Chinese
而且，从肚脐到那里也是一掌。两个乳房的基底之间是两掌，即从乳房向左右与胸部的中心对齐，用每掌测量。粗略地说，这是肋骨的尺寸，因此向左右，会接触到背后的骨头，这是他的想法。从肩膀的关节到肘部之间是三掌的尺寸，手掌的头部也是一掌。在膝盖的关节处，做了具有四指的测量，舍弃它之后剩余的大腿和臀部加起来，也具有与手掌长度相同的意义，就像手掌有四个面部尺寸一样，大腿有两个，臀部有两个，加起来也是四个。部分四指的意思是，在隐秘处的上端到大腿之间，有四指的距离，中间是隐秘处的形状，左右是髋关节出现的位置。这是因为中间有身像母体的部分，左右有足部的部分，所以称为部分。同样地，用足部这个词，从踝关节处测量，足部头部的前端是四指，足掌的意思是显示足底的长度，脚后跟的方向超出两指，有些人认为舍弃脚后跟就是一掌，另一些人认为这是不包括手指的情况，这两种观点都与时轮相符，两种观点中后者更好。然而，这指的是足部头部的完整长度。另有说法称脚后跟超出四指，这是指在塞格拉的情况，如果从足底的表面开始计算，则是两指，然而，如果以一百二十指的方向，做到不足两指的尺寸，则显得更好。以上是关于尺寸的总体描述。从“底和十二掌”到“靠近美丽，书写美丽”之间，也包括了坐垫和发髻的情况，从而显示了十二掌的特征。这就像计算年份一样，只是以数字的形式进行描述，实际上，坐垫和发髻加起来的长度是十一掌和八指。四指等：用四指
English
Moreover, from the navel to there is also one palm. The space between the bases of the two breasts is two palms, that is, from the breasts to the left and right, aligned with the center of the chest, measured with each palm. Roughly speaking, this is the size of the ribs, so to the left and right, it will touch the bones behind the back, that is his thought. From the shoulder joint to the elbow is the size of three palms, and the head of the hand is also one palm. At the knee joint, a measurement with four fingers is made, and after discarding it, the remaining thigh and buttocks added together also have the same meaning as the length of the hand, just as the hand has four facial dimensions, the thigh has two, and the buttocks have two, which add up to four as well. The meaning of "part four fingers" is that at the upper end of the secret place to the thigh, there is a distance of four fingers, in the middle is the shape of the secret place, and to the left and right are the places where the hip joints appear. This is because in the middle there is the part of the body image mother, and to the left and right there are the parts of the feet, so it is called a part. Similarly, by the word "foot," measured from the ankle joint, the front end of the foot head is four fingers, and the meaning of "foot palm" is to show the length of the sole of the foot, the direction of the heel exceeds two fingers, some people think that discarding the heel is one palm, others think that this is the case without including the fingers, both of these views are in accordance with the Kalachakra, and the latter of the two views is better. However, this refers to the complete length of the foot head. Another saying is that the heel exceeds four fingers, which refers to the case in Segla, if calculated from the surface of the sole of the foot, it is two fingers, however, if in the direction of one hundred and twenty fingers, making it a size of less than two fingers, it seems better. The above is a general description of the dimensions. From "base and twelve palms" to "close to beauty, write beauty" also includes the case of the cushion and the hair knot, thus showing the characteristics of twelve palms. This is like calculating the years, it is only described in the form of numbers, in reality, the length of the cushion and the hair knot combined is eleven palms and eight fingers. Four fingers, etc.: with four fingers
Chinese
正午说：这里说忿怒尊和忿怒母的面部尺寸相同，那么菩萨的父尊和母尊的面部尺寸也应该相同。外形美丽，令人喜爱，这句话对于寂静尊的男性也应该具备。因此，不能只理解为是女神。如果是这样，最美的极致和最令人喜爱的，即使是一百二十五指和二十指。这里提到美丽，是因为八掌等不美的部分占多数。如果某些寂静尊和嬉戏的忿怒尊要显得美丽，那么不能短于九指，应该这样理解。也就是说，总的来说，掌就是面部，掌就是面的意思是指，各自身体的八分之一和九分之一被称作面。在各个部分之间，所有的地方，是指在之前的尺寸的基础上，身体各个部分的界限都要减少来绘制，这只是一个总体的简要说明。各个部分的具体规定，在这里没有明确说明。因此，对于学习绘画的人来说，如果将这三种尺寸应用于不同的本尊类别，那么对于黑汝嘎等如来忿怒尊，以及佛眼母等如来母，也与如来寂静尊的粗略尺寸大致相同。宽度为一百二十指。金刚忿怒母也像金刚忿怒尊一样，为九十六指。一般的嬉戏忿怒母和菩萨母，也像一般的嬉戏忿怒尊和菩萨一样，从一百二十指到一百零八指之间，根据适当的情况进行调整，与意义不相违背，并且在类别上会变得更好。一般来说，不分别应用，而是将寂静尊绘制成十掌或九掌中的任何一种。对于不是矮小形象的忿怒尊，也要绘制成十掌到八掌之间的任何一种。这是续部的意图。从四座续的解释续《曼陀罗部分》中所说的，除了翻译上的差异外，大部分与此相同，但没有明确说明九指的面部尺寸。这里需要研究的地方是，阿闍黎燃护（Ratnarakṣita）所著的《集密根本续释·莲花鬘》中说：五分是座，左脚
English
It is said at noon: Here it is said that the face sizes of the wrathful deities and wrathful mothers are the same, so it is reasonable that the face sizes of the father and mother Bodhisattvas should also be the same. The phrase "beautiful in form and pleasing to the eye" should also be possessed by peaceful male deities. Therefore, it should not be understood only as a goddess. If so, the ultimate in beauty and the most pleasing, even if it is one hundred and twenty-five fingers and twenty fingers. Here, beauty is mentioned because the eight palms and other unattractive parts are the majority. If some peaceful deities and playful wrathful deities are to be made more beautiful, then they should not be shorter than nine fingers, that is how it should be understood. That is, in general, the palm is the face, and the meaning of the palm being the face is that one-eighth and one-ninth of each body are called the face. Between each part, in all places, it means that on the basis of the previous dimensions, the boundaries of each part of the body should be reduced to draw, which is only a general brief explanation. The specific regulations for each part are not clearly stated here. Therefore, for those who are learning to draw, if these three dimensions are applied to different categories of deities, then for Heruka and other Tathagata Wrathful Deities, and Buddhalochana and other Tathagata Mothers, the rough dimensions are roughly the same as the Tathagata Peaceful Deities. The width is one hundred and twenty fingers. Vajra Krodha Mothers are also like Vajra Krodha Deities, ninety-six fingers. Ordinary playful Krodha Mothers and Bodhisattva Mothers are also like ordinary playful Krodha Deities and Bodhisattvas, from one hundred and twenty fingers to one hundred and eight fingers, adjusted as appropriate, without contradicting the meaning, and it will become better in terms of categories. In general, instead of applying them separately, the peaceful deities are drawn as either ten palms or nine palms. For wrathful deities who are not of short stature, they should also be drawn as any of the ten palms to eight palms. This is the intention of the Tantra. What is said in the explanatory Tantra of the Four Seats Tantra, the Mandala Section, is mostly the same as this except for the differences in translation, but the face size of nine fingers is not clearly stated. The place to be studied here is that in the Compendium of the Origin of Vows, the Garland of Lotuses, written by Acharya Ratnarakṣita, it says: Five parts are the seat, the left foot
Chinese
仅仅解释为右伸左伸的姿势，以及将“三段式”解释为倾斜的三弯式，以及将“与面部平齐的肩膀”解释为也指向面部和肩膀两者，并解释为倾斜的姿态，以及十二手印清净十二地，以及将座垫与座垫的关联解释为发髻，以及将“心间的月轮”解释为半月，以及对于“头部和发际线如是”等等，按照时轮金刚所说，采用增加十个指节的方法，以及直到“如来之足掌”，不将佛陀离欲的装束、转轮王和黑汝嘎等一切的总相作为指示，而仅仅应用于黑汝嘎的种类，并且，也即总共是手掌，等等，从一百二十五个指节的本尊中，显示了舍弃十个指节的方法，因此说显示一百二十个指节，以及第九个手印仅仅是女神，并且女神是寂静的，因此仅仅做成一个尺寸，认为如来母和菩萨没有差别，以及直到“近乎美丽且美丽”，所有这些经典都仅仅牵强附会地解释为一百二十五个指节。一般来说，绘画者在实践时可能没有太大矛盾，但是在进入续部经典意义的解释中，完全没有出现。在那部注释的黑分中，虽然有人认为解释一百二十六个指节是错误的，但这只是按照大约计算的方式，因此与一百二十五个指节并不矛盾。对于胜乐金刚的四个面部，运用不同形状和姿态，以及对于守护方和凶猛的星曜等等，分配第九个和第八个手印，以及将僵尸的面部尺寸做成十二个指节等等，如果这样做，与仪轨没有不符之处，因此考虑到绘画者需要练习姿势，才那样解释的，但并非完全确定是那位论师的观点。这部注释和《事部总集》中所说的度量几乎相同，只是前者的字面解释没有进入续部的词义之中。
English
It only explains the right and left stretching postures, and explains "three segments" as the inclined three-bend posture, and explains "shoulders level with the face" as also pointing to both the face and shoulders, and explains it as the inclined posture, and the twelve mudras purify the twelve bhumis, and the connection between the seat and the seat is explained as a hair bun, and "the moon mandala in the heart" is explained as a half-moon, and for "the head and hairline are like that," etc., according to what is said in the Kalachakra, the method of adding ten finger joints is adopted, and up to "the Tathagata's foot palm," instead of taking the general characteristics of the Buddha's detachment, the Chakravartin, and Heruka, etc., as indicators, it is only applied to the Heruka type, and also, that is, the total is the palm, etc., from the deity of one hundred and twenty-five finger joints, the method of abandoning ten finger joints is shown, therefore it is said to show one hundred and twenty finger joints, and the ninth mudra is only the goddess, and since the goddess is peaceful, it is only made into one size, considering that there is no difference between the Tathagata-mother and the Bodhisattva, and up to "nearly beautiful and beautiful," all these scriptures are only far-fetchedly explained as one hundred and twenty-five finger joints. In general, there may not be much contradiction when painters practice, but it does not appear at all in the explanation that enters the meaning of the tantric scriptures. In the black part of that commentary, although some people think it is wrong to explain one hundred and twenty-six finger joints, it is only done according to the approximate calculation method, so it does not contradict one hundred and twenty-five finger joints. For the four faces of Hevajra, different shapes and postures are used, and for the guardians of the directions and fierce planets, etc., the ninth and eighth mudras are assigned, and the face size of the zombie is made into twelve finger joints, etc. If this is done, there is no inconsistency with the ritual, so it is explained in that way considering that painters need to practice postures, but it is not entirely certain that it is the view of that teacher. This commentary and the measurements mentioned in the Kriya Samuccaya are almost the same, except that the literal explanation of the former does not enter into the meaning of the words of the tantra.
Chinese
我，并非班智达自己不精通，而是当时在摩揭陀和尼泊尔地方的画师们如何出名，就那样不加考证地记载了下来。如果想要了解那种规矩，就必须学习注释本身和《克里亚桑穆察亚》。我们这些人是按照他们的意愿，因为不赞同自己的规矩，所以不详细阐述那种规矩。现在将从《吉祥时轮》中如何产生记载如下：胜者之主的顶髻到眉间白毫的中央，加上作用变为太阳的指寸。之后颈部的莲花同样是心间，之后脐密莲花也是如此。脚底和胫、腿和髋部也是摩奴，同样是同样是吠陀等。胸部一半一半加上太阳，自己的手臂和手臂的肢体是虚空、眼、国王、太阳的尺度。超过二十五的百位，时间和九的人们的世界尺度。吠陀一半加上基础和水藏，水藏一半加上吠陀吠陀。顶髻头向下转变，胜者之主的吉祥额头以及鼻梁。鼻梁之下是颧骨的末端，之后是颈部，颈部根部的莲花中央。之后心间、脐、秘密处，人们的主宰加上作用，按照太阳的顺序转变。如是说。这里太阳是指十二，同样是指二十五，摩奴是指十四，国王是指十六，虚空眼是指二十，时间和九是指九十六，吠陀和水藏要知道是四的名称。胜者之主等的意思是：眉间白毫的中央是指眉间白毫的地面下端，从顶髻到眉间白毫的末端，之后是颈部的末端，之后是心间的末端，之后到秘密轮之间，各自都是半指加上十二，也就是十三半。脚底十四指寸，这个不计入身高的长度。胫和腿各自二十五，脚背和髋部各自四指寸，经文用词语清楚地显示，注释中补充完整。