Chinese
写了一些，作为最初讲授密咒之法的方式。以俱生和合之成就的解释的历史为基础，自诩国王勇士金刚是阿雅提婆的上师，以及自诩女儿乐游戏女是龙所变的瑜伽母，从而追溯圣绕等传承，并伪装成空行母吉祥或善慧，声称追溯口诀四法的传承等等，也看到有人宣扬这些毫无意义的东西。在吉祥哲蚌寺讲授密咒乘的地方，也背离了智者们普遍知晓的，仅凭一些藏族老人的笔记术语，甚至连印度都没有听说过，甚至连愚蠢的藏人都能理解的地方的名字，也因为偏袒而认可那些所谓的有秋桑云之深渊等无稽之谈，这些都是愚人欺骗愚人群体的行为。也不是智者们应该谈论的事情。还有，俱生和合之成就的传说，是那个口诀的传承，那个口诀也确实是所有续部的意旨。如果是俱生口诀及其论典，又何必要是吉祥天女的口诀和论典呢？此外，唐比嘿茹迦所著的俱生和合之成就，是将成就者七众算作八众，而吉祥天女俱生和合之成就并不算在其中。这些是印度和西藏传承不同而产生的次第，所以混淆为一实在是可笑。然而，对于密咒乘，应该从那个教法传承以及那个传承的原始传说中出现的说法中，总结出许多，从而了解密咒的起源。这些也仅仅是像宝矿一样的说法，已经写在那里了，所以应该去看一看。总的来说，谁能说尽印度出现的成就者的所有故事呢？仅仅凭借度母的密咒续部获得成就的，在龙树时期就据说出现了五千多位，还有达日迦巴和黑行者的眷属的年
English
Some were written as the way the mantras were first taught. Based on the history of the explanation of Sahaja Siddhi, claiming that King Warrior Vajra was the guru of Aryadeva, and claiming that the daughter Bliss Playful Woman was a yogini transformed from a Naga, thus tracing the lineage of Holy Rounds, etc., and pretending to be the Dakini Kalavazangmo or Lodro Zangmo, claiming to trace the lineage of the Four Instructions, etc., I have also seen people proclaiming these meaningless things. In the place where the Mantra Vehicle is taught in glorious Drepung, they also turn away from what is universally known to scholars, and based only on the notes and terms of some old Tibetans, even the names of places that are not known in India and that even foolish Tibetans can understand, they endorse those unfounded claims such as having a "Deep Fortress of Autumn Good Clouds" due to the power of bias. These are the actions of fools deceiving groups of fools. It is not something that wise people should talk about either. Also, the story of the explanation of Sahaja Siddhi is the lineage of that very instruction, and that instruction is indeed the intention of all the tantras. If it is the Sahaja instruction and its text, why does it have to be the instruction and text of Palmo? Furthermore, the Sahaja Siddhi composed by Tombi Heruka counts the seven groups of siddhas as eight, but the Sahaja Siddhi of Palmo is not counted among them. These are only the order arising from the different lineages in India and Tibet, so it is ridiculous to confuse them as one. However, for the Mantra Vehicle, one should gather many of the statements that arise from that Dharma lineage and the original stories of that lineage, and thus understand the origin of the Mantra. These are also just like a treasure mine, and it has been written there, so one should look at it. In general, who can tell all the stories of the siddhas that appeared in India? It is said that even just by attaining accomplishment through the Tara mantra tantra alone, about five thousand appeared in the time of Nagarjuna alone, and the years of the retinue of Darika and the Black Practitioner.
Chinese
应当理解为，从原因等推断是不可思议的。关于略微考察真言乘来源的章节，即第四十三（品）。 从前，人类工匠中具有神通者，能够创造出奇妙的工艺品。正如《律藏》等处清楚地记载，仅仅将身像等绘制成图，也能实际产生幻化。世尊涅槃后约一百年间，这种情况非常多。之后，这种情况逐渐减少。许多天人工匠化身为人，建造了菩提伽耶大塔和妙音锣声等摩揭陀的八大灵塔等众多圣物。在阿育王时期，药叉工匠建造了八大圣地的佛塔和金刚座的内围等。龙树时期，龙族工匠也进行了大量的修缮。如此，由天、龙、药叉修缮的圣物，在建造后多年都能实际产生幻化。即使后来由于时代的原因不再如此，其工艺的精妙之处也非他人所能理解。在那之后很长一段时间里，仅仅出现了凭借各种智慧技巧建造的众多不同的工匠流派，并没有形成追随单一流派的传统。后来，在国王佛护时期，一位名叫毗摩婆娑罗的工匠，制作出了极其精妙的浮雕和绘画，与之前天神建造的相似，追随他的人不计其数。这位工匠出生在摩揭陀，因此无论哪个地方出现秉承其风格的工匠，都被称为中央工匠。国王自在时期，在玛汝地区出生了一位名叫室利伽陀日的工匠，他非常擅长天神工艺，制作出了与药叉建造的相似的绘画和浮雕，追随他的风格被称为西旧派。在国王提婆波罗和吉祥护法时期，在瓦连提地区出现了一位名叫提玛纳的非常精通工艺的工匠。他的儿子名叫毗提波罗。他们父子二人制作了许多与龙族工匠建造的相似的泥塑、雕刻、绘画，因此非常有名。之后，这些工匠的风格也逐渐衰落。在尼泊尔，涌现了许多工匠，他们的风格至今仍然很常见。在印度，许多藏族工匠前往并在那里培养了许多工匠，他们的风格也得到了广泛传播。在西藏，早在松赞干布时期，就迎请了许多尼泊尔工匠和汉族工匠，建造了许多寺庙。从那时起，涌现了许多藏族工匠，他们的风格也得到了广泛传播。如此，出现了许多不同的工匠风格，所有这些风格都是对先前天神、龙族和药叉建造风格的追随。其中，尼泊尔工匠的风格尤为突出。因此，无论由哪位工匠建造，如果与先前天神、龙族、药叉建造的风格相符就好，不符就不好，如是说。
English
It should be understood that it is inconceivable to infer from causes and so on. The forty-third (chapter), which is a brief examination of the origin of the Mantra Vehicle. In the past, human craftsmen with miraculous powers were able to create wonderful crafts. As clearly stated in the Vinaya Pitaka and other places, even drawing images of bodies and so on can actually produce illusions. For about a hundred years after the Buddha's Nirvana, there were very many such cases. After that, such cases gradually decreased. Many divine craftsmen incarnated as human beings and built many sacred objects such as the Great Bodhi Stupa and the Manjushri Drum Sound, as well as the eight wonderful stupas of Magadha. During the reign of King Ashoka, Yaksha craftsmen built the stupas of the eight great holy sites and the inner circle of Vajrasana, etc. During the time of Nagarjuna, the Naga craftsmen also carried out a lot of repairs. Thus, the sacred objects repaired by gods, nagas, and yakshas were able to actually produce illusions for many years after they were built. Even if this is no longer the case due to the times, the exquisite craftsmanship is beyond the understanding of others. After that, for a long time, only many different schools of craftsmen were created by various intellectual skills, and there was no tradition of following a single school. Later, during the reign of King Buddha Rakshita, a craftsman named Vimbasara created extremely exquisite reliefs and paintings that were similar to those built by the previous gods, and countless people followed him. This craftsman was born in Magadha, so no matter where craftsmen who adhered to his style appeared, they were called central craftsmen. During the reign of King Ngangtsul, a craftsman named Sri Gadadhari was born in the Maru region. He was very skilled in divine craftsmanship and created paintings and reliefs similar to those built by yakshas. Those who followed his style were called the Western Old School. During the reign of Kings Devapala and Palden Choskyong, a very skilled craftsman named Dhimana appeared in the Varendra region. His son was named Vitpalo. The father and son made many clay sculptures, carvings, and paintings similar to those built by Naga craftsmen, and were therefore very famous. Later, the styles of these craftsmen also gradually declined. In Nepal, many craftsmen emerged, and their styles are still very common today. In India, many Tibetan craftsmen went there and cultivated many craftsmen, and their styles were also widely spread. In Tibet, as early as the time of Songtsen Gampo, many Nepalese and Chinese craftsmen were invited to build many temples. Since then, many Tibetan craftsmen have emerged, and their styles have also been widely spread. Thus, many different styles of craftsmen have emerged, and all of these styles are followers of the styles built by the previous gods, nagas, and yakshas. Among them, the style of Nepalese craftsmen is particularly outstanding. Therefore, no matter which craftsman builds it, it is good if it is in accordance with the style built by the previous gods, nagas, and yakshas, and it is not good if it is not in accordance with it, so it is said.
Chinese
制作各种各样的画像等。父子二人的制作传统也不相同。儿子住在孟加拉，因此在那两人的追随者中，无论在哪一方建造，工匠的出生地是哪里，都称样式为东方的神。绘画方面，父亲的追随者被称为东方的绘画，儿子的追随者主要在摩揭陀兴盛，因此被认为是中央的绘画。尼泊尔早期制作传统与西方的旧传统相似。中间时期的绘画和泥像大多与东方相似，看起来是尼泊尔本土的风格。后来就不一定了。在克什米尔，早期也追随中央和西方的旧传统。后来，一个叫哈苏拉扎的人创造了绘画和雕塑两种形式的新传统，现在被称为克什米尔风格。哪里有佛教，那里的神像制作也很兴盛。哪里有异教徒统治，那里的神像制作就衰落。哪里外道兴盛，那里的神像制作也不精湛。因此，上面提到的那些传统现在大多不存在了。在普甘和南方地区，现在建造佛像仍然很兴盛，而且那些制作传统在西藏以前没有出现过。南方有被称为扎亚，瓦罗扎亚和维扎亚，意思是胜利者，胜于他人者和完全胜利者这三者的追随者非常多。建造佛像的人如何出现的方式，即第四十四（品）。 如果能很好地理解这个故事的结构，那么西藏的一些著名学者也会认为，在导师传承七代之后，龙树等人才出现，并且认为无忧王去世后，旃陀罗国王立即出现。旃陀罗七世和帕拉七世，这十四代国王期间，萨拉哈到阿巴亚卡拉之间的所有导师都圆满了，时间间隔非常短。并且因为担心导师们的先后顺序不一致，所以人为地延长了他们的寿命，使得时间间隔看起来非常长，这些错误都会毫无根据地消失。那么这个故事是基于什么而写的呢？虽然西藏有很多翻译过来的佛教史和零散的故事，但是没有像这样顺序完整的。
English
Making various kinds of images, etc. The artistic traditions of the father and son are also different. The son lived in Bengal, so among the followers of those two, no matter which side they built on, and wherever the craftsman was born, the styles are called Eastern Gods. In terms of painting, the father's followers are called Eastern paintings, and the son's followers mainly flourished in Magadha, so they are recognized as Central paintings. The early Nepalese artistic tradition is similar to the old Western tradition. The paintings and clay figures of the middle period are mostly similar to the East, and seem to be the native style of Nepal. Later, it is not certain. In Kashmir, the early traditions also followed the central and old western traditions. Later, a person named Hasuraja created a new tradition of both painting and sculpture, which is now called the Kashmiri style. Wherever there is Buddhism, the making of deities is also flourishing. Wherever heretics rule, the making of deities declines. Wherever non-Buddhists flourish, the making of deities is also not very skilled. Therefore, most of the traditions mentioned above no longer exist today. In Pukam and the southern regions, the construction of Buddha statues is still very popular, and those artistic traditions have not appeared in Tibet before. In the South, there are many followers of Jaya, Varojaya, and Vijaya, which mean Victor, Superior to Others, and Completely Victorious. The way in which the makers of Buddha statues appeared, that is, the forty-fourth (chapter). If one understands the structure of this story well, some famous Tibetan scholars will also think that Nagarjuna and others appeared immediately after the seven generations of the teacher's lineage had passed, and that King Chandragupta appeared immediately after King Ashoka's death. During the fourteen generations of kings, the seven Chandras and the seven Palas, all the teachers from Saraha to Abhayakara were completed, and the time interval was very short. And because of the fear that the order of the teachers would be inconsistent, they artificially extended their lives, making the time interval seem very long, and these errors would disappear without any basis. So on what basis was this story written? Although there are many translated Buddhist histories and scattered stories in Tibet, there is nothing like this complete sequence.
Chinese
没有见到（确凿的记载），只是写了一些可以确信的方式，除此之外，这里没有写。国王罗摩帕拉（Rāmapāla）及以前的历史，我见到了一部由摩揭陀的班智达萨旺桑波（Sa dbang bzang po）所著，篇幅为两千颂的著作。也从一些喇嘛班智达那里听说了。这里以那部书为基础，还有一部由王族的班智达旺波（dbang po）加持的名为《佛陀往事》（Buddhapurāṇa）的著作，其中有直到第四代塞纳王朝（Sena）国王的完整故事，篇幅为一千二百颂。另外，婆罗门班智达巴塔嘎提（Bhaṭāghaṭi）所著的《师承传记》篇幅与前一部差不多，我也从这两部书中做了很好的补充。各自的时代编排，除了细微之处，大部分三者都一致。那些也似乎主要讲述了太阳下的国度里佛法是如何出现的，至于克什米尔、邬金、吐火罗、南方、科基、各个岛屿是如何演变的，因为没有见到详细的文字，也没有听说过，所以无法书写。后来的零星故事，虽然以前没有文字记载，但都是从口头流传下来的，值得信赖。也记载了从《故事花鬘》中出现的内容。如此，稀有的故事之宝，用易懂的词语之线串联起来，为了装饰聪慧者的颈项，编织成和谐安乐的花鬘。对于那些为佛法事业做出贡献的圣者们，信心大增，并且，了解经典是否具有依据，这就是本书的必要。对于神圣的佛法也会增长信心，并且，那些精通且证悟的佛法持有者们，他们所做的善妙事业，明确地了解那些也是本书的必要。对道路和补特伽罗生起信心后，进入各自的法门，最终获得佛果，这被认为是主要目的。愿以此功德，一切众生，进入这良善的行为，成就无上佛陀之果位，愿以一切功德庄严之。吉祥之源，为了清晰地展示珍贵的正法在圣地是如何兴盛的，名为《如意宝生》。