English
The rite of Naspa is to be understood from the empowerment rite. Or, when the deity of the deity is invited, or after the vase deity is performed. In that way, after offering and praising with burnt offerings and offerings, one should contemplate that one's tongue is the syllable Hum, surrounded by Vajra tongue, and on the left and right hands are the sun and moon, on which are placed the letters of the five families of father and mother, whose rays merge, and method and wisdom are inseparable. Om Sarva Tathagata Bhata Padma Bandhanam Karomi. Having prostrated in this way, one should recite "Having compassion" etc. as before, which is one aspect of the completely pure practice. These are the rites of the deity, which are the activities of the second day. Thirdly, the actual activities of the mandala are divided into: preliminary activities, main activities, and subsequent activities. The first part has five aspects: driving pegs, preparing colors, drawing lines, applying colors, and arranging decorations. The first is, reciting "Bega Kramayam," the deity of the raised deity is raised into the sky. If the lines have not been drawn before, the platform should be smeared with the five ambrosias. Hum. In the inconceivable secret mandala, in order to accomplish the accomplishments of the five Sugata families, with the pure self-born five ambrosias, the true secret mandala pegs are driven. Om Ah Hum Svaha. Sarva Pancha Amrita Mandala Hum. This is (the peg). The second is, the five threads of Vasudha or cotton wool are twisted together and colored with five colors of paint. The five colors of powder paint are mixed with ashes and a little of the five ambrosias, and the five seed syllables corresponding to the family are written. The threads and colors are arranged according to the family. Incense purification is performed. One should contemplate that from emptiness, the five colors of paint, Hum Om Svaha Ah Hum, abide as the essence of the five Tathagata families. One should contemplate that the rays of light emanating from the syllable Dza drawn in one's eyes, from the hearts of the Tathagatas residing in the sky, in the nature of the five-colored rays of wisdom paint, dissolve into the paints, thereby contemplating that the five families are the essence of the five wisdoms. Reciting the five seed syllables, and after offering with incense and flowers etc., twisting the thread, reciting: Om Vajra Samaya Sutra Mati Krama Hum. Om Ah Hum. After reciting, incense is offered with the five ambrosias and perfume, and placed in a clean container. Om Ah Sarva Pancha Ratna Samaye Hum.
Chinese
吽 吽！如此念诵，在接触所有颜料的最后，念诵“吽”，观想成为珍宝的微细颗粒。第三是，念诵“嗡 班杂 希日 嘿热嘎 吽”，观想自己显现为坛城的主尊，从西向东，以及线绘制者被加持为种姓之母，从东向西，由此产生的结合，观想线绳作为菩提心的自性，显现为白色。念诵“智慧金刚 吽”，用右手的拳头将线绳的末端抛向线绘制者。她也用左手的拳头牵引，守护在脐间。念诵“勃隆 维湿瓦 维殊提 班杂 嘉纳 扎克拉 曼达拉 吽”，在坛城上方的虚空中打十字，观想自性坛城光明显耀。像这样，仅仅是梵天线二者，或者与八大线总体一致地在虚空中打线，同样地，一边念诵父母本尊的心咒，一边也要在地上打线。在梵天线的四个方向上，从十六大分中，从梵天线开始，第一和第六个画一半，后面冷却。第二和第七个分成四份。第五和第八个舍弃中央，画两端。第三个不画，第四个画一半。截断的部分是内宫殿的区域。从中央到第四个的一半截断。绕一小圈，朝向东面。从角线开始，画两个小分。从向外延伸的部分横向截断。在那里建造没有装饰的内门。内门的根线从门角开始。绕一小圈，形成方格区域。分成九份，做成第九个月牙形。外面的箭线从角顶开始。画一半大分，一个大分，再画一半。再次绕一圈，形成圆周。马落处、下基的十字等，因为是共同的，所以按照共同的方式做。以上所述。进入绕线时，观想沉香木橛为独股金刚杵，用橛金刚的咒语钉在中央，然后缠绕线绳。关于内宫殿，有三种不同的观点，这里是根据第九个月牙形的修法来解释的。第四是，念诵“班杂 希日”，将抬高的增长线宫殿抬到空中，念诵“希日”擦去门的根线，四
English
Hūṃ Hūṃ! Reciting thus, at the end of touching all the colors, by saying "Hūṃ," one should contemplate them becoming subtle particles of jewels. The third is, by saying "Oṃ Vajra Śrī Heruka Hūṃ," one should contemplate oneself appearing as the lord of the mandala, facing from west to east, and the line-drawer being blessed as the consort of the lineage, facing from east to west, and by the union that arises from this, one should contemplate the line-thread as the essence of bodhicitta, appearing as white. Saying "Jñāna Vajra Hūṃ," with the right fist, one should throw the end of the line-thread to the line-drawer. She also, with her left fist, should pull it and protect it at the navel. Saying "Bhrūṃ Viśva Viśuddhe Vajra Jñāna Cakra Maṇḍala Hūṃ," and making a cross in the sky above the mandala, one should contemplate the self-existing mandala shining brightly. Like this, just the two Brahma lines, or in accordance with the eight great lines in general, one should draw lines in the sky, and similarly, while reciting the heart mantras of the father and mother deities, one should also draw lines on the ground. In the four directions of the Brahma line, from the sixteen great divisions, starting from the Brahma line, the first and sixth are drawn halfway, the latter cooled. The second and seventh are divided into four parts. The fifth and eighth abandon the center and draw the two ends. The third is not drawn, the fourth is drawn halfway. The sectioned part is the area of the inner palace. From the center to half of the fourth is sectioned off. Circling one small division, towards the east. Starting from the corner line, draw two small divisions. From the outward extension, cut across. There, build an unadorned inner door. The root line of the inner door starts from the corner of the door. Circling one small division, forming a checkered area. Divide into nine parts, making the ninth a crescent shape. The outer arrow line starts from the corner tip. Draw half a large division, one large division, and then half again. Circling once more, forming the circumference. The horse landing, the cross of the lower base, etc., because they are common, should be done in a common way. This is what was said. When entering the circling line, one should believe that the sandalwood peg is a single-pointed vajra, and it is said that after fixing it in the center with the Kilaya mantra, the line-thread is wrapped around it. Regarding the inner palace, there are three different opinions, and here it is explained according to the method of the ninth crescent shape. The fourth is, saying "Vajra Hrīḥ," raising the increasing line palace into the sky, and saying "Hrīḥ," erase the root line of the door, four
Chinese
念诵后，拔出脐部的橛子，用五种颜色的颜料按类别组合填满孔。然后，上师用头盖骨盖住画有五条四指宽的具力墙壁的线。当墙壁快要连接时，检查颜色。然后，学生们也随意绘制，发出不间断的“吽”声。中央半月的东方是白色，其他九个是红色，地面是红棕色。四根柱子，包括圆柱，是蓝色的，上面有白色的金刚杵。内墙是头盖骨，即蓝、红、白色。角落是绿色的。庭院的颜色等与整体一致，但特别要绘制具有坟墓地特征的图案。如果用彩粉制作图案，则身像、文字、手印、圆点等都只按照之前的样式绘制。这样，当线条和颜色的工作完成后，进行供养和赞颂，念诵“གཙྪ་མུཿ”（藏文，梵文天城体，梵文罗马拟音，汉语字面意思），请智慧尊降临。第五个是： 九个画有图案的颅碗， 连同显现的光芒一起陈列。
English
After reciting, pull out the peg from the navel, and fill the hole with a combination of five colors of paint according to their types. Then, the master covers the five lines of the powerful wall, each about four fingers wide, with a skull. When the walls are about to be connected, check the colors. Then, the students also draw as they please, with the sound of "HUM" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思) continuous. The east of the central crescent moon is white, the other nine are red, and the ground is reddish-brown. The four pillars, including the round pillars, are blue with white vajras. The inner wall is made of skulls, i.e., blue, red, and white. The corners are green. The colors of the courtyard and other aspects are consistent with the overall design, but in particular, draw patterns characteristic of a cemetery. If the patterns are made with colored powder, then the body, letters, hand symbols, dots, etc., should only be drawn following the previous style. Thus, when the work of lines and colors is completed, offerings and praises are made, and recite "Gaccha Muh" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思), requesting the wisdom beings to depart. The fifth is: Nine skull bowls with painted patterns, Are arranged together with the light of appearance. Use these to decorate the characteristic skulls, and draw the mantra of the main deity and the vajra khatvanga with white and red bodhicitta. On the eight skull fragments of Brahmins, etc., draw the respective mantras and symbols of the eight mothers, such as Gari Ma. In lotus containers, fill with a large amount of oil and various grain oils, and arrange nine butter lamps made from branches of Tsitta, etc., closely connected to the skulls. Expel obstacles, increase power, and then place the deities in their respective positions. Recite "HUM" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思) From the center, the self-arisen, accomplished deity, Supreme Mind Vajra Heruka, Vajra Krodheshvari, the two, From the great mandala of self-nature, Recite "JAḤ HŪṂ VAṂ HOḤ" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思) to invite. In this supreme place of the great charnel ground, In this mandala that subdues the three poisons, On the seat where the great deities intersect, Please dwell joyfully and steadfastly!" And, after the mantras of the nine deities, recite "KĀYA VĀKA CITTA SAMAYA TIṢṬHA LHAN" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思) in order, and in connection with this, the lamps also recite "ĀLOKE SAMAYA TIṢṬHA LHAN" (藏文，梵文天城体，梵文罗马拟音，汉语字面意思) and place them next to the containers. The vase that was previously consecrated is also placed in the center of the mandala, on a platform such as a manza. On the foundation of the field, arrange nine red bindus in a group, and hang flags, curtains, and victory banners in all directions.
Chinese
右手拿着金刚杵，拿起诸神的名称，稍微放在头上。其余的从东方的梵天线到中央，用手倒入瓶中，以极大的敬意倒入河流中。将瓶子装满水，然后返回，清洗曼荼罗房间等。取出橛，用眼睛咒语加持的牛奶清洗，想着驱散障碍。回向善根，祈祷，广行吉祥和庆祝。第三个总义是成就果的方式。如何修行，以及由此成就的方式，应该像修行方法中所说的那样理解。因此，这个深奥的道路在过去非常兴盛，汉藏两地的杰出学者和成就者创作了大量的注释和修行指南等精彩论述。然而，由于它仅仅是为成熟、教导和伟大修行而作，因此末世的众生似乎难以实践。考虑到仅仅通过灌顶和普通的供养法会就能成就意义上的必要，并且这条道路的教规会变成无用的东西，因此将实践的精华浓缩为简要。至于经典的含义，应该咨询前辈圣者的著作。遍主嘿汝嘎吉祥胜乐的，从深广的修行方法之海中，将实践精华浓缩成甘露般的，精髓般地扩展到曼荼罗仪轨中。由此所获得的任何功德，愿我生生世世不离此善道，成就嘿汝嘎吉祥胜乐之身，成为与虚空同等众生的怙主。吉祥胜乐的曼荼罗仪轨，名为甘露精髓，是持明者不变金刚在四十八岁时于邬金成熟解脱洲的文库中所著，书写者是法眼无尘的善知识达玛希日。 吉祥胜乐的曼荼罗仪轨甘露精髓。不变金刚。
English
With the right hand holding the vajra, take the names of the deities and place them slightly on the head. Pour the remainder from the eastern Brahma line to the center into a vase with the hands, and discard it into the river with great respect. Fill the vase with water, then return and purify the mandala room, etc. Take out the phurbas and wash them with milk blessed by the eyes mantra, thinking that the obstacles are dispelled. Dedicate the merit, make prayers, and perform extensive auspiciousness and celebration. The third general meaning is the manner of the fruit of accomplishment. How to practice, and the manner of accomplishment thereby, should be understood as explained in the method of practice. Thus, this profound path was very prosperous in the past, and there are many wonderful discourses such as commentaries and practice guides composed by distinguished scholars and accomplished ones of both China and Tibet. However, since it is made only for ripening, teaching, and great practice, it seems difficult for beings of the degenerate age to put into practice. Considering that the necessary meaning is accomplished by just empowerment and ordinary offering ceremonies, and that the precepts of this path will become something useless, the essence of practice is condensed into a brief summary. As for the meaning of the scriptures, one should consult the writings of the previous holy ones. From the vast ocean of the profound and extensive practice methods of the Lord of All, Heruka Pal Samvara, condensing the essence of practice into nectar-like, essence-like, it is expanded into the mandala ritual. By whatever merit is obtained from this, may I in all lifetimes never be separated from this good path, and having accomplished the body of Heruka Pal Samvara, may I become the protector of beings equal to space. This mandala ritual of Pal Samvara, called Essence of Nectar, was written by the Vidyadhara Immovable Vajra at the age of forty-eight in the library of Orgyen Mindroling, and the scribe was the Dharmaśrī, a virtuous friend with eyes free from dust. The Mandala Ritual of Glorious Samvara, Essence of Nectar. Immovable Vajra.