Chinese
还有其雄壮的体魄，英雄的步法等姿势，眼睛的视线转换，以及嗓音的转换方式等，在续部和口诀中都有广泛的阐述，但因内容繁多而令人畏惧，故暂且到此为止。如果感兴趣，可以按照适当的方式进行补充。对于石头的摇动，现在也有像内部进入又向外走一样的拉长声音的步法，但在学者阿达等的古籍中，也有如这里所记载的。无论如何，这些都是无上续部的秘密行为，是极其殊胜的，因此要避免与那些只将其视为跳舞者的行为的人混淆，这一点非常重要。第三是：停止恶语的范围，扩展祭品并施予，这被称为“抛掷”的声音，并与演奏相协调。像之前一样蹲坐，从摇动三次开始，以金刚步走到班杂的旁边，以乌龟的姿势或半跏趺坐的姿势坐下。五击鼓声大小交替变换。从第四个莲花完全打开和用小声音向右取一个莲花开始，从这之后的所有小声音都用宽莲花，大声音都用各自的手印变换，只有这两种交替。各自的手印有三种：迎请宾客，加持，降伏并施予。第一是：每次大击鼓时，右手抬起从右侧摇动，迎请寂静的本尊众。同样，左手摇动迎请忿怒的本尊众。前方平行摇动迎请上师。从右侧后方用右手摇动迎请誓言男众。反向摇动迎请女众。第二也是每次大击鼓时，左手握拳，右手施无畏印，呈现镜子的形状。左手握拳竖起，右手的中指敲击，呈现琵琶的声音。双手手掌向外呈现殊胜的香。同样，双手手掌向上呈现殊胜的味。双手伸展并抬起幡旗，呈现触觉，即祭品降伏一切聚集之物的形象，其自性加持为五种妙欲。第三也是：每次大击鼓时，在右臂、左臂和额头前各缠绕一次金刚橛，然后在右侧摩擦后击打祭品进行降伏，之后用右手持金刚橛。
English
Also, its majestic physique, the hero's gait and other postures, the transformation of the eyes' gaze, and the ways of transforming the voice, etc., are extensively described in the tantras and oral instructions, but because the content is vast and daunting, I will stop here for now. If interested, one can supplement it in an appropriate manner. Regarding the shaking of the pebble, nowadays there is also a gait of elongated sound like entering inwards and then going outwards, but in the ancient texts of scholars like Adar, it appears as described here. In any case, these are the secret practices of the unsurpassed tantra, which are extremely extraordinary, so it is important to avoid mixing them with those who only regard them as the actions of dancers. The third is: Stopping the range of evil words, expanding the offerings and bestowing, which is called the sound of "throwing," and coordinated with the playing. Squat as before, starting from shaking three times, walk to the side of the Bhaṃda with the Vajra step, and sit in the posture of a turtle or half-lotus position. Change the five drumbeats alternately between large and small. Starting from the fourth lotus fully opened and taking one lotus to the right with a small sound, from then on, all small sounds use the wide lotus, and all large sounds use their respective mudra transformations, only these two alternate. There are three types of respective mudras: inviting guests, blessing, subduing and bestowing. The first is: Each time a large drum is struck, the right hand is raised and waved from the right side, inviting the peaceful deities. Similarly, waving the left hand invites the wrathful deities. Waving forward in parallel invites the gurus. Waving from the right rear corner with the right hand invites the male oath-bound ones. Waving in the opposite direction invites the female ones. The second is also that each time a large drum is struck, the left hand makes a fist, and the right hand gives the refuge-bestowing mudra, presenting the shape of a mirror. The left hand makes a fist and raises it, and the middle finger of the right hand strikes it, presenting the sound of a lute. Both hands with palms facing outwards present the supreme fragrance. Similarly, both hands with palms facing upwards present the supreme taste. Both hands stretch out and raise the banners, presenting touch, that is, the image of the offering subduing all gathered things, its nature blessed as the five desirable qualities. The third is also: Each time a large drum is struck, wrap a vajra stake once around the right arm, left arm, and forehead respectively, then rub it on the right side and strike the offering to subdue it, and then hold the vajra stake with the right hand.
Chinese
然后，从左边开始，与同伴一起依次进行供养。每次大的敲击，右边供养寂静尊，左边供养忿怒尊，中间供养上师们，位置在眉间的高度。右后方供养誓言神男性，左后方供养誓言神女性，位置在肩膀的高度。右边供养男性友伴，左边供养女性友伴，位置在自己的脚的高度。然后，做自己享用的方式，放入怀里的方式等之后，猛烈地敲击乐器。左手抓住班杂的头发，右手将金刚橛插入地上，稍微做出无法支撑和颤抖的样子，然后慢慢站起来。左脚抬起的同时，将班杂放在肩膀上，敲击两次，快速地旋转，以滑动的速度绕圈行走。第九，供养舞：大吉祥的供养舞。右脚向后退，左脚向行进的方向走四个三步。当说到“一”时，右脚向右边轻轻放下。当说到“二二”时，右脚和左脚交替旋转抬起，然后左脚和右脚像禅修一样向自己的方向放下旋转。右脚向内放下，从两次“瑟布然”的“咱莲”开始，右脚先向前走四个三步。当说到“一”时，左脚向左边轻轻放下等，脚的交替放下旋转如前。从左脚向内放下的“咱莲”开始，右脚先向前走四个三步，到达中间后，对于两次“瑟布然”，左右手各做一个供养的姿势，然后放下乐器。这些是坛城诸神的姿势。第十一，用金刚橛进行守护：上师从中央面向东方，将按照仪轨准备好的金刚橛放置在前方。从眼睛等处的吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字发出光芒。在金刚地基的栅栏、网、帐篷、帷幔之外，在猛烈燃烧的劫末火焰中央，从仲（藏文：བྷྲཱུྃ，梵文天城体：भ्रूं，梵文罗马拟音：bhrūṃ，汉语字面意思：仲）字生出的黄色轮，有八个辐条等，根部和尖端朝向上下的方向，具有锋利的刀刃，腹部与法界平等，中央是自己安住于嗔怒金刚，从心间的吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字发出十位母尊，在每个辐条内
English
Then, starting from the left, offer sequentially with the companion. For each big strike, offer to the peaceful deities on the right, to the wrathful deities on the left, and to the lamas in the center, at the height of the brow. Offer to the male lineage of oath-bound deities on the back right corner, and to the female lineage of oath-bound deities on the back left corner, at the height of the shoulders. Offer to the male companions on the right, and to the female companions on the left, at the height of one's own feet. Then, after performing the manner of enjoying oneself and the manner of entering the bosom, strike the musical instruments fiercely. Hold the hair of the Bhaṇḍa with the left hand, and insert the phurba into the ground with the right hand, making a slight gesture of being unable to support it and trembling, then slowly stand up. At the same time as lifting the left foot, place the Bhaṇḍa on the shoulder, strike twice, and spin quickly, circling around with a sliding motion. Ninth, the offering dance: The offering dance of the Great Glorious One. The right foot steps back, and the left foot takes four three-steps in the direction of travel. When saying "One," gently place the right foot to the right. When saying "Two Two," alternately lift the right and left feet in a rotating motion, then lower and rotate the left and right feet towards oneself as in meditation. Lower the right foot inward, starting from the "zam len" of the two "Sirbram," the right foot takes four three-steps forward in the direction of travel. When saying "One," gently place the left foot to the left, etc., alternating the feet to lower and rotate as before. Starting from the "zam len" of lowering the left foot inward, the right foot takes four three-steps forward, and after reaching the center, make a gesture of offering with the left and right hands for the two "Sirbram," and then put down the musical instruments. These are the postures of the deities of the mandala. Eleventh, protection by planting the phurba: The master faces east from the center, and places the phurbas prepared according to the ritual in front. Rays of light emanate from the Hūṃ (Tibetan: ཧཱུྃ, Sanskrit Devanagari: हुं, Sanskrit Romanization: hūṃ, Chinese literal meaning: 吽) syllable in the eyes, etc. Outside the vajra ground fence, net, tent, and awning, in the center of the fiercely blazing fire of the eon's end, from the Bhrūṃ (Tibetan: བྷྲཱུྃ, Sanskrit Devanagari: भ्रूं, Sanskrit Romanization: bhrūṃ, Chinese literal meaning: 仲) syllable arises a yellow wheel with eight spokes, etc., with roots and tips pointing upwards and downwards, possessing sharp blades, the belly equal to the Dharmadhatu, in the center is oneself abiding as the Wrathful Vajra, from the Hūṃ (Tibetan: ཧཱུྃ, Sanskrit Devanagari: हुं, Sanskrit Romanization: hūṃ, Chinese literal meaning: 吽) syllable in the heart emanate the ten mothers, each within a spoke
Chinese
将十尊忿怒尊的各自咒语，对于上方和方向的忿怒尊，在念诵“嗡 班匝 卓达”时，抬起左脚并放下，然后笔直站立，念诵“吽 嘎ra 吽 嘎匝 嘎匝”等，对于忿怒尊各自的名字和事业不同的咒语，左右脚向各个方向旋转。同样地，对于角落和下方的忿怒尊，抬起右脚并放下，然后笔直站立，左脚向右边旋转，在十尊忿怒尊结尾的“吽 啪”时，左脚向前伸。其他跳神者也把金刚橛移到左边，与上师一样向前举起。从“嗡 嘎 嘎”到“萨瓦 杜斯丹”之间，右脚和手向后拉并挺胸，在“啪”时，左脚向内放下，上师举起右边的锤子，其他人也做同样的姿势。从“杰拉亚”到“吽 吽”之间，挺胸站立，右脚假装稍微抬起，在“吽”时向内放下，直到念完“班匝 杰拉亚”时，用锤子敲打金刚橛。在“班匝 达ra 阿嘉巴 亚地”时，左脚向内放下并敲打。从“萨瓦 维格南”到“杰拉亚”之间，右脚向内移动并敲打。在“吽 啪”时，左脚移动并敲打。同样的方法，方向的金刚橛向右旋转，角落的金刚橛向左旋转。上方的金刚橛插在东方，下方的金刚橛插在西方。忿怒尊们以金刚橛的方式插向十方魔障，那些魔障的身体被刺穿，无法动弹。
English
For the individual mantras of the ten wrathful deities, for the wrathful deities of the upper and directional, at "Oṃ vajra krodha," lift and lower the left leg, and then stand straight, and for mantras that differentiate the names and activities of the individual wrathful deities, such as "hūṃ kāra hūṃ garja garja," rotate the right and left legs in each direction. Similarly, for the wrathful deities of the intermediate directions and below, lift and lower the right leg, and then stand straight, and rotate the left leg to the right, and at the "hūṃ phaṭ" at the end of all ten, extend the left leg forward. The other dancers also move the kīla to the left and, in accordance with the teacher, hold it forward. From "Oṃ gha gha" to "sarva duṣṭān," pull the right leg and hand back and strut, and at "phaṭ," lower the left leg inward, and the teacher raises the hammer on the right, and the others also make the same gesture. From "kīlaya" to "hūṃ hūṃ," strut, and slightly lift the right leg insincerely, and at "hūṃ" lower it inward, and until "vajra kīlaya," strike the kīla with the hammer. At "vajra dhara ājñāpayati," lower the left leg inward and strike. From "sarva vighnān" to "kīlaya," move the right leg inward and strike. At "hūṃ phaṭ," move the left and strike. In that same manner, rotate the directional kīlas to the right and the intermediate kīlas to the left. Plant the upper kīla in the east and the lower kīla in the west. The wrathful deities, in the form of kīlas, were planted upon the obstructing demons of the ten directions, and their bodies were pierced, and they were without movement.
Chinese
思维转变为光明。༈。第十二，破除常断二边：伴随着单音鼓的演奏，以及单次敲击的四声大鼓之间的间歇性演奏和战斗，抬起右脚，用左脚后跟摩擦，依次在坛城的前方、右方、后方和左方放下，用小步使坛城平衡。抬起左脚，用四击跳跃，伸展莲花，抛掷宽广的莲花，然后仅用右脚寻找角，在说“二二”时，左右脚交替抬起放下，用金刚半步三次，将身语意三门显现为三金刚的自性，从而清晰地展现出不可分割的应摄受之坛城。用四步舞为了摧毁执着于相的内心结，像黑蛇盘绕般逐渐进入服装室，解开所有装饰品，收摄能依和所依之坛城，思维融入不可思议的明点法界，从而破除常边。再次穿上日常服装时，瞬间化现为嘿汝嘎身，通过穿衣戴帽和保护身体来破除断边。༈。第十三，回向祈愿：通过回向善根和说吉祥语来圆满结束。所有这些都要理解为仅仅是心和智慧的自显现之相，并与适当的仪轨次第相结合。༈。如果无法做到前面所说的坛城本尊的姿势，而喜欢简略的，那么在驱逐邪魔后，做大吉祥忿怒尊和十忿怒尊的十一种姿势，像以前一样插橛来做保护，也能成就所需。如是，以忿怒尊之姿势，伴随着咒语、禅定和手印，围绕坛城边缘，能摧毁所有魔众。因为这样说过。那是什么方式呢？即圣者所说的《方便羂索》中的十一种姿势。关于这些，虽然在手印的结法词语和祈请咒语上有一些细微的差别，但这里只写续部的金刚语。首先，主尊大吉祥尊的事业四手印是：双手合掌向上举，双脚脚底相合竖立，也要摧毁四大魔，头