English
are common to all twelve mandalas. Although they are different from each other, from the syllable Om, marked by the wheel of Om, arises Vairochana. The seed syllables and matrikas of generation, etc., hand symbols, deities, mudras, and the transformation of the essence mantra. The praise is common. Equality does not waver, does not differentiate. Blessings and the deity Vajrapani, the one who performs the mantra lineage, resides in front, so the name mudra should also be done. Also, whichever deity the flower falls on, practice that deity. Transform the five: seed syllable, hand symbol, deity, mantra, and mudra. By adding a wishful praise, the previous ritual is accomplished. Empowerment, consecration, only the meaning of explaining the lineage. If you practice, just the practice of the number is enough. It is okay to meditate on any deity. It is also okay to recite about four million root mantras. For the sake of accomplishment, until the signs of the deity's pleasure appear. Second, close practice. As stated in the tantras. Use clean fine cloth or cloth bought with the value of a hero. Cleanse repeatedly with mantra water and soak in incense water. Draw cloth paintings with paint and pure vows. The artist should also keep clean and abide in fasting. The upper central part is Prabhavati Vairochana. On the right is the teacher Shakyamuni Buddha, golden, monastic appearance, teaching or earth-touching mudra is fine. On the left is the king of purification. In the middle row, the center is Bhagavan Medicine Buddha, monastic appearance. The right hand is in the varada mudra on the knee, and the left hand is holding arura in the samadhi mudra. The body is blue. To his right is white Avalokiteshvara, making the varada mudra and holding a white lotus. On the left is green Vajrapani, the right hand holding a vajra at the heart, and the left hand resting on the cushion. The central part of the lower row is Buddha Eye Buddha Mother. Mamaki, white clothes. The Taras are arranged like in the mandala. On the right is red Hayagriva, with a horse's head on the head. Holding a white baton. On the left is blue Trailokyavijaya, holding a vajra and bell. Those two wrathful ones are wearing tiger skins and snake ornaments. The appearance of the wrathful ones is complete. The two bodhisattvas and the two wrathful ones reside in a playful posture. Buddha
Chinese
绘制四尊广大的金刚跏趺坐像。在下部绘制莲花海，其中充满各种鲜花，以及水生动物，如鳄鱼、鱼、乌龟、白色青蛙和白色鱼在水中游动。在地面部分，绘制五种供品、珍宝串、各种水果供品，并在下方绘制修行者合掌于顶的形象。另一种画法是，释迦牟尼佛也以说法印，身着各种装饰，以转轮王的姿态出现。药师佛及其眷属三尊，以及金刚手和四位天女，都画成白色。有些人说药师佛及其眷属全部都画成白色。这幅唐卡涵盖了其他的绘画。在开光的那天，首先进行驱除障碍，供养大量的“恰三”朵玛。在进行保护的同时，绘制佛眼，在开光完成之前，就在绘画完成的那一刻，进行供养、演奏音乐、念诵真实语的祈愿文，多做吉祥之事，也要使画师感到满意。在那一天的白天和直到午夜，心中只专注于念诵和真实语的加持，不要被世俗的杂念和闲聊所左右，要保持洁净地睡觉。那时，在现实或梦中会出现征兆。如果第一天晚上没有出现，就在第二天和第三天之间进行观察。如果在那些时候看到征兆，就是迅速成就的预兆。如果未见到征兆，那就是因为福报太小，要么需要很长时间才能成就，要么会在来世才能成就。然后，要圆满完成那幅唐卡的开光，并供养大量的供品。在避免风吹日晒，以及不被其他人看到的情况下，每天不间断地进行供养。将其安放在一个非常僻静、吉祥且干净的房间里。在前面陈设大量的供品。在外面，施放“恰三”朵玛和土地神朵玛等，然后结金刚持印，念诵：嗡 班匝 萨玛雅 吽（藏文：ཨོཾ་བཛྲ་ས་མ་ཡ་ཧོཿ，梵文天城体：ओṃ वज्र समय होः，梵文罗马拟音：oṃ vajra samaya hoḥ，汉语字面意思：嗡，金刚誓言，吼），进入室内，用甘露旋转咒撒芥子，驱除障碍。按照前面所说的那样进行修持仪轨。
English
Draw four large Vajra-postured figures. In the lower part, draw a lotus sea filled with various flowers, and aquatic animals such as crocodiles, fish, turtles, white frogs, and white fish swimming in the water. In the ground part, draw five offerings, strings of jewels, various fruit offerings, and below, draw a practitioner with hands folded at the crown of the head. Another way is to depict Shakyamuni Buddha also with the teaching mudra, adorned with all kinds of ornaments, in the manner of a Chakravartin. The Medicine Buddha and his retinue of three, as well as Vajrapani and the four goddesses, are all depicted in white. Some say that the Medicine Buddha and all his retinue are painted white. This Thangka encompasses other paintings. On the day of the eye-opening, first perform the clearing of obstacles and offer many 'Cha-sum' tormas. While performing protection, paint the eyes, and before the consecration is completed, at the very moment the painting is finished, make offerings, play music, recite prayers of truth, do many auspicious things, and also please the artist with gifts. On that day, from daytime until midnight, focus only on the blessings of recitation and truth, without being swayed by ordinary thoughts and idle talk, and go to sleep in a clean state. At that time, signs will appear in reality or in dreams. If they do not appear on the first night, observe between the second and third nights. If signs are seen at those times, it is an omen of swift accomplishment. If no signs are seen, it is because of very little merit, and accomplishment will either take a long time or will occur in another life. Then, the consecration of that Thangka should be completed, and abundant offerings should be made. Without being exposed to wind and sun, and without being seen by others, make offerings regularly every day. Place it in a very secluded, virtuous, auspicious, and clean room. Arrange abundant offerings in front of it. Outside, cast 'Cha-sum' tormas and local deity tormas, etc., then form the Vajradhara mudra and recite: Om Vajra Samaya Hoḥ (藏文：ཨོཾ་བཛྲ་ས་མ་ཡ་ཧོཿ，梵文天城体：ओṃ वज्र समय होः，梵文罗马拟音：oṃ vajra samaya hoḥ，汉语字面意思：嗡，金刚誓言，吼), enter the room, scatter mustard seeds with the nectar swirling mantra, and dispel obstacles. Perform the practice ritual as mentioned above.
Chinese
现在说穿衣等，观想心间的咒鬘放出光芒和光彩。结座之间的行为等同于之前。说以那种方式念诵根本明咒六十万遍，现在需要做成四瓣的，所以是二十四万遍。特别是在结座之间的行为中，为了使天神欢喜，要进行火供，并且要向世间的人们布施食子。这个近修也从续部中首先详细地讲述了绘制佛像的方法。然后，说显现供养那幅画像，这是在开光之前开眼的时候。欢笑以及鼓声，铃声以及雷声，比丘、婆罗门、少女和水果，如果见到，迅速地，殊胜、中等、下等成就。这是成就的征兆，画像真实地欢笑是殊胜，真实地听到三种声音是中等，在梦中见到比丘等是下等。然后，形像即加持等是画像的开光。近修的观修念诵次第是：恒时显现安住后，以战胜三界，做了自我守护等之后，忆念自己的本性，三百万遍或者六百万遍，直到出现成就的征兆。这样说。自己的本性是指：原始的智慧本尊是殊胜的自己，修行者自己是显现为庸俗的自己，要知道那如同太阳和太阳的光芒一样。如同太阳放出和收回太阳的光芒一样，从本尊的加持中，自己变成天神是放出，之后自己变成与本尊的体性相同是收回的方式，为了那个目的，观想对自身和本尊二者都专注于自性平等性。这样，这个近修要观修直到见到成就临近的征兆。第三个是修持，依赖外坛城和仅仅依赖画像二者都可以，但是彩绘的坛城主要是用于大修的时候，所以在这个修持的时候，大多数要将画像和三摩地的坛城二者一起修持。那又
English
Now, speaking of wearing clothes, etc., visualize the mantra garland at the heart emitting light and splendor. The conduct between sessions is the same as before. It is said that in that way, one should recite the root mantra six hundred thousand times. Nowadays, it needs to be done in four sections, so it is two hundred and forty thousand times. Especially in the conduct between sessions, in order to please the deities, one should perform fire offerings and give torma to worldly beings. This approach practice also first explains in detail the method of drawing a Buddha image from the tantra. Then, it says to manifestly offer to that painted image, which is at the time of opening the eyes before the consecration. Laughter, as well as the sound of drums, the sound of bells, and thunder, monks, Brahmins, young girls, and fruits, if seen, quickly, superior, intermediate, and inferior accomplishments. These are signs of accomplishment. If the painted image actually laughs, it is superior. If the three sounds are actually heard, it is intermediate. Seeing monks, etc., in a dream is inferior. Then, the form, i.e., the blessing, etc., is the consecration of the painted image. The order of meditation and recitation for approach practice is: Always abiding manifestly, by being victorious over the three realms, after doing self-protection, etc., remembering one's own essence, three million or six million times, until signs of accomplishment appear. Thus it is said. One's own essence refers to: the primordial wisdom front generation is the supreme self, and the practitioner himself appears as an ordinary self. Knowing that to be like the sun and the sun's rays, just as the sun emits and retracts the sun's rays, from the blessing of the front generation deity, one's self becoming the deity is emission, and later one's self becoming the nature of the front generation deity is the method of retraction. For that purpose, one should meditate on the equality of nature by focusing on both oneself and the front generation. Thus, this approach practice should be meditated upon until the signs of approaching accomplishment are seen. The third is the practice, which can rely on either the external mandala or just the painted image. However, the painted mandala is mainly for the time of great practice, so in this practice, most of the time, one should practice the painted image and the samadhi mandala together. That again
Chinese
从就近修持和基础相同之处来说，必须修持广大的坛城。对此，对于一切智智的坛城，在此处，有些认为是一个门，有些认为是两个门。西藏古代有些人认为门非常多等等，虽然出现过这种情况，但依靠上师的口诀或者其他续部来解释此处的密意，并且依靠填充的差别，有多种不同的讲述方式。总的来说，不要阻止说这是错误的。续部的直接指示是只有一个门，而游散的有些认为是单色，有些认为是多种颜色等等。按照瑜伽的规矩来说是单色，但此处与大多数行为相符。在毗琉璃的基础上，用金色的眼珠花纹来描绘等等，用一百零一种颜色来装饰，山和森林、湖泊水池等等，以及令人愉悦的各种生物，作为刹土的方式。此续部中也说了处所的差别是天神的欢乐园林等等，与续部的论题也相符。游散代表须弥山顶的三十三天神居所，墙壁外到其外围之间，是续部中所说的外坛城，坛城的意思是曼荼罗，是圆形安住的意思。如果询问世间的环境，则做成黄色，代表金色的地基，并且在那块地上必须画出四大部洲，因为明确说了在赡部洲画梵天等等。关于天神的安置，主尊是毗卢遮那佛，身体一个而面容四个，或者修持一切面容都可以，但前者修持方便。四方的四位佛陀也是只有白色，续部中说了主尊和眷属的最初是白色调伏者，其他都是顺带理解的。四位明妃和供养天女们，以及门神们，在上品修持的次第中颜色各不相同。亡者仪轨等寂静的事业中，主尊和眷属全部都赞颂为白色。供养天女是，续部中说，智者将拉西亚等等的供养画在僧众的方向，这样说了关于一切智智的情况。
English
From the similarity of near accomplishment and the base, it is necessary to meditate on the extensive mandala. Regarding this, for the mandala of Sarvavid, in this instance, some consider it to be a single door, while others consider it to be two doors. Some ancient Tibetans considered there to be very many doors, etc., but relying on the guru's instructions or other tantras to explain the meaning here, and relying on the difference of filling, there are many different ways of explaining it. In general, I do not wish to prevent saying that it is mistaken. The direct instruction of the tantra is that there is only one door, while some wandering ones consider it to be a single color, others consider it to be various colors, etc. According to the yoga tradition, it is a single color, but here it is in accordance with most of the actions. On the basis of beryl, drawing golden eye-like patterns, etc., adorned with one hundred and one colors, with mountains and forests, lakes and ponds, etc., and various pleasing creatures, it is done as a pure land. In this very tantra, the difference of the place is said to be the pleasure garden of the gods, etc., which is also in accordance with the topic of the tantra. The wandering represents the thirty-three abodes of the gods on the summit of Mount Meru, and the space from outside the wall to its outer edge is what is said in the tantra to be the outer mandala, the meaning of mandala is that it is a circle, meaning it is round and abiding. If you ask about the worldly environment, it is made yellow, representing the golden ground, and on that ground, the four continents must be drawn, because it is explicitly said to draw Brahma in Jambudvipa, etc. Regarding the arrangement of the deities, the main one is Vairochana, with one body and four faces, or it is the same to meditate on all faces, but the former is easier to meditate on. The four Buddhas of the directions are also only white in color, in the tantra it is said that the first of the main one and the retinue is the white subduer, and the others are understood as subordinate to that. The four consorts and the offering goddesses, and the gatekeepers, have different colors in the practice of the supreme accomplishment. In peaceful activities such as funerary rites, all the main ones and the retinue are praised as white. The offering goddess is, as the tantra says, the wise one draws the offerings of Lasya, etc., in the direction of the Sangha, thus speaking of the situation of Sarvavid.