Chinese
或者第八个。有这样的说法。第二个是从前额的部位开始等，共有六句。毗婆娑多那（藏文，梵文天城体，梵文罗马拟音，汉语字面意思）是太阳之子，也就是业之阎罗王的名字。按照这个设想的字面意思，在腐烂的布上画阎罗王的像，然后贴在头盖骨前额的方向就可以了。在真正的头盖骨上进行清晰的描绘时，在骨骼的形状上，即使只显现到腹部以上，也要在头骨的后脑勺方向象征性地画出下半身和双脚。如果在布上画，就要把整个身体按照比例完整地画出来，然后只贴在头骨前额的方向就可以了。所谓“前四执”，是指在绘制身色和手印的画像时所说的。因为那里没有清晰的双脚姿势，所以这里要画出两脚张开的乌龟姿势。伸展和弯曲是不好的。虽然字面意思是这样，但实际上也暗示了要在骨骼本身上进行清晰的描绘。据说这个方法也很有效。这样的话，脸部要特别大，身体要小，手也要非常不清楚，所以在应该出现手的地方，象征性地画出手印，或者随意地画出掌心或握拳的样子都可以。因为骨骼上不会出现水牛脸的形状，所以这也就暗示了业阎罗王的忿怒相。第三个是从头顶的部位开始，到斯丹巴雅（藏文，梵文天城体，梵文罗马拟拟音，汉语字面意思）吽（藏文，梵文天城体，梵文罗马拟音，汉语字面意思）啪特（藏文，梵文天城体，梵文罗马拟音，汉语字面意思）之间。笔和墨水要用在阎罗王形象的场合中刚刚说过的那些。所谓八根肋骨，是指每个眼睛本身就是肋骨，不需要有尖端的肋骨。咒语的放置方法没有其他，只有像上面说的那样的心诀。很多范本中的“卓萨亚”是不正确的。如果真的是“卓”，就应该说是“卓亚”，但大多数情况下，人们习惯使用“扎萨亚”。对于“恰克夏班杂热纳”，有些人说是“禅达班杂热纳”，有些人说是“恰克热班杂热纳”，还有些人说是从“恰克拉”到“班杂热纳”，但还是按照通常的说法来做。有些范本中说的是“格霍比扎拉巴亚 比扎拉巴亚”，看起来应该说是“比扎拉瓦亚”。有些范本中有“比扎拉巴扎”，如果是那样的话，就成了星曜咒语，但还是按照通常的说法比较好。对于“阿额昂帕”，有些范本中将“阿嘎夏亚”重复了两三次。即使出现了一种不同的颜色，也应该和上面的“鲁地拉”联系起来。
English
Or the eighth. That's what it says. The second is from the forehead, etc., with six verses. Vivasatana (Tibetan, Devanagari, Romanized Sanskrit, Literal meaning) is the son of the sun, which is the name of Yama, the Lord of Karma. According to the literal meaning of this contemplation, it is said that it is sufficient to draw the image of Yama on a decaying cloth and then stick it to the forehead side of the skull. When making a clear depiction on a real skull, even if only the part above the abdomen is visible on the bone structure, the lower body and feet should also be drawn symbolically on the back of the skull. If drawing on cloth, the entire body should be drawn completely in proportion, and then it is sufficient to stick it only to the front forehead side of the skull. The so-called "four previous attachments" refers to what is said when drawing the body color and hand gestures of the image. Because the foot posture is not clear there, here the posture of a turtle with two feet spread apart should be drawn. Stretching and bending are not good. Although the literal meaning is like that, it also implies that a clear depiction should be made on the bone structure itself. It is said that this method is also very effective. In that case, the face should be particularly large, the body should be small, and the hands should also be very unclear, so in the place where the hands should appear, draw a symbolic hand gesture, or draw the palm or fist as you like. Because the shape of a buffalo face will not appear on the bone structure, this also implies the wrathful face of Yama, the Lord of Karma. The third is from the top of the head, etc., to Stam Bhaya (Tibetan, Devanagari, Romanized Sanskrit, Literal meaning) Hum (Tibetan, Devanagari, Romanized Sanskrit, Literal meaning) Phat (Tibetan, Devanagari, Romanized Sanskrit, Literal meaning). The pen and ink should be used in the same way as just mentioned in the case of the image of Yama. The so-called eight ribs means that each eye itself is a rib, and there is no need for ribs with pointed ends. There is no other way to place the mantra than the secret instruction as mentioned above. In many versions, "Tro Saya" is incorrect. If it is really "Tro", it should be said as "Tro Ya", but in most cases, people are accustomed to using "Tra Saya". Regarding "Caksha Vajrena", some say "Chanda Vajrena", some say "Chakre Vajrena", and some say from "Chakra" to "Vajrena", but it should be done as usual. Some versions say "Ghobhi Trpaya Bhi Trpaya", it seems that it should be said as "Bhi Draya". Some versions have "Bhi Trapa Tra", if that is the case, it becomes a planetary mantra, but it is better to follow the usual saying. Regarding "Argham Pa", in some versions, "Akarshaya" is repeated two or three times. Even if a different color appears, it should be connected with the above "Rudhira".
Chinese
之仪轨。第二是关于真实的身像，以业之死主等两句（颂词）来（说明）。材料是七个蚁穴等三句（颂词）。这里所说的七个蚁穴，是就七种分别念广为人知而以意义转变的方式后来修改的。古旧未修改的那些，有“七处为土与作明”等，这才是原本的。其中“抛弃”是指“摧毁者”的意思，这样的有七个。“作明”有些人认为是辨识为损毁的毗卢遮那佛像之地，这是非常错误的。现在后来出现的咒师们说着黑塔之土而奔走，与此类似，是不合理的。如果自己要做这类事，也应该用世间人的损毁的尸体头盖骨来做，但在这里这也没有意义。因此，毗卢遮那指的是大便的隐语。在实修口诀中，指的是游荡的人粪、狗粪，以及驴和骆驼的粪便。如果要做普通的塑像，就是混合这些。如果埋在地下，最好用药物涂抹，按照那种方式，如果混合材料并在制作时念诵，效力就会消失。首先在材料上制作身像，制作完成后念诵。在内部多次涂抹那些材料并使其干燥，使其变厚。身像的修法是，它的心间等两句（颂词）。此处说的是在轮上书写咒语并念诵，因此，如果念诵藏地的吉祥持鬘咒语，就会拖延事业，这是直接禁止的。第三是镇压，即酥油灯等两句（颂词），也是身像制作的延续。也说明了嘎乌本身也可以作为镇压之用。第四是说明事业成就，即如是等三句（颂词）。“自己的魔”指的是被调伏者自己如同身体和影子般相伴的阎罗的控制之下，即刻死亡。以上清楚地说明了单独修持父续，将此理与母续结合，也暗示了单独修持母续。第二，父续母续结合修持，在于确定处所和本尊，这是说明佛母身相的姿态，书写轮的方法，轮的布置方法，轮的修持方法。
English
The ritual of. The second is about the real image, with the Lord of Death of Karma and other two verses (of praise) to (explain). The materials are seven ant nests and other three verses (of praise). Here, the seven ant nests are said to be widely known for the seven kinds of discrimination and later modified in a way that changes the meaning. In the old, unmodified ones, there are "seven places for earth and making light," etc., which is the original. Among them, "abandoning" means "destroyer," and there are seven such. Some people think that "making light" is to identify the land where the damaged Vairochana Buddha image is located, which is very wrong. Nowadays, the later mantra practitioners run around saying the soil of the Black Pagoda, which is similar to this, and is unreasonable. If you want to do this kind of thing yourself, you should also use the damaged corpse skull of ordinary people to do it, but here it is also meaningless. Therefore, Vairochana refers to the euphemism of stool. In the practical oral instructions, it refers to wandering human feces, dog feces, and donkey and camel dung. If you want to make ordinary statues, you mix these. If it is buried underground, it is best to apply medicine, and according to that method, if you mix the materials and recite them during production, the effect will disappear. First make the image on the material, and recite it after making it. Apply those materials many times inside and dry them to make them thick. The method of practicing the image is, its heart, etc., two verses (of praise). Here it says to write mantras on the wheel and recite them, so if you recite the auspicious garland mantra of Tibet, it will delay the business, which is directly prohibited. The third is suppression, that is, ghee lamps and other two verses (of praise), which is also a continuation of the image making. It also shows that the gau itself can also be used for suppression. The fourth is to explain the accomplishment of the business, that is, like this and other three verses (of praise). "One's own demon" refers to the fact that the subdued person himself is under the control of Yama, who accompanies him like a body and a shadow, and dies immediately. The above clearly explains the separate practice of the Father Tantra, and combining this principle with the Mother Tantra also implies the separate practice of the Mother Tantra. Second, the combined practice of Father Tantra and Mother Tantra lies in determining the place and the deity, which is to explain the posture of the Buddha Mother's body, the method of writing the wheel, the method of arranging the wheel, and the method of practicing the wheel.
Chinese
拉，以按压而成就的教导等。第一是“死亡阎魔王”至“札门地”之间。其中，处所是九座黑山的尽头，即彼岸，也就是北方；以及香气扑鼻的山的此岸，也就是南方。九座山和香气扑鼻的山之间有玛卓玛湖。其中，“玛卓玛湖的鬼中央”在大多数版本中都有。“鬼眼”在一些版本中也有，但意思相同。在藏地某些地区的古老语言中，任何湖泊或水池的泉眼都称为“鬼眼”。女神札门地就住在那处所。其下五百由旬处住着阎罗王，这些是外在的处所。内在的处所是众生等的后脑勺前门所在之处，因此骨节上自然显现阎罗王的脸庞也是其缘起的关键。虽然主要解释为父尊，但也是父尊和母尊两者的处所。神是死主阎魔，这表明了父尊，而其母尊则由“旃地”来表示。札门地和札热孜嘎意思相同，是名称的不同，是罗刹之王真脱的姐妹。第一部分到此结束。之后是身像和轮的绘制方法，以及轮的结构都有些混乱。如何混乱呢？比如“此为断绝”等两句，以及“人的头盖骨”等之间的三句，都要放在下面的两个轮之间，也就是在“对谁做什么样的名相”之后连接起来。第二是母尊身相的姿态绘制方法，从“尸布口中绘身像”到“左手持颅器”之间，共有七句。此处虽然直接显示了面向开口颚骨方向的画像，但也暗示了前生和誓言的画像唐卡，以及在腹部绘制轮的形象，以及后脑勺骨节上阎罗母尊的开口方式等，都是共同显示的。此处“面容和手足如前绘制”中的“前”指的是父尊的情况，因此以父尊是水牛脸为基础。荣敦多吉巴认为母尊也是水牛脸，这就是
English
La, the teachings that are accomplished by pressing, etc. The first is from "Death Yama King" to "Tsamundi." Among them, the place is the end of the nine black mountains, which is the other shore, that is, the north; and the near shore of the fragrant mountain, which is also the south. Between the nine mountains and the fragrant mountain is Lake Matröma. Among them, "the ghost center of Lake Matröma" is found in most versions. "Ghost eye" is also found in some versions, but the meaning is the same. In the old language of some areas of Tibet, the spring of any lake or pool is called "ghost eye." The goddess Tsamundi resides in that place. Five hundred yojanas below it resides Yama Raja, these are the external places. The internal place is the location of the front door of the back of the heads of beings, etc., therefore the natural appearance of Yama Raja's face on the joints is also the key to its interdependence. Although mainly explained as the father deity, it is also the place of both the father and mother deities. The deity is the Lord of Death Yama, which indicates the father deity, and its mother deity is indicated by "Chandi." Tsamundi and Tsartsika have the same meaning, they are different names, and are the sister of the Rakshasa king Denträl. The first section ends here. After that, the methods of drawing the body image and the wheel, and the structure of the wheel are somewhat confusing. How confusing? For example, the two sentences "this is cut off," etc., and the three sentences between "human skull," etc., should be placed between the two wheels below, that is, connected after "what kind of name is given to whom." The second is the method of drawing the posture of the mother deity's body image, from "drawing the body image in the mouth of the corpse cloth" to "holding the skull cup in the left hand," there are seven sentences in total. Here, although the painted image facing the direction of the open jawbone is directly shown, it also implies the thangka of the front generation and the vow image, as well as the image of drawing the wheel in the abdomen, and the way of opening the face of Yama's mother on the joints of the back of the head, etc., are all shown in common. Here, "draw the face and hands and feet as before," the "before" refers to the case of the father deity, therefore, based on the fact that the father deity has the face of a buffalo. Yungtön Dorje Pal considers that the mother deity also has the face of a buffalo, that is