English
O! This is well spoken. Its color is mentioned in the Garland, saying that the desired cloth is made of crystal, gold, ruby, or other precious stones, thus many colors are spoken of. On it are seated offering goddesses of various colors, with various ornaments and garments, in various postures, holding various offerings in their hands. The number is like being condensed into sixteen. That cloth, in the Garland, is like saying that the base where the pillars for tethering horses stand is equal in height. Therefore, it should also be understood that this is merely to make the various vajra horns appear clearly. As for the Father Tantra, it is considered that the upper bases are all yellow. In the Garland, it says that just as five walls are made together, the base is red. On it, the precious cloth has triangles, bindus, squares, and circles, adorned with jewels in order. Above that, the net or half-net is: on the outside of the four golden belts, hanging from the mouths of makara sea monsters. Moreover, since it is said that the base is black, in the space, precious stone measures supporting the belts are placed intermittently, just like reducing the height above. On it, the necklace is a string of pearls strung on a red thread, bound with gold on both sides and above and below, with a jewel in the center. The half-necklace refers to the strings of jewels hanging from the two sides of the necklace, slightly shorter than the necklace, which should be straight. Therefore, the necklace is shown to be curved. At the tip of the half-necklace, there is a large jewel bound with gold. In some places, it is said that at the end of the jeweled-handled fan and bell, there are three ways in which the fan hangs down, so at each tip, one of these three is made, and then alternated. Inside the necklace, in some places, there is a crescent moon on a lotus, and above it, the sun is marked with a half-vajra. In some places, it is a jewel. In some places, it is said that a vajra residing on a lotus should be made. The latter is the complete vajra. As for the cloth of the Sharbu, the inquiry about jewels and Sharbu is said to be optional. The former appears similar to the Father Tantra, while the latter is from the mandala ritual of Nagarjuna translated by Pyal, "Zara nets and measure strings, etc.," considering Sharbu as Zara net.
Chinese
符合（仪轨）。书写时，虽然在网状的布幔上，但实际上是从布幔正面的鸟翼边缘垂下来的。鸟翼是藏地的喇嘛们覆盖在主殿上的外围，从那里悬挂下来。他们认为这与所希望的形态的边缘相同。在门楣和门边的位置，因为那个尺寸不容易处理，所以通过一侧倾斜到另一侧等方法来尽力做到美观。箭檐，如果从根线开始的第八个小部分上有，那么殿堂就美观。如果做到第七个或更靠前的位置，就像夏尔布（shar bu）们被砍头一样，就不美观。因此，下面的夏尔布在哪里，箭檐就应该在它的正上方。这个词的梵语是“krama-shirsha”，如果直译就是“头部的顺序”。书写时，虽然只有垂挂的丝绸的线条之间的距离，但冥想时，据说它在门框的上方之间。因此，其下方的夏尔布、网格、半网格和帕古（pha gu）也都在那个位置。箭檐的形状据说是一排半莲花瓣的形状。关于它，胜幢和幡旗是从那一排半莲花瓣形状的箭檐上，在各个方向上，放置在金瓶或宝瓶上的胜幢或八个幡旗，就像所说的那样来塑造。放置的位置是：有些人认为应该放在箭檐的布幔上，有些人则认为是放在非箭檐上，或者箭檐的臂膀上。但是，因为明确地说“半莲花形状的箭檐”，所以它就是箭檐。而且，在它的两个臂膀的中间，放置有花瓶的上方。胜幢是用新月、珍宝和金刚装饰的顶端，系在珍宝手杖上。系着摇动的铃铛的三条丝带，顶端有兽王、鹅王、龙吞噬者、鱼多毛者、以鳄鱼为标志，被风吹动而三处弯曲，具有摇曳姿态，发出小铃铛的声音，发出“silsil”的声音，并带有拂尘。制作动物标志的顶端是丝带的顶端。幡旗也是动物的。
English
It conforms to (the ritual). When writing, although it is on the net-like cloth, in reality, it hangs from the edge of the bird's wing on the front of the cloth. The bird's wing is what the Tibetan lamas cover on the main hall, hanging separately from the outer boundary. They consider it to be the same as the edge of the desired form. In the position of the lintel and the door frame, because that size is not easy to handle, they try their best to make it beautiful by methods such as tilting one side to the other. The arrow cornice, if it is on the eighth small part from the root line, then the temple is beautiful. If it is made to the seventh or earlier position, it will be like the Sharbus (shar bu) being beheaded, so it is not beautiful. Therefore, wherever the lower Sharbu is, the arrow cornice should be right above it. The Sanskrit word for this is "krama-shirsha", which, if translated directly, becomes "the order of the head". When writing, although there is only the distance between the lines of the hanging silk, when meditating, it is said to be between the top of the door frame. Therefore, the Sharbu, grid, half-grid, and Phagu (pha gu) below it are also in that position. The shape of the arrow cornice is said to be a row of half lotus petals. Regarding it, the victory banner and the pennant are from that row of half lotus petal-shaped arrow cornices, in all directions, placing the victory banner or eight pennants on the golden vase or jewel vase, shaping it as it is said. The placement position is: Some think it should be placed on the cloth of the arrow cornice, while others think it should be placed on the non-arrow cornice, or on the arm of the arrow cornice. However, because it is clearly said "half lotus-shaped arrow cornice", it is the arrow cornice. Moreover, in the middle of its two arms, there is a vase on top of which it is placed. The victory banner is a jewel scepter with a crescent moon, jewel, and vajra decorated top, tied to it. The three ribbons tied to the shaking bell, the top of which has the king of beasts, the king of geese, the dragon eater, the fish with many hairs, marked with a crocodile, swayed by the wind and bent in three places, with a swaying posture, making the sound of a small bell, making the sound of "silsil", and with a whisk. The top that makes the animal mark is the top of the ribbon. The pennant is also of animals.
Tibetan
་མཚན་མ་མ་གཏོགས་པ་དེ་དང་འདྲའོ། །དེ་རྣམས་ནི་ཕྱོགས་རེ་རེར་བཞི་བཞིའོ། །གཉིས་པ་ལ་གཉིས། ནང་གི་འཁོར་ལོ་བཤད་པ་དང༌། ཀ་བ་དང་ཐོག་བཤད་པའོ། །དང་པོ་ལ་གསུམ། ནང་གི་འཁོར་ལོའི་ཁ་དོག་བཤད་པ་དང༌། འཁོར་ལོའི་རྒྱ་ཚད་བཤད་པ་དང༌། འཁོར་ལོའི་དཔངས་ཚད་བཤད་པའོ། །དང་པོ་ནི། དཀྱིལ་འཁོར་གྱི་ནང་གི་ཁ་དོག་ནི་རྡོ་རྗེ་མཁའ་འགྲོར། ཕྱོ་རོལ་ཤར་ནི་ཤིན་ཏུ་དཀར། །ལྷོ་ནི་སེར་ཞིང་ནུབ་ནི་དམར། །བྱང་ནི་ལྗང་གུར་གསུངས་པ་སྟེ། །དེ་ལྟར་འདི་ཡི་ཆོ་ག་ཡིས། །སངས་རྒྱས་བཞི་ཡི་གདན་དུ་གནས། ཞེས་གསུངས་ ཤིང་རྐང་པ་བཞི་པས་ནི་ཕྱོགས་བཞིའི་ཁ་དོག་བཞི་བཤད་ལ། དེ་ཡང་རྣམ་སྣང་ལ་སོགས་པ་བཞི་བཞུགས་པའི་གནས་ཀྱི་སྒོ་ནས་བྱ་བར་གསུངས་ཏེ་ཕྲེང་བ་དང་མཐུན་ནོ། །སྡོམ་འབྱུང་ལས་ཀྱང་ཕྱོགས་བཞིའི་མདོག་དེ་བཞིན་དུ་བཤད་ཅིང༌། དབུས་ཀྱི་ས་གཞི་སྔོན་པོར་བཤད་དེ། དེ་ནི་སྔ་མ་ལ་ཡང་ཤེས་པར་བྱའོ། །འདི་ལ་རྒྱལ་བ་བཟང་པོས་ནང་གི་ཕྱོགས་བཞིའི་མདོག་གཙོ་བོའི་ཞལ་བཞིའི་ཁ་དོག་གིས་འབྱེད་ལ། དབུས་ཀྱི་ཁ་དོག་ནི། དཀར་སྔོན་དུ་བྱེད་པ་ཡབ་ཀྱི་རིགས་བདག་མི་བསྐྱོད་པ་དང༌། ཡུལ་གྱི་རིགས་བདག་རྣམ་སྣང་ཡིན་པ་ལ་བསམས་པ་སྟེ། རྡུལ་ཚོན་ཤར་དང་བྱང་དང་ནི། །ནུབ་དང་ལྷོ་ཕྱོགས་ཉིད་དུ་ནི། །དེ་ལ་སོགས་པ་ཕྱོགས་ཀྱི་ཆ། །ཞལ་གྱི་མདོག་ཏུ་བྲི་བའོ། །དཀར་པོ་སྔོན་པོ་བསྲེས་པའི་མདོག །དབུས་ཀྱི་ཆར་ནི་བྲི་བར་བྱ། ཞེས་བཤད་ཅིང༌། རྩིག་པའི་རིམ་པ་ཡང་ཕྱི་ནས་སྔོ་སེར་དམར་ལྗང་དཀར་བར་བཤད་དོ། །དབུས་སྔོ་བ་དང་ལྷག་མ་ཕྱོགས་མདོག་ཏུ་བྱེད་པའི་ས་མཚམས་ནི་ནག་པོ་སྤྱོད་པས། ཨིནྡྲ་ནཱི་ལའི་ས་གཞི་ལ། །འཁོར་ལོ་གསུམ་གྱི་བདག་ཉིད་བསམ། ཞེས་དང༌། རྩ་ཐིག་ནས་ནང་དུ་ལྷ་སྣམ་སྒོ་ཚད་ཕྱེད་བྱ་བར་བཤད་པས། ལྷ་སྣམ་རྫོགས་མཚམས་ནས་དབུས་སུ་བྱ་ལ། ལྷ་སྣམ་ཕྱོགས་མདོག་ཏུ་བྱའོ། །ལཱུ་ཨི་པ་ལ་ཡང་ལང་ཀས། ཕྱོགས་སུ་སྐུ་འཁོར་གྱི་མུ་ཁྱུད་དང༌། རྩ་ཐིག་གི་བར་ན་ལྷ་སྣམ་མེད་པར་བཤད་ལ། འོན་ཀྱང་སྔོན་པོ་ལ་སོགས་པའི་ཕྱོགས་མདོག་ཀྱང་བྱ་བར་བཤད་དོ། །ཕྱོགས་མདོག་དང་དབུས་ཀྱི་མཚམས་ནི་ཕྲེང་བ་ལས། སྐུ་འཁོར་གྱི་ཟླུམ་ཐིག་ཕྱི་མ་རྩ་ཐིག་ལ་ཐུག་པར་བསྐོར་བ་ཡང་ཡིན་ལ། སྐུ་འཁོར་གྱི་རྩིབས་ཀྱི་བར་རྣམས་ཀྱི་ཁ་དོག་ནི་ཤར་ དཀར་ལྷོ་སེར་ནུབ་དམར་བྱང་ལྗང་གུར་བྱེད་པ་ལྟར་ན། བདེ་ཆེན་འཁོར་ལོའི་མཚམས་ནས་དབུས་སུ་བྱེད་པར་མངོན་ནོ། །ཕྲེང་པར་རྩིག་པ་ཕྱི་ནས་ལྗང་དཀར་དམར
Chinese
和没有相的区别一样。那些是每一方四个四个。第二有二，讲述内部的轮，以及柱子和顶。第一有三，讲述内部轮的颜色，讲述轮的广度，以及讲述轮的高度。第一是，坛城内部的颜色在金刚空行母中说：‘那边东边非常白，南边是黄色，西边是红色，北边说是绿色。’这样按照这个仪轨，作为四佛的座垫而存在。这样说，四句偈说明了四方的四种颜色。而且也说是从容纳以毗卢遮那佛为首的四佛的处所的角度来做的，和念珠相同。从《集经》中也同样说明了四方的颜色，并且说中央的地面是蓝色的，那在前面也应该知道。对此，嘉瓦桑布（རྒྱལ་བ་བཟང་པོ།）以内四方的颜色用主尊四面的颜色来区分，中央的颜色做成白色和蓝色，是考虑到父亲的部主不动佛和家族的部主毗卢遮那佛。彩粉东方和北方，西方和南方，以及其他方位的，用脸的颜色来画。白色和蓝色混合的颜色，在中央的部分来画。’这样说，墙壁的顺序也说是从外到内依次为蓝黄红绿白。中央是蓝色，剩余的做成方位颜色的分界线是用黑色来区分的。‘在因陀罗尼罗的地面上，思维三轮的自性。’这样说，从基线到内部，神幡的门宽要做一半。从神幡结束的地方到中央来做，神幡要做成方位颜色。鲁伊巴（Lūipa）也说，在方位上，身坛城的圆周和基线之间没有神幡，然而也说是要做成蓝色等等的方位颜色。方位颜色和中央的分界线在念珠中说，身坛城的外圆线要画到基线，身坛城的辐条之间的颜色，按照东方白色，南方黄色，西方红色，北方绿色来做的话，明显是从大乐轮的界限到中央来做。念珠中墙壁从外到内依次是绿白红。
English
It is the same as that without distinction. Those are four each in each direction. The second has two: explaining the inner wheel, and explaining the pillars and the roof. The first has three: explaining the color of the inner wheel, explaining the width of the wheel, and explaining the height of the wheel. The first is: the color inside the mandala is said in the Vajra Dakini: 'The east on that side is very white, the south is yellow, the west is red, and the north is said to be green.' Thus, according to this ritual, it exists as the seat of the four Buddhas. Thus it is said, and the four verses explain the four colors of the four directions. Moreover, it is said to be done from the perspective of accommodating the four Buddhas, starting with Vairochana, and it is the same as the rosary. From the Samputodbhava Tantra, the colors of the four directions are also explained in the same way, and it is said that the ground in the center is blue, which should also be known in the previous one. On this, Gyalwa Sangpo (རྒྱལ་བ་བཟང་པོ།) distinguishes the colors of the inner four directions by the colors of the four faces of the main deity, and the color of the center is made white and blue, considering the father's family lord Akshobhya and the family lord of the realm, Vairochana. 'Colored powder, east and north, west and south, and other directions, should be drawn in the color of the face. The color mixed with white and blue should be drawn in the central part.' Thus it is said, and the order of the walls is also said to be blue, yellow, red, green, and white from the outside to the inside. The boundary between the blue center and the remaining directional colors is distinguished by using black. 'On the ground of Indranila, contemplate the nature of the three wheels.' Thus it is said, and from the baseline to the inside, the width of the door of the divine banner should be half. From the end of the divine banner, it should be done to the center, and the divine banner should be made into the directional colors. Luipa also said that in the directions, there is no divine banner between the circumference of the body mandala and the baseline, but it is also said that the directional colors such as blue should be made. The boundary between the directional colors and the center is said in the rosary that the outer circle of the body mandala should be drawn to the baseline, and if the colors between the spokes of the body mandala are made according to the east white, south yellow, west red, and north green, it is obvious that it is done from the boundary of the Great Bliss Wheel to the center. In the rosary, the walls from the outside to the inside are green, white, and red in order.