Chinese
关于证悟的自在，本尊和宫殿没有时间上的先后。例如，乐师在哪里，他的住所也在哪里一样。这里所说的先后，是因为根器差的人无法同时理解而作出的权宜之计。第二，详细解释有四点：座落在何处，如何安住的方式；安住处的差别；持有的法器；身色寂静的姿态以及光明。第一点，狮子等，是一段偈颂。座位的差别是，在宫殿的中央，以四种无畏等作为象征，在轮的中心和四个轮辐上，分别是狮子、大象、马、琼鸟和飞天，也就是香香，每一个都由八个抬着的巨大宝座上。具有象征方便智慧的日月和没有瑕疵的莲花座。这些也都是随心所欲出现的，由七宝座脚支撑。有些人说，从第一品和光芒次第等处所说的孔雀，与此处所说的琼鸟相矛盾。这二者仅仅是不同，并没有矛盾的必然性。无量光掌握着真如，而这二者作为象征是相同的。因为孔雀能控制毒，而琼鸟能控制龙。这样，五部有情和珍宝的宝座、日月、莲花，共五层。菩萨父母的座位是三层。光芒次第中说：日月莲花三重叠，是菩萨。这是指四个轮辐和四个角隅。普贤父母是四层，其中说：行持普贤父母，日月莲花珍宝增。这是指东西方向的凸起。门神是金刚岩石上放着日月，六能仁是只有莲花。其中说：单日忿怒，单莲花能仁。这是指四个门和南北方向的凸起以及走廊的角落。那么，各自的座位上是如何安住的呢？五部佛父是圆满了二利事业，五部佛母是为了自身调伏而行利他之事，因此十位佛父佛母都像国王一样以各自的姿势安坐。菩萨们因为利他事业没有圆满，所以佛父们略微伸出右腿，佛母们略微伸出左腿，是半跏趺坐。
English
Regarding the empowerment of realization, there is no temporal precedence between the deities and the palace. For example, wherever a musician is, his dwelling is also there. The precedence mentioned here is a provisional measure because those with lesser faculties cannot comprehend it simultaneously. Secondly, the detailed explanation has four points: how they are seated on their respective seats, the distinctions of their abodes, the attributes they hold, and the peaceful nature of their forms along with light. The first point is: "Lion," etc., is a single verse. The distinctions of the seats are that in the center of the palace, with the four fearlessnesses, etc., as symbols, at the center of the wheel and on the four spokes, there are lions, elephants, horses, garudas, and celestial beings, that is, the Shangs, each supported by eight times eight, on a great throne. There are suns and moons symbolizing skillful means and wisdom, and lotus seats free from faults. These also arise at will, supported by the seven-eyed treasure foot of the throne. Some say that the peacock mentioned in the first chapter and the order of light, etc., contradicts the garuda mentioned here. These two are merely different, and there is no necessary contradiction. Limitless Light controls Suchness, and these two are the same as symbols. Because the peacock controls poison, and the garuda controls nagas. Thus, it is said that the five families have five layers: animals, jewel thrones, suns, moons, and lotuses. The seats of the bodhisattva fathers and mothers are three layers. From the Order of Light: "Sun, moon, lotus, three layers, mind." This refers to the four spokes and four corners. The seats of Samantabhadra fathers and mothers are four layers. From that: "For the acting Samantabhadra fathers and mothers, sun, moon, lotus, jewel increase." This refers to the eastern and western projections. The gatekeepers have suns and moons on top of vajra rocks, and the six munis have only lotuses. From that: "Single sun, wrathful; single lotus, muni." This refers to the four gates and the northern and southern projections and the corners of the corridors. So, how do they sit on their respective seats? The five father Buddhas of the families have perfected the deeds of the two benefits, and the five mother Buddhas have subdued themselves and engaged in benefiting others. Therefore, the ten father and mother Buddhas sit in their respective postures like kings. The bodhisattvas have not perfected the deeds of benefiting others, so the fathers slightly extend their right legs, and the mothers slightly extend their left legs, in a half-lotus posture.
Chinese
如同大臣的姿态。普贤父母则是事业圆满，象征所有坛城的所作所为、方便智慧，因此采用金刚和莲花的跏趺坐姿。门神父母则以军官的姿态，面朝外，摆出威猛的姿势。六能仁因为前往利益众生，所以采用站立的姿势安住。第二部分是：轮王等以足部为代表的三个偈颂。中央轮的中心和四个轮辐上，有五部国王和五部王妃。主尊面朝东方，按照从右侧开始，依次在前后左右排列的规律。东南方是见者地藏，东北方是闻者金刚手，西南方是嗅者虚空藏，西北方是尝者观世音。为什么见者地藏之后不是闻者金刚手，而是嗅者虚空藏呢？《量度经》中说：次第是按照文字的顺序说的，排列则必须符合仪轨。因此，解释为在地藏之后排列虚空藏。还有些人引用《怖畏金刚电光》中的句子：五眼肉髻甚美丽，手持金刚青蓝色。说要把意念安置在肉髻上，这是不对的。因为这部经中说，胜于此的是智慧肉髻。如果那样的话，就变成不是胜过了。他们的妃子也依次是娇女、舞女、鬘女、歌女等。同样，四个隅角上，从东南开始顺时针方向，见者慈氏，闻者除盖障，嗅者普贤，尝者文殊，都与妃子香女、花女、灯女、香水女等在一起，处于平等结合的状态。在中间的走廊上安放六能仁，如《光明次第》中所说：东南是天，南方是人，西南西北是饿鬼旁生，北方东北是阿修罗地狱。此外，这个走廊的东面和西面，也就是主尊面朝东方的正面和背面，显示了作者普贤和作业母普贤母安住于此。这两位象征着所有坛城的所作所为。
English
Like the posture of ministers. The parents Kuntu Zangpo are those whose activities are complete, symbolizing all the actions and wisdom of all mandalas, therefore adopting the vajra and lotus posture. The gatekeeper parents are in the posture of military officers, facing outwards, posing in a fierce stance. The six Thubpas reside in a standing posture because they have gone to benefit beings. The second part is: the verses with feet, such as the Wheel King. In the center of the central wheel and on the four spokes are the five royal families and the five royal consorts. The main deity faces east, starting from the right and arranging in order on the right and left of the front and back according to the rule. In the southeast is the seer Kshitigarbha, in the northeast is the hearer Vajrapani, in the southwest is the smeller Akashagarbha, and in the northwest is the taster Avalokiteshvara. Why is it that after the seer Kshitigarbha, it is not the hearer Vajrapani, but the smeller Akashagarbha that comes? The Pramanakeli says: The order is said to be according to the order of the letters, and the arrangement must conform to the custom. Therefore, it is explained that Akashagarbha is arranged after Kshitigarbha. Also, some people quote the sentence from the Wrathful Vidyut: The five-eyed protuberance is beautiful, holding a blue-green vajra in hand. Saying that one should place the mind on the protuberance is not correct. Because this very sutra says that the wisdom protuberance is superior to this. If that were the case, it would not be superior. Their consorts are also in order, the seductive woman, the dancer, the garland woman, and the singer, etc. Similarly, on the four corners, from southeast clockwise, the seer Maitreya, the hearer Nivarana-Vishkambhin, the smeller Samantabhadra, and the taster Manjushri, all with consorts, the incense woman, the flower woman, the lamp woman, and the scented water woman, etc., reside in a state of equal union. In the middle corridor are placed the six Thubpas, as stated in the Light Sequence: Southeast is the god, south is the human, southwest and northwest are the hungry ghost and animal, north and northeast are the asura and hell. Furthermore, the east and west of this corridor, that is, the front and back of the main deity facing east, show that the author Samantabhadra and the action mother Samantabhadri reside here. These two symbolize all the actions of all mandalas.
Chinese
认为这样安住是不合理的。在《释续·明镜》中说：“在殿堂的前后，普贤父母是天空的颜色。”这与上述说法相矛盾。全知麦彭仁波切说：“有些人认为主尊在前或后，有些人认为在殿堂的东西两侧，有些人认为安住在主尊的心间，但没有找到确定的要点。”对于四个门廊，为了摧毁恶毒者，东门是忿怒尊阎魔敌，南门是大威力，西门是马头明王，北门是甘露漩，他们都与各自的明妃，即铁钩母、索母、铁索母、铃母四众眷属一同安住。那么，这里寂静坛城出现忿怒尊是不合理的，如果这样认为，虽然从主要方面来说是寂静坛城，但出现护门忿怒尊是没有矛盾的。对此，有些人说坛城的主尊颠倒了，因为普贤父母安住在殿堂里。那么，在讲解续部时，是因为主尊安住在殿堂里才说是颠倒吗？还是在安置坛城时，是因为主尊安住在殿堂里才说是颠倒？如果按照前者，则理由不成立，因为导师安住在宫殿的中心。如果认为他没有安住在那里，那么在《海》中说：“在宫殿中央的中心，主尊普贤转法轮。”因此，如果按照后者，即使普贤父母安住在殿堂里，主尊和眷属也没有颠倒，那有什么矛盾呢？因为那时主尊是不动金刚。如果认为那不是不动金刚，那么在《支分》中说：“金刚萨埵是中心，四部族的天神和天女是眷属。”因此，这是未经考察的诽谤，因为讲解续部的人不一定是坛城的主尊，例如，在文殊幻化网坛城中，不会出现导师释迦牟尼。第三，金刚等是一句偈颂，在宣说手印的时候，这里说了广、中、略三种，其中第一种是简略的，象征五种智慧的五部手印是：以不被边际分别所动摇的象征，是不动金刚五股杵；以能掌控一切的象征，是毗卢遮那佛的四辐轮；以自然成就伟大功德的象征
English
It is unreasonable to think that they reside there. The Explanation Tantra Mirror says, "In front of and behind the courtyard, the colors of Samantabhadra and Samantabhadri are like the sky." This contradicts the above statement. The Omniscient Great One said, "Some think the main deity is in front or behind, some think they are in the east and west of the courtyard, and some think they reside in the heart of the main deity, but they have not found the definite essence." For the four porticoes, to destroy the wicked, the eastern gate is Wrathful Yamantaka, the southern gate is Mahabala, the western gate is Hayagriva, and the northern gate is Amrita Kundali, all of whom reside with their respective consorts, the four assemblies of Iron Hook Mother, Lasso Mother, Iron Chain Mother, and Bell Mother. If one asks, "Is it unreasonable for wrathful deities to appear in the peaceful mandala here?" Although it is a peaceful mandala from the main perspective, there is no contradiction in the appearance of the gate-guarding wrathful deities. Some say that the main deity of the mandala is reversed because Samantabhadra and Samantabhadri reside in the courtyard. When explaining the tantra, do you say it is reversed because the main deity resides in the courtyard? Or when arranging the mandala, do you say it is reversed because the main deity resides in the courtyard? If according to the former, the reason is not established, because the teacher resides in the center of the palace. If it is thought that he does not reside there, then in the Ocean it says, "In the center of the palace, the lord Samantabhadra turns the wheel of Dharma." Therefore, if according to the latter, even if Samantabhadra and Samantabhadri reside in the courtyard, there is no contradiction if the main deity and retinue are not reversed, because at that time the main deity is Akshobhya. If it is thought that it is not Akshobhya, then in the Limb it says, "Vajrasattva is the center, the gods and goddesses of the four families are the retinue." Therefore, this is an unexamined slander, because the one who explains the tantra is not necessarily the main deity of the mandala, for example, in the Manjushri Guhyasamaja mandala, the teacher Shakyamuni does not appear. Third, Vajra, etc., is one verse. When explaining the hand gestures, here the extensive, intermediate, and concise are mentioned. The first, according to the concise, the five mudras representing the five wisdoms are: as a symbol of not being moved by the extremes of conceptualization, the five-pronged vajra of Akshobhya; as a symbol of controlling all, the four-spoked wheel of Vairochana; as a symbol of the spontaneous accomplishment of great qualities
Chinese
因此，宝生佛的八面宝珠，以明澈而不执著的目光观照，是能照亮一切的白莲花。以四种事业断除众生的业和烦恼，是成就一切的三十二级利剑。铃代表智慧的法界手印，所有这些都光芒四射。五佛父的右手持各自的标志于胸前，左手持铃置于腰间，拥抱佛母。五佛母则与此相反，右手持铃从佛父的右腰拥抱，左手持各自的标志于胸前。诸菩萨的手印是：文殊菩萨是增长智慧的青莲花，慈氏菩萨是救护苦难的龙树等来代表，其他诸佛也以各自的标志来代表。例如：地藏菩萨是生出智慧的宝树苗，虚空藏菩萨是断除烦恼之流的宝剑，观世音菩萨是不受罪过沾染的白莲花，金刚手菩萨是摧毁烦恼的金刚杵，除盖障菩萨是了知烦恼即是法性的法轮，普贤菩萨是满足众生愿望的宝穗。这里，为什么先说青莲花和龙树，不说意菩萨第一位的手印，而说语菩萨最后一位的手印呢？因为在以一切智智成办事业之前，要先有慈悲。而慈悲也从智慧中产生，所以先说文殊菩萨的手印。那么，这里为什么不说那两个手印呢？因为其他菩萨的手印都包含在五部的标志中，所以省略了。八位明妃以美妙的装饰和姿态，手持令其欢喜的供品，如：能照亮一切的明镜，香气不断的香蔓，发出美妙声音的琵琶，显现各种形象的手印舞，香炉，鲜花，灯，香水海螺等物品。八位菩萨的左手持铃置于腰间，佛父佛母相互拥抱的姿势也如五部所说的那样。此外，降伏诸魔忿怒尊的手印是：慈悲断除嗔恨，高举人头；慈悲摧毁痛苦，持五股金刚杵；喜乐