Chinese
嬉戏！当示现八臂时，用两手抓住绸缎，像风轮一样旋转着供养。第二是说张弓搭箭。具有颅鬘顶饰，以及佛顶宝珠。如是说的是，与吉祥黑汝嘎的顶饰和金刚萨埵的顶饰相似，以颅骨和佛顶宝珠庄严。其中，颅骨顶饰是为了主要显示菩提心，虽然一切顶饰都是菩提心的象征，但在哪里主要宣说哪个，就应该特别结合。以瑟惹拉卡的姿势，以卡杖嘎作为后盾，左手拿着颅骨，右手做三瓣旗。虚空的印契瑜伽士。如是等等所说的是，在此吉祥黑汝嘎坛城中宣说了八位金刚空行母，其中，女神曼夏那是一切种性生起的基础，是一切业的主宰，因此在此示现了母尊卓提夏瓦里，卡杖嘎立在瑟惹拉卡上作为后盾，左手拿着颅骨，右手以三瓣旗拥抱主尊的方式，显示了恒常结合且不分离。又是为了什么缘故呢？吉祥黑汝嘎是在大尸陀林中恒常嬉戏于打和嘎那的事业中而示现的缘故。一切虚空平等结合，善劫吉祥金刚空行母是安乐之最。这是名为的印契。如是说，是女神的印契之义。现在是为了显示吉祥黑汝嘎的跏趺坐，以右和左的结合。如是等等所说的是，在此跏趺坐也是从受用和嬉戏中取菩提心而调伏。那是为了显示眷属空行母们的印契。此后，更加详细地宣说，在佛空行母的坛城中。如是等等所说的是，其中，这些空行母们的印契的舞蹈的特征，也在此显示为七个次第。其中，第一是，显示安住方式的舞蹈。第二是，显示观看方式的舞蹈。第三是，以誓言印契的方式来印持和灌顶。
English
Playing! When showing eight arms, holding the silk with both hands, offering by spinning it like a wheel of wind. Second is said to be drawing the bow. Possessing a garland of skulls as a head ornament, and the jewel of the Buddha's crown. As it is said, it is similar to the head ornament of glorious Heruka and the head ornament of Vajrasattva, adorned with skulls and the jewel of the Buddha's crown. Among them, the skull head ornament is to mainly show the mind of enlightenment, although all head ornaments are symbols of the mind of enlightenment, wherever it is mainly spoken of, it should be specially combined. In the manner of Seralka, with a khatvanga as a support, the left hand holding a skull, the right hand making a three-petaled flag. The yogi of the mudra of space. As it is said and so on, in this mandala of glorious Heruka, eight Vajra Dakinis are spoken of, among them, the goddess Menasha is the basis of the arising of all lineages, is the master of all actions, therefore here the mother Krodheshvari is shown, the khatvanga is erected on Seralka as a support, the left hand holding a skull, the right hand embracing the main deity with a three-petaled flag, showing constant union and non-separation. And again, for what reason? Glorious Heruka is shown to be constantly playing in the activities of daka and gana in the great charnel ground. All space equally united, the auspicious Vajra Dakini of the good aeon is the supreme of bliss. This is the mudra called. As it is said, it is the meaning of the goddess's mudra. Now, in order to show the lotus posture of glorious Heruka, with the union of right and left. As it is said and so on, here the lotus posture is also subdued by taking the mind of enlightenment from enjoyment and play. That is to show the mudras of the retinue of Dakinis. After that, explaining in more detail, in the mandala of the Buddha Dakinis. As it is said and so on, among them, the characteristics of the dance of the mudras of these Dakinis are also shown here in seven stages. Among them, the first is, showing the dance of the way of dwelling. The second is, showing the dance of the way of looking. The third is, sealing and empowering through the mudra of samaya.
Chinese
展示行为的舞蹈。第四是，展示舞蹈的业和功德。第五是，展示舞蹈的方法。第六是，从业的角度展示业的手印。第七是，展示空行母们的名字和数量次第。其中首先展示姿势的舞蹈是：寂静和猛烈迷惑之极，欢喜的舞蹈变化具，以死亡复活的结合，安乐的手印极安住。如是说。其中寂静是增长母的手印，姬丽妮处于寂静的姿势而安住。同样，摄心母即作乌处于猛烈的姿势而安住。迷惑母即钵啰摩诃处于迷惑的姿势而安住。举起母即吠达里处于欢喜的姿势而安住。舞蹈母即布嘎悉处于舞蹈的姿势而安住。杀戮母即旃扎里处于散乱变化的姿势而安住。深奥母即伽斯玛里处于死亡复活的姿势而安住。安乐手印极安住。如是说的是，总结的词句，这些是空行母们安乐而住的手印。是这个意思。没有说女神尸林母，是因为总的显示了一切，所以特别说也不需要了。上面已经显示了母 क्रोधेश्वरी (krodheshvari，愤怒自在母)本身，所以只是与主尊结合的姿势而安住。然而，要知道这些女神们都与如所说的各自的姿势相应的，与大吉祥的身结合而具有安乐安住的手印。那是通过展示姿势的舞蹈，而知晓在结合的安乐中安住的舞蹈。那是为了展示第二种观看方式的舞蹈。寂静猛烈迷惑和，向上出气舞蹈身，观看手印成就之极。如是说。其中，郭里以寂静观看，而细微地观看。作乌里以猛烈观看，而反过来观看。钵啰摩诃以迷惑观看，而以文字形式观看。吠达里以死亡苏醒的姿势观看，而缓慢地稍微向上观看。布嘎悉以舞蹈的姿势观看，而多样地观看。
English
Showing the dance of behavior. Fourth, showing the karma and merits of the dance. Fifth, showing the methods of the dance. Sixth, showing the hand seals of karma from the perspective of karma. Seventh, showing the names and numerical order of the Dakinis. Among them, the first to show the dance of posture is: Peaceful and fierce, the ultimate of delusion, joyful dance with changes, with the union of death and resurrection, the hand seal of bliss dwells exceedingly. Thus it is said. Among them, peaceful is the hand seal of the increasing mother, Kīriṇī dwells and abides in a peaceful posture. Similarly, the heart-extracting mother, Tsou, abides in a fierce posture. The deluding mother, Pramoha, abides in a deluded posture. The lifting mother, Betaali, abides in a joyful posture. The dancing mother, Puskasi, abides in a dancing posture. The killing mother, Chandalī, abides in a distracted and changing posture. The profound mother, Ghasmari, abides in a posture of death and resurrection. The hand seal of bliss dwells exceedingly. Thus it is said, it is a concluding phrase, these are the hand seals of the Dakinis dwelling in bliss. That is the meaning. The goddess Smashani is not mentioned because it is shown generally to all, so it is not necessary to mention it specifically. Above, the mother Krodheshvari herself has already been shown, so it is merely abiding in a posture of union with the main deity. However, it should be known that all these goddesses are combined with the body of great auspiciousness, possessing the hand seal of dwelling in bliss, corresponding to their respective postures as described. That is, through showing the dance of posture, one should know the dance of dwelling in the bliss of union. That is to show the dance of the second way of looking. Peaceful, fierce, deluding, and, exhaling upwards, dancing body, the ultimate of accomplished viewing hand seal. Thus it is said. Among them, Gauri looks peacefully, and looks subtly. Tsouri looks fiercely, and looks reversely. Pramoha looks deludedly, and looks in the form of letters. Betaali looks in the posture of death and awakening, and looks slowly and slightly upwards. Puskasi looks in a dancing posture, and looks diversely.
Chinese
旃荼梨被视为心不在焉，以叹气的方式。伽摩梨被视为吃尸体的方式，这里也与“身体”一词结合。观看的手印殊胜无比。这被称为结束语，意思是：观看姿势的舞蹈手印自然而然地具有和谐性。这是为了通过第三个誓言手印来展示扩展和控制的舞蹈。秘密结合胜乐，花朵和焚香结合殊胜，酒和水以及嫩枝和，布和火供的成就，特别地也进行扩展。如是说。其中，“秘密结合胜乐”的意思是：所有明妃都通过与大乐结合的方式进行扩展，不会超越这一点，因此成为誓言手印。其中，花朵是：首先通过贪恋来控制，从而进行扩展，这是扩展母的手印。花朵和箭也意义相同，所有控制的箭都被称为花箭。在世间，被称为花箭的爱神卡玛德瓦，将五种欲望的功德手印，五支花箭射向谁，谁就会不由自主地产生贪恋，从而被控制。智慧本尊也像度母一样，在进行控制的事业时，也像使用花箭一样。焚香结合，是勾摄母的手印，因此焚香和铁钩也意义相同，以勾摄的方式进行扩展。酒是，迷惑母的手印，手中拿着装满酒的颅碗，以迷惑的方式进行扩展。水是，滋养母的手印，手中拿着甘露之水，以滋养的方式进行扩展。嫩枝是，舞蹈母的手印，拿着如意树的嫩枝，以舞蹈的方式进行扩展。田地的脊椎骨颅碗与柳条不分离，也被称为如意树的嫩枝。布，是杀母的手印，手中拿着布的旋风，使世界轮回，因此是扩展母。火供，是深
English
Caṇḍālī is seen as being distracted, in the manner of sighing. Ghasmārī is seen in the manner of eating corpses, and here it is also combined with the word "body." The mudrā of viewing is supremely accomplished. This is said to be a concluding statement, meaning: the dance mudrā of viewing postures is naturally harmonious. This is because of showing the dance of expanding and controlling through the third samaya mudrā. Secret union, supreme bliss, flowers and incense combined are supreme, wine and water, and twigs, cloth and fire offerings are accomplished, and especially also expand. It is said. Therein, "secret union, supreme bliss" means: all goddesses also expand through union with great bliss, and do not go beyond this, therefore it becomes a samaya mudrā. Therein, the flower is: first, it expands by controlling through attachment, it is the mudrā of the expanding mother. Flower and arrow are also the same meaning, all arrows of control are called flower arrows. In the world, even the god Kāmadeva, who is called the flower-arrowed one, whoever is struck by the five flower arrows, the mudrā of the five qualities of desire, will involuntarily generate attachment and be controlled. Even the wisdom deities, like the goddess Tārā, when performing the activity of control, are like using flower arrows. Combining incense is the mudrā of the hooking mother, therefore incense and iron hook are also the same meaning, it expands in the manner of gathering. Wine is the mudrā of the deluding mother, holding a skull cup filled with wine in her hand, it expands in the manner of deluding. Water is the mudrā of the nourishing mother, holding amrita water in her hand, it expands in the manner of nourishing. Twig is the mudrā of the dancing mother, holding a twig of the wish-fulfilling tree, it expands in the manner of dancing. The skull cup of the spine of the field, inseparable from the willow, is also called the twig of the wish-fulfilling tree. Cloth is the mudrā of the killing mother, holding a whirlwind of cloth in her hand, it makes the world revolve, therefore it is the expanding mother. Fire offering is deep.
Chinese
她是手印，即手持火焰燃烧世界，是增益母。所谓的成就地是指，所有这些手印都是自生的手印，像这样的手印尤其能增益。这样就结束了。这里，女神尸林母是普遍适用的增益手印。现在为了展示第四个手印，即嘎巴拉舞的业和功德的果报是什么样的给予，因此说：以专注的结合，给予结合的勤勉和安乐。如是说，她是增益母，即嘎丽的手印，以专注地结合，通过结合的业，给予勤勉的成就，寂静和增益。同样地，也适用于其他，引诱母查丽能以猛烈的方式从心中取出，给予。迷惑母，即帕摩哈给予迷惑。举起母，即贝塔丽能救活，给予。舞母，即布嘎西以猛烈的业和力量成就，给予。杀母，即旃达丽给予散乱和杀戮的成就。深奥母，即格玛丽给予焚烧和吞噬恶毒的成就。尸林母是一切成就之母。这是第五个，为了展示姿势的舞蹈，从“显现散乱并摇动铃铛”到“食物和秘密的身体”之间所说的。其中，“显现散乱并摇动铃铛”是旃达丽的舞姿。“缓慢地向上呼气”是贝塔丽的姿势。“向左看”是高丽的舞姿。“用手伸直”是卓丽引出心脏的舞姿。“亲吻拥抱也是如此”是帕摩哈因贪欲而迷惑的舞姿。“舞蹈极度迷惑”是布嘎西的舞蹈迷惑的舞姿。“食者”是格玛丽食尸鬼的舞姿。“秘密的身体”就是尸体本身。结合吃尸体的场合。或者说，秘密的身体是女神尸林母的手印。这是月官阿阇黎所说。
English
She is the mudra, that is, holding the flame in her hand and burning the world, she is the increasing mother. The so-called land of accomplishment means that all these mudras are self-born mudras. Such mudras especially increase. This is the end. Here, the goddess Smashana is a universally applicable increasing mudra. Now, in order to show the fourth mudra, that is, what kind of fruit of karma and merit does the Kapala dance give, therefore it is said: With focused union, give the diligence and happiness of union. As it is said, she is the increasing mother, that is, the mudra of Gari, with focused union, through the karma of union, she gives the diligence of accomplishment, peace and increase. Similarly, it also applies to others, the enticing mother Chari can take out from the heart in a violent way, give. The bewildering mother, that is, Pramoha gives bewilderment. The lifting mother, that is, Betali can save, give. The dancing mother, that is, Bugasi accomplishes with violent karma and power, give. The killing mother, that is, Chandali gives the accomplishment of distraction and killing. The profound mother, that is, Ghamari gives the accomplishment of burning and devouring malice. Smashana is the mother of all accomplishments. This is the fifth, in order to show the dance of posture, from "manifesting scattering and shaking the bell" to "food and secret body" what is said in between. Among them, "manifesting scattering and shaking the bell" is the dance posture of Chandali. "Slowly exhaling upwards" is the posture of Betali. "Looking to the left" is the dance posture of Gauri. "Straighten with the hand" is the dance posture of Droli extracting the heart. "Kissing and embracing is also the same" is the dance posture of Pramoha bewildering with greed. "Dancing extremely bewildered" is the dance posture of Bugasi's dance bewildering. "The eater" is the dance posture of Ghamari eating corpses. "The secret body" is the corpse itself. Combine the occasion of eating corpses. Or, the secret body is the mudra of the goddess Smashana. This is what Acharya Chandra Gomi said.