Chinese
房屋正面的栋梁，要像珍宝一样装饰，用各种珍宝的光芒四射的装饰品等来庄严。要绘制的门的正面的墙壁处，则不需要绘制栋梁。马厩的柱子和弯曲处里面的帷幔悬挂的下面，是自己一方的如来的颜色，而外面的则是用方位颜色装饰的天空的自性。马蹄、落脚处和摩羯鱼的布料的颜色，是说要如何美观，而对其他布料的解说不清楚，是考虑到容易理解。容易理解的方式是：东方丝绸和白色箭杆，以及那些地方的蓝色和珍宝布料以及黑色布料等，也已经说过，和那些一样，而金丝布料，因为自己的名称就能理解是黄色的缘故。四个轮子，是做成金色的自性和用其他珍宝做成的两种方式。八只雌雄鹿，是金子的自性，用其他珍宝装饰。宫殿下面的各种金刚杵的中心是黑色的。有些经典里说是主尊的身体颜色。方位的中央的角，是各自方位的如来的颜色。如果是三个角，那么另外两个角，是那些眷属的如来的颜色，要如何相配。所说的意思是，以密集金刚不动佛为例，东方的右角要做成不空成就佛的颜色，左角要做成宝生佛的颜色。如果是五个角，那么除此之外的方位和中央的佛的颜色，要如何相配。所说的意思是，以前面的为例，要绘制的稍微偏后方的右边，要做成无量光佛的颜色，左边要做成中央佛的颜色，清楚看见的两个，因为是左右的角，所以要做成左右的佛的颜色。有些经典里说，一个方位的所有角，也要做成那个方位的佛的颜色，所以前面和这个两种，做哪一种都可以。主尊四面，各自是自己方位的脸的颜色，所说的方位不同，是指胜乐金刚之类的东方的……
English
The beams on the front of the house should be decorated like jewels, adorned with various jewel-radiating ornaments, etc. Where there is a wall directly in front of the door to be painted, there is no need to paint the beams. The pillars of the stable and the bottom of the hanging curtains inside the bend are the color of the Tathagata of one's own direction, while the outside is the nature of the sky adorned with directional colors. The colors of the horse's hooves, the landing place, and the makara cloth are said to be made beautiful, but the explanation of other cloths is not clear, considering it easy to understand. The easy-to-understand way is: Eastern silk and white arrow shafts, and the blue and jewel cloths and black cloths in those places, etc., have also been said before, and are the same as those, while the gold silk cloth, because its own name can be understood as yellow. The four wheels are said to be made of gold and other jewels in two ways. The eight male and female deer are the nature of gold, adorned with other jewels. The center of the various vajras under the palace is black. In some scriptures, it is said to be the body color of the main deity. The central horns of the directions are the colors of the Tathagatas of their respective directions. If there are three horns, then the other two horns are the colors of the Tathagatas of those retinues, how to match them. The meaning of what is said is that, taking Guhyasamaja Akshobhya as an example, the right horn in the east should be made the color of Amoghasiddhi, and the left horn should be made the color of Ratnasambhava. If there are five horns, then the colors of the Buddhas of the other directions and the center, how to match them. The meaning of what is said is that, taking the previous example, the right side to be painted slightly behind should be made the color of Amitabha, and the left side should be made the color of the central Buddha, the two clearly visible, because they are the left and right horns, so they must be made the colors of the left and right Buddhas. Some scriptures say that all the horns of one direction should also be made the color of the Buddha of that direction, so either the previous one or this one is fine. The main deity has four faces, each of which is the color of the face of its own direction, and the direction is different, referring to the eastern part of Hevajra and the like...
Chinese
将（坛城）画成蓝色等，这是另一种方式。马座（rTa babs，神殿基座）左右两边的妙瓶，是用黄金做的，如意树，就像其他的好树一样。各种金刚下方的莲花中心是绿色的，花蕊是黄色的，花瓣是各种颜色的。花瓣的底部，因为在法生（chos 'byung，法界源流宫）里面，所以是红色偏多的白色。法生的一部分，也就是象征“ངེ་”的线条，位于莲花和金刚之间的是白色的。这条线，就像之前在画线的时候说的那样，三种方式中，对于想要画成圆形的，如果是水晶就是白色，如果是黄金就是黄色。这是由金刚的颜色决定的。金刚的本体和它的线条的交界处都是黑色的。其他的论典中，这两者也有说是白色和黄色的，所以任何一种都可以。金刚的地面，也就是它的布，是各种颜色的，因为对于所观修的，下方从风轮的边缘到上方色究竟天之间，有金刚的围墙存在，而且风等也是各种颜色的。光鬘的颜色是五方佛的颜色，是向外放射的状态。第二种是，在根本线里面的坛城中，用两条角线分割的四个方向的地面，是各自方向的佛的颜色。所观修的坛城的四个方向的屋顶也一样，这样没有区分屋顶的内部和外部，而是说成一般的颜色。里面的柱子也是各自方向的佛的颜色，以各自方向的佛的标志，轮等等的鬘来装饰。金刚鬘的圆形和金刚，没有明确说明颜色。圆形在观修方面有两种，但是要画的圆形必须是栋梁的圆形，它的颜色，就像上师们画成黑色或蓝色一样，金刚是外面的金刚，颜色可以用之前说的三种方式中的任何一种。对于里面的光鬘，学者们也说不要用颜色的线条来画，因为说是鬘，所以火堆的顶端不要用颜色的线条来画，颜色是外面的。
English
To make (the mandala) blue, etc., this is another way. The excellent vases on the left and right sides of the horse seat (rTa babs, temple base) are made of gold, and the wish-fulfilling trees are like other good trees. The center of the lotus below the various vajras is green, the stamens are yellow, and the petals are of various colors. The base of the petals, because it is inside the Dharmadhatu source palace (chos 'byung), is white with more red. The part of the Dharmadhatu source, that is, the line symbolizing "ངེ་", which is located between the lotus and the vajra, is white. This line, as mentioned earlier when drawing lines, among the three ways, for those who want to draw it as a circle, if it is crystal, it is white, and if it is gold, it is yellow. This is determined by the color of the vajra. The essence of the vajra and the intersections of its lines are all black. In other treatises, these two are also said to be white and yellow, so either one is fine. The ground of the vajra, that is, its cloth, is of various colors, because for the object of meditation, there is a vajra fence existing from the edge of the wind mandala below to the Akanishta above, and the wind and so on are also of various colors. The color of the light garland is the color of the five Tathagatas, which is the state of radiating outwards. The second is that in the mandala inside the root line, the ground of the four directions divided by two diagonal lines is the color of the Buddha in each direction. The roofs of the four directions of the mandala to be meditated upon are also the same, so without distinguishing the inside and outside of the roof, it is said to be the general color. The pillars inside are also the color of the Buddha in each direction, decorated with the marks of the Buddha in each direction, such as garlands of wheels and so on. The roundness and vajras of the vajra garland are not clearly described in color. There are two kinds of roundness in terms of meditation, but the roundness to be drawn must be the roundness of the beam, and its color, like the lamas drawing it as black or blue, the vajra is the outer vajra, and the color can be any of the three ways mentioned earlier. For the inner light garland, scholars also say not to draw color lines, because it is said to be a garland, so do not draw color lines on the top of the fire heap, the color is the outer one.
Chinese
如同花环一般。关于“主尊的位置是主尊的颜色”的说法是：如果主尊是五部佛的共同形象，那么就按那个颜色；如果不是，就按部主来确定。虽然阎魔敌的主尊是藏红花的颜色，但在四百五十法中说：“中央地基的部分，是因陀罗尼罗宝石的光辉照耀。”而且吉祥金刚也说十三尊红阎魔敌中央地基的颜色是蓝色。各种莲花的中心颜色是绿色，花瓣的颜色是：“真性空是绿色，具力者是黑色，火和风的交界处是黄色，各方是红色。”就像所说的那样。关于主尊的布，说的是“主尊的标志之环”，这里说的布是指九宫殿，围绕主尊位置的四方形。这个像在地上画的一样环绕着，虽然没有明确说明颜色，但就是中央位置的颜色。在圆形线条的外侧，在半径的每一个间隔处画上四个小部分，然后是四个小部分的花瓶，也就是八个装满甘露的花瓶。有两种说法：一种认为是黄金，另一种认为是珍宝的自性，各自朝向各自方位的如来的颜色。其他的线条，颜色和粗细要如何美观地制作。第四，像这样，诸佛的座之间的空隙都圆满了，以及如何布置所依据的坛城，有三种方式：各自的种子字（藏文，梵文天城体，梵文罗马拟音，汉语字面意思），手印和仪轨，以及如何按照能够布置突出的佛像来做，如龙树所说：“如何能以坛城，布置种子字，或者手印或佛像，仪轨或造作来布置。”坛城仪轨的变体是：“突出和仪轨是……”这样出现的。如果有人不具备资格，就画标志和手印，如果没有，就画佛像，或者放置绘画的佛像，或者铸造的佛像，或者制作的，或者突出的，或者精心制作的。关于画手印，在《明示上师》中说：“如果不能，就画手印或标志来布置。”还说到：“用颜料或者笔，用绘画来装饰。”
English
It is like a garland. Regarding the statement, "The place of the main deity is the color of the main deity," it means that if the main deity is a common form of the five Buddha families, then it should be according to that color; if not, it should be determined by the family lord. Although the main deity of Yamāntaka is saffron in color, it is said in the Four Hundred and Fifty Dharmas: "The parts of the central ground are blazing with the light of Indra-nīla jewels." Moreover, Jñānaḍākinī also said that the color of the central ground of the thirteen-deity Red Yamāri is blue. The center color of various lotuses is green, and the color of the petals is: "Emptiness is green, the powerful one is black, the junction of fire and wind is yellow, and the directions are red." Just as it is said. Regarding the cloth of the main deity, it is said, "The garland of the main deity's signs," the cloth here refers to the nine-palace mansion, the square surrounding the position of the main deity in all directions. This is like being drawn on the ground, surrounding it, although the color is not clearly stated, it is the color of the central position. On the outside of the circular line, draw four small parts at each interval of the radius, and then four small parts of the vase, that is, eight vases filled with nectar. There are two ways of thinking: one is to think of it as gold, and the other is to think of it as the nature of jewels, each facing the color of the Tathāgata in its own direction. Other lines, how beautifully should the color and thickness be made. Fourth, in this way, the spaces between the seats of the deities are all complete, and how to arrange the maṇḍala on which they rely, there are three ways: the seed syllables (Tibetan, Sanskrit Devanagari, Sanskrit Romanization, Chinese literal meaning) of each, the hand gestures, and the rituals, and how to arrange the prominent deity images according to what is possible, as Nāgārjuna said: "How can one arrange the seed syllables in the maṇḍala, or the hand gestures or the deity images, the rituals or the constructions." The variation of the maṇḍala ritual is: "Prominence and rituals are..." This is how it appears. If someone is not qualified, then draw the signs and hand gestures, and if not, draw the deity image, or place the painted deity image, or the cast deity image, or the made one, or the prominent one, or the carefully made one. Regarding drawing hand gestures, it is said in the Manifestation of the Guru: "If one cannot, then arrange the drawn hand gestures or signs." It is also said: "Decorate with paintings using paints or brushes."
Chinese
是也。手印是手的手印，而标志是法器。在《词汇释》第三品中说：“文字坛城是第一，第二是标志的坛城，第三是手的印契，第四是安置影像，第五是散布鲜花，第六是荟供坛城。”如是说。在《穗鬘十二品》中说：“形象是，用唐卡绘制、雕刻、铸造和新制的工艺制作的。”如是说，因此第四个是指，在颜料上安置的铸造等，以及画布绘制的坛城两者都应理解为包括在内。虽然对剩余两个没有解释，但第五个容易理解，而第六个是瑜伽士男女进入本尊的替身，如坛城的位置一样安住的方式，在行持总集等中已解释，那些是明显的。据说勇士金刚所作，想要安置香水滴。在《总续》中说了本尊身、法器、座垫和安置处所的三种方式，如果本尊的肢体全部都画完整，会花费很长时间，如果肢体有缺失，则不会加持，因此赞叹绘制法器，而且在坛城仪轨中也多见绘制法器。那样绘制后，要好好检查是否正确，将不正确的改正，如《总续》中说：“坛城圆满绘制后，以意善加等持后，在其下多次检查，一百个中若有几个不佳，那也要再次改正。”如是说。从绘制坛城开始，没有获得灌顶之前，不能让它空置，如《总续》中说：“在做沐浴等的时候，安置其他可见的坛城，在绘制坛城的时候，任何时候都不能空置。”如是说。之后，知道所绘制的坛城在各方面都变得清晰后，用念诵吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字和缠绕的五种甘露的香水涂抹坛城的外表面，用念诵该咒语的水清洁轮。念诵嗡（藏文：ༀ，梵文天城体：ॐ，梵文罗马拟音：oṃ，汉语字面意思：嗡）、阿（藏文：ཨཱཿ，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿）、吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）、班杂（藏文：བཛྲ，梵文天城体：वज्र，梵文罗马拟音：vajra，汉语字面意思：金刚）、穆（藏文：མུཿ，梵文天城体：मु，梵文罗马拟音：mu，汉语字面意思：穆）后，祈请智慧的颜料降临，然后将放置在容器中的土颜料放置在僻静处。虽然这里没有说对颜料的供养，但应如对耶提的墨点所说的那样做，将散落的颜料用布等擦拭干净