English
Do it! Some great minds have also made mistakes. Even so, there is no contradiction in drawing it in a way that is consistent with the general order of lines. In any case, for this arrangement of the three vows, if the mandala of the Tathāgatagarbha is made with only five deities, although it is a single door, in the thirteenth chapter, the section on the great mandala, it says: The central palace is square, with four doors, the middle door facing west, and the outer door facing north. Thus, there are three doors side by side. Moreover, in the Secret General Tantra, it says: The mandala of the general conduct has three doors side by side, the outer two each have one door, and the inner one has four doors, which is consistent with (the text). Also, the General Tantra says: The others should be made according to the division of the directions, with four doors, with door canopies. Therefore, for the great mandala or the root mandala and the like, if it is a single door, it must be four doors. Or, so that there is absolutely no doubt, the doors should be made one by one. For the essential mandala, it must be made with excellent four doors. Thus, only the central mandala has four doors, and all other parallel doors are made with one door, which is one way. Also, for mandalas made with many layers, such as two layers, three layers, four layers, etc., the outermost layer should be made with one door and should be vast. Thus, all the parallel inner layers are made with four doors, and only the outer layer is made with one door, these are all mentioned in 'dam khar (place name). Here, it is permissible to do it in any way according to those (statements), but according to the practice unanimously agreed upon by later Vajra Acharyas, whether it is a single door or three doors side by side, it is made with four doors, and there is no contradiction. That is to say, the outer two mandalas each have a deity image drawn inside the wall, while for the inner mandala, in the center, a symbol that is consistent with the commonly circulated (statement) is used, with a square of two large dimensions as the position of the main deity, and from the four directions of that (square) to the wall, three large dimensions are used as the position of the retinue, which is the meaning of the three layers of deity images. In this tantra of the three vows, it is said that the small mandala measures five cubits. That is also the dimension of the lines, and if three doors are drawn side by side, that is the line of the outer mandala. All three parallel doors can be made with horse heads, or the inner two can be made without horse heads, and the outer one can be made with a horse head.
Chinese
也与通常的一致，还有外层和内层有马座，中间层没有马座也可以。中央的方形位置上，再次在其作用的尺寸的中央画方形，并在其中画圆形莲花线。同样，在内层坛城的其他本尊位置上也画两个小莲花。在大的坛城外围，游廊、石墙和光芒链的线也按照通常的方式绘制。一般来说，在这些行为中，外在的地面在形状和特征上不一定，但没有特殊情况的都与通常的一致就好。二是颜色的涂绘：念诵“那摩ra那…等甘露方便的猛咒，对地面和用具进行清扫和洒净。从外洗到划定界限之间，如画线时所说的那样进行沐浴和防护，然后以“怙主大悲者”等顶礼。一边念诵“一切事业”，一边由上师首先绘制有权者的墙壁。之后由弟子和工作者们绘制，对于绘制宫殿、坐垫和手印等一切，仅仅念诵（藏文：བྷྲཱུཾ，梵文天城体：भ्रूं，梵文罗马拟音：bhrūṃ，汉语字面意思：勃隆）和（藏文：ཛི་ན་ཛིཀ，梵文天城体：，梵文罗马拟音：jina jik，汉语字面意思：吉那吉嘎）也能成就，这是共同仪轨的方式。此续中，在坛城广大的时候宣说，而核心坛城的仪轨必须包含这些内容。绘制宫殿时，从西门开始绘制中央和中间的坛城，从北门开始绘制外层坛城。}的意义是：那摩 萨瓦 布达 菩提萨埵 南。阿玛拉 阿玛拉 哈拉嘎 阿难达 夏夏瓦达 萨瓦 吉那 阿希尼。玛尼 萨拉达 玛玛 丹度。阿迪 阿达让 巴拉 阿冈 萨玛 萨瓦 达南。达德 美 巴扎 阿江 阿拉拉。阿萨玛 萨玛。萨曼达 阿难达 达玛 德。卡那 卡尼。玛哈 维让。阿匝列 萨玛 萨玛 阿萨哈 玛巴列。嘎那 嘎那。玛哈 啦格列 凯 哈哈哈哈。巴扎 巴扎 昂嘎 美 达拉 达拉。 吽 吽 桑达朗 萨玛 巴罗 阿冈 维格拉美。 咕噜 咕噜 噜噜。 萨瓦 塔 萨瓦 嘿 匝拉 匝拉。 阿格列 阿格里尼 吽 帕 帕 梭哈。念诵这个咒语。如果不能念诵，那么仅仅读诵也可以。在安置内层坛城的日月等坐垫时，念诵：那摩 萨瓦 布达 菩提萨埵 南。阿萨瓦
English
Also consistent with the common, and also the outer and inner layers have horse seats, and the middle layer can be without horse seats. In the central square position, again draw a square in the center of its acting dimension, and draw a circular lotus line in it. Similarly, in the other deity positions of the inner mandala, draw two small lotuses each. Outside the large mandala, the lines of the ambulatory, stone wall, and ray chain are also drawn in the usual way. In general, in these actions, the outer ground does not necessarily have a definite shape and characteristics, but it is good to be consistent with the common ones without special circumstances. Second, the application of colors: Recite the fierce mantra of nectar and means such as "Namo Ratna...", and cleanse and sprinkle the ground and utensils. From the outer bath to the demarcation, perform bathing and protection as described in the drawing of lines, and then prostrate with "Lord of Great Compassion" etc. While reciting "All Actions", the master first draws the wall of the empowered. Later, the disciples and workers draw, and for drawing all the palaces, cushions and mudras, just reciting (Tibetan: བྷྲཱུཾ, Sanskrit Devanagari: भ्रूं, Sanskrit Romanization: bhrūṃ, Chinese literal meaning: bhrūṃ) and (Tibetan: ཛི་ན་ཛིཀ, Sanskrit Devanagari:, Sanskrit Romanization: jina jik, Chinese literal meaning: jina jik) can also accomplish, this is the way of common rituals. In this tantra, it is said when the mandala is vast, and the ritual of the core mandala must include these contents. When drawing the palace, start drawing the central and middle mandalas from the west gate, and start drawing the outer mandala from the north gate.} The meaning is: Namah Sarva Buddha Bodhisattva Nam. Amala Amala Hara Gha Ananta Shasvata Sarva Jina Ashini. Mani Sharada Mama Dantu. Adi Adarang Bara Agrang Sama Sarva Danam. Tadte Me Vajra Anja Arara. Asama Sama. Samanta Ananta Dharma Te. Khana Khani. Maha Viram. Achale Sama Sama Asaha Mabale. Kana Kana. Maha Ragre Ke Haha Haha Haha. Vajra Vajra Angka Me Dhara Dhara. Hum Hum Samdalam Sama Palo Agra Vigrame. Kuru Kuru Ruru. Sarva Tha Sarva Hi Jwala Jwala. Agre Agrini Hum Pat Pat Svaha. Recite this mantra. If you cannot recite, then just reading it is also okay. When placing the sun, moon and other seats of the inner mandala, recite: Namah Sarva Buddha Bodhisattva Nam. Asarva
English
Oṃ āḥ hūṃ thā sarva tva ṇa ke svāhā. (Tibetan, Devanagari, Romanized Sanskrit, Literal Chinese meaning) Recite this. The sign of the main deity is: Namaḥ samanta vajrāṇāṃ, sama sama hūṃ. (Tibetan, Devanagari, Romanized Sanskrit, Literal Chinese meaning) Namaḥ samanta vajrāṇāṃ, asa ha haṃ maṃ. (Tibetan, Devanagari, Romanized Sanskrit, Literal Chinese meaning) Recite these. After that, starting from the bodhisattva hand seals mentioned in the tantras, these are characteristics of the extensive mandala, so they are not applicable to this essential mandala. Therefore, the ritual should be understood through the common tantra's ritual. Regarding the order of colors: the walls from the outside to the inside are white, black, red, yellow, and blue. The inner mandala has five layers, the middle has three layers of white, yellow, and red, and the outer has only white. The central position of the main deity is green or blue, and if blue-black is considered as one, the south is blue, then the center is green. If blue-black is considered as different colors, the south is black, then the center is blue. The colors of the banners and edges are: east white, south blue or black, west red, north yellow. Unless there is a special need, the worldly directions must be consistent with the directions of the mandala. The main deity must also face the west of the mandala. In the inner four petals of the center, if the base representing the seat is blue, then the lotus is green; if the base is green, then the lotus is blue, and decorated with various colors. In the center of the lotus, there is a white moon. It is also possible to place the actual image of the Bhagavan, or to draw the Ushnishavijaya or a five-pronged yellow vajra. Then, on the first banner, in the northeast and southwest directions of the main deity's seat, on the lotus seat, on the right is a yellow iron hook, and on the left is a green-yellow vajra. On the second banner, near the corner lines on the left and right sides, the position of wind is a curved knife, and the position of true reality is a garland of flowers on a lotus. On the third banner, at the south gate is a white club, at the north gate is a yellow rope, and at the east gate are white wheels, all of which are also located on lotuses. On the banner of the second mandala, on the left and right of the east, the left and right of the south, the left of the west and the left of the north, and the northeast direction, there is an image of a book. On the right of the west and the right of the north, there is a sword each. In the southeast direction is a vase, in the southwest direction is a vajra, and in the northwest direction is a rope. These should all be according to the appropriate
Chinese
于座而安住。外层坛城的东方中央为金刚，其后为日轮，东南为火炉，南方为贝箭，西南为宝剑，西方为蛇索，其后为月轮，右侧为宝瓶，西北为风幡，北方为杖，东北为三尖矛。四门若作门卫，则绘四大天王之标志。眷属诸神的座垫皆为色彩鲜艳之彩绘。于坛城之外围，南面为持明咒之七王，东面为大自在天、难摧母、六面童子，北面为梵天与大遍入天，西门之左右为乐天与亲友乐。南门之正前方为食肉女夜叉，若彼等之神祇标志未完备，则书写吉祥（藏文：སྭ་སྟི་ཀ་，梵文天城体：स्वस्तिक，梵文罗马拟音：svastika，汉语字面意思：吉祥）或喜旋。若能，则于圆形座垫上，绘忿怒手印三尖锐利，难摧手印三尖竖立，遍入天之轮宝锐利，大军之短矛锐利，梵天之莲花如是说。如是等，于诸明王，各绘一金刚三尖合一。又于简略之时，坛城外轮之标志不绘亦可。内轮亦可仅于主尊之外，余者安座或仅以圆点表示即可。{故此处三门皆作四门，以外轮之北门，中轮与内轮之西门开启之故，为表示神布与门房连为一体，而其他隔断之故，于根线之上，略微显现细微之白线。如是于门框之内，亦为门闩与门卫之意，而绘制细微之金刚。于外围则以山、树、森林、湖泊与花朵等，作为庄严佛土之象征。若坛城仅作单门，则于中央之二大区域，安立五部主尊与眷属，诸神分为三层，第一层安立无能胜二尊与眼母，第二层安立眉间有白毫者等，第三层安立诸方守护神。第四，修作坛城者，近触
English
They are seated on seats. In the center of the east of the outer mandala is a vajra. Behind it is a sun mandala. To the southeast is a fire pit. To the south is a conch shell. To the southwest is a sword. To the west is a snake lasso. Behind it is a moon mandala. To the right is a vase. To the northwest is a wind cloth. To the north is a staff. To the northeast is a trident. If the four doors are guarded by gatekeepers, then the emblems of the four great kings are placed. The seats of the retinue deities are all beautifully colored. Outside the palace, in the ambulatory, to the south are the seven kings who hold the lineage mantras, to the east are the great Ishvara, the Invincible Mother, and the six-faced youth. To the north are Brahma and the great Vishnu. To the right and left of the west gate are Nanda and Upananda. Directly in front of the south gate is the Yakshini Hariti. If the full emblems of these deities are not completed, then a swastika (藏文：སྭ་སྟི་ཀ་，梵文天城体：स्वस्तिक，梵文罗马拟音：svastika，汉语字面意思：吉祥) or a joyful swirl should be drawn. If possible, on each round seat, the fierce hand gesture is sharp with three points, the Invincible hand gesture has three points raised, Vishnu's wheel is sharp, the great army's short spear is sharp, and Brahma's lotus is said to be so. As such, for the knowledge kings, each should be drawn with a single-faced vajra with three points. Furthermore, in a condensed situation, the emblems on the outer mandala of the palace may not be drawn. In the inner mandala, other than the main deity, the others can be placed on seats or simply represented by dots. {Because here all three doors are made into four doors, the north door of the outer mandala and the west doors of the middle and inner mandalas are opened. To show that the deity's cloth and the door frame are one, and that the others are separated, a faint white line is drawn on the root line. Similarly, inside the door frame, a small vajra is also drawn for the purpose of the door bolt and the door guard. In the ambulatory, mountains, trees, forests, lakes, flowers, and so on are used to symbolize the arrangement of the pure land. If the mandala is made with only one door, then in the two large sections of the center, the five main deities and their retinue are placed. The deities are arranged in three levels. On the first level, the two Invincible Ones and the Eye Mother are placed. On the second level, those with a white hair between the eyebrows, etc., are placed. On the third level, the directional guardians are placed. Fourth, the one who constructs the mandala, near touch