English
The mudras as well. Eight verses such as "hiding the four syllables." Manifesting as whatever lineage, such as oneself as Vairocana, etc. Hiding the four syllables of the right hand, raising the fingers of one's own lineage, placing them at the heart as a means. The four syllables Oṃ (Tibetan: ༀ, Sanskrit Devanagari: ओ, Sanskrit Romanization: oṃ, Literal Chinese Meaning: Om), Svā (Tibetan: སྭཱ, Sanskrit Devanagari: स्वा, Sanskrit Romanization: svā, Literal Chinese Meaning: Swa), Āṃ (Tibetan: ཨཱཾ, Sanskrit Devanagari: आं, Sanskrit Romanization: āṃ, Literal Chinese Meaning: A), Hāṃ (Tibetan: ཧཱཾ, Sanskrit Devanagari: हं, Sanskrit Romanization: hāṃ, Literal Chinese Meaning: Hum) of the same color as the lineage, thinking of the tips of the raised fingers, the heart hand symbols of each, the wheel, jewel, lotus, and sword, etc., are thought to become radiant. The left hand, with a crescent moon gesture, rings the bell with a fist hiding the five syllables of the consort, in the manner of embracing the consort, the left thigh rests on the Dharma. Again, on the left, whichever consort of the lineage is manifest. Hiding the four syllables of the left hand, raising the fingers of one's own lineage, placing them at the heart as a means. The four syllables Lāṃ (Tibetan: ལཱཾ, Sanskrit Devanagari: लां, Sanskrit Romanization: lāṃ, Literal Chinese Meaning: Lam), Māṃ (Tibetan: མཱཾ, Sanskrit Devanagari: मां, Sanskrit Romanization: māṃ, Literal Chinese Meaning: Mam), Pāṃ (Tibetan: པཱཾ, Sanskrit Devanagari: पां, Sanskrit Romanization: pāṃ, Literal Chinese Meaning: Pam), Tāṃ (Tibetan: ཏཱཾ, Sanskrit Devanagari: तां, Sanskrit Romanization: tāṃ, Literal Chinese Meaning: Tam) of the lineage color, thinking of the tips of the raised fingers, become radiant with the sound of ringing bells. The right hand, the sun with five syllables, unconstrained, is placed on the right thigh of the father, embracing and bowing the head to the father, looking at the face with a smiling radiance. Reciting mantras around each of the father and mother, they should be liberated by mutually increasing means and wisdom. Secondly, the mudras of the hero father and mother are, three verses such as Utpala and Nāga tree. On the four fingers other than the thumb of the right hand, on each sun disc, starting from the index finger, place the seed syllables of the four heroes of the heart, Kṣīṃ (Tibetan: ཀྵཱིཾ, Sanskrit Devanagari: क्षीं, Sanskrit Romanization: kṣīṃ, Literal Chinese Meaning: Kshim), Trāṃ (Tibetan: ཏྲཱཾ, Sanskrit Devanagari: त्रां, Sanskrit Romanization: trāṃ, Literal Chinese Meaning: Tram), Hrīṃ (Tibetan: ཧྲཱིཾ, Sanskrit Devanagari: ह्रीं, Sanskrit Romanization: hrīṃ, Literal Chinese Meaning: Hrim), Jriṃ (Tibetan: ཛྲིཾ, Sanskrit Devanagari: ज्रिं, Sanskrit Romanization: jriṃ, Literal Chinese Meaning: Jrim), and the life of the hero of speech, Cemai (Tibetan: ཚེ་མཻ, Sanskrit Devanagari: चेमै, Sanskrit Romanization: cemai, Literal Chinese Meaning: Tsemay), Thlhiṃ (Tibetan: ཐླྷིཾ, Sanskrit Devanagari: थ्ल्हीं, Sanskrit Romanization: thlhiṃ, Literal Chinese Meaning: Thlim), Huṃ (Tibetan: ཧཱུཾ, Sanskrit Devanagari: हुं, Sanskrit Romanization: huṃ, Literal Chinese Meaning: Hum), Mūṃ (Tibetan: མཱུཾ, Sanskrit Devanagari: मूं, Sanskrit Romanization: mūṃ, Literal Chinese Meaning: Mum). On the four fingertips of the left hand, on each moon disc, place the seed syllables of the four inner consorts, Huṃ (Tibetan: ཧཱུཾ, Sanskrit Devanagari: हुं, Sanskrit Romanization: huṃ, Literal Chinese Meaning: Hum), Trāṃ (Tibetan: ཏྲཱཾ, Sanskrit Devanagari: त्रां, Sanskrit Romanization: trāṃ, Literal Chinese Meaning: Tram), Hrī (Tibetan: ཧྲཱི་, Sanskrit Devanagari: ह्री, Sanskrit Romanization: hrī, Literal Chinese Meaning: Hri), Āṃ (Tibetan: ཨཱཾ, Sanskrit Devanagari: आं, Sanskrit Romanization: āṃ, Literal Chinese Meaning: A), and the outer consorts Jaḥ (Tibetan: ཛཿ, Sanskrit Devanagari: जः, Sanskrit Romanization: jaḥ, Literal Chinese Meaning: Jah), Huṃ (Tibetan: ཧཱུཾ, Sanskrit Devanagari: हुं, Sanskrit Romanization: huṃ, Literal Chinese Meaning: Hum), Vaṃ (Tibetan: བཾ, Sanskrit Devanagari: वं, Sanskrit Romanization: vaṃ, Literal Chinese Meaning: Vam), Hoḥ (Tibetan: ཧོཿ, Sanskrit Devanagari: होः, Sanskrit Romanization: hoḥ, Literal Chinese Meaning: Hoh). When manifesting the form of whichever hero and consort, hiding three syllables, at the tips of the raised fingers of one's own lineage, the respective seed syllables completely transform, thinking of the Utpala of Manjushri, the Naga tree of Maitreya, etc., the heart hand symbols are radiant. Similarly, the jewel sprout of Kshitigarbha, the radiant sword of Akashagarbha, the white lotus of Avalokiteshvara, the blazing vajra of Vajrapani, the wheel of Dharma of Nivarana-Vishkambhin, the jewel spike of Samantabhadra, the eight fathers, and their consorts, with graceful postures, manifest beautiful mirrors.
Chinese
我，玛列珍宝鬘，吉尔蒂斯琵琶，尼尔蒂斯舞者之王的标志拂尘，同样地，布施贝鲜花的花鬘，手持焚香供品的杜贝玛，阿洛给的灯，根德玛的香水涂抹等都观想为光芒四射。在“等等”之中，八大菩萨的左手持着以月亮为标志的隐蔽种子字所象征的铃铛并摇动，左腿为了依靠佛法而摆放，按照这种方式，父尊的头也稍微倾向于母尊来观想。八位母尊的右手，用没有束缚的五种太阳种子字，缠绕着父尊的右腿，因为依靠事业，头稍微向父尊低垂，按照这种方式安放，在观想的最后，伴随着各自的咒语，通过互相增广方便和智慧来解脱。总之，如同上述的大手印等七种手印五部佛的场合一样，方便和智慧二者无别地缠绕于法性虚空之中。第三，门神父尊母尊的手印：门神等有七个部分。位于四个门处的忿怒尊父尊母尊的手印如前一样，右手的四个手指上写着各自的吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：种子字），左手的四个手指上写着ཛཿཧཱུྃ་བཾ་ཧོཿ，显现为各自本尊的身相，从拳头中伸出自己部族的指头，在指尖上有各自的种子字。阎魔敌的种子字ནྲྀ་头向上翘起，大力的金刚五股杵用于镇压，马头明王的颅骨杖用大蛇缠绕用于镇压，甘露漩涡金刚交杵事业的标志用于镇压，观想四位母尊化为颅血。像这样位于四个门处的那四位，父尊的左手都是期克印，母尊的右手依次拿着铁钩和绳索和斯佛吒即铁链和霍（藏文：ཧོཿ，梵文天城体：होः，梵文罗马拟音：hoḥ，汉语字面意思：喜悦）发出喜悦之声的铃铛，以互相低头和倾斜的方式，父尊母尊互相缠绕也如上所述。第四，六能仁的手印：六能仁等有三个部分。六能仁的手印是为了调伏不确定的所化而有多种多样。然而，如果简略地归纳部族，可以归纳为六种手印。《金刚经》中说：琵琶、盔甲、倾斜地放置，书本、火、水，应当知晓。
English
I, Mālai, a garland of jewels, Gīrtis, a lute, Nīrtis, the whisk of the king of dancers, similarly, Puṣpe, a garland of flowers, Dhūpe-ma holding an incense burner, Āloke's lamp, Gandhe-ma's fragrant ointment, etc., are all visualized as radiant. Among the "etc.", the left hands of the eight bodhisattvas hold and ring the bell symbolized by the hidden seed syllable marked by the moon, and the left thigh is placed to rely on the Dharma; in this way, the heads of the fathers are also visualized as slightly inclined towards the mothers. The right hands of the eight mothers, with the five unbound sun seed syllables, entwine the right thighs of the fathers, relying on activity, and their heads are slightly bowed towards the fathers, placed in this manner, and at the end of the visualization, with their respective mantras, they are liberated by mutually expanding means and wisdom. In short, as in the case of the five families with the seven mudras such as the great mudra mentioned above, means and wisdom are inseparably intertwined in the realm of Dharmata. Third, the mudras of the gatekeepers, father and mother: the gatekeepers, etc., have seven parts. The mudras of the wrathful father and mother who reside at the four gates are as before, with each Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：Seed syllable) written on the four fingers of the right hand, and ཛཿཧཱུྃ་བཾ་ཧོཿ on the fingers of the left hand, appearing as the bodies of the respective deities, extending the fingers of their own family from the fist, with the respective seed syllables at the tips. Nṛ (藏文：ནྲྀ，梵文天城体：नृ，梵文罗马拟音：nṛ，汉语字面意思：Seed syllable) of Yamāntaka with the head raised, the five-pronged vajra of the powerful one to subdue, the skull staff of Hayagrīva entwined with a great serpent to subdue, the nectar swirl, the crossed vajra, the sign of karma to subdue, and the four mothers are visualized as transformed into skull blood. Those who reside at the four gates in this way, the left hands of the fathers are all threatening mudras, and the right hands of the mothers hold in order a hook, a noose, and a sphoṭa, that is, a chain, and a bell that produces joy with the sound Hoḥ (藏文：ཧོཿ，梵文天城体：होः，梵文罗马拟音：hoḥ，汉语字面意思：Joy), bowing and inclining to each other, the father and mother intertwined as described above. Fourth, the mudras of the six Thubpas: the six Thubpas, etc., have three parts. The mudras of the six Thubpas are diverse in order to tame the uncertain trainees. However, if the families are briefly summarized, they can be summarized into six mudras. The Vajra says: Lute, armor, placed obliquely, book, fire, water, should be known.
Chinese
思维从萨（藏文，sa，梵文天城体，sa，梵文罗马拟音，sa，汉语字面意思：地） 幢（藏文，krīṃ，梵文天城体，krīṃ，梵文罗马拟音，krim，汉语字面意思：光） 锥（藏文，ṭruṃ，梵文天城体，ṭruṃ，梵文罗马拟音，trum，汉语字面意思：坚固）等种子字中，观想那些手印在心中。这里有人会想，对于六能仁，没有用方便智慧双运来取悦他们的手印吗？虽然没有带相标志的明妃，但这里与无相法界明妃无二无别，因此能取悦他们。第五，普贤父母的手印是：普贤等五步，即作者普贤，右手置上的等持中，发出五智的光芒。明妃从彼变化，左手置上的等持，安住方式是父尊圆满金刚跏趺坐，母尊莲花跏趺坐。此外，明妃手印的差别是，法性无有任何阻碍，因此不确定为一，而是显现为多种。那又是如何呢？如来父尊如普贤一样，是不变的等持呢？或者是金刚合掌置于心间呢？又，在一些教规中，后三步是为了收集手印总的类别而做的。如果随所化众生的意愿，分别修持各部，那么那些手印不确定，如显示那部及其手印的形象等。或者，如果因为不能做各个本尊的手印而喜欢简略，那么仅仅是如来五部的各个手印，或者总的誓言手印如前所说。如果那也不能做，那么认为仅仅作金刚合掌也可以。第三，见的手印是：《大手印》等一颂，一切分别念都是大手印，显空无别，如幻化般的本尊身，显现为金刚三身的游舞，殊胜的荟供是遮止有寂边的方法和智慧无二无别，如果具备通达无境自明双运深义的智慧并且融入自相续，那么即使身体不移动，肢体不摇动，无论做什么，显现什么，一切都安住于本尊身大手印的状态中，不会超出，因此不必一定要束缚改变手等造作的手印。第四，有戏论手印有二：如何修学显现分别，以及由此成办利益的方式。第一方面也有三：千佛
English
It is thinking to hold those hand symbols in the heart from the seed syllables of sā (藏文，sa，梵文天城体，sa，梵文罗马拟音，sa，汉语字面意思：Earth), krīṃ (藏文，krīṃ，梵文天城体，krīṃ，梵文罗马拟音，krim，汉语字面意思：Light), ṭruṃ (藏文，ṭruṃ，梵文天城体，ṭruṃ，梵文罗马拟音，trum，汉语字面意思：Solid) etc. Here, one might wonder if there are no mudras to please the six Thubpas with the union of skillful means and wisdom? Although there is no consort with signs and marks, here, since there is no separation from the consort of the Dharmadhatu without signs, they are pleased. Fifth, the mudra of Samantabhadra and Samantabhadri is: Samantabhadra etc. are five steps, that is, the actor Samantabhadra, with the right hand placed on top, radiating the rays of the five wisdoms from the Samadhi. The consort transforms from that, making the Samadhi with the left hand placed on top. The way of sitting is that the father is in the complete vajra posture, and the mother is sitting in the lotus posture. Furthermore, the distinctions of the consort's mudra are that the nature of reality is unimpeded in any way, so it is not fixed as one, but appears in various ways. How is that? Like the Tathagata father Samantabhadra, is it the unchanging Samadhi itself? Or is it the vajra palms joined at the heart? Also, in some precepts, the latter three steps are done for the purpose of collecting the general categories of mudras. If one practices each family separately according to the capacity of the trainees, then those mudras are uncertain, such as showing the form of that family and its symbols. Or, if one likes to abbreviate because one cannot do the mudras of each deity, then only the respective mudras of the five Tathagata families or the general samaya mudra as previously explained. If that is not possible either, then it is considered acceptable to make only the vajra palms. Third, the mudra of view is: One verse such as "Mahamudra", all conceptualizations are Mahamudra, indivisible appearance and emptiness, the deity's body like an illusion, the supreme gathering appearing as the play of the three vajras is the method and wisdom that are inseparable to prevent the extremes of samsara and nirvana. If one has the intelligence to realize the profound meaning of self-illuminating union without an object and it is integrated into one's being, then even if the body does not move and the limbs do not move, whatever is done and whatever appears all abides in the state of the deity's body, the Mahamudra, and does not go beyond it, so it is not necessary to necessarily bind artificial mudras such as changing the hands. Fourth, the mudra with elaboration has two aspects: how to train in distinguishing appearances, and how it accomplishes the meaning. There are also three aspects to the first: a thousand Buddhas