English
Fields. By reciting Oṃ Hana Hana Hūṃ Phaṭ (Tibetan), the light emanating from the hands purifies all impurities. By reciting Oṃ Bhukhaṃ (Tibetan), all objects on the ground are transformed into the sky. Visualize the fingers as five-pronged vajras and strike the ground. Oṃ Medini Vajrī Bhava Vajra Bandha Hūṃ (Tibetan, Sanskrit Devanagari: ओँ मेदिनि वज्री भव वज्र बन्ध हुं, Sanskrit Romanization: oṃ medini vajrī bhava vajra bandha hūṃ, Literal Chinese meaning: Om, Earth, Vajra, Become, Vajra, Bind, Hūṃ). By reciting Oṃ Hana Hana Vajra Krodha Hūṃ Phaṭ (Tibetan), all the ground is bound into the nature of vajra. By reciting Oṃ Āḥ Hūṃ Śodhaya Śodhaya Rakṣa Rakṣa Hūṃ Hūṃ Phaṭ (Tibetan), purify all faults and rely on protection. Offer torma to the earth deity, recite the hundred-syllable mantra, etc. Finally, rest the land to be purified and all that purifies equally in the same dharmata. If painting on an old thangka, invoke the invisible and purify, grasp, and protect these four through substances, mantras, and samadhi. If it is a thangka painted on cloth, grasping and protecting alone are sufficient. Remaining in the yoga of the deity, rise, bless the feet, and then draw vajras on the ground with four foot postures: single-pronged vajra, three-pronged, five-pronged, and various vajras. Look forward and backward with the two eyes of the vajra, looking twice at both the manifest and hidden directions, extending the right and left feet to the east and south, bending to the west, and circling to the north. In the center, maintain equality and union, etc., with eight postures and the expressions of nine dances. In general, to seize the land, recite Oṃ Praṇāma Mi Sarva Tathāgatāna (Tibetan, Sanskrit Devanagari: ओँ प्रणाममि सर्व तथागतानां, Sanskrit Romanization: oṃ praṇāmami sarva tathāgatānāṃ, Literal Chinese meaning: Om, I salute all Tathagatas), thereby prostrating to all the Buddhas. Look with compassion upon those who are controlled by ignorance and demons. To eliminate them, holding the vajra bell, rise with the pride of a wrathful deity. The right and left eyes are like the sun and moon, with flames burning from the pupils, looking in all directions. With the sound of Hūṃ and the steps of the vajra, circle like a giant, visualizing light like the fire at the end of an eon emanating from under the feet, scattering all harm-doers, then raise the vajra bell to the height of the arm, along with the mudras of the skull staff, wheel, arrow, iron hook, rope, etc., and along with the manner of striking, whatever the main mantra is, or by dispelling obstacles with Sumbaṇi, it is said to be sufficient. Then, smear the base for making the mandala with incense and the five amṛtas, and place flowers and incense, etc., at the doors and corners.
Chinese
以……供养，并以灰烬覆盖其基座，一边念诵各本尊的主咒和七字百字明，一边修持现观，以此占据驱散和聚集之事业。第五，对于那些因这种行为而心怀恶意、不守誓言者，将其勾召后，用忿怒十尊的金刚橛钉住，这称为护地。如是，地基勘察、取土等是四或五个支分。前行也有四种，即地神前行、寂静本尊前行、宝瓶前行和弟子前行。其中，坛城如果财力雄厚，画一由旬大小也可以，如果财力不足，画手掌大小，或者用意念观想也可以。如此画好后，关于线条的绘制，线条的连接以及颜色的使用等细节，因为文字繁多而省略。一般来说，原始线既要在虚空中绘制，也要在大地上绘制，因为先绘制原始线，能使自性智慧的坛城显现，为了能像镜中显现影像一样，显现第二个化身坛城，所以要绘制原始线，这与三身的化现之基础也是法身离戏，从法身的光芒中显现报身，又从报身中显现化身是相符的。用线是为了确定坛城的特征，因此，无论是宁玛的噶玛传承还是伏藏传承，坛城的布局都有很多不同，因此必须按照各自的仪轨来了解。本尊前行和宝瓶前行，总的来说按照仪轨，特别的宝瓶的材料是：大麦、稻米、小麦、芝麻、豆蔻五种是五谷。藏红花、麝香、肉豆蔻、白檀香和红檀香是五香。黄金、红宝石、珍珠、珊瑚、绿松石五种是五宝。岩盐、蜂蜜、红糖、芝麻油是五精华。刺山茄、姜黄、白菖蒲、水生动物的爪子、五指毛桃是五药。这二十五种材料是外密续、内密续和密续所共用的。在此基础上，加上五肉和五甘露的三十五种材料，只有无上密才使用。最初的二十五种材料，依次用光明佛、无量寿佛、不空成就佛、宝生佛、不动佛、毗卢遮那佛五佛的咒语装入宝瓶。无上密的五甘露用（藏文：ༀ་པཉྩ་ཨ་མྲྀ་ཏ་ཨཱཿཧཱུཾ，梵文天城体：，梵文罗马拟音：om pancamrita ah hum，汉语字面意思：嗡 五 甘露 阿 吽）和五肉用（藏文：ༀ་པཉྩ་མཱཾ་ས་ཨཱཿཧཱུཾ་，梵文天城体：，梵文罗马拟音：om panca mamsa ah hum，汉语字面意思：嗡 五 肉 阿 吽）装入，颈饰是外续的……
English
Offer with… and cover the base with ashes, while reciting the main mantra of each deity and the seven hundred-syllable mantras, meditate on the Abhisamaya, and thus occupy the activities of dispelling and gathering. Fifth, for those who harbor malice and break vows due to such actions, summon them and pin them down with the vajra kilaya of the ten wrathful deities, which is called protecting the ground. Thus, ground investigation, soil collection, etc., are four or five branches. There are also four preliminaries: the earth deity preliminary, the peaceful deity preliminary, the vase preliminary, and the disciple preliminary. Among them, the mandala, if one is wealthy, can be drawn as large as a yojana, but if one is not wealthy, it can be drawn as small as the palm of the hand, or it can be visualized in the mind. After drawing it in this way, the details of drawing the lines, connecting the lines, and using the colors are omitted due to the abundance of text. Generally, the original line must be drawn both in the sky and on the earth, because drawing the original line first makes the mandala of self-existing wisdom manifest, and in order to manifest a second emanation mandala like an image appearing in a mirror, the original line must be drawn, which is consistent with the basis of the three kayas also being the Dharmakaya free from elaboration, from the radiance of the Dharmakaya appearing the Sambhogakaya, and from the Sambhogakaya appearing the Nirmanakaya. The line is used to determine the characteristics of the mandala, therefore, whether it is the Nyingma Kama tradition or the Terma tradition, there are many different layouts of the mandala, so it is necessary to understand according to their respective rituals. The deity preliminary and the vase preliminary, in general, follow the ritual, and the specific vase materials are: barley, rice, wheat, sesame, cardamom, these five are the five grains. Saffron, musk, nutmeg, white sandalwood and red sandalwood are the five fragrances. Gold, ruby, pearl, coral, turquoise, these five are the five precious substances. Rock salt, honey, brown sugar, sesame oil are the five essences. Kantakari, ginger, white calamus, aquatic animal claws, and five-fingered peach are the five medicines. These twenty-five materials are common to the outer tantra, inner tantra, and secret tantra. On top of that, the thirty-five materials including the five meats and five elixirs are only used by the unsurpassed tantra. The initial twenty-five materials are sequentially placed into the vase with the mantras of the five Buddhas: Vairochana, Amitabha, Amoghasiddhi, Ratnasambhava, and Akshobhya. The five elixirs of the unsurpassed tantra are placed with (Tibetan: ༀ་པཉྩ་ཨ་མྲྀ་ཏ་ཨཱཿཧཱུཾ，Sanskrit Devanagari: ，IAST: om pancamrita ah hum, Literal meaning: Om Five Amrita Ah Hum) and the five meats are placed with (Tibetan: ༀ་པཉྩ་མཱཾ་ས་ཨཱཿཧཱུཾ་，Sanskrit Devanagari: ，IAST: om panca mamsa ah hum, Literal meaning: Om Five Meat Ah Hum), the neck cord is for the outer tantra…
Chinese
为了象征三身，有三种命根；对于无上部来说，有象征五身的五种命根；为了象征乐空智慧，也有说是七种。外续三部中，作为装饰，杜尔瓦和一些印度论典中说是芒果等树木，而在橛续中，有些说是杉树的嫩枝，也说是猛烈的物品，也有说是用好的树枝装饰，因此不仅仅是认定为树木。要知道，要区分灌木和树木的树枝。清净结合，如外续经典所说，瓶的外形、颜色、装饰和颈带，海螺口、香水、用白色花朵装饰的供水等，以及其上的咒语金刚、花环等外在显现的物品，象征化身。装入二十五种精华，圆满众生的福报，增长受用，象征报身。瓶内清凉的自性熄灭烦恼的酷热，象征法身。观修本尊是自性身，象征四身，因此菩提的诸法自性圆满。如内续经典所说，瓶是天神之所，装饰等一切饰品是伟大的慈悲的象征，五药是慈悲菩提心，五谷是天神的自性，五宝是身的五光，五心是智慧，心的法界，香等是戒律功德圆满。因此也说瓶的数量是确定的，在八个门槛上，每个门槛上都有一个香的坛城，上面放着八个瓶，主瓶放在中央。如果没有一个尊胜佛母，那么一切本尊都生起于此。事业瓶放在东门的左边，这是印度人的规矩。据说将尊胜佛母安放在宝座上，在教理上是有很大过患的。像这样，要知道灌顶的物品是坛城的主尊，与上师无别，是从主尊的心间突然化现，或者是灌顶本尊突然降临的手印。生起本尊之处仅仅是瓶，其上的海螺口或颅碗仅仅是供养供品的器皿。虽然看似在本尊瓶中生起本尊，但在外续三部中，要做迎请智慧尊，在无上部中，要在双运无二大乐空的状态中。
English
In order to symbolize the three bodies, there are three life-forces; for the Anuttarayoga Tantra, there are five life-forces symbolizing the five bodies; and to symbolize the bliss-emptiness wisdom, it is also said to be seven. In the outer three tantras, as an ornament, durva grass and some Indian texts say it is mango and other trees, while in the Phurba Tantra, some say it is a juniper sapling, and also say it is a fierce substance, and there is also the saying "adorned with good branches," so it is not just identified as a tree. It is necessary to know that one must distinguish between shrubs and the branches of trees. Purification and union, as stated in the outer tantras, the outer shape, color, ornaments, and neck-ties of the vase; the conch mouth, fragrant water, offerings adorned with white flowers, etc., and the externally appearing objects such as the vajra mantra and garlands of flowers on top of it, symbolize the Nirmanakaya. Filling it with the twenty-five essences, completing the accumulation of merit for sentient beings, and increasing enjoyment, symbolizes the Sambhogakaya. The cool nature within the vase extinguishing the heat of afflictions symbolizes the Dharmakaya. Meditating on the deity is the Svabhavikakaya, symbolizing the four bodies, so all the qualities of enlightenment are naturally complete. As stated in the inner tantras, the vase is the abode of the deity, and all the ornaments and decorations are symbols of great compassion, the five medicines are compassion and bodhicitta, the five grains are the nature of the deity, the five precious substances are the five lights of the body, the five essences are wisdom, the sphere of the mind, incense, etc., are the perfection of discipline and qualities. Therefore, it is also said that the number of vases is fixed, with eight vases on each of the eight door frames on top of a mandala of incense, and the main vase is placed in the center. If there is only one Namgyalma, then all the deities are generated there. The karma vase is placed to the left of the east door, which is the Indian custom. It is said that placing Namgyalma on a throne has great faults according to the scriptures and logic. In this way, know that the empowerment substances are the lord of the mandala, inseparable from the guru, suddenly manifested from the heart of the main deity, or the hand implements of the empowerment deity who suddenly appears. The place for generating the deity is only the vase, and the conch mouth or skull cup on top of it is only a vessel for offering oblations. Although it seems that the deity is generated within the vase, in the outer three tantras, one performs the invocation of the wisdom being, and in the Anuttarayoga Tantra, it is in the state of great bliss-emptiness, indivisible union.