Chinese
关于八辐轮，从“胜利”到“以伸展和收缩的姿势安住于座垫上”之间进行了阐述，其自身意义显而易见。关于“在内部和外部的行列中”，指的是在内部法轮的外部。外部是指诸神，就像从诸神中清楚地显示出来的那样，这些神是派遣的神，应该在行动时知晓。关于“在第一个外围火坛中”，指的是门外的第一个庭院。六十位使者常驻于此，他们也在行动时使用，在修行时，通过方便，从右边的智慧到左边的任何一方来执行行动，这是由辅助行动产生的禅定。关于“在四个门处，门卫守护”，指的是门，即东方等四个方向。门卫指的是铁钩女等四位。关于“在外围中间的火坛中”，指的是门外的第二个庭院。关于“编织和女仆的群体，由十位和八位首领守护”，指的是两个十位，即二十位。在此基础上加上八位，总共要安置二十八位。这也是行动的时间。在那之外的庭院里，有誓言神女及其眷属，伟大的自性母神，也应观想为兽面母。在行动时，为了从那里再次用装饰品装饰坛城，阐述了“在九个坟墓头骨中”等。关于“在九个坟墓头骨中”，指的是在九个头骨的容器中，制作九个大油灯，用坟墓的布做成树苗，点燃九个灯头。头骨是空性和无我的象征，灯是觉悟智慧界性的象征。关于“金刚大肉垫，红色血海中央”等，大肉垫是母神和空行母的誓言物，红色等也应同样理解。四个方向和四个角落，即八个方向，也要竖立常胜幢和兽皮大旗，以及摩羯鱼旗和田地旗，每个方向各两个，总共八个。关于“田皮底座如云般密集”，指的是用布匹和田地的底座来覆盖。诸如此类的装饰品，应根据情况进行覆盖。
English
Regarding the eight-spoked wheel, it is explained from "Victory" to "abiding in the posture of stretching and contracting on the seat," and its meaning is self-evident. Regarding "in the inner and outer rows," it refers to the outside of the inner wheel. The outer refers to the deities, just as it is clearly shown from the deities, these deities are the sending deities, and should be known at the time of action. Regarding "in the first outer fire courtyard," it refers to the first courtyard outside the door. Sixty messengers constantly reside there, and they are also used at the time of action, and at the time of practice, through skillful means, from the wisdom on the right to whichever is on the left, to perform actions, which is the samadhi arising from auxiliary actions. Regarding "at the four doors, the gatekeepers guard," it refers to the doors, namely the four directions such as the east. The gatekeepers refer to the four, such as the Iron Hook Woman. Regarding "in the middle fire courtyard on the outside," it refers to the second courtyard outside the door. Regarding "the group of braids and maids, guarded by ten and eight leaders," it refers to two tens, namely twenty. On top of that, adding eight, a total of twenty-eight should be placed. This is also the time of action. In the courtyard outside of that, the oath-bound goddess and her retinue, and the great self-nature mother goddess, should also be visualized as Shonamuka. At the time of action, in order to decorate the mandala again from there with ornaments, it explains "in the nine cemetery skulls," etc. Regarding "in the nine cemetery skulls," it refers to making nine great oil lamps in the nine skull containers, making seedlings from cemetery cloth, and lighting nine lamp heads. The skull is a symbol of emptiness and selflessness, and the lamp is a symbol of realizing the wisdom realm. Regarding "Vajra great flesh cushion, red blood sea center," etc., the great flesh cushion is the oath substance of the mother goddess and dakinis, and red and so on should also be understood in the same way. The four directions and four corners, namely eight directions, should also erect the banner of constant victory and the great hide banner, as well as the makara banner and the field banner, two for each direction, for a total of eight. Regarding "field skin base densely like clouds," it refers to covering with cloth and the base of the field. Such ornaments should be covered as appropriate.
Chinese
深蓝色黑色的帷幔悬挂着，田地的各个部分都放置妥当，班杂（梵文：Bhaṇḍa）被放置在障碍物的一侧。然后，为了在坛城中通过放置诸神的各自象征物来展示，说了“燃烧的集合”等等。 “燃烧的集合的主人们，各自安置好。” 这意味着，坛城诸神的各自象征物应该这样放置：这是从一开始就出现的。 “具有象征的班杂，有发髻，具有五种感官，主要的神父作为象征放置。” 这意味着具有象征的班杂，即第三个岛屿或独子。将五种感官放入其中，并放置在坛城的中央。 “坟地山顶的五个尸体，作为至高无上的儿子金刚橛的象征放置。” 这意味着驱除障碍的时候。将坟地的五个金刚橛加持为至高无上的儿子，供养后放置在四个方向和中央，共五个地方。在完成这个修法之前，说“不要放过障碍的魔障”，并划定界限。 “头盖骨的十六块碎片。” 这意味着头盖骨的十六块碎片，即十六位供养天女，作为象征放置，她们是事业之神。 “肢体，即所有众生，是忿怒尊和忿怒母的物质。” 这意味着二十个手指是忿怒尊和忿怒母的物质。 “牙齿和燃烧的内脏作为使者的象征放置。” 这意味着放置所有的骨头。 “脊椎等等的物质，作为做什么的集合的物质放置。” 这意味着二十八根脊椎是编织者和女仆的物质。 “四肢的象征。” 这意味着两只手和两只脚这四个被放置在四个门上。这也展示了在物质上书写的方法：各自语言的字母，在各自种姓的象征上，父父佛母菩提心书写。这意味着在各自的象征上，无论是字母吽（藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽）等等，都用菩提心来书写，用坟地的笔。然后又展示了三摩地：具有传承的上师，也应该以愤怒进行猛烈的瑜伽，这意味着在修法和事业的两个时候都非常
English
The dark blue-black curtain is hung, the various parts of the field are placed properly, and the Bhaṇḍa is placed on the side of the obstacles. Then, in order to show the deities in the mandala by placing their respective symbols, it is said, "The assembly of burning," and so on. "The lords of the assembly of burning, each should be placed according to their allotment." This means that the respective symbols of the deities of the mandala should be placed as follows: This is what comes from the beginning. "The Bhaṇḍa with symbols, with a topknot, possessing the five senses, the main father is placed as a symbol." This means the Bhaṇḍa with symbols, either the third island or the only son. Put the five senses inside it and place it in the center of the mandala. "The five corpses on the hill of the charnel ground, place as the symbol of the supreme son, the kīla." This means the time to dispel obstacles. Consecrate the five kīlas of the charnel ground as the supreme son, offer the offerings, and place them in the four directions and the center, making five places. Until this accomplishment is achieved, say, "Do not let go of the obstacles of interruption," and set the boundaries. "The sixteen pieces of the skull." This means the sixteen pieces of the skull, which are the sixteen offering goddesses, are placed as symbols; they are the deities of action. "The limbs, which are all sentient beings, are the substances of the wrathful deities." This means that the twenty fingers are the substances of the wrathful deities. "The teeth and the burning entrails are placed as the symbols of the messengers." This means that all the bone heads should be placed. "The substances of the vertebrae, etc., are placed as the substances of the assembly of what to do." This means that the twenty-eight vertebrae are the substances of the weavers and maids. "The symbols of the four limbs." This means that the two hands and two feet, these four, are placed at the four doors. This also shows the method of writing on the substances: the letters of each language, on the symbols of their respective lineages, write the father-mother bodhicitta. This means that on each of their respective symbols, whether it is the letter Hūṃ (藏文：ཧཱུྃ，梵文天城体：हुं，梵文罗马拟音：hūṃ，汉语字面意思：吽) etc., write with bodhicitta, with the pen of the charnel ground. Then again, samādhi is shown: the lama with the lineage should also perform fierce yoga with wrath, which means that at the time of both accomplishment and action, it is very
Chinese
这是忿怒的等持，不是修习的时候。然后展示猛烈的坛城，关于“也在有权势一方的角落”，指的是儿子金刚橛坛城的东北角。做什么呢？关于“吞噬业的坛城”，指的是要摧毁被吞噬者的位置，称为“吞噬坑”。形状该如何做呢？说的是“像猛烈的火供坑的形状”，要做成三角形，每一边二十指长，深度十指。每一边二十指长，深度十指。那方向该如何确定呢？说的是“顶端指向南方”，顶端要指向南方。那么，没有装饰吗？说的是“用吽吽和啪围起来”，要用黑色的颜料在三角形的空中，交替书写吽和啪。为了展示放置在其中的物品，用“时机成熟”等来表示。关于“时机成熟的众生，由业力成熟的瑜伽士，附上标志和名字”，指的是要被超度的时机成熟的众生，由具有证悟的瑜伽士，附上标志。材料是荨麻叶、蚂蚁窝的土、芥菜籽、水泡、桦树皮、牛角、马角和眼睛，用驴奶混合后塑形，在粗布或树皮上用朱砂和人血写上“班杂尔 格里格里亚 且格莫 玛拉雅 啪 (藏文，梵文天城体，梵文罗马拟音，汉语字面意思)”，然后放在心口，因此说要附上标志的名字。那么，该如何放置呢？为了展示这一点，说的是“头放在西南角，脚指向东北角，放在火供坑里”。头指向西南角，因为那是罗刹存在的地方。脚指向东北角，因为那是度母事业的所在地。放置在火供坑的位置，因为那是超度的地方。那么，为什么三角形的火供坑是超度的地方，而其他的不是呢？回答是，三角形的火供坑
English
This is the wrathful samadhi, not the time for practice. Then, the fierce mandala is shown, regarding "also in the corner of the powerful side," it refers to the northeast corner of the son Vajrakila mandala. What to do? Regarding "the mandala of the devouring action," it refers to the place where the devoured is to be destroyed, called the "devouring pit." How should the shape be made? It is said, "like the shape of a fierce homa pit," it should be made into a triangle, each side twenty fingers long, and ten fingers deep. Each side is twenty fingers long, and ten fingers deep. How should the direction be determined? It is said, "the apex points to the south," the apex should point to the south. Then, is there no decoration? It is said, "surround it with Hum Hum and Phat," Hum and Phat should be alternately written in the space of the triangle with black paint. To show the items to be placed inside, it is indicated by "when the time is ripe," etc. Regarding "the sentient being whose time is ripe, by the yogi whose karma is ripe, attach a sign and a name," it refers to the sentient being whose time is ripe to be liberated, by the yogi who possesses realization, attach a sign. The materials are nettle leaves, soil from an ant nest, mustard seeds, bubbles, birch bark, cow horn, horse horn, and eyes, shaped by mixing with donkey milk, and on coarse cloth or bark, write with cinnabar and human blood "Vajrakilaya che gema maraya Phat (藏文，梵文天城体，梵文罗马拟音，汉语字面意思)", and then place it on the heart, therefore it is said to attach the name of the sign. Then, how should it be placed? To show this, it is said, "place the head in the southwest corner, point the feet to the northeast corner, and place it in the homa pit." The head points to the southwest corner because that is where the rakshasa exists. The feet point to the northeast corner because that is where the activity of Tara is located. It is placed in the position of the homa pit because that is the place of liberation. Then, why is the triangular homa pit the place of liberation, and others are not? The answer is, the triangular homa pit
Chinese
是唯一需要度脱的地方。三面出现，是作为度脱邪见的象征而出现的猛烈之处。那么，是否所有三面的事物都是度脱之处呢？在法生之中观修本尊坛城也相违背，因为有法生变成度脱之处的过失，所以是相违背的。回答说，不相违背，因为法生本身就是度脱之处。为什么呢？因为是法生的法界。由于三界众生被度脱到那个法界中，所以说是法生是唯一需要度脱的地方。然后，为了展示瑜伽士迎请智慧坛城，用“然后”等词语来展示。所谓“具有信心的瑜伽士”，是指自身成为誓言心坛城的那位。所谓“拿起金刚橛”，是指长长的吽字，即金刚橛，是从心间的吽字中产生的吽字。所谓“饮血众神的云团”，是指三世诸佛都以薄伽梵金刚童子的坛城作为所依和能依而安住。所谓“用金刚钩迎请”，是指金刚宝瓶中安住的吽字发出光芒，那就是金刚钩。从那光芒中化现出铁钩母，她从自性成就之处迎请智慧坛城，观想其降临到前方的虚空中。然后，为了展示再次融入誓言坛城，所以说“融入无二稳固之中”。用索母、铁链母和铃母按照次第进行展示。然后，为了再次给本尊灌顶，从自己的心间发出光芒，光芒化为天女众，融入本尊身中，献上秘密供养，劝请赐予灌顶。再次从十方善逝的心间涌现出众多天女众，有的剪发，有的涂油，有的降下旃檀香雨，有的持伞和胜幢，有的手持宝瓶倾注于头顶，这是灌顶之因。灌顶之果是各自种姓的头顶。
English
It is the only place to be liberated. The appearance of three sides is a fierce place that appears as a symbol of liberating wrong views. So, are all three-sided things places of liberation? Contemplating the mandala of the deity within the Dharma origin also contradicts this, because there is a fault that the Dharma origin becomes a place of liberation, so it is contradictory. The answer is, it is not contradictory, because the Dharma origin itself is a place of liberation. Why? Because it is the Dharmadhatu of the Dharma origin. Because the beings of the three realms are liberated into that Dharmadhatu, it is said that the Dharma origin is the only place to be liberated. Then, in order to show that the yogi invites the wisdom mandala, it is shown with words such as "then". The so-called "confident yogi" refers to the one who has become the samaya-mind mandala himself. The so-called "taking up the vajra kila" refers to the long HUM, which is the vajra kila, the HUM that arises from the HUM in the heart. The so-called "cloud of blood-drinking deities" refers to all the Buddhas of the three times abiding with the mandala of Vajrakumara Bhagavan as the support and the supported. The so-called "inviting with the vajra hook" refers to the HUM residing in the vajra vase emitting light, which is the vajra hook. From that light, the goddess Iron Hook Mother manifests, and from the place of self-accomplishment, she invites the wisdom mandala, visualizing it descending into the space in front. Then, in order to show that it is re-absorbed into the samaya mandala, it is said, "absorbed into the non-dual stability." The Lasso Mother, the Iron Chain Mother, and the Bell Mother are shown in order. Then, in order to empower the deity again, light radiates from one's own heart, the light transforms into a host of goddesses, merges into the deity's body, offers secret offerings, and urges the granting of empowerment. Again, from the hearts of the Sugatas of the ten directions, a multitude of goddesses emerge, some cutting hair, some anointing, some raining sandalwood rain, some holding umbrellas and victory banners, some holding vases and pouring them on the head, this is the cause of empowerment. The result of empowerment is the crown of each lineage.