Chinese
也像这样，对于其他诸尊也应广为应用。不动明王父母尊，从自身显现的状态中，右手的金刚拳的日轮上的嗡字之外的四字藏于其中，将食指竖起，手背朝向心间，食指在嗡(藏文：ༀ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡)字的顶端化为嗡(藏文：ༀ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡)字，观想成光芒四射的四辐轮。左手金刚拳的月轮上的文字藏于其中，将五部空行母的五字藏于其中，以金刚拳持铃摇动，拥抱明妃，以缠绵的姿态置于左腿之上，这是依于法。又，左手的四字藏于其中，将食指的手背朝向心间，食指朗(藏文：ལཱ ྃ，梵文天城体：लां，梵文罗马拟音：lāṃ，汉语字面意思：朗)字的顶端化为朗(藏文：ལཱ ྃ，梵文天城体：लां，梵文罗马拟音：lāṃ，汉语字面意思：朗)字，摇动铃铛，光芒四射，置于心间。右手将位于日轮上的五字收摄于其中，与事业相缠绵，置于明王的右腿之上，稍微面向明王，以微笑的神情注视。宝生佛父母尊，从自身显现的状态中，明王右手的文字四字藏于其中，将拇指的手背朝向心间，拇指梭(藏文：སྭཱ་，梵文天城体：स्वा，梵文罗马拟音：svā，汉语字面意思：梭)字的顶端化为梭(藏文：སྭཱ་，梵文天城体：स्वा，梵文罗马拟音：svā，汉语字面意思：梭)字，观想成光芒四射的珍宝，持于心间。左手将位于月轮上的文字隐藏，将五字藏于其中，以金刚拳持铃摇动，拥抱明妃，明王父母无二无别地缠绵，以铃铛依靠腰部的姿态置于左腿法光明无量之上。又，左手的文字四字藏于其中，将拇指的手背朝向心间，拇指芒(藏文：མཱྂ་，梵文天城体：मां，梵文罗马拟音：māṃ，汉语字面意思：芒)字竖起，从顶端芒(藏文：མཱྂ་，梵文天城体：मां，梵文罗马拟音：māṃ，汉语字面意思：芒)字中生出摇动铃铛的光芒，持于心间。右手将位于日轮上的五字收摄于其中，与事业相缠绵，置于明王的右腿之上。以同样的姿态面向明王，以微笑的神情注视，这是明妃的手印。无量光佛父母尊，从自身显现的状态中，明王右手的文字四字藏于其中，将无名指竖起，手背朝向心间，无名指阿(藏文：ཨཱྂ་，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿)字竖起，从顶端阿(藏文：ཨཱྂ་，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿)字中观想成光芒四射的莲花，在心间结手印。左手将月轮的文字隐藏，将五字藏于其中
English
Similarly, apply this extensively to other deities as well. For the Father and Mother Immovable Ones, from the state of clarity within oneself, conceal the four syllables other than the syllable Oṃ (藏文：ༀ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡) on the sun of the right vajra fist, with the back of the raised index finger placed at the heart. Visualize a blazing wheel with four spokes emanating from the syllable Oṃ (藏文：ༀ，梵文天城体：ओ，梵文罗马拟音：oṃ，汉语字面意思：嗡) at the tip of the index finger. Conceal the letters on the moon of the left vajra fist, hiding the five syllables of the heroine, holding and ringing the bell with the vajra fist, embracing the consort, and placing it on the left thigh in a clinging manner, which is relying on the Dharma. Again, conceal the four syllables of the left hand, with the back of the index finger placed at the heart, and from the syllable Lāṃ (藏文：ལཱ ྃ，梵文天城体：लां，梵文罗马拟音：lāṃ，汉语字面意思：朗) at the tip of the raised index finger, visualize the ringing bell blazing with light, placing it at the heart. The right hand gathers the five syllables residing on the sun, entwining in activity, placing it on the right thigh of the Father, slightly turning the face towards the Father, gazing with a smiling expression. For the Father and Mother Ratnasambhava, from the state of clarity within oneself, conceal the four syllables of the Father's right hand, with the thumb placed at the heart, and from the syllable Svā (藏文：སྭཱ་，梵文天城体：स्वा，梵文罗马拟音：svā，汉语字面意思：梭) at the tip of the thumb, visualize holding a blazing jewel at the heart. The left hand conceals the letters residing on the moon, hiding the five syllables, holding and ringing the bell with the fist, embracing the consort. The Father and Mother entwine inseparably, with the bell resting on the waist on the left thigh of Dharma Amitabha. Again, conceal the four syllables of the left hand, placing the thumb at the heart, and from the raised thumb Maṃ (藏文：མཱྂ་，梵文天城体：मां，梵文罗马拟音：māṃ，汉语字面意思：芒) at the tip, generate the light of the ringing bell, holding it at the heart. The right hand gathers the five syllables on the sun, entwining in activity, placing it on the right thigh of the Father. With the same expression, turning towards the Father, gazing with a smiling expression is the mudra of the Mother. For the Father and Mother Amitabha, from the state of clarity within oneself, conceal the four syllables of the Father's right hand, with the back of the ring finger placed at the heart, and from the raised ring finger Āḥ (藏文：ཨཱྂ་，梵文天城体：आः，梵文罗马拟音：āḥ，汉语字面意思：阿) at the tip, visualize a blazing lotus, forming the mudra at the heart. The left hand conceals the letters of the moon, hiding the five syllables.
Chinese
以地的拳势握持铃铛摇动，以拥抱明妃的姿态，左腿置于法性无量光之上，铃铛依靠在腰间。又将左手的四字隐藏，以小指背抵住心间。小指竖起，从小指的པྱཱྂ་（藏文，प्यां，pyam，遍）中，观想铃声闪耀，置于心间。右手将五字收拢，手指置于右腿之上，这是事业的拥抱。向父尊倾身，以微笑的光彩注视。成就父尊佛母的手印是：如前所述，右手隐藏四字，以小指背抵住心间。小指ཧཱ་（藏文，हा，hā，哈）竖起，观想从小指的ཧཱ་（藏文，हा，hā，哈）中，闪耀出宝剑，置于心间。左手隐藏弯曲的五字，摇动铃铛，以拥抱明妃的姿态，将铃铛置于左腿之上，这是依靠法性。又将左手的四字隐藏，以小指背抵住心间。小指ཏཱྃ་（藏文，तां，tām，当）竖起，观想从小指的ཏཱྃ་（藏文，तां，tām，当）中，闪耀出铃声，置于心间。右手将五字收拢，置于父尊的右腿之上，这是事业的拥抱。向父尊倾身，以微笑的光彩注视。第二，菩萨父尊佛母的手印与上述相同。特别之处在于，以各自的种子字化为手印的方式，父尊的右手持于心间，母尊的左手持于心间。父尊的左手依靠在母尊的左腿法性之上，母尊的右手拥抱父尊的右腿。其中，从མཱུྃ་（藏文，मूं，mūṃ，哞）中生出青莲花，从མཻ་（藏文，मै，mai，麦）中生出龙树等手印。ཀྵཾ་（藏文，शं，śaṃ，香）中生出珍宝的嫩芽，ཏྲྃ་（藏文，त्रं，traṃ，川）中生出闪耀的宝剑，ཧྲཱིཿ（藏文，ह्रीः，hrīḥ，舍）中生出白莲花，ཛྷིཾ་（藏文，ङिः，ṅiḥ，额以）中生出闪耀的金刚杵，ཐླྷིཾ་（藏文，थ्लिं，thliṃ，特临）中生出法轮，ཧཱུྃ་（藏文，हूं，hūṃ，吽）中生出珍宝稻穗，这是父尊的手印。从ཧཱུྃ་（藏文，हूं，hūṃ，吽）中生出象征美貌的镜子，从ཏྲཾ་（藏文，त्रं，traṃ，川）中生出珍宝念珠，从ཧྲཱིཿ（藏文，ह्रीः，hrīḥ，舍）中生出琵琶，从ཨ་（藏文，अ，a，阿）中生出最胜舞女，手持三尖金刚杵在头顶舞蹈，象征着，从ཧཱུྃ་（藏文，हूं，hūṃ，吽）中生出鲜花花环，从ཛཿ（藏文，जः，jaḥ，匝）中生出殊胜香料的香盒，从བྃ་（藏文，बं，baṃ，榜）中生出灯。
English
Holding and ringing the bell with the fist of earth, and in the manner of embracing the consort, the left thigh rests the bell on the Dharma, the Infinite Light. Again, hiding the four syllables of the left hand inside, the back of the ring finger is placed against the heart. At the tip of the raised ring finger, visualize the sound of the bell emanating from प्यं (藏文，प्यां，pyam，遍), holding it in the heart. The five syllables of the right sun are gathered inside, and the fingers are placed on the right thigh, which is the embrace of action. Leaning towards the father, gazing with a smiling radiance. The hand gestures of the accomplished father and mother are: As explained there, the four syllables of the right hand are hidden, and the back of the little finger is placed against the heart. The little finger is raised हा (藏文，हा，hā，哈), and visualize a sword blazing from हा (藏文，हा，hā，哈) at the tip of the little finger, holding it in the heart. The five syllables of the left moon are bent and hidden inside, ringing the bell, and in the manner of embracing the consort, placing the bell on the left thigh is relying on the Dharma. Again, hiding the four syllables of the left hand, the back of the little finger is placed against the heart. The little finger is raised तां (藏文，तां，tām，当), and visualize the sound of the bell emanating from तां (藏文，तां，tām，当) at the tip of the little finger, holding it in the heart. The five syllables of the right sun are gathered inside and placed on the right thigh of the father, which is the embrace of action. Leaning towards the father, gazing with a smiling radiance. Secondly, the hand gestures of the Bodhisattva father and mother are the same as above. The difference is that the father's right hand holds at the heart in the manner of their own seed syllables transforming into hand symbols, and the mother's left hand holds at the heart. The father's left hand relies on the Dharma of the mother's left thigh, and the mother's right hand embraces the father's right thigh. That is, from मूं (藏文，मूं，mūṃ，哞) comes the Utpala flower, from मै (藏文，मै，mai，麦) comes the Naga tree and other hand symbols. From शं (藏文，शं，śaṃ，香) comes the sprout of jewels, from त्रं (藏文，त्रं，traṃ，川) comes the blazing sword, from ह्रीः (藏文，ह्रीः，hrīḥ，舍) comes the white lotus, from ङिः (藏文，ङिः，ṅiḥ，额以) comes the blazing vajra, from थ्लिं (藏文，थ्लिं，thliṃ，特临) comes the wheel of Dharma, from हूं (藏文，हूं，hūṃ，吽) comes the jewel ear of grain, these are the father's hand symbols. From हूं (藏文，हूं，hūṃ，吽) comes the mirror symbolizing beauty, from त्रं (藏文，त्रं，traṃ，川) comes the jewel rosary, from ह्रीः (藏文，ह्रीः，hrīḥ，舍) comes the lute, from अ (藏文，अ，a，阿) comes the supreme dancer, holding the three-pointed vajra and dancing on the crown of the head, symbolizing, from हूं (藏文，हूं，hūṃ，吽) comes the garland of flowers, from जः (藏文，जः，jaḥ，匝) comes the incense box of supreme incense, from बं (藏文，बं，baṃ，榜) comes the lamp.
Chinese
诃！从涂油等的海螺法器，是佛母的法器。诸佛母之时，佛母的右侧以佛父的事业，即缠绕在右腿上，佛父之时，左侧以佛母的左腿依于法，即拥抱。诸佛父的头稍微向佛母倾斜，诸佛母以向佛父鞠躬的姿态安住，如上的大印一般，佛父佛母方便智慧二者无别，于法界离戏大乐之自性中相拥。第三，门神佛父佛母之手印：坛城的四门有八尊忿怒尊佛父佛母，四佛父之手印为，从吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字生出的人头杖高举，以五股金刚杵按压之姿态，以头盖骨蛇串缠绕按压，以金刚交杵事业按压，即四尊右手上举，四尊左手以期克印之姿态拥抱佛母，佛母之手印为从呸（藏文：ཕཊ，梵文天城体：फट，梵文罗马拟音：phaṭ，汉语字面意思：呸）字生出的四种，以左手持铁钩、羂索、铁链、铃，以右拳拥抱佛父。安住于四门的门神佛父佛母，也是佛母向佛父鞠躬，佛父稍微向佛母倾斜头部的姿态，佛父佛母二者无别，于法性之自性中相拥，如上所示。第四，六能仁之手印，因所化众生的根器而各不相同，虽不能确定为一，数量和尺度不定，但总摄这些种类，可以归纳为六种手印。哪六种呢？如金刚经所说：琵琶铠甲箭室中，经函火焰水中知。即从六个种子字中，将这些手印持于心中。有人认为这些没有佛母，是否没有方便和智慧双运呢？虽没有有相显现的佛母，但为了显示无相法界的佛母，佛母于任何处皆无所缘，是法界离戏之边。有些人认为六能仁的左侧有六位普贤佛母，这与本尊的数量相违。说归摄于普贤佛母是不合理的，因为在观修时，本尊和清净的数量会混淆。有些人说：为了利益外道徒，佛陀佛母极隐秘。因此认为六能仁没有佛母，这也是不合理的。
English
Ho! The conch dharma of anointing, etc., is the attribute of the Mother. When it comes to the Mothers, the right side of the Mother clings to the action of the Father, that is, the right thigh, and when it comes to the Father, the left side clings to the left thigh of the Mother, relying on the Dharma. The heads of the Fathers slightly lean towards the Mother, and the Mothers remain in a posture of bowing to the Father, just like the great mudra above, the Father and Mother are inseparable in skillful means and wisdom, embracing in the nature of great bliss, free from elaboration in the realm of Dharma. Third, the mudras of the gatekeeper Father and Mother: At the four gates of the mandala, there are eight wrathful Father and Mother deities. The mudras of the four Fathers are: from Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) arises a skull-topped staff held aloft, pressing down with a five-pronged vajra, pressing down with a garland of snakes coiled around a skull cup, and pressing down with a crossed vajra action; that is, the four right hands are raised, and the four left hands embrace the Mother in a threatening gesture. The mudras of the Mothers are: from four Phaṭ (藏文：ཕཊ，梵文天城体：फट，梵文罗马拟音：phaṭ，汉语字面意思：呸) arise a hook, a noose, a chain, and a bell held in the left hands, and the right fists embrace the Father. Those gatekeeper Father and Mother deities residing at the four gates also embrace in the nature of Dharma, inseparable as Father and Mother, with the Mother bowing to the Father and the Father slightly leaning his head towards the Mother, as explained above. Fourth, the mudras of the Six Thubpas are diverse according to the dispositions of those to be tamed, and although they are not fixed as one, and their number and measure are indefinite, these types can be summarized into six mudras. What are they? As it says in the Vajra: "Know the lute, armor, arrow case, book, fire, and water." That is, from the six seed syllables, hold these mudras in your heart. If they do not have Mothers, one might wonder if skillful means and wisdom are not united. Although there are no Mothers with specific appearances, the Mother of the realm of non-specificity is shown, therefore the Mother is without any object of focus, being the realm of Dharma, free from the extremes of elaboration. Some say that there are six Samantabhadri Mothers on the left side of the Six Thubpas, but this contradicts the fixed number of deities. Saying that they are gathered into Samantabhadri is unreasonable, because even during meditation, the deity and the number of purity will be confused. Some say: "For the benefit of the heretics, the Buddha's consorts are kept very secret." Therefore, it is also unreasonable to think that the Six Thubpas do not have Mothers.