English
Through fierce recitation, from the Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：seed syllable) at the heart, emanate wrathful clouds of anger, and from the sun and moon of the eyes, and the vajras of the soles of the feet, radiate burning rays of light, incinerating, destroying, and expelling all obstacles, and contemplate the ground of the mandala as stable in the nature of vajra. Again, with the left leg leading, the cymbals twice nine circles, combined with the sound of two drips, after performing the rhythm, the musical instruments are put down. Tenth, the postures and gaits of the mandala deities. The key point is to summarize and unravel the overall structure, and to actually explain the manner of the sacred dance, these two. First, there are also three: explaining the manner of changing postures, the words of the musical instruments; explaining the universal body changes, the precious summary; explaining the combined summary of prior and subsequent actions. Thus, first is: It should be understood thus, the coordination of the body changes of the sacred dance, depends on the sound and melody of the drum. First, learn the sequence of drumming. The rhythm of the instruments, the postures of jumping left and right, the steps of moving, the direction of moving, when jumping to the right, one heavy beat each time. Afterwards, between the turning and swaying, about three light beats, accompanied by the battle of the instruments. The steps of moving, left and right forming an iron fence. When landing, cut off with a strong heavy beat. The cymbals are also like the steps of moving, when landing, cut off with a slightly lighter sound. From the swaying state of the instruments, emit the shouts of the sacred dance, at the moment of completing the transformation, the right foot lands in front, swaying to the right and to the left, called "Spram," one heavy beat each time. When the swaying is incorporated into four counts, complete four to the right, and half of that to the left. The heavy beats are the same, the third and fourth of the left are slightly heavier and slower. The fourth is the lotus jump, wide lotus jump, three light beats each time. The small cymbals are very small three light beats. The "Spram," "Spir," "Spam" of the lotus cymbals, these three are gradually increased in intensity and struck. One heavy beat, the "Spram" of the instruments is large. Slightly smaller when counting, after striking the times, four or five light beats, accompanied by the battle of the instruments. The cymbals, the cymbals above, in the middle, and below, like that special light beat. When the lotus instruments enter four counts, the heel slides, the dance moves, heavy beat, the instruments slightly revealing is the key. At the time of changing the respective mudras, the sacred dance turns, and after displaying ferocity, between grasping and throwing, except for the ornaments, from the great swaying to the yums, four heavy beats each time.
Chinese
并且，法界颅器击打二五之数，上中下三击打八数，头上的璎珞击打六数，击打鼓声，对于数字，稍微用力使其分开，这是色雄角的规矩，很好。所有这些最后的数字都是一个，稍微小击，如果倾向于取舍，那也要比鼓声更加扩大击打。除了取舍之外，所有这些的间隙中，在“སྦྲམ་སྦིར་སྦྲམ་”中，最初小，逐渐增大。解脱、收摄、倾向姿势两种，在“སྦིར་སྦྲམ་”之后也是小击一下。倾向于实际数字圆满之后，作为间隙取“སྦྲམ་”，那也是大的。风和水的坛城，八忿怒母和班卓的力量，击打五数，大小交替，在那时，对于“四”这个数字，大击并稍微拖长就好。金刚半步伸展和收缩，虚空和地心，骨骼之火，门母班的步法和力量舞步等，四数最后开始都是大的，有些中间的“一”这个数字，平等击打，两个两个一般情况下，是大击，但是进入摇曳的步法时，那个就要小击。对于八个细微母，击打四数，拖长，大声和小声交替。这个和住母的右脚的解脱收摄大声轮流，如果中等击打就美妙。量宫自在母的竞技舞蹈和嬉戏以及黑蛇，寻找班，用石子占卜，以及背着剩余物奔跑等，大部分是二击拖长，石子的左右摇动，内部和金刚步法右入，投掷石子后向外走的步法等，大平等急速四四击打。总之，各自的手印，在改变的时候，除了个别特殊情况，都是大击，各自的间隔嬉戏步法摇曳步法等，用小击表示，所有这些，发出大声和小声，间隔断开，缓慢急速，把握时机。一般来说，音乐缓慢才美妙。这些只是象征而已。第二种也要这样理解，上下各处行走的身体变化，珍爱收摄，在此阐明。两手向内，左脚和向外，右脚向行走的方向，鸣
English
And, the Dharmadhatu skull cup strikes the numbers two and five, the upper, middle, and lower three strike eight times. The necklace on the head strikes six times. Striking the drum, for the numbers, exert a little force to separate them. This is the rule of Se-hbro Zur, it is good. All these final numbers are one, strike slightly small, if inclined to take and leave, then it should be struck even more extensively than the drum. Except for taking and leaving, in all the intervals, in "Sbrahm Sbir Sbrahm", initially small, gradually increasing. Liberation, gathering, and the two inclined postures, after "Sbir Sbrahm" also strike small once. After the actual number is completed for inclination, take "Sbrahm" as an interval, that is also large. The mandala of wind and water, the eight wrathful mothers and the power of Bam-spro, strike five times, alternating large and small. At that time, for the number "four", it is good to strike large and slightly prolong it. Vajra half-step stretching and contracting, the center of space and earth, skeletal fire, the Dorje steps of the gate mother Bam, and the power dance steps, all these, the four numbers are large at the end and beginning. In some, the number "one" in the middle, strike equally, two by two in general, it is a large strike, but when entering the swaying steps, that should be a small strike. For the eight subtle mothers, striking four times, prolong, alternate loud and soft sounds. This and the liberation and gathering of the right foot of the residing mother alternate loud sounds, but it is said that it is beautiful if struck moderately. The playful dance of the Measurable Palace Free Woman and the play and the black snake, searching for Bam, divination with pebbles, and running while carrying the remainder, most are two strikes prolonged. The left and right swaying of the pebbles, the inside and the Dorje steps right in, the steps of throwing the pebbles and going out, etc., strike large, equal, and hurried four by four. In short, each of their hand gestures, when changing, except for some special cases, are all large strikes, each of their intervals, playful steps, swaying steps, etc., are represented by small strikes, in all these, loud and soft sounds are emitted, intervals are cut off, slow and fast, seize the opportunity. In general, slow music is beautiful. These are just symbols. The second should also be understood in this way, the body changes that go up and down everywhere, cherish and gather, are explained here. Both hands inward, left foot and outward, right foot towards the direction of travel, sound
Chinese
跳跃之后，前者向外，后者向内旋转而挺立。 脚步与手势相协调，收拢，呈现出舞蹈的姿态。 这被称为舞蹈步法。 双手左侧朝下，右侧朝上倾斜。 舞者跟随，左右脚交替抬起放下，手势配合舞蹈的节奏。 抬起左脚，配合小步，然后，用右手在左手内侧绕圈向上举起。 这是一种单拍舞蹈。 右脚向前，左脚向右，右脚向中间。 右脚向左，左脚向中间，做一个大的莲花步。 完成，这是四莲花步。 仅用右脚向中间和向左，左脚向中间和向右。 做一个大的莲花步，完成跳跃莲花步。 在三次小击打中，有两次“班普尔”。 在胸前合拢，然后向左向右。 扭动，抬起左脚小步。 这就是“扎姆琼”。 “斯布兰，斯比尔，斯布兰”，右脚和手。 向右落下抬起，也向左。 反过来，用左脚解开，在中间用莲花步旋转收拢。 这被称为“解开收拢”。 右脚向右拉伸，朝向行进的方向。 在“斯布兰”中，脚后跟踢动，挥舞“普尔达尔”。 被称为“斯比尔”，向后做一个大的莲花步，在“斯布兰，斯布兰”中。 放下右脚，左脚朝向行进的方向。 移动一步，然后左脚和手。 倾斜，在“斯比尔，斯布兰”中“班斯嘎”。 向外做一个大的莲花步，抬起放下左脚。 这样做是右侧的倾斜，反过来被称为左侧的倾斜。 从左侧“普尔达尔”的交接处。 拉出，双手向外伸展，同时右脚向行进的方向跳跃。 在其旁边，左脚以拖动的方式。 右脚脚后跟着地，踢动并挺立。 这被称为“行进步法”，在那时。 双手伸直是“大界限”，靠在腰上则称为“小界限”。 同样，双手靠在腰上。 脚步像舞蹈步法一样行进。 单拍摇摆，手势也一样。 这样做，脚步像四步一样。 行进，被称为四拍摇摆。 四莲花步，跳跃莲花步，解开收拢和。 舞蹈都与四拍相连。 同样，如果与五拍相连。 它被称为那个和那个的那个，然而。 然而，完整的跳跃莲花步。 除了单拍之外，没有其他的做法。 简而言之，队列
English
After jumping, the former goes outward, the latter rotates inward and stands tall. The footwork and hand gestures are coordinated, gathering, presenting a dancing posture. This is called the dance step. Both hands face down on the left side and up on the right side, leaning. The dancer follows, alternately lifting and placing the left and right feet, with hand gestures matching the rhythm of the dance. Lift the left foot, coordinating with a small step, then, use the right hand to circle upward inside the left hand. This is a single-beat dance. The right foot forward, the left foot to the right, the right foot to the center. The right foot to the left, the left foot to the center, make a large lotus step. Complete, this is the four-lotus step. Use only the right foot to the center and to the left, the left foot to the center and to the right. Make a large lotus step, complete the jumping lotus step. In three small strikes, there are two "Bhan Phur". Close together at the chest, then to the left and right. Twisting, lift the left foot with a small step. That is "Zam Chung". "Sbram, Sbir, Sbram", the right foot and hand. Lower and lift to the right, also to the left. Conversely, use the left foot to unravel, and gather in the center with a lotus step rotation. This is called "Unravel and Gather". The right foot stretches to the right, towards the direction of travel. In "Sbram", the heel kicks, waving "Phur Dar". Called "Sbir", make a large lotus step backward, in "Sbram, Sbram". Place the right foot down, the left foot towards the direction of travel. Move one step, then the left foot and hand. Leaning, in "Sbir, Sbram", "Bhan Skra". Make a large lotus step outward, lift and lower the left foot. Doing this is the right side's lean, conversely called the left side's lean. From the junction of the left side's "Phur Dar". Pull out, both hands stretch outward, simultaneously the right foot jumps towards the direction of travel. Next to it, the left foot in a dragging manner. The right foot's heel touches the ground, kicking and standing tall. This is called "Marching Step", at that time. Both hands stretched straight is the "Large Limit", leaning on the waist is called the "Small Limit". Similarly, both hands leaning on the waist. The footwork proceeds like the dance step. Single-beat swaying, the hand gestures are the same. Doing this, the footwork proceeds like the four steps. Marching, called the four-beat swaying. Four-lotus step, jumping lotus step, unravel and gather, and. The dances are all connected to the four beats. Similarly, if connected to the five beats. It is called that and that of that, however. However, the complete jumping lotus step. Apart from the single beat, there is no other way to do it. In short, the queue
Chinese
距离适中，如念珠串联般匀称。不要太慢也不要太快，姿态自然舒适得体。跳跃和抖动等身体变化，珍视以神韵来展现一切美好。如是说。第三点也应如此理解：在任何跳神的前后，四莲花、跳莲花、倾斜步，以及解脱和收摄时，都要说明总结词。法界空行勇士生起，呼唤上师、誓言者，加持上、中、下三处。天空、风和水中央，从大摇摆到门神之间，四莲花为前行，跳莲花为后行。金刚伸展于地中央，火中央四莲花为前行，之后四击打进入摇摆。骷髅本尊宫殿二者的前后，都是跳莲花，以及扇动、金刚半步和拍击步，自在四事业的跳神。嬉戏和黑蛇，寻找尸体和占卜石子，金刚步占卜和跺脚步等，九者之前都要做跳莲花。之后各自做环绕的步法。欢喜和力量之前是四莲花。生起威德、呼唤上师、呼唤誓言者。主尊的左右两侧，手、脚和项链、衣服三种，以及鹏鸟翅膀等都要做倾斜步。加持上、中、下三处，以及虚空中央、大摇摆、小摇摆，头和脉、手、颅骨装饰。三尖、四部的巨型跳神，以及佛母、忿怒母、仆女和门神等都要做解脱和收摄。如果有人通过见传承，学习之后某天可能会遗忘，只要看一看这些就能回忆起来，为了毫不费力地掌握，请珍视它。如是教导。 ༈ 第二，关于实际跳神方式的解说，分为以预备姿势普遍加持，和以正行各自的姿势分别加持两种。第一种是总结：跳神三圈和法界生起，怀柔、空行、勇士生起，衰败的上师呼唤、誓言者呼唤，天空、虚空、大地三处，轮、八吉祥、莲花加持。金刚半伸展、拍击三种，寻找土地、调伏并加持。如是共有十二个要点。第一，跳神三圈是，驱逐之前的邪魔后嬉戏