English
If someone says this contradicts what was said before, it is because the two round beams at the back are referred to as beams of the back, categorized together, so there is no fault. For example, in the Vajra Origin it says, "Four stirrups and eight pillars." This is because the sixteen pillars of the stirrups, two on each side, are categorized together, so it is said to be eight. Lanka Gyaltsang said, "It is said to be four door frames." This is also because there are two door frames on each side, but they are categorized together, so it is said to be four. Therefore, the teacher said on the inner beams, "Lifted from the top of the four great beams." Here, saying that the roots of the beams are "lifted eight by eight" is also considering that such a misunderstanding might arise. Therefore, here, saying four beams is categorization, and placing them crosswise refers to placing the roots of the eight beams crosswise. Beneath each small part of the front and back beam pillars, there is an elephant, with a lion's one hand pressing on the elephant's head, and one arm raised and waving, with jewels hanging from its mouth. As it says in the Practice Tantra, "Decorated with lions and elephants." This is in accordance with what Lama Gongdu says, that the elephant is trampled by the lion's two feet, and the two raised hands support the beams. ༈. Above the beams, stirrups are made. On this, some ancient people say: The horse's foot is the pillar supporting the stirrup, the aquatic is the lotus, the frame is the dou, the zara net is the decoration of the beam, the silk drape is the corner ornament, the string drape is the vajra jewel and silk drape, the garland is the pearl garland or the dark decoration Sharbu, the khyung head is the four dougong. Beautifully arranged in order is, in the Vajra Garland it says, "Gold and Sharbu." The eleven silks mentioned, stacked in order, are said to have eight qualities. This is abandoning the statement that the stirrup silks are eight in all tantra sadhanas, and writing that there are eleven silks in the garland, which is very unreasonable. Some who connect the meaning of Dharma say: The horse's foot is the pillar, the aquatic and the frame are the male and female dougong of the back eaves, the zara net, silk drape, string drape, and garland, these four hang from the mouth of the female dougong, and the khyung head is the Chinese-style eaves.
Chinese
说在（坛城）上面左右两边，这也是和以前一样是错误的。另外，拉杰·若增的装饰是无漏的珍宝和各种衣服的幡条，伞和幢，用悬挂的装饰品、成串的装饰品和各种花环来装饰，并用各种琼鸟头来美化。如《班第日塔》中说：“足和无染的扎拉网。”等等。但我觉得这不合理，因为装饰的马蹬被丢弃了。另外，据说大成就者们的实践中，网眼的垂直高度是一个小部分，莲花和帕古各占一半，框架占两个小部分，还有莲花一半和框架一半又两个，帕古和琼鸟头各占一个，虽然有这样的说法，但这是不合理的。在《金刚次第》中说：“八个马蹬部分相等。”这与上述说法相矛盾。莲花、帕古、框架三者加倍，在续部修法中也没有见过。另外，在后来的实践中，金柱的装饰与边缘相等，马腿和莲花各占两个，其中一个小部分的长度，比珍宝短两个，比框架长一个，扎拉网、莲花、箭杆三个，依次减少一个小部分。这样的说法，在这个幻化宗中也是不合理的，因为这里金柱算在八个幡条之中。在《量度班第日塔》中说：“柱和马蹬八个部分相等。”因为“和”字将它们区分开来。另外，拉杰·色敦大师说，第一个幡条与柱子的边缘相等，然后依次一个抬高一个降低，琼鸟头减少两个小部分。这样的话，卷曲悬挂的基础中间是抬高的，其上下两个幡条是降低的，这不可能。认为卷曲悬挂和下摆也是不合理的。《光明次第》中说：“珍宝卷曲悬挂。”这与上述说法相违背。另外，在《度母释》中，引用《次第》说：“马腿、莲花、帕古、框架，幡条悬挂、狮子头、夏布花环。”并认为就是这样。在《永释》中也说了与此相同的内容。其他的意义与共同的意义相同，花环是用布舒花环围绕的。然而，《次第》的例子中
English
Saying that it is on the upper left and right sides (of the mandala) is also a mistake as before. In addition, the ornaments of Lhaje Rogzeng are flawless jewels and various clothes' streamers, umbrellas and banners, decorated with hanging ornaments, strings of ornaments, and various garlands, and beautified with various garuda heads. As it says in "Pandirtha": "Feet and stainless zara nets." etc. But I don't think this is reasonable, because the stirrups of the ornament are discarded. In addition, it is said that in the practice of the great accomplished masters, the vertical height of the mesh is one small part, the lotus and pagu each occupy half, the frame occupies two small parts, and there are also half a lotus and half a frame plus two, and the pagu and garuda head each occupy one, although there is such a saying, it is unreasonable. In the "Vajra Sequence" it says: "The eight stirrup parts are equal." This contradicts the above statement. Doubling the lotus, pagu, and frame is also not seen in the tantric sadhana. Also, in later practices, the gold pillar's decoration is equal to the edge, the horse's legs and the lotus each occupy two, the length of which is one small part, two shorter than the jewel, one longer than the frame, the zara net, lotus, and arrow shaft three, gradually reduce one small part each. Such a statement is also unreasonable in this illusory tradition, because here the gold pillar is counted among the eight streamers. In the "Measurement Pandirtha" it says: "The pillar and the stirrups have eight equal parts." Because the word "and" distinguishes them. In addition, Lhaje Seton Chenpo said that the first streamer is equal to the edge of the pillar, and then gradually one is raised and one is lowered, and the garuda head is reduced by two small parts. In this way, the base of the coiled hanging is raised in the middle, and the two streamers above and below it are lowered, which is impossible. It is also unreasonable to think of coiled hanging and hem. The "Light Sequence" says: "Jewel coiled hanging." This contradicts the above statement. In addition, in the "Tara Commentary", quoting the "Sequence" says: "Horse legs, lotus, pagu, frame, streamer hanging, lion head, shabu garland." and thinks that is the way it is. The same is said in the "Yung Commentary". The other meanings are the same as the common meanings, and the garland is surrounded by a pushu garland. However, in the examples of the "Sequence"
Chinese
为了……的缘故。除了有间隔的线条外，其余都是均匀的。左右两侧悬挂的欲妙部分，需要用薄木板覆盖。莲花要有底座，框架要有顶盖，垂饰要有底座和顶盖。夏布的毡子上方的琼头，要做得像鸟翼一样，四个角从琼头的暗处开始，带有卷角，比下方的马蹬略微向前突出一点。那些毡子左右两侧，与金柱和马腿柱饰对齐。然后，两个水框架略微突出一点，两个扎拉网收缩，一个垂饰突出，两个水垂饰收缩，一个夏布突出，然后一个琼头突出。总之，这种安装马蹬的顺序是，在《光鬘》中说：“为了果的功德圆满，马腿莲花珍宝框架，垂饰从基座产生扎拉网，珍宝卷曲垂饰夏布琼，次第形状颜色要美丽。”以及在《金刚次第》中说：“足和莲花珍宝器皿，垂饰产生扎拉网，束垂饰夏布鸟琼头，次第颜色要美丽。”以及在《释论·除暗》中说：“本体的缘故，马腿，莲花，框架，扎拉网，垂饰，束垂饰，夏布，鸟琼，在马蹬四柱的上方。”这样说了。这些也与之前引用的显示幻化差别的教证相符。另外，在《广大》中说：“足和无染扎拉网，垂饰束垂饰花鬘和，各种琼头次第相连。”这样出现。因为经续混乱，需要大车轨的论师们的口诀来解释。像《光鬘》等一样实践似乎更好，所以就这样做了。那些毡子在正面有雕刻牛背的下眼和内部的十一金刚网格，间距均匀。门房的柱子和屋顶也从外面可见，因此，要用与凉亭内部的颜色相符的颜料涂抹，使其美观。在那柱子的下方，在下檐的班杂热卡前面，放置拉热，在那外侧，从三檐的鸟翼的尖端开始……
English
For the sake of... Except for the dividing lines, the rest are even. The desirable qualities hanging on the left and right sides need to be covered with thin wooden boards. The lotus needs to have a base, the frame needs to have a top cover, and the pendant needs to have both a base and a top cover. The garuda head above the felt of the Sharbu should be made like a bird's wing, with the four corners starting from the hidden part of the garuda head, with curled corners, protruding slightly forward from the lower horse stirrups. Those felts on the left and right sides are aligned with the golden pillars and horse-leg pillar decorations. Then, the two water frames protrude slightly, the two zara nets contract, one pendant protrudes, two water pendants contract, one Sharbu protrudes, and then one garuda head protrudes. In short, this order of installing horse stirrups is, as stated in the "Garland of Light": "For the complete qualities of the fruit, horse legs, lotus, precious frame, pendant produces zara net from the base, precious curled pendant Sharbu Garuda, successively make the shape and color beautiful." And in the "Vajra Sequence": "Feet and lotus, precious vessel, pendant produces zara net, bundle pendant Sharbu bird Garuda head, successively make the color beautiful." And in the "Commentary Clearing Darkness": "For the sake of the essence, horse legs, lotus, frame, zara net, pendant, bundle pendant, Sharbu, bird Garuda, above the four pillars of the horse stirrups." This is what was said. These also correspond to the previously cited teachings that show the differences in illusion. Furthermore, in the "Extensive" it says: "Feet and undefiled zara net, pendant bundle pendant garland and, various garuda heads successively connected." This appears because the tantras are confused and need to be explained by the oral instructions of the great chariot masters. It seems better to practice like the "Garland of Light" and so on, so it was done that way. Those felts have lower eyes carved with bull backs on the front side and eleven vajra grids inside, evenly spaced. The pillars and roof of the gatehouse are also visible from the outside, so they should be painted with colors that match the colors inside the cool room to make them beautiful. Below that pillar, in front of the Pañca Rekhā of the lower eaves, place a lare, and on the outside of that, starting from the tip of the bird's wing of the three eaves...
Chinese
说“轮、鹿和伞都是四分”。上师们也作了实践的方便。这样，将具有莲花的特殊伞的伞柄的一个部分放在轮子的一侧，称为一个部分的伞。或者，如《秘密圆满》中所说：“伞分一半，柄分一半。”，做成一半一半。或者，另一种方式是，将莲花高度的一个部分的一半放在屋檐的栏杆一侧，看到走了多少尺寸的伞柄也不矛盾。法轮正前方的凉亭内，也认为要悬挂钟、犍椎、金刚杵和铃。在《法义》中说：“法轮是主要的象征，鹿是轮的象征，钟是决定义的象征声音，犍椎是引导义的象征，金刚杵和铃是方便和智慧的象征。”，这样解释了六种象征。因此，对于这个马厩的方面，其他学者也认为屋顶低矮是缺点，并且认为与凉亭的美丽相比，门前没有装饰是不美的，而且在马厩前竖立的门的高度等，看到没有遮挡门的哈尔。因为观修意义的马厩覆盖了三个门的高度，所以解释说没有说一个高度的那些都只是书写上的意思。并且认为牛背三眼像是在马厩下遮挡门的风的方式等等，出现了各种各样的说法。那些说法从今以后就像水树的果实一样变得没有意义，并且一定会遵循这个正确的论典。这是由于我的上师的善说力量。吉祥！装饰的差别是，在《金刚次第》中说：“用飘动的幡旗和花环，一定要装饰十方。”，如前在各自的情况下所说的那样。不仅如此，在《集密百族成就法》中说：“要美丽地装饰幡旗、伞和金刚宝幢。”，以及在《心髓嬉戏大续》中说：“伞和幡旗宝幢等，金刚宝物作装饰。”。因此，坛城主体建筑的四个角，以及门凉亭前方的两根内柱的外侧正上方。
English
It is said, "Wheels, deer, and umbrellas are all in four parts." The lamas also made it a practice. Thus, placing one part of the handle of the special umbrella with a lotus on the side of the wheel is called an umbrella of one part. Or, as it is said in the Guhyasamaja Tantra, "Half of the umbrella, half of the handle," making it half and half. Or, in another way, half of one part of the height of the lotus is placed on the side of the railing of the eaves, and it is not contradictory to see how much of the umbrella handle has gone. In the pavilion directly in front of the Dharma wheel, it is also considered necessary to hang bells, ghaṇṭās, vajras, and handbells. In the Chos don, it is said, "The Dharma wheel is the main symbol, the deer is the symbol of the wheel, the bell is the sound of definitive meaning, the ghaṇṭā is the symbol of guiding meaning, the vajra and bell are the symbols of means and wisdom," thus explaining the six symbols. Therefore, regarding this aspect of the stable, other scholars also consider the low roof to be a defect, and believe that the lack of decoration in front of the door is unbeautiful compared to the beauty of the pavilion, and that the height of the door erected in front of the stable, etc., see that the hār of the door is not obscured. Because the stable for contemplation covers the height of three doors, it is explained that those who do not speak of one height are only meant to be written. And it is believed that the three-eyed cow-back image is in the manner of obscuring the wind of the door under the stable, etc., various kinds of statements have appeared. Those statements will henceforth become meaningless like the fruits of a water tree, and will surely follow this correct treatise. This is due to the power of the good speech of my master. Auspicious! The difference in decoration is that in the Vajra Sequence it is said, "With fluttering banners and garlands, be sure to decorate the ten directions," as mentioned earlier in each case. Not only that, in the Hevajra Hundred Families Sadhana it is said, "Beautifully decorate banners, umbrellas, and vajra victory banners," and in the Essence of Great Play Tantra it says, "Umbrellas and banners, victory banner assemblies, vajra jewels as decorations." Therefore, the four corners of the main building of the mandala, and directly above the outer boundary of the two inner pillars in front of the door pavilion.