Chinese
要画一个用剃刀剃光头发和胡须的人，要画得光光的。（57）涅布尼巴，画成好像靠在床上吃东西的样子，前面画一个瑜伽士。（58）扎永丹巴，画成手里拿着手鼓，散发各种食子的样子，聚集着各种鸟类，眷属弟子敲着陶鼓，吹着笛子，敲着钹，弹着琵琶等等。（59）巴匝日巴，画成一个瑜伽士在一棵树下剃着头发，穿着叫做卡佐日的衣服，只有一块遮羞布，吃着一半的油，前面画一个观世音菩萨化身的比丘。（60）赞巴卡巴，画成国王的形象，坐在花园的中央，周围都是赞巴卡树，树枝都长成圆形，叶子是深绿色的，花是黄色的。（61）比克夏纳巴，画成手里拿着古巴的容器，前面画一个红色的空行母，呈现寂静的形象，头发散开，带着骨饰，呈现说法的样子，成就者自己用牙齿咬下来献给空行母。（62）德里巴，画成摆放很多黑油的容器进行售卖的样子，摆放着各种食物，前面画一个班智达说法。（63）昆巴日巴，画成陶工的样子，和妇女一起制作陶器。（64）匝如智巴，穿着米卡利衣服。塞尔米卡利就像汗衫一样，从中间露出头，露出头。一半一半是前后的衣服，系着腰带。在一棵树下点火，冒着烟。一边有甘露的容器，用一片树叶向人们散发甘露。前面一个妇女和一个孩子合掌。他的枕头是玛蒙月亮的形状。在他的后面有一个岩洞，中间有一个神，右边有一个小神，左边有一个女神，都坐在一个座垫上，三位一体地坐着。（65）瑜伽母玛尼巴塔，画成一个用所有饰品装饰的女人在空中飞翔的样子，下面的地面上画一个水瓶。（66）瑜伽母米卡利，画成赤身裸体，带着骨饰，腋下夹着卡杖嘎，头发
English
Draw a person with his hair and beard shaved off with a razor, draw it completely bare. (57) Nirbuni Pa, draw him as if leaning against a bed eating food, with a yogi in front of him. (58) Za Yongdan Pa, draw him holding a hand drum, scattering various torma offerings, with various birds gathered around, attendant disciples playing pottery drums, blowing flutes, clashing cymbals, and playing the pipa, etc. (59) Pa Tsari Pa, draw a yogi under a tree with his hair shaved, wearing a garment called Katori, with only a triangular loincloth, eating half a load of oil, with a monk in front of him who is an emanation of Avalokiteshvara. (60) Tsampaka Pa, draw him in the form of a king, sitting in the middle of a garden, surrounded by Tsampaka trees, with branches growing in round shapes, leaves that are dark green, and flowers that are yellowish. (61) Bhikshana Pa, draw him holding a container of Guva in his hand, with a red Dakini in front of him, in a peaceful form, with her hair loose, wearing bone ornaments, in the form of teaching the Dharma, the Siddha himself biting off his own tooth and offering it to the Dakini. (62) Dheli Pa, draw him displaying many containers of black oil for sale, displaying various foods, with a Pandit in front of him teaching the Dharma. (63) Kumbhari Pa, draw him in the form of a potter, making pottery with a woman. (64) Tsaru Ti Pa, wearing a Mikhali garment. Sel Mikhali is like a sweat-shirt, with the head coming out from the middle, the head exposed. Half and half is the front and back of the garment, tied with a belt. Light a fire under a tree, with smoke billowing. On one side is a container of ambrosia, scattering ambrosia to the people with a leaf of the tree. In front, a woman and a child with their palms together. His pillow is in the shape of a Mamong moon. Behind him is a cave, with a deity in the center, a smaller deity on the right, and a goddess on the left, all sitting on one cushion, arranged in a trinity. (65) Yogini Mani Bhata, draw a woman adorned with all ornaments flying in the sky, with a water pot forming on the ground below. (66) Yogini Mikhali, draw her naked, wearing bone ornaments, with a khatvanga tucked under her arm, hair
Chinese
解脱说：画右手持剑，左手拿头盖骨。（67 阿尔达德。）（68）瑜伽母卡纳卡拉与阿尔达德相似，但右手拿弯刀或剑，左手拿着自己砍下的头。有些人因为庸俗的分别念而不喜欢这样画，就像一些古老的断头猪母画像一样，身体也有头，手上也拿着一个头，这样画也没有矛盾。这两个都画成在空中伸展弯曲的舞姿。一般来说，这两个瑜伽士的行持相似，所以画法相似也可以。（69）卡拉巴是青黑色，从坟墓中出来。在他的前面，画一个高处，一个骨饰瑜伽士说法的情景。（70）坎达利，画成做衣服的样子，前面画一个空行母说法的情景。（71）达胡里巴，画成卖草绳的样子。（72）乌提里巴，头上缠着头巾，身上穿着带袖子的粗麻布衣服，有一些珍宝装饰，长着漂亮的胡须，望着天空。天空中有五彩的云朵，云朵的形状可以画成大象、马、鸟等各种动物的形状。在他的附近，画一对天鹅飞翔。在他的前面，画一个拿着树叶的瑜伽士。（73）卡帕里巴，黑色，从坟墓中出来，拿着一个女尸的头盖骨，身上有全套的骨饰。（74）吉拉特那摩巴，长着漂亮的胡须，面带怒容。头上戴着一个叫做“觉班”的头饰，中间和四个方向共有五个尖顶，镶嵌着珍宝。头发的边缘垂着叫做“勇士绸带”的金丝，从耳朵的左右两侧垂下来。手持剑和盾，坐在宝座上。（75）萨卡日巴，画成僧人的样子。在他的前面，画一尊站立的圣观世音。（76）萨瓦巴尼亚巴，在他的前面，画一个大容器，里面装着各种好坏食物，他在吃东西。（77）那嘎菩提，画成僧人的样子，处于禅定状态。在他的旁边
English
Liberation says: Draw the right hand holding a sword, and the left hand holding a skull. (67 Ardhadeva.) (68) The yogini Kanakhala is similar to Ardhadeva, but the right hand holds a curved knife or sword, and the left hand holds her own severed head. Some people do not like to draw it this way because of vulgar discrimination, just like some old paintings of severed-headed pig mothers, the body also has a head, and it is not contradictory to draw one head in the hand. Both of these are drawn in the posture of stretching and bending in the sky. In general, these two yogis have similar actions, so it is okay to have similar arrangements. (69) Kalapa is blue-black, coming out of the tomb. In front of him, draw a high place, a scene of a yogi with bone ornaments preaching the Dharma. (70) Kandali, draw her in the appearance of making clothes, and in front of her, draw a dakini preaching the Dharma. (71) Dahulipa, draw him in the appearance of selling grass ropes. (72) Utalipa, with a turban wrapped around his head and wearing a sleeved coarse cloth garment, with some precious jewelry, a beautiful beard, looking at the sky. In the sky, there are five-colored clouds, and the shape of the clouds can be drawn into various animal shapes such as elephants, horses, and birds. Near him, draw a pair of swans flying. In front of him, draw a yogi holding a leaf. (73) Kapalipa, black, coming out of the tomb, holding the skull of a female corpse, with a complete set of bone ornaments on his body. (74) Kiratna Mopa, with a beautiful beard and an angry expression. On his head, he wears a headdress called "Jueban", with five spires in the middle and four directions, inlaid with jewels. At the edge of the hair, there are golden threads called "Warrior Ribbons" hanging down from the left and right sides of the ears. Holding a sword and shield, sitting on a throne. (75) Sakaripa, draw him in the appearance of a monk. In front of him, draw a standing Holy Avalokiteshvara. (76) Sarvabhanyapa, in front of him, draw a large container filled with various good and bad foods, and he is eating. (77) Nagabodhi, draw him in the appearance of a monk, in a state of meditation. Beside him
Chinese
在一个山洞里，画一个瑜伽士，头上长着鹿角的形状。（78）达日嘎巴，画成骨饰庄严，摇动金刚铃，飞向天空而去。在下方的某个地方，画成从城市里的人们观看老师，石柱顶端有一只石象。（79）布拉里巴，画成铺开喜金刚唐卡，在他的前方，画一个具有国王装束的人在说话。（80）萨拉哈那巴，画成穿着剪断靴筒，佩戴金饰等众多饰品，奔跑的姿态。（81）郭吉拉巴，画成国王的形象，在充满果树的园林中央有很多，很多年轻女子唱歌、跳舞、扇扇子和沐浴的姿态。树上有很多郭吉拉鸟，也就是杜鹃。前面画一个比丘在说话。（82）阿尼郭萨，画成住在草屋里，在一个美丽的人面前，一个非常奇特的比丘在乞食。（83）瑜伽士克什米嘎拉，画成在坟墓里，头发散乱，拿着弯刀和颅骨碗、卡章嘎，或者画成疯狂的样子也可以。（84）萨姆札巴，画成在海上放船航行的姿态，在他自己的面前，画一个成就者阿匝因达巴，赤身裸体，头发蓬乱，在说法。前面画着装满水银精华的盆子和瓶子，很多铁变成金子的样子，他自己画成婆罗门的装束。左边画一个女人，前面也画一匹马。在任何一个方向，画成海中央的四方形岩石山，顶端有一个寺庙。就这样，根据八十四位成就者各自的传记，结合绘画的文字，是达热纳塔所著。吉祥！
English
In a cave, draw a yogi with the appearance of deer antlers growing on his head. (78) Darikapa, adorned with bone ornaments, shaking a vajra bell, flying into the sky. In a place below, draw people from the city looking at the teacher, and on top of a stone pillar, there is a stone elephant. (79) Puralipa, draw with a Hevajra Thangka spread out, and in front of him, draw a person with the attire of a king speaking. (80) Sarahanapa, draw wearing cut-off boots, adorned with many ornaments such as gold, in a running posture. (81) Kokilipa, draw in the form of a king, in the center of a garden full of fruit trees, there are many, many young women singing, dancing, fanning, and bathing. There are many Kokila birds, that is, cuckoos, on the trees. In front, draw a monk speaking. (82) Anigosa, draw living in a grass hut, and in front of a beautiful person, a very peculiar monk is begging for alms. (83) The yogi Kshmikara, draw sitting in a cemetery, with disheveled hair, holding a curved knife and skull bowl, khatvanga, or draw in a crazy manner as well. (84) Samudrapa, draw in the posture of sailing a boat on the sea, and in front of him, draw an accomplished Achintapa, naked, with disheveled hair, teaching the Dharma. In front, draw a basin and a vase filled with mercury essence, with many iron turning into gold, and draw him himself in the attire of a Brahmin. On the left, draw a woman, and in front, also draw a horse. In any direction, draw a square rocky mountain in the middle of the sea, with a temple on top. Thus, according to the individual biographies of the eighty-four accomplished ones, the text for painting is composed by Taranatha. May it be auspicious!
Chinese
吽(藏文，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：吽) 嗡(藏文，梵文天城体：ओं，梵文罗马拟音：oṃ，汉语字面意思：嗡) 阿(藏文，梵文天城体：आ，梵文罗马拟音：āḥ，汉语字面意思：阿) 以字音等伴随多次殷重地做，是第三瑜伽即结合之等持。之后，以自己的心间之光，将清净与不清净的一切器情都化为甘露而迎请，融入上师的莲花中。之后，观想不死的命脉出现，融入旃扎凯地的莲花中。思维缓和之三风与猛烈之三风，以及诃斯达、诃斯底亚、诃达、达等之风息。之后，吸气入内，与之同时，从莲花箭矢等之中，出现不死之命脉，在鼻内融为一体，从额头经过到达头顶。再次从喉咙、心间、肚脐、秘密三处经过，乃至毛孔都充满且稳固，因此成为任何时候都不可摧毁之不坏的周遍，于大界中，心性无勤地安住。于肚脐处，应稳固地持有宝瓶气，且缓慢地呼出，是随后的瑜伽次第之等持。之后，自身觉醒为圣观世音，从心间发出的光芒，将无余的刹土都转变为原始自性之不坏甘露。从中，将度母化为蓝红色，或者将颦眉度母化为白红色，随所欲而转变，化为阿拉瓦底，来到怀中。从高希卡转变为，库匝亚那瓦拉底。以克里底斯底，而极度充满大乐，父尊母尊的十七千二百脉中，菩提心踊跃，与利摩塔一起，白色与红白菩提心特别充满身体。之后，观想父尊的右手拥抱，同时母尊的右耳与耳环一同握住，左手推动母尊的左腿，从而稳固。之后，在母尊的身体中，稳固与动摇的一切显现，都一心专注于此，如前一样呼出气息。之后，由贪欲所推动，从萨尼哈的影像等中，上下降下菩提心甘露之流，观想身体充满。之后，当气息进入时，帕底吉与，索达卡。不死精华之流进入口中。从额头经过，到达头顶之后，从吽(藏文，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：吽)中
English
Having diligently performed the Hūṃ(藏文，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：Hūṃ), Oṃ(藏文，梵文天城体：ओं，梵文罗马拟音：oṃ，汉语字面意思：Oṃ), Āḥ(藏文，梵文天城体：आ，梵文罗马拟音：āḥ，汉语字面意思：Āḥ) sounds and so on many times, this is the third yoga, the samādhi of union. Then, with the light from one's own heart, invite all the pure and impure containers and contents, transformed into nectar, and dissolve them into the lotus of the lama. Then, meditate on the arising of the stream of immortality, dissolving it into the lotus of Chandrakirti. Contemplate the three slow winds and the three fierce winds, and the breaths of Hista, Hastya, Hada, and Da. Then, as the breath is drawn in, along with it, from the lotus, arrows, and so on, the stream of immortality arises, merging into one in the nostrils, passing from the forehead to the crown of the head. Again, passing from the throat, heart, navel, and the three secret places, it pervades and firmly fills all the pores of the hair, so that it becomes an indestructible, unshakeable expanse that can never be destroyed, and in the great expanse, the mind itself rests effortlessly in equipoise. At the navel, the vase breath should be held firmly, and it should be exhaled slowly, which is the samādhi of the subsequent stages of yoga. Then, having awakened oneself as the noble Avalokiteśvara, the appearance radiating from the heart transforms all the unobstructed realms into indestructible nectar of primordial essence. From that, transform the goddess Tārā into blue-red, or Bhṛkuṭī into white-red, as desired, and having made her Aravati, she comes into the lap. From being transformed into Kośikī, Kutsayani Varati. By Kṛtisthiti, it is exceedingly filled with great bliss, and in the seventeen thousand two hundred channels of the father and mother, the bodhicitta pulsates, and together with Rīmota, the white and reddish-white bodhicitta especially fills the body. Then, contemplate that the father's right hand embraces, and at the same time, the mother's right ear and earring are held together in one direction, and the left hand is urging the mother's left thigh, thereby stabilizing it. Then, with the mind focused on the appearance of all that is stable and moving within the mother's body, exhale the breath as before. Then, driven by desire, from the images of Saniha and so on, streams of bodhicitta nectar descend from above and below, and contemplate that the body is filled. Then, as the breath enters, Patiki and, Svetakas. The stream of immortal essence enters the mouth. Passing from the forehead, after reaching the crown of the head, from Hūṃ(藏文，梵文天城体：हूँ，梵文罗马拟音：hūṃ，汉语字面意思：Hūṃ)