free from elaboration, she is Dakini, because the appearance of speech arises from the fragmented body, she is Fragment-born Mother, because she shows the emanation of the body in the form of all forms, she is Form-possessing Mother, because she enjoys all the joys of wisdom, she is Lama. Thus, all these four Dakinis are seated on a seat of corpses in a dancing posture with the right leg extended, because the right leg extended itself is a form of dance, so it is called a dancing posture, and not seated in a half-lotus dancing posture. Moreover, in Chinese, Nartapa means, if translated directly, a dancing posture, which is a general name for the form of dance, while the half-lotus posture is called Tandava, and there is no word for dance. Holding a curved knife and a skull cup in the right and left hands, the hair is half raised and tied up, and half let down, and in some other translations, it is said that the hair is blazing upwards, like hair dyed red and yellow.
Chinese
也想要画像。以五种骨饰和干骷髅头冠，湿骷髅项链，五绺小辫等装饰品装饰。咬着牙齿，露出笑容的一张脸。左手的骷髅碗里，盛着血和甘露的混合物，其中央是：空行母的是大象，拉玛的是豺狼，断生女的是人即男人，有形母的是最上等的牛群，按照顺序排列。头部以佛像为标志，并且完全具备，这指的是，由于脱落、进入错误等原因，因为依赖于汉文版本文字的混乱而翻译，意思也错了。把人头的骷髅碗翻译成头部，似乎是把四位佛母的头冠理解成这样了。因此，在Ra译本中说：远离方位的四者，是五甘露的容器，以佛像来装饰，在骷髅碗中完全具备。需要像这样解释。金刚空行母中也说：在四方，是五甘露的骷髅碗，以佛像来装饰，完全具备美好的顶髻。追随这些，是上师的安排。因此，应该这样说：内部心间的方位脉瓣，是供养的四根脉，外部大乐轮的方位花瓣，也是五个不完整的骷髅碗容器，盛满五甘露，以佛像为标志，并且完全具备。此外，在坛城仪轨中说：方位处的莲花上，母亲和父亲，国王和王族二者，从头部的容器中进行供养。也就是说，在东南方盛满红色的精液的骷髅碗上，有宝生佛的佛像，在西南方盛满精液的骷髅碗上，有无量光佛的佛像，在西北方盛满腿等大肉的精华的骷髅碗上，有不空成就佛的佛像，在东北方盛满大便小便的骷髅碗上，有毗卢遮那佛的佛像作为标志。在甘露之上，完整地显现出佛像。单独的父续本尊具有转轮王的装束，手印与通常的一致。这些
English
Also want a picture. Adorned with five bone ornaments, a crown of dry skulls, a necklace of wet skulls, five small braids, and other ornaments. One face with teeth bared and smiling. In the skull cups in the left hand, a mixture of blood and nectar is slightly filled, in the center of which are: the dakini's is an elephant, the lama's is a jackal, the severed-birth woman's is a human, that is, a man, and the form woman's is the best of the cattle, arranged in order. The head is marked with the image of the Buddha and is fully equipped, which refers to the fact that due to reasons such as falling off and entering incorrectly, the meaning is also wrong because it is translated based on the confusion of the text in the Chinese version. Translating the skull cup of a human head into a head seems to be understanding the crowns of the four mothers in this way. Therefore, it is said in the Ra translation: The four who are separated from the directions are the containers of the five nectars, decorated with the image of the Buddha, and fully equipped in the skull cup. It needs to be explained like this. It is also said in Vajra Dakini: In the four directions, there are skull cups of five nectars, decorated with the image of the Buddha, and fully equipped with a beautiful crest. Following these, is the arrangement of the master. Therefore, it should be said like this: The directional veins of the inner heart are the four root veins of offering, and the directional petals of the outer great bliss wheel are also five incomplete skull cup containers, filled with five nectars, marked with the image of the Buddha, and fully equipped. Furthermore, it is said in the mandala ritual: On the lotus in the directional part, the mother and the father, the king and the royal family, are offered from the container of the head. That is to say, on the skull cup filled with red semen in the southeast, there is the Buddha image of Ratnasambhava, on the skull cup filled with semen in the southwest, there is the Buddha image of Amitabha, on the skull cup filled with the essence of large meat such as legs in the northwest, there is the Buddha image of Amoghasiddhi, and on the skull cup filled with feces and urine in the northeast, there is the Buddha image of Vairochana as a symbol. Above the nectar, the Buddha image appears completely. The solitary father tantra deity has the attire of a Chakravartin, and the mudra is consistent with the usual one. These