Chinese
法界。平等性各自证悟，成办所作之智慧中自然成就，故以四方，嗔恚虚空，阿赖耶识三者安住于如镜之智中，故以中央之名安立。五大为五母，五蕴为五父，五毒安住于五智之体性中，乃不可思议之坛城。一切显有轮回涅槃之法，本初即自然成就，是为自性大圆满。证悟彼者之瑜伽士，对于一切显有轮回涅槃之法，无有取舍与破立，于自生智慧之大坛城中行持。实义上，无论显现何者，生起何者，皆无取舍，乃坛城之嬉戏。第二分为二：真实三摩地之坛城，以及由此成就之果坛城之宣说。初者分为二：所依宫殿之坛城，以及能依本尊之坛城。初者分为三：宫殿，庄严，座垫三者。初者是：四智象征断除无明，为四辐之轮。彼亦象征远离戏论之智慧，具足白色圆形之环。其外侧以四方隅装饰，象征四无量。象征智慧无有边际与偏袒，中庭周遍回旋。作为广大功德增长之象征，彼宫殿之形相周遍为四方形。具足象征四解脱之门环。由此象征具足八解脱之八马座。
English
The Dharmadhatu. Equality is individually realized, and spontaneously accomplished in the wisdom that accomplishes actions, hence the four directions. Anger, space, and the three consciousnesses abide in mirror-like wisdom, hence the name "center" is established. The five elements are the five mothers, the five aggregates are the five fathers, and the five poisons abide in the essence of the five wisdoms, which is the inconceivable mandala. All phenomena of appearance, existence, samsara, and nirvana are spontaneously accomplished from the beginning, which is the Great Perfection of Self-Nature. The yogi who realizes this, for all phenomena of appearance, existence, samsara, and nirvana, without acceptance or rejection, without negation or affirmation, practices in the great mandala of self-arisen wisdom. In essence, whatever appears, whatever arises, there is no acceptance or rejection, it is shown as the play of the mandala. The second has two parts: the actual mandala of samadhi, and the explanation of the resultant mandala accomplished by it. The first has two parts: the mandala of the supporting palace, and the mandala of the supported deities. The first has three parts: the palace, the ornaments, and the seat. The first is: the four wisdoms symbolize the cutting of ignorance, which is the four-spoked wheel. It also symbolizes the wisdom free from elaboration, possessing a white, round ring. Outside of that, it is adorned with four corners, symbolizing the four immeasurables. Symbolizing that wisdom has no limits or partiality, the courtyard revolves in all directions. As a symbol of the increase of great qualities, the shape of that palace is square in all aspects. Possessing door frames symbolizing the four liberations. Symbolizing that it possesses eight horse supports of the eight liberations.
Chinese
被严密地覆盖。为了美化它，用四十二个各自的座垫坛城来装饰，其数量与天界的数量相等。将神殿的装饰连接起来是不相关的。第三，座垫象征着四种无畏等等，由狮子、大象、马、鹏和迦楼罗抬起的大宝座。智慧是太阳，方便是月亮，没有瑕疵的是莲花。因为从这些之中产生一切愿望，所以由珍宝的宝座腿抬起。也就是，五部有五层重叠，法界的普贤父母有四层重叠，菩萨们有三层重叠，六个能仁各有莲花座，门神们则各自只有太阳。如《光明次第》中所说：宫殿中央的中心，具有八个无畏的狮子。东方中心有强大的大象。南方有八匹神变的马。西方的宫殿有孔雀。北方有八个事业吉祥鸟。宝座腿之间装饰精美，日月五层重叠。日月莲花三重叠是心。太阳单独是忿怒尊，莲花单独是能仁。事业的普贤父母，日月莲花珍宝增长。以平等的姿态安住于座垫上。如此说。孔雀和鹏的功能相同，都象征着平息毒素，因此没有矛盾。第二，所依赖的六种本尊坛城中，如何安住的方式是，在那些座垫上，普贤父母和如来们是国王的姿态，因为二利任运成就，十二位圆满正觉的父母是金刚跏趺坐。菩萨父母们以大臣的姿态被安排在周围，是菩萨的半跏趺坐，右伸左屈的姿态。门神们以将军的姿态，降伏障碍和邪见，面朝外看着，以勇士的姿态安住。能仁们因为各自所化度的众生之主显现为形象，所以不以小国王的姿态安住，而是站立着。第二，在什么位置安住着什么本尊是，中央轮的中心和四个轮辐上，以毗卢遮那佛为首的五部佛父和五部佛母，从主尊的右侧，即东南西北四个轮辐侧面，见到地藏王菩萨等。
English
They are densely covered. To beautify it, it is adorned with forty-two individual seat mandalas, the number of which is equal to the number of divine abodes. Connecting the ornaments of the divine palace is irrelevant. Third, the seat is a great throne supported by lions, elephants, horses, garudas, and khyungs, symbolizing the four fearlessnesses, etc. Wisdom is the sun, method is the moon, and the lotus is without defects. Because all desires arise from these, it is supported by jeweled throne legs. That is, the five families have five layers, the Samantabhadra yab-yum of the realm of phenomena have four layers, the bodhisattvas have three layers, the six Thubpas each have a lotus seat, and the gatekeepers each have a single sun. As it says in the "Light Sequence": In the center of the palace's core, there are eight fearless lions. In the eastern center, there is a powerful elephant. In the south, there are eight miraculous horses. In the western palace, there is a peacock. In the north, there are eight activity Shang-shangs. The throne legs are beautifully adorned, with five layers of sun and moon. Three layers of sun, moon, and lotus are the mind. A single sun is for the wrathful ones, and a single lotus is for the Thubpas. For the acting Samantabhadra yab-yum, the sun, moon, lotus, and jewels increase. They dwell on the seat in an equal manner. So it is said. The peacock and the khyung have the same function, symbolizing the pacification of poison, so there is no contradiction. Second, among the six deity mandalas that are relied upon, the manner of dwelling is that on those seats, the Samantabhadra yab-yum and the Tathagatas are in the manner of kings, because the two benefits are spontaneously accomplished, the twelve complete Buddhas yab-yum are in the vajra posture. The bodhisattva yab-yums are arranged around as ministers, in the posture of a bodhisattva, with the right leg extended and the left leg bent. The gatekeepers, in the manner of generals, subdue obstacles and wrong views, looking outwards, dwelling in the posture of warriors. The Thubpas, because the lords of the beings they tame appear as forms, do not dwell in the manner of petty kings, but stand. Second, which deity dwells in which place is that in the center of the central wheel and on the four spokes, the five Buddha fathers, headed by Vairochana, and the five Buddha mothers, from the right side of the main deity, that is, on the four side spokes from southeast to northwest, one sees Kshitigarbha, etc.
Chinese
我，听觉金刚手，嗅觉虚空藏，味觉观世音。伴随着具有王妃本性的娇媚女子，花鬘，歌女，舞女等。同样地，在东南等四个角落，依次是见者慈氏，闻者除盖障，嗅者普贤，味者文殊，伴随着王妃焚香，鲜花，灯，不净的香水和拥抱交合的姿态而安住。外面的外院有天等六能仁，如《光次第》中所说：东、南是天，南面是人，西南、西北是饿鬼、旁生，北和东北是阿修罗、地狱。这样安住。主尊的前后，作为能作者的普贤，是光芒的显现者，以及作为作业母的普贤母，是光芒的显现之基，这两者被指出安住在内院的东、西面。因为从这两者显现一切坛城。对此，有些人认为是主尊的后面和前面，有些人认为是外院的东面和西面，有些人认为是安住在主尊的心间，没有找到确定的心髓。这才是正确的。此处所说的外院，是光芒显现之基的普贤父母。坛城的主尊普贤父母就是五部，因此没有差别。其中所说的四十二尊，是报身寂静显现的描述，而不是指能作者和作业是主尊。在修禅定时，于主尊的心间观修普贤父母，是在心执持于心髓光明时，观修法身普贤父母充满色彩，从而把握光明，这是圆满次第有相的范畴。如前所示，在法身的刹土中，由于远离戏论，是普贤父母，由此，在四时平等性之智慧圆满庄严时，是报身五部父母，由此，在所化众生的世间，是金刚手和金刚萨埵的自性以及六能仁等，例如，如同在这佛土中，被称为薄伽梵释迦牟尼者，以声闻和缘觉以及异生和资粮道而安住，是为化身。
English
I, the hearing Vajrapani, the smelling Akashagarbha, and the tasting Avalokiteshvara. Accompanied by charming women with the nature of queens, flower garlands, singers, and dancers. Similarly, in the four corners such as southeast, in order, are the seeing Maitreya, the hearing Sarvanivaranaviskambhin, the smelling Samantabhadra, and the tasting Manjushri, abiding with queens, incense, flowers, lamps, impure perfumes, and the manner of embracing and uniting. In the outer courtyard, there are six Thubpas (capable ones) such as gods, as it says in the 'Light Sequence': 'East and south are gods, south is human, southwest and northwest are pretas and animals, north and northeast are asuras and hells.' Thus they abide. In front of and behind the main deity, the actor Samantabhadra, the manifestor of radiance, and the action mother Samantabhadri, the basis of the manifestation of radiance, these two are shown to abide in the east and west of the inner courtyard. Because from these two, all mandalas are manifested. Some think of these as behind and in front of the main deity, some think of them as the east and west of the outer courtyard, and some think of them as abiding in the heart of the main deity, but they have not found the definitive essence. This is correct. Here, the outer courtyard that is spoken of is the Samantabhadra father and mother, the basis of the manifestation of radiance. The main deity of the mandala, Samantabhadra father and mother, is the five families themselves, so there is no difference. The forty-two that are spoken of are descriptions of the peaceful appearance of the Sambhogakaya, but it is not that the actor and action are shown to be the main deity. When meditating in samadhi, meditating on Samantabhadra father and mother in the heart of the main deity is, when holding the mind in the clear light of the essence, meditating on the Dharmakaya Samantabhadra father and mother filled with color, thereby grasping the clear light, this is done under the power of the appearance of the completion stage. As shown before, in the realm of the Dharmakaya, because it is free from elaboration, it is Samantabhadra father and mother, and from that, when the wisdom of the equality of the four times is fully arranged, it is the Sambhogakaya five families father and mother, and from that, in the world of those to be tamed, it is the nature of Vajrapani and Vajrasattva and the six Thubpas, etc. For example, as in this Buddha-field, the one known as Bhagavan Shakyamuni, abiding as a Shravaka and Pratyekabuddha and ordinary being and in the accumulation path, is a Nirmanakaya.
Chinese
也见到菩萨圣众受用圆满的色身等等。东等四门摧伏四魔，即忿怒尊阎魔敌、大威力、马头金刚、甘露漩四尊。以妃女自性之铁钩、索、铁链、铃四母众等，以九种舞姿嬉戏安住。九种舞姿出自《电鬘》：娇媚、勇武、可憎恶，粗犷、暴烈、令人惧，慈悲、威猛与寂静，具足九种舞姿态。如是说。此时，一些人沉溺于恶见的幻象中，丧失了善妙受用，步入颠倒的荒漠险途，他们说：将普贤王如来，本续的导师，置于坛城之外，将不动佛置于中央，这是主眷颠倒。对此，一些人回答说：如同父亲疼爱儿子一般，是为了彰显眷属的伟大。另一些人则说：如同占卜师一般，将所作之事置于中央，而行事者则处于边缘。还有人说，在基础阶段，如同镜子一般，主要显现主体；在道上，作为一切的基础，成为法身和智慧的基础；在结果阶段，则主要显示如镜般的智慧，因此将不动佛置于中央。然而，他们都没有领会所有这些说法的真正含义。即使是讲解者，也并非一定要出现在中央。如果说《文殊幻化网》和《净除恶趣》中，释迦牟尼佛出现在中央，那么显现毗卢遮那佛和智慧勇识就会变成主眷颠倒的过失。在一些事续的坛城中，释迦牟尼佛和金刚手出现在中央，因为是宣说者，所以显现毗卢遮那佛和不动佛，那么这些也无法避免主眷颠倒的过失。因此，事实是这样的：置于走廊中的普贤父母，是展示光芒的显现，并非作为主尊而显现，不动佛也并非安置在中央，而是为了显示意之毗卢遮那佛。而示现此者正是普贤父母，因此不存在任何过失。
English
Also seeing the enjoyment of the complete body of the noble Bodhisattvas, and so on. In the four gates, east and so on, the four maras are subdued by the four wrathful ones: Yamantaka, Mahabala, Hayagriva, and Amritakundalin. With the assembly of the four goddesses of the nature of consorts, Hook, Noose, Chain, and Bell, they abide with the play of the nine dances. The nine dances are from the Garland of Lightning: Charming, heroic, disgusting, fierce, violent, terrifying, compassionate, wrathful, and peaceful, possessing the demeanor of the nine dances. So it is said. At this time, some who are deluded by the mirage of evil views, who have fallen from the enjoyment of well-practiced conduct, and who have embarked on the difficult path of the inverted wilderness, say: "Kuntuzangpo, the teacher of the tantra, has been placed at the edge of the mandala, and Akshobhya has been placed in the center, so the main and retinue are reversed." In response, some say: "Like a father cherishing his son, it is to extol the greatness of the retinue." Some say: "Like a diviner, the object of action is placed in the center, and the actor remains at the edge." Some say that in the ground stage, like a mirror, the main thing is shown; on the path, the base of all things becomes the base of the body and wisdom; and in the result stage, the mirror-like wisdom is mainly shown, so Akshobhya is shown in the center. However, they have not understood the meaning of all these good things as they are. Even if one is an explainer, there is no certainty that one will appear in the center. If Shakyamuni were to appear in the center in the Manjushri Magical Net and the Purifying of the Lower Realms, then the appearance of Vairochana and the wisdom being would become a fault of reversing the main and retinue. In some action tantra mandalas, it follows that Thubpa and Vajrapani appear in the center. Because they are the speakers, the appearance of Vairochana and Akshobhya cannot avoid the fault of reversing the main and retinue. Therefore, this is the case: Kuntuzangpo yab-yum, placed in the corridor, is showing the plan of radiance, not showing as the main one, and Akshobhya is not placed in the center either, because it is showing the Vairochana of the mind. And since the one who shows this is Kuntuzangpo yab-yum, there is no fault.