Chinese
建造方面：在所有功德的积聚中，这是最殊胜和最重要的。对于那些背离此教义的人来说，没有完全纯净的形象和特征。比例和完美是佛教的特征。异教徒看到雕像会生气，外道也不会极度尊敬。佛陀说，通过供奉雕像和绘画，可以获得巨大的功德。现在，我们将讨论一些绘画所需的类别。如今，大多数人将出家佛陀的装束称为化身佛，将转轮王的装束称为报身佛。然而，两者都具有两者的特征，因此这种术语并不合适。此外，认为胜乐金刚等愤怒的圣人应该非常瘦弱也是不正确的。因此，出家人的形象是离欲之身，具有寂静装饰的是转轮王的装束，没有寂静装饰的是圣人的装束和恶劣种姓的装束。胜乐、喜金刚、时轮金刚等黑鲁嘎是愤怒的佛陀，九手愤怒尊是游戏愤怒尊或菩萨愤怒尊。文殊、观音、普贤等八大近子如同殊胜菩萨，他们的特殊眷属寂静男女是普通菩萨。马头明王等红黑怖畏三尊是愤怒明王，大黑天和吉祥天母等是使者侍从。虽然经典中没有提到愤怒的圣人，但圣人是佛陀名号的一种，因此意思是愤怒的佛陀。此外，藏族人认为愤怒尊可以分为夜叉愤怒尊、罗刹愤怒尊和阎罗愤怒尊等，并且需要不同的风格，但这并没有确定的依据。此外，金刚跏趺坐是指双腿交叉放在大腿上，左腿压在右腿上。菩萨跏趺坐是指将一只脚的脚背放在另一只脚的大腿上。莲花跏趺坐是指双脚脚底向上并拢。右伸和左伸被认为是伸展到五指高，但这并不确定，因为早期建造的一些印度和尼泊尔神殿达到了七指高。
English
Regarding construction: Among all accumulations of merit, this is the most supreme and important. For those who deviate from this doctrine, there are no completely pure images and characteristics. Proportion and perfection are characteristics of Buddhism. Heretics get angry when they see statues, and even non-Buddhists do not show extreme respect. The Buddha said that by offering to statues and paintings, one can obtain great merit. Now, we will discuss some categories needed for painting. Nowadays, most people refer to the attire of a monastic Buddha as a Nirmanakaya Buddha and the attire of a Chakravartin as a Sambhogakaya Buddha. However, both have characteristics of both, so this terminology is not appropriate. Furthermore, it is also incorrect to think that wrathful sages like Chakrasamvara should be very emaciated. Therefore, the appearance of a monastic is a body free from attachment, the one with peaceful ornaments is the attire of a Chakravartin, and the one without peaceful ornaments has two attires: the attire of a sage and the attire of a lower caste. Hevajra, Heruka, Kalachakra, etc., are Heruka wrathful Buddhas, and the wrathful deity with nine hands is called a playful wrathful deity or a Bodhisattva wrathful deity. Manjushri, Avalokiteshvara, Samantabhadra, etc., are like the eight close sons, supreme Bodhisattvas, and their special peaceful male and female attendants are ordinary Bodhisattvas. Red Yamantaka, Black Mahakala, and Vajrakilaya, etc., are wrathful kings, and Mahakala and Remati, etc., are messenger servants. Although the term "wrathful sage" is not mentioned in authoritative texts, "sage" is a synonym for Buddha, so it means "wrathful Buddha." Furthermore, Tibetans believe that wrathful deities can be divided into Yaksha wrathful deities, Rakshasa wrathful deities, and Yama wrathful deities, etc., and that different styles are needed, but there is no definite basis for this. In addition, the vajra posture (vajrasana) is when the legs are crossed on the thighs, with the left leg pressing on the right leg. The bodhisattva posture (bodhisattvasana) is when the instep of one foot is placed on the thigh of the other leg. The lotus posture (padmasana) is when the soles of the feet are joined together facing upwards. Right extension and left extension are considered to be extended to five finger-widths high, but this is not certain, as some Indian and Nepalese shrines built in earlier times reached seven finger-widths high.
Chinese
伸展也可见到。对于弯曲的那一方，不要询问伸直的方法，大腿应该画成直的或倾斜的，小腿最好画成向下看的姿势。平等的姿势是：虽然说双脚脚尖之间没有间隔，但也不是绝对的，不要比中间的高度更高，而是平等地站立。萨嘎的姿势是：保持大约一肘的距离，双脚脚尖指向左右。舞蹈姿势有两种站立方式，一种是直立一只脚的脚踝，另一种是将另一只脚的脚后跟抵在脚踝上，坐姿几乎类似于半跏趺坐，只是将一只脚的脚趾抵在另一只脚的脚后跟和臀部之间。无论是站立还是坐着，都有左右两种舞蹈姿势。圆形的姿势是：在两个脚后跟之间留出适当的高度，例如一拃，然后将两个膝盖像天鹅的翅膀一样向左右突出。在那个姿势中，身体下倾到臀部几乎不接触地面，这是乌龟的脚的姿势。从那个姿势开始，两个膝盖稍微向前倾，这是乌鸦的坐姿。一只脚的膝盖突出，另一只脚抬到后面，身体稍微向前弯曲，这是蜜蜂的脚的姿势。坦达瓦的脚的姿势，现在被称为舞蹈姿势。据说在这种姿势中，一只脚伸展的大腿上要贴合另一只脚的脚底，这是根据人们跳舞的情况而定的，因为担心会发生碰撞。在绘制神像时，那样做并不美观，因此应该像早期绘制的浮雕原作中出现的那样，用一只脚的脚尖或脚掌压住座位，另一只脚的脚趾指向臀部的中间，脚后跟指向大腿的方向，但不要让大腿和脚后跟接触，两只脚都放松，这样会非常美丽和令人印象深刻。虽然舞蹈的规范中说蜜蜂的网和单脚姿势是不同的，但这里是按照古代印度和尼泊尔工匠中流行的那样绘制的，此外，人的身体跳舞的方式和神的形象的绘制方式有时是不同的，所以没有必要完全按照文字来做。四臂黄度母
English
Stretching can also be seen. For the side that is bent, do not ask about the method of straightening; the thigh should be drawn straight or slanted, and the calf should preferably be drawn looking downwards. The equal posture is: although it is said that there is no gap between the toes of the two feet, it is not absolute; do not make it higher than the middle height, but stand equally. The Saga posture is: keep a distance of about one cubit, with the toes of the feet pointing to the left and right. There are two standing postures for the dancing posture, one is to stand on the ankle of one foot, and the other is to place the heel of the other foot against the ankle, and the sitting posture is almost similar to half-lotus, except that the toe of one foot is placed against the heel and the hip of the other foot. Both standing and sitting have both left and right dancing postures. The circular posture is: leave an appropriate height between the two heels, such as one span, and then make the two knees bulge to the left and right like the wings of a swan. In that posture, the body leans down so that the buttocks almost do not touch the ground, which is the posture of the turtle's feet. From that posture, the two knees lean slightly forward, which is the sitting posture of the crow. One foot's knee protrudes, and the other foot is raised behind, and the body leans slightly forward, which is the posture of the bee's feet. The posture of the feet of Tandava, now known as the dance posture. It is said that in this posture, the sole of one foot should be attached to the stretched thigh of the other foot, which is based on the situation of people dancing, because of the fear of collision. When drawing a deity, it is not beautiful to do so, so it should be like what appears in the original reliefs drawn earlier, with the toe or instep of one foot pressing on the seat, and the toe of the other foot pointing to the middle of the hip, and the heel pointing towards the thigh, but do not let the thigh and heel touch, and relax both feet, which will be very beautiful and impressive. Although the norms of dance say that the bee's web and the one-legged posture are different, here it is drawn as it was popular among ancient Indian and Nepalese craftsmen, in addition, the way the human body dances and the way the image of the deity is drawn are sometimes different, so it is not necessary to follow the text completely. Yellow Prajnaparamita with four arms
Chinese
除了特别说明的情况，比如母续和忿怒母等，对于天女们，不应该画像发髻和歌舞帽之类的发型头饰，而是应该将头发向左或向右束起，或者两边都束起，或者在后脑勺束起，或者一半束起一半披散等等。无论头发有多长，都不应超过五指的长度，并且要扩大宽度，使其呈圆形或球形。或者，可以采用“垂挂束发”的方式，即发根不束起，发梢向后束起，并用珍宝头饰装饰。在视觉效果上，要使其显现在左右臂的末端，这是参考古代大师的风格。对于密集金刚和吉祥金刚等被描述为自身形象的佛母，如果认为因为是自身形象就需要发髻，那是不需要的，因为那是女性的标志，类似于乳房。此外，对于具有神圣装饰的天神，后来的藏族人在绘画时，不要画得像（《ཛཾ》神）装饰那样粗大、粗糙和繁多，以至于显得拥挤不堪，而应该画得粗细、多少适中。其中，珍宝头饰是指具有三层或四层阶梯状结构的头饰，每一层阶梯都有许多小尖端，尖端用金刚杵或珍宝装饰。因为是像帽子一样戴在头上，所以对于有小尖端的头饰，头发的发髻是看不见的，而披散在肩膀上的头发等则没有限制。对于有发髻的，除了头饰之外，没有这种头饰，而且头饰也必须保持小尖端的形状，不要画成帕atra和诺布之类的莫名其妙的装饰。手镯、臂钏、耳环、项链等装饰是众所周知的。塞莫多（se mo do）是一种垂到身体腰部的念珠，这被称为“多夏尔”（do shal）。珍宝项链通常被用作肩饰，也有少数用作颈饰。脚镯有两种，一种系在脚踝上，另一种系在胫骨上，天女们通常佩戴带有铃铛串的脚镯。“沃帕”（'og pag）指的是腰带的装饰，从中垂下的网状半裙被称为下裙，但是不要像尼泊尔和藏族人跳舞时所穿的那种厚重而长的网状半裙。
English
Except for cases where it is specifically mentioned, such as in the Mother Tantras and Wrathful Mother practices, goddesses should not be depicted with hair ornaments like matted locks or dance hats. Instead, their hair should be tied to the left or right, or tied on both sides, or tied at the back of the head, or half tied and half loose, and so on. No matter how long the hair is, it should not exceed five finger-widths in length, and the width should be expanded to make it round or spherical. Alternatively, one can adopt the "hanging and tied hair" style, where the roots are not tied, but the ends are tied at the back, adorned with jeweled crests. Visually, it should appear at the ends of the left and right arms, following the style of ancient masters. For deities like Guhyasamaja and Yamantaka, who are described as consorts resembling themselves, one might think that a hair ornament is necessary because they resemble themselves, but it is not necessary, as it is a sign of femininity, similar to breasts. Furthermore, for deities with divine ornaments, later Tibetans should not depict them like (《ཛཾ》deity) ornaments, which are thick, coarse, and numerous, making them appear crowded. Instead, they should be depicted with appropriate thickness and quantity. Among these, the jeweled head ornament is a tiered structure with three or four levels, each level having many small points, and the points adorned with vajras or jewels. Because it is worn on the head like a hat, the hair ornaments with small points do not show the hair's matted locks, and there is no restriction on hair hanging down the shoulders. For those with matted locks, there is no such head ornament except for the head ornament itself, and the head ornament must maintain the shape of small points, without drawing meaningless decorations like patras and norbus. Bracelets, armlets, earrings, necklaces, and other ornaments are well-known. Semodo is a rosary that reaches the waist of the body, which is called "doshal." Jeweled necklaces are usually used as shoulder ornaments, and some are used as neck ornaments. There are two types of anklets, one tied on the ankle and the other tied on the shin, and goddesses usually wear anklets with strings of bells. "Ogpak" refers to the decoration of the belt, and the net-like half-skirt hanging from it is known as the lower garment, but do not draw the thick and long net-like half-skirt like the ones worn by Nepalese and Tibetan dancers.
Chinese
不要这样做，要做成坛城的半网状。如果是骨饰，那么主干是长的骨串，顶端悬挂着铃铛和铃坠。如果是珍宝饰品，那么就在下巴处悬挂小铃铛。对此，以前的画师们说：耳饰、颈饰、手镯三件，想要那种闪闪发光的样子。头饰、臂饰、脚镯等，想要反复询问的样子。是这样说的。关于法器的差别，虽然有些印度典籍中说剑要一肘长等，有一定的尺寸，但并非必须如此。稍微说一下辨认的方法：最初的金刚杵是红色的金刚杵，四面的角与中央的角几乎相接。忿怒金刚杵的四个角则非常张开。gང་是白色的长手杖，顶端有饰物，顶端粗大。第五世的法螺是右旋的白色法螺。矛和剑等很多器物，汉藏两地的绘制方法不同，但按照各自的传统来做，就没有矛盾。所谓“水刀”，是短刀，有单刃和双刃两种，产自印度。按照藏地的传统，就是腿刀。ཤཀ་ཏི་是矛头、敌斧，是有刃的短矛。བི་རྡི་པ་ལའི་འཕང་མདུང་是顶端锋利的矛，像矛头一样，柄上有孔雀羽毛。གཏུན་ཤིང་是木腰细，两端圆，用来舂米等。所谓“单尖金刚杵”，有两种，即ཨེ་ཀ་སཱུ་ཙི་ཀ་བཛྲ་（藏文，梵文：ekasūcīka-vajra，梵文罗马拟音：ekasucika-vajra，汉语字面意思：单针金刚杵），就像截断了五股金刚杵的四面角一样。ཀ་ཎཱ་ཡ་（藏文，梵文：kaṇāya，梵文罗马拟音：kanaya，汉语字面意思：卡纳亚）是短矛或半截矛，或者翻译成铁矛单尖金刚杵，这些都是一个意思。在战斗时，需要用来击打大象的头部。手柄大约一箭长，上下两端都是圆形的，像轮子一样，中间的矛头大约一肘长，根部粗，顶端逐渐变细，有凿子。颅碗的口沿，ཙ་ཤ་ཀ་（藏文，梵文：caṣaka，梵文罗马拟音：casaka，汉语字面意思：卡萨卡）和བཤོར་ཐོད་意思相同，是削去顶盖的，像宁玛派的班扎。ཁ་ཊྭཱཾ་ག་（藏文，梵文：khaṭvāṅga，梵文罗马拟音：khatvanga，汉语字面意思：卡杖嘎），据说也是大神自在天的法器，以三尖为标志。其他总的来说，金刚杵和人