Chinese
ས་。向上拉伸，向上跳跃。持续按压和臀部撞击，同时扭动身体，像这样重复五次。让呼吸的力量进入，然后用力按压肚脐下方并抖动，发出“哈”的声音进行空抖动。保持、引导、扩展和分离精华与糟粕这四者同时发生，即为一次完整的过程。\\ 再次，发出“哈”的声音，像在海洋的束缚中竖立柱子。向上扭动时进行空引导，向下扭动时进行向上按压。收缩下门。像这样重复三次，然后从船行式中进行三次充满引导和充满释放，进行充满抖动和空抖动。产生腹部的充满引导颤抖释放，以及充满按压的强烈船行式，产生嗡嗡声。观想疾病等从下门排出，净化污垢和缺陷，然后气息融入。引导和扩展完成一次。对于这四个净化方法，据说曾经制作过一个荟供轮和黄金花朵的分割图。第三个是，所结合的明妃的特征。一般来说，有很多描述，但这里不重要。对于她，十六岁到三十五岁之间的女孩能够增加快乐。身体和面容美丽，头发好，脸颊上有花朵，口有香味，臀部圆润，下身温暖且紧致，松紧适度，快乐和欲望强烈。对财富、土地、食物、衣服、敌人和朋友的执着和分别念少。在众人之中行为端庄，在密咒行为时羞耻心小。慈悲、出离心和信仰等自然具备则最好，如果没有，也可以培养并让她修行。据说其他特征难以找到且不重要。\\ 第四个分为三部分。第一个是，像第三个情况一样，想着与令人愉悦的女孩结合，这是意之明妃。第二个是，与手指结合，这是手之手印。第三个是，从分离精华与糟粕中分离脉的精华与糟粕，学习脉的空隙大小，以及分离气息的精华与糟粕。三者中的第一个是，观想气息融入肚脐的法生处和明点，向上方的气息向下按压，进行左右摇晃和抖动敲击。收缩手指并进行船行式。\\ 第二个是，中脉嘎
English
Sa. Pulling upwards and jumping upwards. Continuously pressing and bumping the hips, while twisting the body, repeat this five times. Allow the force of breath to enter, then forcefully press below the navel and shake, making a "Ha" sound for empty shaking. Holding, guiding, expanding, and separating essence and dross all occur simultaneously, which completes one cycle.\\ Again, making a "Ha" sound, like erecting a pillar in the ocean's confinement. When twisting upwards, perform empty guidance, and when twisting downwards, perform upward pressing. Contract the lower gate. Repeat this three times, then from the boat posture, perform three times of filling guidance and filling release, perform filling shaking and empty shaking. Producing the abdomen's filling guidance trembling release, and the filling pressing intense boat posture, producing a buzzing sound. Visualize diseases and the like exiting from the lower gate, purifying dirt and defects, then the breath dissolves. Guidance and expansion complete one cycle. For these four purification methods, it is said that a Tsog wheel and a division chart of golden flowers were once made. The third is, the characteristics of the consort to be joined. Generally, there are many descriptions, but it is not important here. For her, a girl between the ages of sixteen and thirty-five is able to increase bliss. Body and face are beautiful, hair is good, cheeks have flowers, mouth has fragrance, hips are round, lower body is warm and tight, with moderate tightness, and strong bliss and desire. Attachment and conceptualization to wealth, land, food, clothing, enemies, and friends are few. Behavior is dignified among many people, and shame is small during mantra practice. Compassion, renunciation, and faith are best if naturally present, but if not, they can be cultivated and she can be made to practice. It is said that other characteristics are difficult to find and not important.\\ The fourth is divided into three parts. The first is, like the third situation, thinking of uniting with a pleasing girl, this is the Mind's Vidya. The second is, uniting with the fingers, this is the Hand's Mudra. The third is, from separating essence and dross, separating the essence and dross of the channels, learning the size of the gaps in the channels, and separating the essence and dross of the breath. The first of the three is, visualize the breath dissolving into the Dharma origin and bindu at the navel, pressing the upper breath downwards, performing left and right shaking and shaking tapping. Contract the fingers and perform the boat posture.\\ The second is, the central channel Ka
Chinese
我等倾心于明点融入心间，吸气并与下气混合，立即猛烈吹出，在空性的状态中左右摇晃抖动。这两个动作要蹲着做。第三是中脉气远行，身体伸直。这些在与手印结合之前，每次都要做。明点区分清浊，学习色声香味触与一般相同，顺便而来，关键也很小。然后首先自己以跏趺坐的姿势，将明妃置于腿上，观想身体为本尊父母空行密处，以及三处加持。将金刚杵放入莲花中，放松一会儿。然后缓慢移动，当乐开始移动时，必须停止移动并保持。通过放松下门，进行保持、空性引导、收摄引导、舟行等猛烈引导。做一次抖动伸展，以及第四和第十转轮，俯卧放松臀部，伸展收缩，乌龟行。双脚并拢站立坐下，三次按压。收束宝珠，进行收摄拉伸和口型。发出齿音，伴随声音呼出抖动，发出嘶嘶声。据说这也被称为四种融入，首先自己要做好。然后通过逐步学习，当明点难以保持在秘密处时，从上方击打三身明点，从下方击打乌鸦命囊，从侧面击打六叠。这是指甲、弯曲和罗刹转向的结合。然后区分心的清浊，是将乐介绍为大手印。这些是关于他人身体拙火的教导。第二个是幻身密义，这个只有气调练宝瓶气，其他与之前相同。这里是实际的转轮。第一个是，下降转轮三种：金刚跏趺坐三次抬起，金刚拳头向下压，鸟伸展鸟栖息三次拍打。保持转轮三种：身体姿势保持平衡并压住地面，气的关键从上师口中得知。回遮转轮三种：身体姿势乌龟俯卧，吽（嗡，梵文天城体：हुं，转写：hūṃ，汉语字面意思：吽）二字交替回遮肛门。边缘转轮三种：猛兽国王式抖动上方，母狼蹲伏。
English
I and others are inclined to let the bindu dissolve into the heart. Inhale the breath and mix it with the lower breath. Immediately blow it out vigorously, and in the state of emptiness, shake and tremble to the left and right. These two actions should be done squatting. The third is the middle channel wind travels far, the body stretches straight. These should be done once each time before combining with the mudras. The distinction between pure and impure bindu is the same as learning about form, sound, smell, taste, and touch in general. It comes along the way, and the key is said to be small. Then, first, in a self-seated vajra posture, place the wisdom consort on the lap, and visualize the body as the deity parents, dakini secret place, and the blessings of the three places. Place the vajra in the lotus and relax for a moment. Then move slowly, and when bliss begins to move, you must stop moving and hold it. By relaxing the lower gate, perform holding, emptiness guidance, retraction guidance, boat travel, and other vigorous guidance. Do one shake and stretch, as well as the fourth and tenth turning wheels, lying face down to relax the hips, stretching and contracting, turtle walk. Stand and sit with feet together, press three times. Tighten the jewel, perform retraction stretching and mouth shaping. Make a dental sound, exhale and shake with sound, make a hissing sound. It is said that this is also called the four dissolutions, and you must first do it well yourself. Then, through gradual learning, when the bindu is difficult to hold in the secret place, strike the three-body bindu from above, strike the crow life bag from below, and strike the six folds from the side. This refers to the combination of nails, bending, and rakshasa turning. Then, distinguishing the purity and impurity of the mind is to introduce bliss as Mahamudra. These are instructions on the tummo of another's body. The second is the illusory body hidden meaning, this only has air training vase breath, others are the same as before. Here is the actual turning wheel. The first is, the three descending turning wheels: vajra seated posture lift three times, vajra fist press down, bird stretches bird perches pat three times. The three holding turning wheels: body posture keep balance and press the ground, the key of the air is known from the lama's mouth. The three reversing turning wheels: body posture turtle lying face down, the two syllables Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) alternately reverse the anus. The three edge turning wheels: beast king style shake above, she-wolf squats.
Chinese
并且奋力起身。即使大人物坐着也要压制。第一，金刚跏趺，双手置于髋部并拍击。第二，心间，膝盖上拳头朝上。屏住呼吸，拉回，压在大腿根部。第三，拳头放在大腿上，膝盖顶住并拍击。拉伸、按压并结合，对这三者低头。眼睛向上翻。舌头抵住上颚。目标放在吽（藏文：ཧཾ，梵文天城体：हं，梵文罗马拟音：haṃ，汉语字面意思：吽）字上。第四、第五、第六这三者是，心间向上按压，向下，风在自己的位置上。右旋，左手保持平衡，右手压地。同样地反过来，头在两处压地。心专注于肚脐，眼睛等同于上面。第七、第八、第九这三者是，小腿和手臂放在地上，身体弯曲。手指交叉，头弯曲，发出吽（藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）的声音。头部倾斜吸气，然后短促地发出吽（藏文：ཧཱུཾ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）声，并拉伸。肛门向上收缩，收缩和释放两次。第十，手脚指尖放在地上，四爪张开。左右和中间摇晃并抖动。第十一，握紧拳头，插入四个手指等，与其他相同。对这两种姿势，向后拍打臀部，呼气并抖动伸展。第十二是站立，双腿张开，弯腰。左右挥动臂膀，向前跳跃。收紧臀部，放气，抖动抖动。如果做第十三种，则与一般相同。第二是，与其他的不同，将自身和明妃的手印认知为如幻如梦，将本尊身观想为明亮空性中增长。美丽的形象如同镜中的倒影般显现为空性，性爱之语和喜悦之声等如同山谷回音般响彻为空性，拥抱和金刚莲花接触等的快乐虽然体验，却无法执着于“这是什么”。心是乐空，金刚莲花运动的乐明无念无法被定义，无法被思维衡量，无法用语言表达，安住于远离幻象和幻觉。在此，极力强调拙火瑜伽，在自身上努力是为了在修持其他身体时，作为道路的基础。因此，显示了在其他身体中拙火增长。有些人不擅长拙火，却修持幻身等，对于各自产生的极好善行，仅仅展示了风的聚集，然后是其他身体的…
English
And strive to rise up. Even if a great person is sitting, suppress them. First, Vajra posture, place both hands on the hips and clap. Second, in the heart center, fists facing upwards on the knees. Hold the breath, pull back, and press on the base of the thighs. Third, place the fists on the thighs, press the knees and clap. Stretch, press, and combine, bowing the head to these three. Roll the eyes upwards. Stick the tongue to the palate. Focus on the syllable HUNG (Tibetan: ཧཾ, Devanagari: हं, Romanized Sanskrit: haṃ, Literal meaning: HUNG). Fourth, fifth, and sixth, these three are: press upwards in the heart center, downwards, the wind in its own place. Rotate to the right, keep the left hand balanced, press the right hand on the ground. Reverse the same, press the head on the ground in two places. Focus the mind on the navel, the eyes etc. are the same as above. Seventh, eighth, and ninth, these three are: place the shins and forearms on the ground, bend the body. Cross the fingers, bend the head, exhale with a HUNG (Tibetan: ཧཱུཾ, Devanagari: हुं, Romanized Sanskrit: hūṃ, Literal meaning: HUNG) sound. Inhale with the head tilted, then exhale a short HUNG (Tibetan: ཧཱུཾ, Devanagari: हुं, Romanized Sanskrit: hūṃ, Literal meaning: HUNG) sound and stretch. Contract the anus upwards, contract and release twice. Tenth, place the fingertips of the hands and feet on the ground, spread the four claws. Shake and tremble to the left, right, and center. Eleventh, clench the fists, insert four fingers etc., the same as the others. For these two postures, clap the buttocks backwards, exhale and shake and stretch. Twelfth is to stand up, spread the legs, bend the waist. Swing the arms left and right, jump forward. Tighten the buttocks, release air, shake and shake. If doing the thirteenth, it is the same as the general one. Second, unlike the others, recognize oneself and the consort's mudras as illusory and dreamlike, and visualize the deity's body as increasing in clear emptiness. The beautiful form appears as emptiness like a reflection in a mirror, and erotic words and joyful sounds etc. resound as emptiness like echoes in a valley, and the pleasure of embracing and touching the vajra and lotus etc., although experienced, cannot be grasped as "what is this". The mind is bliss-emptiness, the bliss-clarity-non-thought of the vajra and lotus movement cannot be defined, cannot be measured by thought, cannot be expressed in words, and abide in freedom from illusion and delusion. Here, the utmost effort is emphasized in Tummo yoga, striving in one's own body is for the sake of establishing the foundation of the path when practicing other bodies. Therefore, it is shown that Tummo increases in other bodies. Some are not good at Tummo, but practice the illusory body etc., for the excellent virtues that arise for each, only the gathering of the winds is shown, and then the days of other bodies…