Chinese
是为量。如是说。中等量有两种：或者身体是三的量，或者肘是十六。如是说。大等量有两种：二十或者二十五做。如是所说，此处说的不小于一肘之量，是因为那是小量，所以是不能小于那个的决断语。那个台子的形状是，中间高，四面都平坦。然而，如果东边高则短命，如果北边高则财物耗尽。如是所说，所以东边和北边稍微做低。如何如理等等，是说详细显示了直径角等等的画线方式，是读者可以完成的。画线方式如果不同，应当这样知道：首先画第一条直径线，那个中心量画在坛城的中心，那个上面拿着画一个圆，那个和直径线相交的地方，拿着比之前的线稍微长或者短一些，那个用什么到达那个圆的，外面和里面朝向角落的，痕迹那个上面画直径线和，第二条角线。从中心向每一边角线的上面，做九个等分的记号，那个上面每一边大份是，九九十八画，第一个画一半，后面画，第二个分为四份，第三个第四个不画放着，第五个舍弃中间画两边，第六个画一半后面画，第七个第八个分为四份，第九个舍弃中间画两边。如是马面八和，四的时候，做八个等分的记号。如是说，八八十六画。如是说，第七个分为四份第八个舍弃中间。如是说。又是门闩的时候，九九十八画。那个上面大份里面三个，切一半做成六个。第一个画一半后面一半，第二个里面一个小份，第三个第四个不画第五个舍弃中间，第六个画一半后面画。那是里面的门。大份第四个是外面的走廊。第五个舍弃中间画两边。如是等等和之前一样，比写在其他地方的在这里做容易。然而经文中首先从箭线开始画，是为了确定根线等便于理解，以及从共同组合的仪轨中。
English
That is the measure. Thus it is said. There are two medium measures: either the body is the measure of three, or the cubit is sixteen. Thus it is said. There are two large measures: make twenty or twenty-five. As it is said, here it is said that it is not less than one cubit in size, because that is a small size, so it is a decisive statement that it cannot be smaller than that. The shape of that platform is that the middle is high and all sides are flat. However, if the east is high, it will be short-lived, and if the north is high, wealth will be exhausted. As it is said, the east and north should be made slightly lower. How to reason, etc., is to say that all the methods of drawing lines such as diameter angles are shown in detail, which can be completed by the reader. If the drawing method is different, it should be known as follows: First draw the first diameter line, that center measure is drawn in the center of the mandala, hold it on top and draw a circle, where it intersects with the diameter line, hold it slightly longer or shorter than the previous line, what reaches that circle with that, outside and inside towards the corner, on the trace draw the diameter line and, the second angle line. From the center to each side of the angle line, make nine equal marks, on top of that each side is a large part, draw nine nine eighteen, the first one draw half, the back one draw, the second one divide into four parts, the third and fourth ones do not draw and leave it, the fifth one abandon the middle and draw both sides, the sixth one draw half and the back one draw, the seventh and eighth ones divide into four parts, the ninth one abandon the middle and draw both sides. Thus, when the horse face is eight and four, make eight equal marks. As it is said, draw eight eight sixteen. As it is said, the seventh is divided into four parts and the eighth is abandoned in the middle. Thus it is said. Also, when it is a door bolt, draw nine nine eighteen. On top of that, there are three large parts inside, cut in half and make six. The first one draw half and the back one half, the second one has a small part inside, the third and fourth ones do not draw and the fifth one abandon the middle, the sixth one draw half and the back one draw. That is the inner door. The fourth large part is the outer corridor. The fifth one abandon the middle and draw both sides. Thus, etc., is the same as before, it is easier to do here than written elsewhere. However, in the scripture, drawing from the arrow line first is to determine the root line, etc., to facilitate understanding, and from the common combination of rituals.
Chinese
也是如此。线是从外面画的，颜料是从里面涂的。这是所说之意。还有，将大分分成十八和十六份，这在《金刚事业次第》中说：每一方九九共三十六，加上边角，最好的细线是四十四。好好地分开颜色也可以。还有，《乐集根本续》中说：线要画十六份。舍啰达（Śraddhā）也说：四面的部分要分开，每一面也要分成十六大份，各自详细地分开。这是所说的意思，是总的说法。具体来说，从八马和四马延伸出来，讲述各个坛城的线。首先，画幻化寂静坛城线的方法是中等坛城的画法。简略的是没有中庭的断角上开门，详细的是宫殿轮有四个轮辐和中心，每一个都由四个轮辐和中心组成。这里的八马排列顺序，以及制作寂静坛城的基础轮不使用三个环境等等的意义，都非常广泛地写在《寂静中等坛城生起次第》中，如果想了解就去看那里。忿怒尊也是用它来覆盖的。在大会集坛城中，寂静金刚界在上，大会集在下室，忿怒尊做成九重门，这是在吽迦啰（Hūṃkāra）的结印释中说：无边无际的殿堂九个庭院燃烧着火焰，是为了九乘的证悟智慧圆满，所以看到九重门，庭院有高低的层次。一般来说，变成九门是因为第一方的缘故从东方开始说的。重叠是指在第九层门上分开下层的基础。那些有二十七条线。这是遵循所说而写的，是自己上师的意旨。其中，中间的三个圆圈是，大胜乐、胜乐金刚、金刚黑噜嘎（Vajra Heruka）三者的位置。然后依次在八个轮辐上有续部传承的八个忿怒尊，凸起处和断角上有八个嘎哩玛（garīma），第一个中庭有八个辛哈玛（siṃhama），在它的门上
English
It is also like that. The lines are drawn from the outside, and the paint is applied from the inside. This is the meaning of what was said. Furthermore, this division into eighteen and sixteen large parts is stated in the Vajra Karma Sequence: On each side, nine nines make thirty-six, plus the corners, the best fine lines are forty-four. It is also good to separate the colors well. Also, in the Root Tantra of the Bliss Gathering, it says: The lines should be drawn in sixteen parts. Śraddhā also says: The parts of the four faces should be divided, and each face should also be divided into sixteen large parts, each separately and in detail. This is the meaning of what is said, which is a general explanation. Specifically, from the eight-horse and four-horse emanations, the lines of each mandala are explained. First, the method of drawing the lines of the Illusion Peaceful Mandala is the method of drawing a medium mandala. The abbreviated version has doors opened on truncated corners without a courtyard, and the expanded version has a palace wheel with four spokes and a center, each of which is marked with four spokes and a center. The order of arrangement of the eight-horse here, and the meaning of making the basic wheel of the peaceful mandala without using three environments, etc., are written extensively in the Generation Stage of the Medium Peaceful Mandala, so if you want to know, look there. The Wrathful One is also covered by it. In the Great Assembly Mandala, the Peaceful Vajradhātu is above, and the Great Assembly is in the lower chamber, and the Wrathful One is made into a nine-tiered door. This is stated in the commentary on the Mudrā of Hūṃkāra: The boundless palace with nine courtyards burning with flames is because the nine wisdoms of the nine vehicles are fully perfected, so the nine-tiered door is seen, and the courtyards have high and low levels. Generally, becoming nine doors is because of the first direction, starting from the east. Superimposition refers to separating the foundation of the lower level on the ninth level door. Those have twenty-seven lines. This is written following what was said, and it is the intention of my own guru. Among them, the three circles in the center are the places of Mahottama, Vangchog, and Vajra Heruka. Then, in order, on the eight spokes are the eight wrathful deities of the tantric lineage, on the protrusions and truncated corners are the eight garīmas, the first courtyard has eight siṃhamas, and on its door
English
My four doors, the second layer has eight maids, the middle door, the third layer has twenty-eight independent mothers, the fourth layer has thirty-two dakinis, the fifth layer has seven mothers and four sisters, the sixth layer has eighteen ging, the seventh layer has sixty wrathful deities, the eighth layer has three hundred and sixty messengers, and the ninth layer has sixty matrikas. It is said that the vidyadharas reside in the stables on the four sides. Some people place the peaceful mandala in the center and make eleven overlapping doors, etc., but no clear basis has been seen. The main deity of the wrathful mandala is difficult to find a place to place, which is a defect. Also, in the Kun Dus Kyi Berka Yigung, written by Acharya Śāntarakṣita: 'The palace has nine layers of doors, with two gaps at the ends, and five portico courtyards, totaling eight. If one is on the circumference, if the circumference is round, consider it on the lintel.' This is a rough description. In the root tantra, it is said: 'The wheel has six layers, and the vajra circumference has seven layers.' It is said that these were not explained by the previous scholars, so it is not appropriate to speculate arbitrarily. Here, taking the inner third of the lines as the inner wheel, and dividing the other two combined into five parts, with the inner four parts as the eight doors, and the outer one as the outer door, this practice can be applied regardless of the size of the mandala, so it is easy. Otherwise, when spacious residences and wealthy patrons build large mandalas, the inner third can be used as the inner wheel, the middle palace as the eight doors, the inner third of the outer three parts as the portico, and the outer two parts as the doors, and then stables of the same size as the doors can be built outside, and the environment outside can be surrounded from the roof, which is easy to do and beautiful. However, in small mandalas, it is difficult to build eight doors in the middle third, so it is not written here. Regarding the arrangement of the hundred-petaled lotus of Dongtrung, it is said in the Eight-Branched Sequence: 'Surround six circles and divide into five layers, four, eight, sixteen, thirty-two, and finally it becomes forty.' Just like that. Here, the separate doors have no sides, and the sizes of the stables are not equal, which need to be examined. The reasons have already been explained in the self-arising discourse. Now, the construction methods of the various mandalas extended from the four stables are that most treasure texts have deity cloths.
Chinese
虽然像舍弃了不必要的走廊而汇集了寂静，但是在降伏者的坛城仪轨中说了走廊，所以觉得其他的也可以选择有或者没有吗？从《乐集寂静》中说，这里说的是四马桩，因为阿阇黎的线仪轨中说：“一部分分为四份是马桩。”以及“第七份分为四个小部分。”虽然如此，但是从《寂静集根本续》中说：“之后土地线依次，九九之自性十八处，分为部分之相等等。”以及，从四十二寂静的修法中也说：“四解脱之门环，具有八解脱之马桩。”因为也有说是八个的，所以不是绝对的。外面的环境也是，从线仪轨中说：“首先是世间护方神，其次是金刚墙，第三是猛烈燃烧的火焰山。”以及，从坛城做法的次第中说：“护方神是白色丝绸的各种莲花。”因此，这里像幻化寂静一样做了莲花，因为说了选择，所以用护方神丝绸代替莲花墙，或者一种方式是在莲花的中心开口处安置护方神，这样也不矛盾吧。这里对里面的九个宫殿做马桩是不合适的，因为线仪轨中说：“中央的九个宫殿，没有门饰马桩。”因为这样说了。忿怒尊的时候，这里对内门不做马桩和做的两种方式中，第一种是根本续的第八品中说：“从那之后九个大坛城，全部都是四辐轮，有截角中间走廊四门，那些外走廊门等等，具有门饰铁墙，用五种颜色好好地绘制。”因为没有说内门有门饰。第二种是，从中等的生圆次第的现观中说：“全部都是四门，作为事业四种形态的象征是四马桩。”这样说了。因此，这里上师的实践中做了没有马桩的一方。马桩的丝绸是八个和四个，以及佛塔的形状，四个像蜘蛛网一样，三种中，第一种是，名为《修法宝鬘》的，被称为大禅定处所中，完全