{ "translations": [ "札巴嘉辰教言集KD11 金剛橛成就降雨之舞儀軌顯現轉變", "1-539", "金剛橛成就降雨之舞儀軌顯現轉變", "那摩咕嚕貝雅，那摩班雜爾吉拉雅（藏文：ན་མོ་གུ་རུ་བྷྱཿན་མ་བཛྲ་ཀཱི་ལ་ཡ།，梵文天城體：नमो गुरुभ्यः नमः वज्रकीलाय，梵文羅馬擬音：Namo gurubhyaḥ namaḥ vajrakīlāya，漢語字面意思：頂禮 गुरु (guru 上師)！頂禮 Vajrakīlāya 金剛橛！）。至尊上師薩洛，最勝本尊金剛童子，最勝護法白魔兄妹，以三門之至誠頂禮。", "所行殊勝金剛橛之供養儀軌，廣大支分地基儀軌之行法，生起次第手印之舞次第，如薩洛之語所著顯現轉變。於此，金剛橛成就降雨之手印舞，有三義：前行、正行、後行。初前行有十五要點。其初，為使不為障礙所阻，著衣持物，如意想儀軌行法而行。瑜伽士能入定，且能圓滿唸誦修持之士，具足本尊慢者，著法裙，金剛杵，骨飾，絲帶，所需之物，戴假髮，具帽及帽帶，若有則配鏡，甘露水瓶，孔雀翎等。", "上師之骨灰，若無則以人骨灰混合酥油製成燈芯等，如所見傳承之行法佈置，與美觀相符，不違背佛法之衣著穿戴于身，手持橛。若以散亂之心著裝，或雖內心充滿煩惱，卻因懈怠吝嗇而捨棄莊嚴，則上師護法之懲罰立即降臨。故不混淆散亂心與供養心至關重要，務必謹慎。以姿勢持物，祈請，驅魔加持，敕令等，如我所作之儀軌《如意妙慧開啟》而行。", "以姿勢而行，伴隨樂器，無論於此處或舞場，皆應觀想一切內外器情皆為所依與能依之自性而行。二者，降伏一切天龍八部眾。", "english_translations": [ "Collected Teachings of Drapa Gyaltsen KD11: A Dance Ritual of Vajrakīla for Accomplishment and Rain of Blessings – 'Manifestation Capable of Transformation'", "1-539", "A Dance Ritual of Vajrakīla for Accomplishment and Rain of Blessings – 'Manifestation Capable of Transformation'", "Namo Guru Bhya, Nama Vajrakilaya (藏文：ན་མོ་གུ་རུ་བྷྱཿན་མ་བཛྲ་ཀཱི་ལ་ཡ།，梵文天城體：नमो गुरुभ्यः नमः वज्रकीलाय，梵文羅馬擬音：Namo gurubhyaḥ namaḥ vajrakīlāya，漢語字面意思：Homage to the Gurus! Homage to Vajrakīlāya!). To the supreme Lama Jetsun Salo, the supreme Yidam, glorious Vajrakumara, the supreme Dharma protectors, the White Demon Brother and Sister, I prostrate with the utmost purity of the three doors.", "Whatever the ritual for the glorious Kīla offering, the extensive branch of the ground ritual practice, the generation stage hand gesture dance sequence, is written as taught by Salo, 'Manifestation Capable of Transformation.' Here, the hand gesture dance of Vajrakīla for accomplishment and rain of blessings has three meanings: preliminaries, main practice, and conclusion. First, the preliminaries have fifteen points. The first of these is to prevent obstacles, wearing clothes and holding implements, following the practice of the visualized ritual. The yogi who is capable of samadhi and has completed the recitation practice, who possesses firm pride in the Yidam deity, wears a phodka (skirt), vajra, bone ornaments, seralkha (streamers), and other necessities, a hair substitute, a hat with a hat band, and if possible, a mirror, a zungmo chuthur (a type of ritual implement), and is adorned with peacock feathers. ", "The ashes of the Lama's remains, or if not available, a wick made of ashes mixed with butter, etc., arranged according to the practice of the seen lineage, in accordance with the description of beauty and not contradicting the Dharma, clothes are worn on the body and a banpur (small kīla) is held in the hand. If one dresses with a distracted mind, or if one's mind is filled with afflictions but one abandons adornment due to laziness or stinginess, then the punishment of the Lama and Dharma protectors will surely come immediately. Therefore, it is very important to not confuse distraction with the intention of offering to the deity, so be careful. Holding the posture, making supplications, blessing to dispel obstacles, and giving commands are done as in my ritual 'Opening the Desired Intelligence.'", "Performing the actual postures, accompanied by music, whether in that place or another dance arena, one should think of all phenomena as the nature of the support and the supported, and then act. Second, subduing all the eight classes of gods and demons." ] }
【English Translation】 For the purpose of performing the offering ritual, performing the golden drink offering and the rotation of the vajrakila: 1-541 Stop the music. Led by a dancer wearing a white skirt, who is skilled in dance and has a graceful posture. Accompanied by the alternating playing of large and small musical instruments, when the rhythm is strong, raise the right foot. Hold the vajrakila in the right hand, rotate it in a lotus-like manner, and hang the vajrakila banner on the left arm. Move the right foot in a smaller direction. Look back. When the rhythm becomes strong again, raise both hands over the shoulders and make a sound. When the rhythm is weak, drop the left foot in the direction of movement. Look inward, this is called the lotus step. In this way, reach the top or any appropriate place. The offering attendant holds the offering alcohol. The masters recite 'Om Ah Hum' from the practice of blessing nectar, until the end. Then, accompanied by music and dance: 'The victorious one's lineage of intention...' etc., perform the grand golden drink offering. 'Generate the mind of enlightenment...' etc., as described in the practice of Dondrup, as a supplement: 'Khonthon Luwang Sungwa... In the rock cave of Lhasa Yerpa... How... Khonthon Dorje Rinchen... When performing the wrathful empowerment... How... Khonthon Balpo... In the rock cave of Tsamorong... How... The mantra holder Gyagar Sherzang... In the place of Drumtsa Thonpo... How... Jamyang Kunga Sonam... In the sacred place of Babrong Rock... How... The time of the vidyadharas has come! The time to unleash power and ability has come! The time to bless has come! The time to subdue enemies has come!' Recite these to inspire the vidyadharas. 'This powerful vajrakila tonight...' etc., until '...show it to those who have nightmares.' Recite these, and strike the instruments violently as if stopping the music. Finally, strike the instruments and recite Kilaya. Everyone rotates the vajrakila outwards. Then, at the end of the three strikes of the instruments, as before, dance the lotus step, arriving at all the places of performance, circling once. Then, bring the master to the small throne. Recite the dance explanation made by Salo: 'The assembly of the lineage of the master vidyadharas...' etc., until 'Avoid the fault of being too slow or too hasty, it is important that the gestures of the mudras are comfortable and coordinated.' Others should listen attentively without distraction. After the dance explanation is finished, accompanied by music and dance, perform the vast lotus rotation as much as possible as described below. Circle once with music. Then, the focus 1-541 (Om Ah Hum, 嗡 阿 吽, oṃ āḥ hūṃ, The three syllables)
【English Translation】 Starting from the third section, the chapters are narrated by the dance master in the manner of dance language communication. 1-543 Therefore, the third part is to level the ground, which needs to be determined by three dance rotations. Then, between the lotus rotations, the basic lotus rotation is performed with soft music, and the lotus rotation is completed in three small circles. The basic lotus rotation is the center of the body, the right side, the center again, the left side, and finally the center, making five parts in total. After performing the lotus rotation in these positions, when the rotation ends, the body bends slightly and the right foot is lifted. The hands are raised high, making a gesture of playing musical instruments. In three of the four large beats, the right foot is placed in front, to the right, and behind respectively. The body bends greatly, the left heel is slightly lifted and placed behind the right foot, and then rotates to the right. In one large beat, spread the left foot and place it on the left side, looking back. Perform a lotus rotation with three small beats again. In the four large beats, lift the left foot and place the left foot behind, to the left, and in front respectively, returning to the original position. Spread the right foot and place it on the right side. The rhythm of the music, the posture of the body, etc. are the same as before. Look forward. Perform a lotus rotation again, the body bends as before, and perform a rotation of the instrument rhythm, etc. This is the first dance rotation. In the same music, look inward and complete a lotus rotation with three small beats. 1-544 The body bends and the left foot is lifted. In the three large beats, place the left foot in front, to the left, and behind respectively, rotating to the left. In one large beat, spread the right foot and place it on the right side, looking back. Perform a lotus rotation again. In the four large beats, lift the right foot and place the right foot behind, to the right, and in front respectively, returning to the original position. Spread the left foot, look forward. The lotus rotation, instrument rhythm, etc. are the same as before, this is the second dance rotation. The third dance rotation is to repeat the first dance rotation. The lotus rotations during the dance are broad lotus rotations. That is, in one small beat, rotate the phurpa (藏文：ཕུར་པ་，梵文天城體：，梵文羅馬擬音：phurpa，漢語字面意思：金剛橛). In one small beat, raise the phurpa to the sky. In one small beat, put the tip of the phurpa into oneself, this is the way to perform the lotus rotation with three small beats. Fourth, generating the Dharmadhatu: In order to generate the Dharmadhatu, three rotations are required. Playing in three large beats, stretching both hands and twisting the body left and right with each musical beat. All the hand gestures of playing and instrument rhythm are the same, only the height is different.
【English Translation】 The hands are stretched out, soaring in the sky like an eagle, the fingertips of the hands are rounded like the ends of wings, the posture is beautiful and charming. If the hand becomes like a disability, that won't do, so the hands should be raised high. After the dance is over, make the lotus seat as before, and then stretch out your hands. Extend your right foot to the right side, and in three small beats, both hands and the right foot are retracted, and the hands are joined in front of the chest. When the right foot reaches directly in front of the left foot, with a loud gong sound, the hands point to the sky, lift the right foot and maintain balance. Then, in four large beats, the hands make a dancing posture, and the right foot is placed in front, right front, back, and left back respectively. In one large beat, the left foot is extended to the left side, the face is facing forward, and in five large beats, rotate to the right. Then make a lotus rotation with three small beats, stretch out your hands. Extend your left foot to the left side, and in three small beats, both hands and the left foot are retracted, and the hands are joined in front of the chest. When the left foot reaches directly in front of the right foot, the hands point to the sky, lift the left foot and maintain balance. Then, in four large beats, the hands make a dancing posture, and the left foot is placed in front, left front, back, and right back respectively. In one large beat, the right foot is extended to the right side, the face is facing forward, and in five large beats, rotate to the left. Again, make a lotus rotation with three small beats, from the lotus rotation to the face facing forward, repeat the previous right rotation, rotating three times in total. Then there is the stretching lotus and stretching follow. The posture is in a wide lotus rotation, the center, left side, again center, and right side of the body are performed respectively, for a total of four lotus rotations. Stretching lotus, make five lotus rotations on the lotus seat, this number will be used when stretching lotus and stretching follow appear below. Then, stretch the right leg straight on the right thigh, place the heel of the left foot on the ground, lift the toe towards the direction of travel, maintain balance, and in three small beats, slightly move the fingers of both hands, making a 'zam'. In three small beats, the body makes a slight bend. With a loud gong sound, the left foot is extended to the side, making a very large stretch, and the hands are crossed in front of the chest. Place the left knee in the hollow of the right foot, sway the hips, and with the sound of about one gong, break the sound of the music and maintain balance, this is the stretching follow. All the stretching lotus and stretching follow mentioned below are analogous to this. Then, with a loud gong sound, lift the left foot, and the hands swing like dancing.
【English Translation】 Then, with the left leg raised, accompanied by a loud drum sound, the body twists to the left. The left hand is raised high, forming the बंध (bandha, bandha, bandha, bond) mudra, with the wrist bent inward, and the right hand extends downward towards the right foot. Holding the phurba (藏文：ཕུར་པ།, a ritual dagger), the wrist is extended outward, and similarly, the right hand is raised high, and the left hand extends downward, alternating in this manner. Walking in this way is called 'moving stride.' Below, wherever moving stride is needed, it is understood in this way. Fifth, Gathering Appearance and Existence: In order to gather appearance and existence, it is said that three 'swaying' motions are to be performed. Accompanied by three loud drum sounds, then perform the lotus dance. At the end of the central lotus rotation, exchange the phurba and बंध (bandha, bandha, bandha, bond) mudra. Then, when the right lotus rotation is finished, the body posture etc. follows the manner after the lotus dance as shown above. Accompanied by three small drum sounds, perform 'dzam' to the right, and with a loud drum sound, the left hand holds the phurba supporting the waist, the right hand forms the बंध (bandha, bandha, bandha, bond) mudra making a swaying gesture, the right foot is placed in front of the left foot, the left knee is placed in the hollow of the right knee, the right hand forms the बंध (bandha, bandha, bandha, bond) mudra, with the back of the hand facing up on the right knee, looking inward, the body twists, with a smile and swaying, for about two drum beats, the sound is broken, the head and upper body are raised, the waist is straightened, and the chest is puffed out. Then, with a small drum sound, the body jumps and straightens, the right hand supports the waist. Again, with a loud drum sound, the left hand sways with the phurba, the left foot is placed in front of the right foot, the phurba is placed on the left knee, except for the left hand with the back of the hand facing up, the body posture is the same as before. Like this, straighten the body, and again sway the right hand as before, repeating the swaying three times. During this process, it is very important to avoid major mistakes in the dance such as stiff hips, bent waist, drooping head, and bent upper body. Then perform one round each of the lotus dance, after the lotus dance, and moving stride. Sixth, Dakini's Courageous Dance: In order to show the dakini's courage, it is said that three 'hissing' sounds are to be made. Accompanied by three loud drum sounds, then exchange the phurba and बंध (bandha, bandha, bandha, bond) mudra on the third circle of the basic lotus dance. After the basic lotus dance is finished, accompanied by three small drum sounds, both hands are stretched out as if playing a musical instrument. The heel of the right foot is placed on the ground, in front of the right side, the toes are raised and spread. Both hands and the right foot are retracted, both hands are joined at the chest, the right foot approaches the left foot, then the right foot is raised, the body jumps slightly, the heel of the right foot is placed on the ground on the right side.
【現代漢語翻譯】 將顱骨碗（na phur）置於心間，顱骨碗柄（ban nang）朝內，顱骨碗尖（phur rtse）朝上，保持平衡，身體向右側移動，在四個大節拍（rol mo che ba bzhi）之間，雙肘伸直。 上半身從背部稍微扭轉並彎曲。左腳腳後跟向內旋轉。臀部扭動。當節拍結束時，向右傾斜。在三個小節拍（chung gsum）時，雙臂伸直，左腳左前方腳後跟著地。抬起腳趾並彎曲。雙手和左腳收回，雙手在心間合十。當左腳到達右腳旁邊時，抬起左腳。身體稍微跳躍。左腳在左側著地，腳後跟著地。顱骨碗如前所述在心間保持平衡，向左側移動，在四個大節拍之間，除了右腳腳後跟旋轉外，彎曲等身體姿勢與之前相同。向左傾斜。在三個小節拍時，雙手和右腳收回與之前相同。彎曲時，左右腳後跟旋轉，上半身前後扭轉等，首先向右，然後向左，即左右交替，在大節拍時彎曲，完成後身體稍微向左傾斜並柔軟，在三個小節拍期間抬起右腳。從前方旋轉並放在行進方向上，臉向後看。同時，右手從右側稍微揮動，手掌朝下放在右膝蓋上。 在三個小節拍時，抬起左腳。向後旋轉並放在行進方向上。同時，左手從左側揮動，像蓮花旋轉一樣旋轉，最後手背朝上放在左膝蓋上。右手顱骨碗尖朝向天空。這被稱為『放鬆姿勢』（jol stabs）。下面提到的『放鬆姿勢』都應理解為此類比。然後是『伸展蓮花』（'phyong pad），『伸展足跡』（'phyong rjes），『行進姿勢』（skyod 'gros）一圈。第七，是召請失誓者的神識：爲了召請失誓者的神識，說『彎頭三次』，然後在三個大節拍時演奏。從基礎蓮花座到手腳收回與之前相同，但不需要更換顱骨碗柄。雙手合十，彎曲時，雙手叉腰，頭部隨著節拍向右側彎曲。同樣，左側時向左，左右兩側都彎曲。每次彎曲時，頭部交替彎曲，雙手叉腰。除此之外，『放鬆姿勢』、『伸展蓮花』、『伸展足跡』、『行進姿勢』等都與之前相同。 第八，是召喚護法神：爲了召喚護法神
【English Translation】 Place the skull bowl (na phur) at the heart, with the skull bowl handle (ban nang) facing inward and the skull bowl tip (phur rtse) facing upward, maintaining balance, move the body to the right side, with both elbows extended straight during the four large beats (rol mo che ba bzhi). Slightly twist the upper body from the back and bend. Rotate the left heel inward. Wiggle the hips. As the beat ends, lean to the right. During the three small beats (chung gsum), extend both arms, with the left heel touching the ground on the front left side. Lift the toes and bend. Retract both hands and the left foot, with both hands clasped at the heart. As the left foot reaches next to the right foot, lift the left foot. Slightly jump the body. Place the left foot on the left side, with the heel touching the ground. Hold the skull bowl at the heart as before, maintaining balance, move to the left side, during the four large beats, except for the rotation of the right heel, the body posture such as bending is the same as before. Lean to the left. During the three small beats, retract both hands and the right foot as before. When bending, rotate the heels left and right, twist the upper body back and forth, etc., first to the right, then to the left, i.e., alternating left and right, bending during the large beats, and after finishing, lean the body slightly to the left and soften, during the three small beats lift the right foot. Rotate from the front and place it in the direction of travel, with the face looking back. Simultaneously, wave the right hand slightly from the right side, placing it palm down on the right knee. During the three small beats, lift the left foot. Rotate backward and place it in the direction of travel. Simultaneously, wave the left hand from the left, rotating like a lotus, and finally place it back up on the left knee. The right hand holds the skull bowl tip towards the sky. This is called the 'Relaxing Posture' (jol stabs). All the 'Relaxing Postures' mentioned below should be understood by this analogy. Then there is 'Stretching Lotus' ('phyong pad), 'Stretching Footprint' ('phyong rjes), 'Marching Posture' (skyod 'gros) one round. Seventh, is to summon the consciousness of those who have broken their vows: In order to summon the consciousness of those who have broken their vows, say 'Bend the head three times,' and then play during the three large beats. From the basic lotus position to the retraction of hands and feet is the same as before, but there is no need to change the skull bowl handle. Clasp both hands, and when bending, place both hands on the waist, and bend the head to the right side in accordance with the beat. Similarly, to the left side when on the left, and bend on both the left and right sides. Each time bending, alternate bending the head, and place both hands on the waist. Other than that, the 'Relaxing Posture,' 'Stretching Lotus,' 'Stretching Footprint,' 'Marching Posture,' etc., are the same as before. Eighth, is to summon the guardian deities: In order to summon the guardian deities
【English Translation】 Saying 'Recite three times for the sake of entering', then playing the great instrument three times. During the main part, with both hands together at the chest instead of the waist position, hold the vajra stake with the tip pointing backwards. The left thumb and forefinger placed in front of the mouth is the method of pressing, except for the hands being crossed in front of the mouth. Retracting the legs, stretching and bending the body, swaying, retreating, walking, and all other postures are no different from before. The seventh and eighth steps are moved up and down in practice. Ninth, in order to establish a pledge to the Dharma protectors, shouting 'Oho!' three times is not practiced, so it is omitted. Tenth, blessing above: Saying 'In order to bless above, an eight-spoked sky wheel should be drawn', then playing the great instrument three times. Then, the method of doing a half-squatting posture: In the fourth circle of the lotus seat, when it is on the left side, along with a slightly louder drum sound, lift the right leg and extend it backwards, the body slightly leaning and twisting to the right. Again, in the fifth circle, which is the central lotus circle, along with a slightly louder drum sound, extend the right leg to the left rear, the body slightly leaning and twisting to the left. Then, with the right side of the body facing inward, extend the vajra stake onto the knee of the right leg, and play the small instrument three times. On the third time, along with a sway of the waist, the left hand rests on the waist. The right hand points the tip of the vajra stake to the sky. Lift the right leg and stretch with a loud instrument sound. Afterwards, during the eight fast beats, with the leg and hand postures remaining the same, point the tip of the vajra stake to the four directions and four intermediate directions, i.e., eight directions. Then, swaying, lotus retreat, retreating, walking, etc., are done as before. Eleventh, blessing the middle: Saying 'In order to bless the middle, the eight auspicious symbols should be drawn', all other dance postures are the same as before, except that during the eight fast beats, instead of pointing the tip of the vajra stake to the sky, it is pointed to the eight directions in the middle. Twelfth, blessing below: Saying 'In order to bless below, an eight-petaled earth lotus should be drawn', during the eight fast beats, the tip of the vajra stake is pointed to the ground below, but otherwise, the walking and middle dance postures are no different from before. Thirteenth, Vajra half-step: Saying 'Search the ground with the Vajra half-step'
【English Translation】 Then play the three large musical instruments, and then beat the four drums. When beating the four drums, use a small and even rhythm, and complete the lotus dance movements as before. At the end of the lotus dance, in the four beats on the right side, the sound of the fourth beat should be loud. The body twists greatly, and in one big four-drum beat, raise the right foot and right hand. Rotate from the front, lower the left hand to the left rear, insert the tip of the vajra stake into the palm of the left hand, and draw the left wall (ra) of the vajra. Again, in one big four-drum beat, place the right foot on the left side of the front. Rotate the vajra stake on the bandha, and draw the right wall (ra) in the posture of the lotus dance. Again, in one big four-drum beat, place the right foot on the path between the two walls (ra), cross the hands in front of the chest, and make the gesture of drawing the central wall (ra). When drawing the walls (ra), lift the left foot slightly behind the right foot each time. The body twists four times with the music. Then, in one small four-drum beat, place the hands on the waist. Rotate the right foot from the front, make the gesture of drawing the navel, and then place it on the right side. Plant the heel of the left foot on the ground, lift the toes, and stand tall. Then, in one big drum sound, lift the right foot, stretch forward, and then lower the right foot. Cross the hands in front of the chest. In one big drum sound, lift the left foot. Place the hands on both shoulders. In that posture, in one big four-drum beat, place the left foot on the front side of the right foot. Insert the tip of the vajra stake into the bandha and draw the right wall (ra). Again, in one big four-drum beat, place the left foot on the left side of the rear. Rotate the vajra stake on the bandha and draw the left wall (ra) as before. Again, in one big four-drum beat, place the left foot in the middle of the two walls (ra). Cross the hands in front of the chest and make the gesture of drawing the central wall (ra) as before. Then, in one small four-drum beat, place the hands on the waist. Rotate the left foot from the rear, make the gesture of drawing the navel. Turn outward and place the left foot on the left side. Plant the heel of the right foot on the ground. Lift the toes and stand tall. When stretching, there is no other difference except for lifting the left foot first. When drawing the vajra wall (ra), when the left foot is placed on the ground, lift the right foot slightly, and it is the same as before except for the difference between left and right. Like this, alternate left and right five or six times, and after completing the drawing according to the situation, complete the final waist movement, do not stretch, maintain the hand gestures and small drum sounds, and rotate as much as possible, which is the swaying step. Understand this with 'swaying step' below. Fourteenth, Vajra Single Walk.
【English Translation】 It is said that the earth is subdued by the vajra eka-nritya (金剛獨舞，vajra eka-nritya, vajra eka-nritya, Diamond Single Dance). Then, for the four beats of the two large drums, perform two dances, one clockwise and one counterclockwise. For the clockwise rotation, the left heel rotates; for the counterclockwise rotation, the right heel rotates. All dances should be interpreted according to their category. Then, for every two small drum four-beats, complete a lotus rotation base, that is, the third circle of the lotus rotation, accompanied by a slightly louder drum sound. Extend the right leg back, face to the right, and perform the central lotus rotation. Again, with a slightly louder drum sound, extend the left leg back, face to the right, and perform the fourth lotus rotation, the left lotus rotation. Again, extend the right leg back, face to the right, and perform the fifth lotus rotation, the central lotus rotation. This is the base including all the basic lotus rotations. When the lotus rotation is complete, the drum sound of the last three and four beats should be louder. The body twists greatly, and for one four-beat of a large drum, facing to the right, keep that position, raise the right leg and right hand, rotate from the back, and place the right leg in front of the right side. Insert the tip of the phurba (橛，phurba, phurba, peg) into the bandha (盟誓，bandha, bandha, bond), and draw a circle on the right side. Similarly, for one four-beat of a large drum, raise the right leg, rotate the phurba (橛，phurba, phurba, peg) on the bandha (盟誓，bandha, bandha, bond), etc., and draw a circle on the left side. Again, for one four-beat of a large drum, place the right leg between the two circles, in the manner of drawing the central circle, and cross the hands at the chest. For one loud drum sound, raise the right leg, rotate from the back, and lower the direction of travel. Again, for one loud drum sound, raise the left leg. Place both hands on the shoulders, face the direction of travel. Place the left leg in front of the right, and draw a circle on the right side. Again, raise the left leg and place it on the back side, and draw a circle on the left side. Again, raise the left leg and place it in the middle of the two circles, and draw a central circle. The hand gestures are the same as before. Then, put both hands on the waist, rotate the left leg from the back, in the manner of drawing the navel, face outwards, and lower the left leg to the left side. The heel of the right leg is placed on the ground, the toes are raised, and lean back slightly. Again, for one loud drum sound, raise the left leg, rotate from the back, cross both hands at the chest and hang down, as before, face to the right, and lower the left leg. Again, for one loud drum sound, raise the right leg, and place both hands on the shoulders. Place the right leg in front of the right side, draw a circle on the right side, that is, draw three circles, the direction of travel hangs down, and draw three circles with the left leg. Put your hands on your waist and lean back, etc., the same as before. In this way, after completing two or three vajra eka-nritya (金剛獨舞，vajra eka-nritya, vajra eka-nritya, Diamond Single Dance), place the left leg in the back.
【English Translation】 Then, keeping the waist posture of the center drawing method unchanged, perform four beats of swaying motion as before. The fifteenth movement is the vajra-cross: It is said to bless the earth with the vajra-cross frog-step method, and play as before in two large four-beats. 1-557 Then, like the vajra half-step, complete the hanging lotus, bend the body slightly, and in one large four-beat, lift the right foot, pointing to the left corner in front. Lift the right foot again, pointing to the right corner in front. Lift the right foot again, place it between the two, and draw 'ra' in three ways: right, left, and center. Then, in one large drumbeat, keeping the hands crossed in front of the chest, lift the right foot, rotate to the right, look back, and then lower it to the back. Again, in one large drumbeat, lift the left foot, place the hands on both shoulders. In one large four-beat, lower it to the right corner in the back, draw the right 'ra', and similarly, draw the other two 'ra' as before. Again, in one large drumbeat, lift the left foot and rotate from the back. With the back facing the direction of travel, draw three vajra 'ra' with the right foot as before. Again, lift the right foot, rotate from the back, and draw three 'ra' facing the direction of travel with the left foot, which is the vajra-cross. After finishing drawing, place the hands on the waist. The left foot rotates from the back, slightly tilting the center drawing method, etc., as before. Again, in one large drumbeat, lift the left foot, rotate from the back, cross the hands in front of the chest and hang down, face forward, and lower the left foot. 1-558 Again, in one large drumbeat, lift the right foot, place the hands on both shoulders, and draw three 'ra' in front with the right foot. Hang down again and draw the 'ra' in the back, etc., as before, in the manner of the vajra-cross. Draw three times or as needed, and after finishing, place the hands on the waist, complete the hanging facing forward, and instead of drawing 'ra' in the small four-beat, hang the lotus. After hanging, perform one moving rotation as before. At the moment of 'zam', complete in two small four-beats. The number of moving rotations is one strike. When drawing 'ra' such as vajra and flame mountain steps, slightly lift the left foot when the right foot is drawing, and slightly lift the right foot when the left foot is drawing. When drawing 'ra', swaying, etc. in four-beats, bend the body slightly and bend the head slightly. Through these, the sequence of the fifteen key points of the preliminary practice has been shown. The second general topic is the main practice. The second general topic
【English Translation】 The actual practice is generating the support mandala palace, and the supported is generating the deity. ༈ Generating the Support Mandala Palace: First, generate the elements of Dharma origin, wind, water, fire, and earth. Then, generate the eight aspects: earth, blood, skeleton, and the palace. As it says, according to the eight points, the first is generating the Dharma origin: recite 'From the syllable ཨེ་（藏文：ཨེ་，梵文天城體：ऐ，梵文羅馬擬音：ai，漢語字面意思：無）, the expanse of space is purified into the center of the sky.' Then, as before, play the three big drums, and then strike the four drums as when drawing a vajra. 1-559 The slight difference is that both the small lotus circle and the large main one are struck four times, the first strike being large, and the second, third, and fourth being small, alternating between loud and soft sounds. The small four strikes resemble the rotation of the lotus circle. Similarly, make the lotus as the base. When the final fifth circle of the lotus is completed, bring the thumbs and index fingers of both hands together, join them in the center of the body, extend them to the left, circle from the front, pass through the right chest, and arrive at the center, striking each small four-beat in this manner. After doing this for two rounds, twist the body and make one large hip sway. Lift the right leg with one loud drumbeat. Jump the body and place it where it can reach in front. Similarly, extend the right hand from the chest, twirl the phurba, and raise the right leg to where it is going, which is the front corner of the Dharma origin. Again, with one loud drumbeat, lift the left leg with a jump of the body and place it in the left corner. Extend the left hand in the gesture of holding a vajra, stretch it over the left leg, and reach the left corner of the Dharma origin. Spread both legs apart. With both hands extended in that position, twist the body greatly to the right with one large four-beat, making the waist supple. 1-560 The right hand almost touches the ground and stretches out. Again, with one large four-beat, twist to the left as before. The left hand and waist, etc., are as before. Make a large left stretch. Then, rest the left hand on the waist, and with the tip of the right phurba, draw the Dharma origin, and retract the right leg in the manner of drawing a line on the ground. When the left leg reaches straight ahead, again with one loud drumbeat, twist and jump the body, circling the right leg from the front to the right and placing it in the right corner. The extension of the right hand, etc., is the same as before, which is the right corner of the Dharma origin. Again, with one loud drumbeat, lift the left leg and left hand. Place the previous right leg in the front corner of the Dharma origin. With two large four-beats, extend both hands. Twist and stretch to the left and right, resting the left hand on the waist, and the right...
【English Translation】 After the Vajrakila dancer finishes drawing patterns on the ground, steps, etc., like before, he raises his right foot again and twists his body, accompanied by a loud drum sound, placing the left corner of the Dharma origin in the place of the previous left foot. Again, with a loud drum sound, he raises his left foot and places the right corner of the Dharma origin in the place of the right foot. Then, facing backwards, he stretches out his hands and twists his body from side to side. The Vajrakila dancer draws patterns and retracts his steps, plays music, etc., all the same as before, with the tip of the Dharma origin facing inward. After finishing the retraction, facing backwards, he remains in that posture, raising his right foot during two small four-beat rhythms, his right hand waving slightly from the right side, and then placing his palm face down on his right knee. Again, during two small four-beat rhythms, he drags his left foot backwards and determines the direction of movement. At the same time, his left hand waves from the left side, rotating like a lotus, and finally placing the back of his hand face up on his left knee. His right hand holds the Vajrakila and the tip of the Vajrakila, pointing to the sky, facing forward. Then, during two small four-beat rhythms, he makes a lotus rotation, starting from 'ཛམ་' (Tibetan, Devanagari, Romanized Sanskrit, literal Chinese meaning: seed syllable), until facing forward, drawing the Dharma origin three times or more as before, depending on the situation. After finishing, like in the Vajra dance, he performs the four-beat hanging lotus, hanging back, and swaying steps at a rate of one beat per circle. ༈ །། Second, generating the wind mandala: Reciting 'ཡཾ་ལས་རླུང་ཆེན་རྒྱ་གྲམ་སྲ་ཞིང་བརྟན། །' (Tibetan, Devanagari, Romanized Sanskrit, literal Chinese meaning: From the syllable 'yam' arises the great wind, firm and stable), then playing music three times as before. After that, changing the drumbeat to five beats. During two small five-beat rhythms, he makes a lotus rotation as the foundation lotus for completion. After completion, like before, he joins his hands at his chest, with his thumbs and index fingers touching, making the 'ཛམ་' (Tibetan, Devanagari, Romanized Sanskrit, literal Chinese meaning: seed syllable) mudra, which is: Without moving his hands away from his chest, during five small drum sounds, he rotates from the left side to the front. When he reaches the right side, while reciting the word 'five', accompanied by slightly louder music, he joins his hands and stretches them out to the right side. Again, during five small beat rhythms, he rotates from the front as before, and when he reaches the right side, as before, he makes a slightly louder sound of 'five'. He stretches out his hands with force, stretching them out to the rear right, and his body also twists slightly backwards, making a large swaying movement, with his left hand on his waist and his right hand pointing to the sky, rotating forward during five loud drum sounds, his right foot drawing a rainbow-like crescent shape on the ground, facing backwards. Again, during five small beat rhythms, he stretches his right hand downwards, keeping his left hand on his waist, and his left foot rotates from behind.
【English Translation】 Straighten honestly and face forward in the manner of drawing a bowstring. Then, with the fifth (drumbeat)—one of which is larger, and the body slightly bent—between the five loud drumbeats, the left hand remains in the posture of twisting the waist. The right hand extends upwards to the sky when drawing the bow, and extends downwards when drawing the string. Therefore, after extending upwards to the sky, rotate backwards. The right foot draws an arc backwards as before. Then, between the five small drumbeats, the left foot straightens honestly from the front and draws a bowstring. Repeat this three, five, or seven times, etc. After finishing, perform 'Rising Lotus,' 'Rising After,' 'Swaying Steps,' 'Single Beat Rotation,' which is like a wind wheel drawing a full bow. Third, the Water Wheel: After reciting 'From Vam (Tibetan: བཾ, Devanagari: वं, Romanized Sanskrit: vaṃ, Literal meaning: Water seed syllable) arises the white water wheel,' play three times as before. Then, based on the five drumbeats, the lotus and the posture of 'Dzam' (Tibetan: ཛ, Devanagari: ज, Romanized Sanskrit: ja, Literal meaning: seed syllable) are the same as before. The difference is that instead of placing it to the right, rotate, and at the fifth beat, accompanied by slightly louder music, bring both hands together and extend them to the left. Then, in the five small drumbeats, rotate five times from the front as before, reaching the left side. As before, play a slightly louder 'five beats.' Extend both hands to the left rear with a forceful posture, and the body also twists slightly backwards, making a larger swaying motion. Place the left hand on the waist, extend the right hand to the sky, and between the five loud drumbeats, circle from the front to the rear, rotating to the right, facing the direction of travel, and the right foot draws circles on the ground. Then, between the five small drumbeats, place both hands on the waist, and with the left foot drawing circles on the ground, rotate in the opposite direction as in the previous rotation. When the left foot reaches the left side, at the fifth beat, accompanied by slightly louder music, the body bends slightly, and in the two loud drumbeats, cross both hands in front of the chest, extend the body upwards, place both hands on the shoulders, etc., as before when drawing the Vajra. Then, in the small drumbeats, from the lotus rotation and 'Dzam' (Tibetan: ཛ, Devanagari: ज, Romanized Sanskrit: ja, Literal meaning: seed syllable) to the upward extension, repeat three or four times as before, depending on the situation. Then, perform 'Rising Lotus,' 'Rising After,' 'Swaying Steps,' 'Single Beat,' etc., as appropriate. This is the white circular water wheel. Fourth, the Fire Wheel: After reciting 'From Ram (Tibetan: རཾ, Devanagari: रं, Romanized Sanskrit: raṃ, Literal meaning: Fire seed syllable) arises fire, move half of it,' play three times as before.
【English Translation】 Then strike the drum four times in the Vajra step. Perform the lotus posture, completing the four strikes, with the last three and the fourth drumbeat being loud, the body twisting greatly, and when striking the four big drums, raise the right foot and right hand. Place the right foot on the right front corner. Make lotus rotations with both hands. Similarly, strike the big drum again, raise the left foot, and land in the direction of the left corner. Make lotus rotations. Strike the big drum again, raise the right foot. Place it on the right rear corner. Make the waist-nail gesture with both hands, that is, like a triangle, with the tip pointing in the direction of travel. Then stretch like a Vajra, and strike the big drum again, raise the left foot. Place it in the direction of travel. Make lotus rotations with both hands. Strike the big drum again, raise the right foot. Land on the right front corner. Make lotus rotations. Strike the big drum again, raise the left foot. Place it on the right rear corner. Make the waist-nail gesture with both hands. Face outwards. Then stretch as before, repeating like this alternately left and right five or six times, completing it. Perform the stretching lotus posture. The stretching back posture. The lotus step four strikes, that is, the fire mandala is in the shape of a red triangle. Fifth, the earth mandala: Recite 'Lam (藏文：ལཾ，梵文天城體：लँ，梵文羅馬擬音：Laṃ，漢語字面意思：Earth)', making the earth mandala stable. Then strike the drum twice, dancing like the Vajra single step. Like the previous fire mandala, perform the stretching lotus posture, like a Vajra, strike the big drum once, raise the right foot, and place it on the left rear corner. Insert the tip of the peg into the vase. Strike the big drum again, raise the right foot. Place it on the left front corner. Make lotus rotations. Then strike the big drum once, bring the right foot and left foot together, jump into the air, and align both feet in the center of the travel path. Raise both hands above the shoulders. Strike the small drum again, raise the left foot, and rotate from behind. Twist the body, inserting the tip into the surface of the right rear corner. Insert the tip of the peg into the vase above the right side corner. Strike the small drum again, raise the left foot. Place it on the right rear left corner. Make lotus rotations in the left corner of the body. Then strike the big drum once, bring the left foot and right foot together, jump into the air, and align both feet in the center of the travel path. Wave both hands, making the waist-nail gesture. Then stretch like a Vajra. Strike the big drum again, raise the left foot. Land on the left front corner, inserting the tip of the peg into the vase. Raise the left foot again, strike the big drum once, and place it on the left rear corner.
【English Translation】 Place, do the lotus rotation. Then retract the left foot, with both feet together in the middle, raise both hands, and bend over as before. Again, with a small four-beat, lift the right foot, with the toe touching the right rear corner, and twist the body slightly. Place the tip of the amulet on the upper left into the container. Again, with a small four-beat, lift the right foot and place it on the right front corner, with both hands doing the lotus rotation on the right side of the body. Retract the right foot, with both feet together in the middle, wave both hands, bend the waist, and stretch out as before. 1-567 Again, write with the right hand, etc., alternating left and right three or four times. The right front, rear, left front, and rear here are based on facing the front of Khado Ra, and are distinguished by the left and right of the body. The four corners refer to the two corners on the right side in the direction of travel, and then the two on the left rear, for a total of four. Then stretch the lotus, after stretching, it is a four-beat swaying dance step, symbolizing the yellow square earth mandala. Sixth, Rakta: Recite 'Above that, is the red ocean, with turbulent waves,' then play the instruments twice and do the stretching lotus as before, ending with a four-beat, the last three or four beats, the drum sound is increased twice, the body is soft and twisted to the right. At the same time, stretch both hands to the right. With a large four-beat, the right foot rotates from the front, lifting to just above the left knee. The body shakes, twisting to the left. Stretch both hands supine, bending over in the posture of rolling red waves, the tips of both hands almost touching the ground, then lift from the left side to the left ear, and straighten the body. Again, with a small four-beat, gradually lower the right foot and both hands, placing them in the direction of travel. Again, with a large four-beat, the left foot rotates from the front, lifting to just above the right knee. 1-568 The body shakes, twisting to the right. Stretch both hands supine, bending over in the posture of rolling red waves, the tips of both hands almost touching the ground, then shake to the right ear, and straighten the body. Again, with a small four-beat, gradually lower the left foot and both hands, placing them in the direction of travel. Again, with a large four-beat, facing the direction of travel, lift the right foot to just above the left knee. Stretch both hands supine, bending the body forward in the posture of rolling red waves, the tips of both hands almost touching the ground, then lift from the left side to the space between the eyebrows, and straighten the body.
【English Translation】 Then, in a small four-beat, alternately lower the right foot and both hands, maintaining the forward direction. In a large four-beat, like rakta, swing the left foot and both hands to the right, alternating left and right as before, with all three of left, right, and center complete, which is the turbulent wave of rakta, do that five or seven times, etc. Having completed that, do 'phyong pad', 'phyong rjes', 'ldem 'gros' four-beat. Seventh, the Skeleton Dance: In the center, recite 'Upon the Mount Meru built of skeletons,' then do two dances and 'phyong pad' as before. In a large four-beat, twist the body like rakta, as if to wring it towards the forward direction. Raise the right foot, left hand on the waist, right hand waving, face down on the knee, then place the right foot on the ground. In a large four-beat, raise the left foot, turn it backwards, hands in a dance posture, left arm raised high and spread out, right hand placed at the elbow of the left arm, face looking outwards. In a large four-beat, keeping the left foot raised, return to the original position, maintaining the forward direction. Rotate the hands and place them on the left knee, palms up. In a large four-beat, raise the right foot to the right side, face looking forward. Hands in a dance posture, right arm spread out on the right above, left hand placed on the right elbow. In a large four-beat, keeping the right foot raised, return to the original position, lowering the forward direction. As before, left hand on the waist, right hand covering the knee. In a large four-beat, raise the left foot, turn it backwards, hands in a dance posture, etc., as before. In a small four-beat, lower the left foot as before, maintaining the forward direction. Join the palms together on the forehead, face looking forward. In a small four-beat, gradually lower the hands from the forehead to about the navel, this is the posture of the skeleton dance. Repeat that like eleven times, etc., in the intense and fast four-beat music, dance a dance that does not lose harmony and is very comfortable, and having completed that, in the same four-beat do 'phyong pad', 'phyong rjes', 'skyod 'gros', one beat one circle. Eighth, Creating the Palace: Recite 'The immeasurable palace made of five jewels.' Do three dances as before. Then, convert the drumbeat into alternating large and small lame steps, and on every three lame steps do a complete lotus rotation 'phyong pad', and on the last third lame step, make the music slightly louder. Lean the body to the right, and the left hand raises dust in the sleeve.
【English Translation】 In the manner of holding colored powder, face upwards and lean to the left. Take colored powder from the left container, and scatter the right hand's colored powder over the entire earth. In the manner of scattering to the right, shake the banner left and right. First lift the right leg, then alternately left and right, swaying back and forth in the direction of travel, with the rows evenly spaced and unbroken. The waist sways greatly to the left and right, completing a circle in a very conspicuous manner. Then face the front of Khadora (deity name), and sway as before. The left hand holds the Banda (mudra) to the forehead, with the fingers facing outwards, observing whether the scattered colored powder is even. The right hand and foot move in the same way as before, and the lead dancer goes to the center of the east. All the dancers face backwards, making the gesture of drawing the east gate. That is, the thumbs and index fingers of both hands are joined, extending forward at the level of the shoulders, imitating the pulling of a musical instrument, standing on one leg at the edge of the door. Then pull back about a cubit (a Tibetan unit of length, approximately equal to the length of an adult's arm) to the left and right, standing on one leg, making the door frame bend. Then, standing on one leg, lift both hands up about a cubit in the same position, making the lintel. Then, standing on one leg, bring both hands together, with the fingertips touching at the level of the eyebrows, making the top of the lintel. Then, standing on one leg three times, lift the right leg. Circle from the front and place it in the direction of travel. At the same time, the right hand is slightly waved, with the back of the hand placed on the right knee. Again, standing on one leg three times, lift the left leg. Circle backwards and place it in the direction of travel. The left hand waves, rotating like a lotus, and then places it face up on the left knee, this is 'Jhola Step', from drawing the door to here, the pulling and striking of the musical instrument is very small, and the last strike is very loud. The body sways, the waist sways greatly to the left, and the right hand is raised above the right shoulder. Again, with the fast and powerful standing on one leg, the hand gestures and foot movements are the same as before, swaying and looking at the corner of the southeast, circling to the center of the south. Then face backwards, making the gesture of drawing the south gate. After completing the 'Jhola Step', the swaying movements are the same as before, looking at the corner of the southwest, circling to the center of the west. Then drawing the west gate, etc., are the same as before. Swaying and circling around the northwest corner. Arriving at the center of the north, then drawing the north gate, etc.
【English Translation】 This place resembles a site facing the northeast corner, retaining some traces of the original. Before the initial circumambulation is complete, perform 'འཕྱོང་' (Tibetan, no Sanskrit, no Roman transliteration, literal meaning: stretching), and then all monks and students face 'ཞལ་དོ་ར' (Tibetan, no Sanskrit, no Roman transliteration, literal meaning: mask) to perform 'འཕྱོང་'. After 'འཕྱོང་', circumambulate with a unified rhythm and pace, thereby creating the sacred palace. Next, create the fifty-one fundamental deities. First, create the principal deity's parents. Secondly, to create the fifty-one fundamental deities, first create the principal deity's parents: create the 'འགྱིང་ཆེན་' (Tibetan, no Sanskrit, no Roman transliteration, literal meaning: great swaying) and 'འགྱིང་ཆུང་' (Tibetan, no Sanskrit, no Roman transliteration, literal meaning: small swaying) of the Great Glorious One, creating in the form of three complete faces, creating six arms, creating four legs, creating eight auspicious ornaments, creating the wings of the Garuda, and the embracing mudra with the consort. This includes eight points: First, regarding 'འགྱིང་ཆེན་': referred to as the Great Glorious One's 'འགྱིང་ཆེན་', strike the instrument once, playing three times. All dance forms such as the base lotus are similar to the previous creation of the Dakini Glorious One. At the end of the four movements on the right, accompanied by three small drum sounds, lift the right foot, circumambulate from the front, place it in the direction of travel, and look outwards. The right hand waves, rotating like a lotus, and is placed on the right knee. Again, accompanied by three small drum sounds, lift the left foot, the left hand rotates like a lotus, making a swaying posture, which is called 'གྲོལ་བསྡུ' (Tibetan, no Sanskrit, no Roman transliteration, literal meaning: release and collect), and the term 'གྲོལ་བསྡུ' mentioned below should also be understood as a similar analogy. Again, accompanied by three small drum sounds, make one lotus rotation. Retract the left foot, and after the four movements on the left, the left hand rotates, lift the left foot and place it in the direction of travel. Then lift the right foot, the right hand rotates, and place it on the right knee. In the second instrument sound, place the right foot in the direction of travel. In the subsequent third instrument sound, place the left foot in the direction of travel and look inwards. Again, make one lotus rotation as before, retract the right foot, and after moving on both the left and right sides, perform 'གྲོལ་བསྡུ', then perform 'འཕྱོང་', then 'འཕྱོང་', and then a swaying motion with a unified rhythm. The instrument sounds and dance forms here should be very slow. Second, regarding 'འགྱིང་ཆུང་': referred to as the Great Glorious One's 'འགྱིང་ཆུང་'. All dance forms from the instrument playing to the swaying are the same as before, except that the hands are not crossed in front of the chest, but the waist is twisted, and the instrument sounds and dance forms are slightly faster than before. Third, regarding the creation of three faces: referred to as 'right white, left red, and center blue face'. Play the instrument three times, make the base lotus, accompanied by three small drum sounds, retract the right foot as before, etc. The hands are clasped together in front of the chest, and then...
【English Translation】 Then, with the right hand, grasp the edge of the bandha (藏文：བནྡྷ，梵文天城體：बन्ध，梵文羅馬擬音：bandha，漢語字面意思：knot), slightly pull it towards the right ear, and make four rightward rotations, which is the white face on the right. After completing the opening and closing, and the lotus rotation, gather the right leg, etc. Join the palms at the heart, then pull the bandha (藏文：བནྡྷ，梵文天城體：बन्ध，梵文羅馬擬音：bandha，漢語字面意思：knot) towards the left ear, and perform four leftward rotations as before, which is the red face on the left. After completing the opening and closing, and the lotus rotation on the left side, gather the right leg, etc., then pull the bandha (藏文：བནྡྷ，梵文天城體：बन्ध，梵文羅馬擬音：bandha，漢語字面意思：knot) from the brow center slightly towards the tip of the nose, rotating it four times to the right and left, which is the blue face in the center, thus generating the three faces. Then perform the opening and closing, the drooping lotus, the drooping afterwards, and a swaying rotation. Fourth, generating the six arms: 'The vajra with nine points and five points, the burning flames with three points, each held by two hands on the left and right, the two ends rolled into phurbas, the body tall and stout.' Thus it is said. Perform the dancing posture and the basic lotus posture as before. For the three small ones, gather the right leg and both hands as before, joining the palms at the heart. The left hand on the waist, the right hand raising the nine-pointed vajra high into the air above the right arm, making four rightward rotations, and performing the opening and closing as before. For the other hands, perform similar lotus rotations, opening and closing, etc. When the second right hand is finished gathering, the left hand on the waist, the right hand holding the five-pointed vajra, extending it slightly below the right side, making four rotations, etc. Again, perform the lotus rotation, and when the left hand is finished gathering, the right hand on the waist, the left hand raising high above the left arm, holding the flames, making four leftward rotations, etc. Again, perform the lotus rotation, and when the second left hand is gathered, the left hand extending slightly below the left side, holding the three points, the right hand on the waist, making four rotations, etc. Again, perform the lotus rotation, gather the right leg, and place the bandha (藏文：བནྡྷ，梵文天城體：बन्ध，梵文羅馬擬音：bandha，漢語字面意思：knot) aside. Both hands rolling the phurba, completing four rightward and leftward rotations, then performing the opening and closing, the drooping lotus, the drooping afterwards, and a swaying rotation. Fifth, generating the four legs: 'The four legs, right bent and left extended, Ishvara facing down, Uma's breasts fiercely trampled.' Thus it is said. Perform the dancing posture and the basic lotus posture as before. For the three small ones, gather the right leg and both hands, joining the palms at the heart. For the four large ones, both hands alternately extending towards the right and left knees. The body also twisting to the left and right, completing the extension, then performing the opening and closing, the drooping lotus, the drooping afterwards, and a swaying rotation. Sixth, the eight auspicious symbols
【English Translation】 There are three aspects to the generation stage. The first is two types of adornments: First, dry and wet skulls, which are counted as one in the manner of classifying skull types. The meaning lies in two dance styles: First, recite: 'Five dry skulls adorn the head.' The practice is, on three small beats, based on the lotus posture, the right foot and both hands are joined at the heart. Then, separate the hands, the right hand grasping the edge of the bun, on five large beats, touch and slightly drag the right ear back and the left side next to it. Look to the left, tilting twice to the right. Similarly, touch the left ear back and its right side, dragging as before. Look to the right, tilting twice to the left. Then drag across the forehead and tilt in the center, totaling five. Then there is unfolding and gathering, drooping lotus, drooping afterwards, swaying steps in a circle. The second is, recite: 'Fifty wet skulls make a necklace.' The practice is, the dance and lotus posture are as before. On three small beats, both hands grasp the hair of the bun, the left hand higher than the right, making three 'dzam' above the left ear. On six large beats, slowly circle from the edge of the abdomen, tilting the body, and reaching above the right ear. On three small beats, the right hand higher, the left hand lower, grasping and making three 'dzam'. On six large beats, tilting and returning along the previous path, reaching the left. Then there is unfolding and gathering, drooping lotus, drooping afterwards, swaying steps in a circle. The third adornment is the snake ornament, recite: 'Adorn with white, red, green, and black snakes.' The practice is, the dance and lotus posture are as before. On three small beats, both hands grasp the bun, the arms slightly drooping above the left and right shoulders, making 'dzam'. Then, slightly turn the body to the left and right, on five large beats, both hands sequentially circle around the edges of the breasts, waist, abdomen, etc., with swaying, the body tilts greatly. On the fifth beat, both hands cross and circle below the navel, forming a snake knot, then release both hands, straighten the body, and unfold and gather. Drooping lotus, drooping afterwards, swaying steps in a circle. The second point is three items for anointing: 'With red saffron juice, ghee, and great ashes. Draw dots, lines, and patterns.' The practice is, the dance and lotus posture are as before. On three small beats, the left hand holds the red saffron juice inside the bun at the heart, the right thumb presses the little finger, the other three fingers are extended, circling the edge of the bun. On the third beat, the body greatly sways and tilts, the fingers...
【English Translation】 The three consorts take blood from the Kapala (skull cup) in a manner, twisting their bodies to the right and left, with serious expressions. Amidst five loud drumbeats, they touch the space between their eyebrows with the tip of their middle fingers, the right cheek with their index fingers, and the left cheek with their ring fingers. Again, the middle and index fingers together take blood, and all three touch the tip of the nose, completing the smearing. Then, with three small drumbeats, they open and close. The opening and closing of the three substances for smearing is the same as others, except that when the right hand rotates, the tip of the phurba (ritual dagger) always points outward, without the tip slightly facing one's own body. This is called phurba rotation, and the difference lies only in this. Again, perform one lotus rotation. With three small drumbeats, the left hand holds the fat in the Kapala as before, and the right thumb presses down on the little finger and index finger. The middle and ring fingers are straightened, and they rotate around the edge of the bandha (knot). Amidst three slightly louder musical sounds, they smear as before, taking fat from the Kapala in a manner, twisting their bodies to the right and left, with serious expressions. Amidst four loud drumbeats, they draw the index and ring fingers directly from above the right breast to between the left breasts, and then from the left corner to the corner of the right breast, smearing the fat in a crescent shape. Then, perform the opening and closing of the phurba rotation as before. Again, with the lotus rotation and three small drumbeats, the left hand holds the great ash in the Kapala, and in the manner of taking blood as before, they take the great ash with three fingers. Twisting the body and smearing as before, amidst four loud drumbeats, they place a tilaka (dot) with the middle finger at the hairline in the center of the forehead, draw a line like the arrow of Mahakala (great black one) with the index finger on the right eyebrow and the ring finger on the left eyebrow, and all three form a cluster at the space between the eyebrows, and then smear, performing the opening and closing of the phurba rotation. After that, there is one round of the drooping lotus posture, the drooping back posture, and the swaying gait. The third part, concerning the three garments in eight sections: 'Wear the wide oxhide and sheepskin, and the tiger skin with lining.' Then, play the musical instruments and perform the base lotus posture. First, the oxhide is, with three small drumbeats, the right hand holds the hair of the bandha, with the right arm slightly higher and the left arm lower, making a 'dza' sound. Amidst three slightly louder musical sounds, lift the right foot, lean to the right, and place it on the ground. The left foot circles, smearing the right side with a serious expression four times. Then, with both hands remaining extended, with three small drumbeats, retract the left foot, bringing it close to the right foot, lift the left foot and jump, moving to the left, the right foot circles, smearing the left side with a serious expression four times. Then, with both hands remaining as they are, with three small drumbeats, retract the right foot, bringing it close to the left foot.
【English Translation】 Then, extend and place the right side. Rotate the heels left and right alternately, swaying left and right in four large directions, performing opening and closing. The second is the animal skin dance: Similarly, first do a lotus rotation, and then on three small beats, grasp the very long hair locks with both hands, starting from above the right shoulder, with the hands high and low as before, perform the 'Zam' movement, on the third slightly larger beat, lift the right foot and extend the left foot to the side. Do not touch the hair bun hat, etc., throw it back, face outwards, make a gesture of stretching the animal skin with both hands, raise the hair locks to the sky, and coordinate with the heel rotation on the left side, swinging greatly to the right in four large directions. Then, maintaining the same hand posture, on three small beats, drag the tip of the right foot on the ground, return to the original position, and when reaching the right side, face inwards, coordinating with the left heel rotation in four large directions. Swing to the right again. Then, with the hands as before, the right foot is completely retracted, lifted, and extended to the left side. In four large directions, the heels rotate alternately, swaying to the left and right sides, performing opening and closing. The third is the tiger skin dance: First do a lotus rotation, and then on three small beats, grasp the hair locks with the right hand, tilt to the right side, with the hands high and low as before, perform the 'Zam' movement. In four large directions, slightly twist the body left and right, making a gesture of wearing a tiger skin skirt, rotating below the waist, and when reaching the left side, perform opening and closing. Extend the lotus. After extending. Walk lightly in a circle. These are the eight majestic adornments. The seventh is the Garuda Wings. So it is said. Playing and basic lotus posture as before. On three small beats, extend the right foot to the right front. The heel touches the ground. Extend both hands towards the right foot. Gradually retract both hands. The right foot reaches the left side. Bring both hands together at the chest. Lift the right foot and extend it to the right side, extending both hands like the wings of a Garuda, without any height difference. Rotate the heels left and right alternately, swaying to the left and right sides, and when the left side ends, the body is soft and upright, performing opening and closing. Extend the lotus. After extending. Walk briskly in a circle. The eighth is the Mudra of Union and Embrace of the Consort: The Great Consort draws the mandala, one face and two arms, the right hand holds the wheel (藏文：འཁོར་ལོ།，梵文天城體：चक्र，梵文羅馬擬音：cakra，漢語字面意思：wheel), the left hand holds the skull cup and offers it to the Yab (藏文：ཡབ་ལ།，梵文天城體：पितृ，梵文羅馬擬音：pitṛ，漢語字面意思：father). So it is said. After playing and the basic lotus posture, on three small beats, retract the right foot and both hands as before, and bring them together. Bring the hair locks together, starting from the hair bun on the right side. Like drawing the face of the central deity in front, on a large scale.
【English Translation】 For the fourth, perform right and left sways, followed by opening and closing. Perform one lotus spin again. For the small three, bring both hands together, retract the right foot, and maintain balance as before. Lift the right foot and place it to the right side. Place the left hand on the waist, and rotate the right hand from the right in a circling manner, bringing the arm above the left arm and swaying. Perform heel rotations with the left foot, etc., as in the large four, then lean to the right. Perform opening and closing again, and a lotus spin. For the small three, retract the left foot, bringing it close to the right foot. Lift the left foot, leap the body, and place it on the left side. Place the right hand on the waist, and rotate the left hand from the left as before, bringing the arm above the right arm, presenting the powerful posture of the 'Head-Drinking Father' (Tibetan: ཐོད་ཁྲག་ཡབ་ཀྱི་ཞལ་དུ་སྟོབས་པའི་ཚུལ་དང་།). Coordinate with the heel rotation of the right foot, sway to the left in the large four, then lean and perform opening and closing. Perform an upward lotus toss, a backward toss, and one revolution of the walking steps. The dance style from the great lean up to here is somewhat physically demanding, so for the movements called 'basic lotus,' perform one lotus spin each time, and speed up the music. These are mainly for generating the Father and Mother deities. As for generating the Supreme Five Wrathful Deities, since all the dance styles are the same as the Father deity, they are included in the category of the Father deity and are no longer practiced separately. The postures of the Ten Wrathful Deities are performed in the center of whatever mandala is being drawn, in accordance with the ritual. The funeral dance of the Ten Wrathful Mothers is also included in that category. The following are the first and second parts of the Majestic Dance of the Ten Hand Emblems: The banners held above and to the east are the vajra and the iron hook. 'Thus it is said.' Play as before with three loud drumbeats. Then change the drumbeats to four large and one small, for a total of five strikes. During the lotus spins, play the small drum as before. After completing the basic lotus, raise the right hand high, holding the vajra in a gesture above the right arm. Hold the left hand in a threatening mudra (tarjanī mudrā) at the heart, like a bandha, and move the body slightly while dancing during the five small drumbeats. Again, during the five slightly louder drumbeats, twist the body back and forth, swaying slightly, preparing to toss. During the four large drumbeats, look forward and, without moving, toss to the right, jump, and move the feet with sliding steps. During one small drumbeat, lean and incline the body to the right. The meaning is four large and one small, for a total of five drumbeats. Again, during the five small drumbeats, extend the left hand to the right front as before. The fist faces upward, and the index finger is bent into the shape of an iron hook. Rotate the right foot backward, facing outward. During the four large drumbeats, move to the right.
【English Translation】 Jumping on a small drum, sliding feet, etc., as before. Then, five small drums to the left, and five small drums to the right, actions such as gathering and releasing as before. The drum sound is still jumping, after jumping, swaying, one strike per circle. The third and fourth are: The postures of fire and south are, holding a hooked knife and a staff. Thus it is said. From the performance below to the steps, know that there is almost no difference except for the hand gestures. The hand gesture with the palm facing inward is: extend the right hand forward, making a gesture of holding a hooked knife, and place the left hand on the left thigh. The hand gesture with the palm facing outward is: raise the right hand high on the right shoulder, making a gesture of holding a staff, the left hand as before. The fifth and sixth are: The postures of the unreal west are, holding a sword and a lotus. Thus it is said, the dance style is as before, only the hand gestures are different. The first hand gesture is: press the little finger and ring finger of the right hand with the thumb, extend the index finger and middle finger into a sword shape, make a cutting gesture from the front left to the lower right of the right hand, and slightly extend the left hand at the heart. The second hand gesture is: the right hand is on the right shoulder, the palm facing upwards, making a gesture of holding a lotus, slightly lowered. The left hand as before. The seventh and eighth are: The postures of wind and north are, holding a vajra and a crossed vajra. Thus it is said, the dance style etc. is as before, only the first hand gesture is: cross both hands on the left shoulder, palms together. The second hand gesture is to separate the right hand from the left hand, extend the fingers, and draw a cross in front. The ninth and tenth are: The postures of the powerful below are, holding a vajra and a hammer. Thus it is said, the dance style is as before except for the steps, the first hand gesture is: extend both hands on both shoulders, the right hand making a gesture of holding a vajra. The second hand gesture is to put down the right hand from the left hand, place it on the left shoulder, and make a gesture of carrying a hammer. The step is one step per beat, these are the ten postures. The ten wrathful goddesses' execution dance, the dance style is all the same as before, only three large drums and one small drum, striking four times in total, only the hand gestures are different. Among them, the first and second are: The wrathful goddesses of the above and east are, holding a bell and a whisk. Thus it is said. The first hand gesture is: both hands on both shoulders, palms facing down, close but not touching, making a gesture of holding a bell. The second is: the left hand as before.
【English Translation】 Next is the method of waving the whisk in the right front. The third and fourth are: 'The small ones of fire and south are, the garland of fire and holding the enemy axe.' Thus it is said. The first gesture is: raise the right fist slightly above the right arm, making a gesture of holding a stove. The left hand makes an angry mudra at the chest. The second gesture is to start from the left hand just mentioned, extend the four fingers of the right hand, making a gesture of chopping the enemy axe forward. The fifth and sixth are: 'The small ones of the west lacking truth are, the rope and the snake lasso.' Thus it is said. The first gesture is: cross both hands in front, with the backs of the hands facing each other, stretched out to make a rope loop. The second gesture is to start from the left hand just mentioned, separate the right hand, making a gesture of waving the snake lasso forward. The seventh and eighth are: 'The small ones of wind and north are, the Dharma wheel and the club.' Thus it is said. The first gesture is: the left hand holds a lotus at the chest, with the flower facing upwards. The right elbow is tucked inward, the right fist extends the index finger, making a gesture of turning the Dharma wheel. The second gesture is: starting from the gesture just mentioned, the right index finger is bent, the wrist is bent inward, making a gesture of holding a club. The ninth and tenth are: 'The small ones below the powerful one are, the trident and the wooden pestle.' Thus it is said. The first gesture is: the right thumb presses the little finger, the other three fingers are bent like a hook, the right arm is raised high above the head, the left hand is extended on the left thigh. The second gesture is to start from the left hand just mentioned, the right hand slightly bends the elbow, almost without touching the secret place, the back of the hand facing outwards, making a gesture of holding a wooden pestle. Make a moving gesture as before, these are the ten small ones. Next is the wrathful dance of the four doors: first is the yaksha woman of the eastern door: 'The white yaksha woman holds an iron hook.' Thus it is said, the master faces east, and the others face the place where they are sitting, playing the three big drums as before. Then the drum sound is changed to Vajra four beats, the two of the four beats of the small drum each make a gesture of lotus blooming, the two of the four beats of the small drum each place the left hand lotus in front of the two breasts at the chest, with the flower facing upwards. The right elbow is tucked inward, the fist facing outwards, the fingers are bent like a hook, and at the same time the sound 'Dzam' is made, the body is slightly twisted back and forth, making the basic posture of 'Dzam'. The last three and the fourth of the four beats of the small drum are slightly louder, the body is twisted back and forth, making a swaying gesture. The two big drums play 1-587 1-588 Next is the method of waving the whisk in the right front. The third and fourth are: 'The small ones of fire and south are, the garland of fire and holding the enemy axe.' Thus it is said. The first gesture is: raise the right fist slightly above the right arm, making a gesture of holding a stove. The left hand makes an angry mudra at the chest. The second gesture is to start from the left hand just mentioned, extend the four fingers of the right hand, making a gesture of chopping the enemy axe forward. The fifth and sixth are: 'The small ones of the west lacking truth are, the rope and the snake lasso.' Thus it is said. The first gesture is: cross both hands in front, with the backs of the hands facing each other, stretched out to make a rope loop. The second gesture is to start from the left hand just mentioned, separate the right hand, making a gesture of waving the snake lasso forward. The seventh and eighth are: 'The small ones of wind and north are, the Dharma wheel and the club.' Thus it is said. The first gesture is: the left hand holds a lotus at the chest, with the flower facing upwards. The right elbow is tucked inward, the right fist extends the index finger, making a gesture of turning the Dharma wheel. The second gesture is: starting from the gesture just mentioned, the right index finger is bent, the wrist is bent inward, making a gesture of holding a club. The ninth and tenth are: 'The small ones below the powerful one are, the trident and the wooden pestle.' Thus it is said. The first gesture is: the right thumb presses the little finger, the other three fingers are bent like a hook, the right arm is raised high above the head, the left hand is extended on the left thigh. The second gesture is to start from the left hand just mentioned, the right hand slightly bends the elbow, almost without touching the secret place, the back of the hand facing outwards, making a gesture of holding a wooden pestle. Make a moving gesture as before, these are the ten small ones. Next is the wrathful dance of the four doors: first is the yaksha woman of the eastern door: 'The white yaksha woman holds an iron hook.' Thus it is said, the master faces east, and the others face the place where they are sitting, playing the three big drums as before. Then the drum sound is changed to Vajra four beats, the two of the four beats of the small drum each make a gesture of lotus blooming, the two of the four beats of the small drum each place the left hand lotus in front of the two breasts at the chest, with the flower facing upwards. The right elbow is tucked inward, the fist facing outwards, the fingers are bent like a hook, and at the same time the sound 'Dzam' is made, the body is slightly twisted back and forth, making the basic posture of 'Dzam'. The last three and the fourth of the four beats of the small drum are slightly louder, the body is twisted back and forth, making a swaying gesture. The two big drums play 1-587 1-588
【English Translation】 First, in the combination of three beats and four beats, start with a large three-beat movement, where the foot is lifted and lowered dramatically, facing outwards; then comes the four-beat movement, where the left foot is lifted on the second, third, and fourth beats, rotating to the left, with the face looking slightly inward. The lifted left foot remains in place, returning to its original position and placing it in front. Next, perform a small four-beat movement, lifting the right foot, rotating to the right, with the face looking inward, and lowering the right foot. Then, perform another small four-beat movement, lifting the left foot, rotating to the left, with the face looking inward, and lowering the left foot. Again, perform a small four-beat movement, lifting the right foot, rotating, and lowering it, and so on, just like before. The three-beat and four-beat movements are slightly larger, with the body twisting dramatically to the right. Perform three large lifting and lowering movements facing east, and so on, repeating twice as before, for a total of three times. At the end of the last right foot rotation, do not perform the lifting and lowering movement, but use two small four-beat movements, alternately extending and contracting the left and right feet as before. 'Lifting the foot, Lotus Step. After lifting the foot. A swaying dance step of four beats in a circle. Second is the Terrifying Mother (Jigje Mo) of the South Gate: Recite 'Terrifying Yellow Mother Holds a Lasso,' facing south and looking outwards. The dance movements of two four-beat counts, from the Lotus Step to the swaying dance step, are mostly the same as before. The difference lies in the hand gestures, where the hands are raised high above the shoulders, making a gesture of holding a lasso instead of an iron hook. From extension and contraction to the swaying dance step, it is the same. Third is the Nectar Mother (Dutsi Mo) of the West Gate: Recite 'Nectar Red Mother Holds an Iron Hook,' facing west and looking outwards. The other dance steps are the same as before. The hand gestures are with the right hand raised above the right shoulder, and the left hand placed above the left shoulder, using the gesture of holding an iron hook at different heights instead of a lasso. From extension and contraction to the swaying dance step, it is the same. Fourth is the Killing Mother (Söje Ma): Recite 'Killing Green Mother Rings a Bell,' facing north and looking outwards. The dance movements, etc., are the same as before. The hand gestures are with both hands placed on the shoulders, slightly apart, using the gesture of holding a bell instead of an iron hook, with the face lifted. After the ending, the extension and contraction, lifting the foot, Lotus Step, and after lifting the foot are the same as before. The dance step is a walking dance step in a circle. These are the dances of the fifty-one root deities. Next is the dance of the Protector (Damchen): Recite 'Common Encouragement Dance of the Protector.' Change the drumbeat to an extending and contracting drumbeat, and perform the Lotus Step. Extend both hands as in a dance, alternately moving the left and right hands in coordination with the feet.
【English Translation】 Lower the steps and tiptoe, Jump quickly, make a circle, and as the rotation stops, the drum sound gradually decreases, and the music coordinates with the rhythm of the dance. Then, there is the dance of the four activities of the Ishvari (藏文：དབང་ཕྱུག་མ་，Meaning: The powerful woman): The seven yogis from the east, perform the activity of pacification! (藏文：ཤར་ནས་གཤེགས་པའི་རྣལ་འབྱོར་བདུན། །ཁྱོད་ཀྱིས་ཞི་བའི་ལས་མཛོད་ཅིག །) After saying this, like before, at the end of the jumping rotation, press both hands on the right side. Twist the body to the right rear, and swing the hips greatly. Left hand Place it on the waist, and wave the right hand back and forth. Lift the left foot, rotate from the front, and when reaching the right side, return to the original position and stop moving forward. Lift the right foot and stop moving forward, Etc., alternate jumping left and right, tiptoeing, and moving quickly. The rows of the team maintain spacing and neatly make a circle. The music gradually decreases, etc., the same as before. At this time, the seven yogis from the south, perform the activity of enrichment! (藏文：ལྷོ་ནས་གཤེགས་པའི་རྣལ་འབྱོར་བདུན། ཁྱོད་ཀྱིས་རྒྱས་པའི་ལས་མཛོད་ཅིག །) After saying this, the direction of the jumping rotation is reversed, ending in the middle, right, middle, and left. Twist the body to the left rear, press both hands, etc., the same. Lift the right foot, rotate from the front, and when reaching the left side, return to the original position and put it down on the right side. The left foot rotates from the front as before, puts down and stops moving forward. Place the right hand on the waist, and the left hand waves like the previous Right hand, make a jumping circle. The music gradually decreases, etc., the same. The seven yogis from the west, perform the activity of subjugation! (藏文：ནུབ་ནས་གཤེགས་པའི་རྣལ་འབྱོར་བདུན། །ཁྱོད་ཀྱིས་དབང་གི་ལས་མཛོད་ཅིག །) After saying this, the way of dancing is the same as in the east. The seven yogis from the north, perform the activity of destruction! (藏文：བྱང་ནས་གཤེགས་པའི་རྣལ་འབྱོར་བདུན། །ཁྱོད་ཀྱིས་དྲག་པོའི་ལས་མཛོད་ཅིག །) After saying this, the way of dancing is the same as in the south. Then, as the music gradually decreases, dance the Phramenma (藏文：ཕྲ་མེན་མ་) and Vamalen (藏文：བཾ་ལེན་) dance. After saying this. There are four parts to this, first, searching for Vama (藏文：བམ་): searching by playing musical instruments and the winding movement of the black snake. The first is playing musical instruments: the same as the common dance of the Damchen (藏文：དམ་ཅན). The second is the winding movement of the black snake: The way of dancing is the same as the yogis from the east. The way of rotating is: moving outward like a black snake coiling, like a winding movement, guided by the dance leader. The person after the dance leader Follows, the rows of the team are not disrupted, moving in a winding manner, setting up people or markers at the winding turns, and all dancers do not ignore the markers, following the dance leader forward. Finally, the dance leader is in the center, and the others face the inside of the mandala (藏文：དཀྱིལ་འཁོར།，Meaning: mandala) and stop rotating. Tiptoe, move quickly, but slightly slower.
【English Translation】 At a distance of about three or four steps, place the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) face down, then place the Jambha (藏文：ཛམ་བྱ་) properly, with the right hand placed comfortably. All the leaders and students align their eyes, keeping everything in unison, then comb their hair back, placing it face down in front of them. The leader is in the middle, and the others circle around all the Doras (藏文：དོ་ར་，漢語字面意思：circle) like performing the Damchen (大護法) dance, until they reach their respective Bandhas (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond). The second content is about examining 'Baṃ,' which is divided into three parts. First is the question examination: In the original footwork state, show the lotus mudra to the left Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond), then place the left hand on the waist, and wave the right hand from the right, rotating around the knee. In the three larger steps, the right foot moves sequentially, pointing to the right Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond). In the three smaller steps, press the little finger with the thumb of the right hand, stretch the other three fingers, imagine the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) is the syllable 'Baṃ,' and to check whether it is dead or alive, bend the body and touch the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) with the fingertips. Touch the nose tip to the finger, smell it, and with a sense of fear as if it is not dead, jump the body in the larger step, lean back to the left, and show the left hand outward in front of the mouth. Slightly move the tongue twice to make a gesture of keeping silent. Rotate the lotus again, in the three larger steps, place the right hand on the waist, and rotate the left hand around the knee from the left, point to the left Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) to conduct the question examination. With a fearful posture, show the right side outward and lean back. The movements of the hand and tongue are the same as the previous dance. Second, examine with pebbles: Do one lotus rotation, in the four larger steps, stretch both hands, alternately making high and low postures. Point to the left Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond), and if the right hand finds a pebble, grab it; if not, point the tip of the phurba (金剛橛) towards the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) and hold it. Slightly stretch both hands forward, bend the body, complete the three smaller steps, and rub the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) with the left hand, and tap the Bandha (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) with the pebble or the tip of the phurba (金剛橛), making a sound, thereby confirming that it is not dead, and arousing compassion. A strong anger arises, thinking that it must be rescued immediately, the body trembles and jumps into the air, the right hand goes around to the right rear, with the palm facing outward. Stretch both hands, and in a high and low posture, circle around their respective Bandhas (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond) like performing the Damchen (大護法) dance, and after finishing, face their respective Bandhas (藏文：བནྡྷ་，梵文天城體：，梵文羅馬擬音：bandha，漢語字面意思：knot, bond). Third, to confirm again, examine with the crow vajra (金剛) gait. Increase the speed of the drumbeat, bend the body, and pinch the thumbs and index fingers of both hands together.
【English Translation】 Strike the four beats, on the two small beats, rotate forward from above the left knee, tilting the body slightly, reaching the left side. Accompanying the three larger four-beat drums in the back, sway the body, covering the knees with hands in a collecting manner. Then, in a stretching posture, walk as if walking. Two larger drum beats on the right side and one four-beat drum, the first being larger, sway with small steps on the third beat. On the second, third, and fourth beats of the four-beat drum, lean and sway to the right. Again, on the two small four-beat drums, make a gesture above the knees as before, then return to the left, pointing to 'വം' (vaṃ) on the left side, leaning to the left. Again, make a gesture and sway backward in a stretching posture, leaning to the right as before. Then, make a gesture as before, raise anger, threaten forward with the thought of killing, sway three times as before, and on the third sway, relax the middle of 'वं (vaṃ，梵文天城體，vaṃ，梵文羅馬擬音，വം)' (Tibetan, Devanagari, Romanized Sanskrit, Seed Syllable) of 'बंध (bandha，梵文天城體，bandha，梵文羅馬擬音，bond)' (Tibetan, Devanagari, Romanized Sanskrit, Bondage), relax and sit down. The third meaning is to welcome guests on the first of the three beats: make a lotus rotation on the five small beats, and on the five large beats, look at the sky in front of the right side, stretch out your hands and wave, and finally place your hands loosely a little below the eyebrows. Visualize the peaceful deity assembly descending. Again, as before, make a lotus rotation on the five small beats, and on the five large beats, look at the sky on the left side, stretch out your hands and wave, and finally place your hands loosely a little below the eyebrows as before. Visualize the fifty-eight wrathful deity assembly descending. Again, make a lotus rotation as before, wave your hands from the right rear, and place your right arm above as before, visualizing the Dharma protectors descending. Again, make a lotus rotation on the five small beats, and on the five large beats, wave your hands from the left rear, and place your left arm above as before. Visualize the Phurba protectors and their retinue descending. Again, make a lotus rotation on the five small beats, and on the five large beats, wave your hands in the central sky, and place them a little below the eyebrows as before, visualizing the mind transmission lineage of the Buddhas, the symbolic lineage of the Vidyadharas, and the oral transmission lineage, up to your own root guru. Visualize the assembly of the Guru lineage and its retinue descending in the space in front, blessing your own continuum. Second, the way to subdue and slaughter 'വം (vaṃ，梵文天城體，vaṃ，梵文羅馬擬音，വം)' (Tibetan, Devanagari, Romanized Sanskrit, Seed Syllable): as before, make a lotus rotation on the five small beats, and on the five large beats, rub the tip of the Phurba on the ground on the right side. Again, make a lotus rotation on the five small beats, and on the five large beats, rub the tip of the Phurba on the ground on the left side.
【English Translation】 Then, for the small five, offer the lotus mudra, and for the large five, twist the phurba (ritual dagger) to the right. Again, for the small five, offer the lotus mudra, and for the large five, twist the phurba to the left. Again, for the small five, offer the lotus mudra, and for the large five, twist the phurba in the center, accompanied by the loud sound of musical instruments, reciting the mantra for liberating the linga (representation), visualizing striking the heart of the enemy and obstacles, and insert the tip of the phurba into the center of the bandha (effigy). Through remembering the three wisdoms, gather the consciousness into the white A (ཨ，ā，A, unborn) shaped tip of the phurba, visualize sending it to Akanishta (Ogmin), the realm of the five Buddha families in union, and point the tip of the phurba towards the sky, uttering Phat (ཕཊ，phaṭ，Phat, cut). The method of dismemberment: Again, for the small five, offer the lotus mudra, and for the large five, pull one-third of the bandha's hair to the right with the tip of the phurba. Again, for the small five, offer the lotus mudra, and for the large five, pull one-third of the bandha's hair to the left with the tip of the phurba. Again, for the small five, offer the lotus mudra, and for the large five, pull one-third of the bandha's hair directly outward from the center with the tip of the phurba, this is the method of dismemberment. Third, bless the linga (representation) corpse. First, offer to the guru and yidam (tutelary deity), second, enjoy it yourself, and so on, in three ways. First, blessing it into the five desirable qualities: For the small five, offer the lotus mudra, and for the large five, join the fingertips of both hands together above the bandha (effigy), forming the rupa (form) mudra, and move them from right to left, this is form; Again, for the small five, offer the lotus mudra, and for the large five, make the gesture of playing a lute with both hands, this is sound; again, for the small five, offer the lotus mudra, and for the large five, extend the fingers of both hands outward, pointing towards the Bam (བཾ，vaṃ，Vam, water) syllable, and move them from right to left, this is smell; again, for the small five, offer the lotus mudra, and for the large five, cross the fingers of both hands upwards, moving the mudra of offering torma (ritual cake), this is taste; again, for the small five, offer the lotus mudra, and for the large five, hold the ends of the phurba banner with both hands, stretching it out as if offering clothes, and finally cover the bandha (effigy) with it, this is touch. Visualize blessing it into a great ocean of nectar endowed with the five desirable qualities of color, sound, smell, taste, and touch. Second, the method of offering the blessed linga (representation) corpse to the guru and yidam (tutelary deity): Again, for the small five, offer the lotus mudra, and for the large five, take the nectar from the skull cup with both hands, visualizing offering it to the lineage gurus, raise both hands high in the central sky, making the gesture of offering. Similarly, offer to the peaceful deities in the sky to the right in front, to the wrathful goddesses to the left, to the ocean of Dharma protectors and oath-bound guardians to the right in the back, and to the phurba protectors and oath-bound guardians to the left in the back.
【現代漢語翻譯】 在那些地方，蓮花旋轉（pad skor）和供養的方式，以及觀想等，都應像前面（儀軌）的中間部分一樣進行。第三，關於剩餘物如何被自己享用等：對於五小供（chung lnga），進行蓮花旋轉；對於五大供（che lnga），用雙手取甘露，供養給自己的金剛兄弟姐妹（rdo rje spun grogs mched lcam），即右側的那些人。然後，對於五小供，進行蓮花旋轉；對於五大供，像前面一樣取甘露，供養給左側的兄弟姐妹。然後，對於五小供，進行蓮花旋轉；對於五大供，取甘露，以力量的方式放入口中食用。然後，對於五小供，進行蓮花旋轉；對於五大供，以擁抱的方式放入自己的腋下。然後，對於五小供，進行蓮花旋轉；對於五大供，用右手包裹起來。然後，對於五小供，進行蓮花旋轉；對於五大供，用左手包裹起來。 第四，關於普通人的心識顯現中，出現頭髮、骨骼、肉、面板等少量殘餘物，因此，揹負並丟棄它們，進行遣除（bzlog pa）的想法：伴隨著非常輕微的鑼聲，右手將橛（phur rtse）插入地面，左手從頭髮中稍微拉出一些，以揹負的姿勢，以無法支撐的樣子顫抖，並向右側倒下。再次插入橛，像前面一樣進行鑼聲等，伸直身體，顫抖著向左側倒下。然後，發出『hod langs』的聲音，將班達（ban+dha）掛在左肩上，右手拿著橛，在前後攪動，像石頭擊中鳥群一樣，四處飛散奔跑。伴隨著快速而強烈的鑼聲，最後所有人都飛向山谷的方向，丟棄屍體的殘餘物，想著將內外秘密三方面的不利因素全部遣除到敵方，用雙手將班達纏繞在橛上，猛烈地發出金剛橛（kī la ya）的聲音。然後，所有人都回到朵拉（do rar），導師和弟子們進行半笑。樂師們以面對面的方式站在前方左右兩側，將之前供養給大吉祥尊（dpal chen po）的殘餘物帶到跳神場（'cham rar），以供養的方式獻給十二丹瑪（bstan ma bcu gnyis），即敲鼓者等所有導師和弟子們雙手背對，兩個小指交叉，兩個拇指彎曲到手掌中，其餘手指像金翅鳥的翅膀一樣伸展，做出金翅鳥翅膀壓制的姿勢，唸誦『ho bod khams skyong bar byed pa'i bstan ma bcu gnyis』（藏文，梵文天城體，梵文羅馬擬音，漢語字面意思：ho bod khams skyong bar byed pa'i bstan ma bcu gnyis）到『e a ra li hring hring』（藏文，梵文天城體，梵文羅馬擬音，漢語字面意思：e a ra li hring hring）之間的話語。 然後，樂師們停止。
【English Translation】 In those places, the lotus rotations (pad skor) and the manner of offerings, as well as visualizations, should be done as in the middle part of the previous (ritual). Third, regarding how the leftovers are enjoyed by oneself, etc.: For the five small offerings (chung lnga), perform lotus rotations; for the five large offerings (che lnga), take nectar with both hands and offer it to one's Vajra brothers and sisters (rdo rje spun grogs mched lcam), i.e., those on the right side. Then, for the five small offerings, perform lotus rotations; for the five large offerings, take nectar as before and offer it to the brothers and sisters on the left side. Then, for the five small offerings, perform lotus rotations; for the five large offerings, take nectar and put it into one's mouth to eat in a powerful manner. Then, for the five small offerings, perform lotus rotations; for the five large offerings, put them into one's armpits in an embracing manner. Then, for the five small offerings, perform lotus rotations; for the five large offerings, wrap them with the right hand. Then, for the five small offerings, perform lotus rotations; for the five large offerings, wrap them with the left hand. Fourth, regarding the thought that in the mind's appearance of ordinary people, there appear small amounts of remnants such as hair, bones, flesh, and skin, therefore, carrying and discarding them, performing the reversal (bzlog pa): Accompanied by a very faint sound of the gong, the right hand inserts the peg (phur rtse) into the ground, the left hand pulls out some hair slightly, and in a carrying posture, trembling as if unable to support it, falls to the right side. Again, insert the peg, perform the gong sound etc. as before, straighten the body, tremble and fall to the left side. Then, make the sound of 'hod langs', hang the bandha (ban+dha) on the left shoulder, the right hand holds the peg, stirring back and forth, scattering and running around like stones hitting a flock of birds. Accompanied by a fast and intense sound of the gong, finally everyone flies towards the direction of the valley, discarding the remnants of the corpse, thinking that all the unfavorable aspects of the inner, outer, and secret are reversed to the enemy's side, wrapping the bandha around the peg with both hands, and uttering the kīlaya (kī la ya) sound intensely. Then, everyone returns to the dora (do rar), and the teacher and disciples perform a half-laugh. The musicians stand facing each other on the left and right sides in front, bringing the remnants of the offering previously made to the Great Glorious One (dpal chen po) to the dance ground ('cham rar), and offering them to the twelve Tenma (bstan ma bcu gnyis) as a gesture of gratitude, i.e., all the teachers and disciples, including the drummer, place their hands back to back, cross the two little fingers, bend the two thumbs into the palms, and stretch the remaining fingers like the wings of a garuda, making the mudra of the garuda's wings pressing down, reciting from 'ho bod khams skyong bar byed pa'i bstan ma bcu gnyis' (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思：ho bod khams skyong bar byed pa'i bstan ma bcu gnyis) to 'e a ra li hring hring' (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思：e a ra li hring hring). Then, the musicians stop.
【English Translation】 The dancers stand facing the left front, with their hands extended above their left thighs. Bend slightly according to your own situation. The drums are struck heavily four times, the right hand is placed behind the right side, and the right foot is placed on the ground. At the same time, in order to display the flag, it is shaken and raised in the air, leaning to the right and stretching. At the same time, lift the left foot and place it on the left side in front. The left hand is raised in the air and rotated like a lotus. Strike the drum four more times, and lower the left foot and left hand. Place the right foot in front of the left foot and insert the tip of the flag pole into the belt. Strike the drum four more times, and the movements of the feet and hands are the same as before. When the drum is struck nine times, put your hands on your hips. Do not run around like a headless fly. Immediately after lifting the left foot, put it down and start from the right side to perform a double attack. On the seventh and eighth beats, place the left foot in the direction of travel. On the ninth beat, circle the right foot from behind and lower it facing the right front in the dance area. Strike the drum three more times, and perform the lotus rotation as before, and then end. Recite 'བྷྱོཿ' (Tibetan, भ्यो，bhyoḥ, May it be!), and when reciting the two words 'བཀའ་ཡི་བྲན་གཡོག་' (Tibetan, meaning: servant of the command), bend your hands slightly in front of you according to the tone. When the tone rises, bend your hands and swing your hips slightly. After the chanting is over, perform the nine drum beats as before, and all the dance movements such as the upper and lower lotus rotations are the same. Again, during the two words 'ཚུར་གཤེགས་' (Tibetan, meaning: return), the tones are the same. At the end, all the movements such as the crossing of the nine drum beats are the same as before. Do not count the nine drum beats here, but run like playing, without any worries. Dancing just to complete the number nine is not real dancing. This is just a stupid act and should be avoided. You must run without any worries, which is a mistake from the beginning. When arranging the ranks, if the distance between the shoulders when facing each other does not exceed one fathom (Tibetan unit of length), then the dance will be very coordinated and perfect. At the end of the second chant, considering the return, move slowly, and in coordination with the drum sound, the dancers bend their hands slightly in a dancing posture. Then, before reciting 'བཅོལ་བའི་ཕྲིན་ལས་འགྲུབ་པར་མཛོད།' (Tibetan, meaning: Please accomplish the entrusted task), the dancers put their left hands on their hips and swing their right hands back and forth. All the leaders and students retreat and walk around the dance area. Everyone beats the drums together and recites: 'ཧཱུྃ་དམ་ཚིག་འདི་ལས་མ་འདའ་ཞིག །' (Tibetan, हूं，hūṃ, seed syllable, meaning: Hūṃ, may we not transgress this oath!), according to the tone, when the right hand is swung forward, the right foot is lifted, starting from the front.
【English Translation】 The body is leaned to the left, with a large swing of the waist. Similarly, when swinging back, the left foot goes around from behind and is placed in the direction of travel, the swing of the waist is the same as before, and the dance posture is also the same. Therefore, until 'what I have entrusted'. Everyone faces the inside of the mandala, praying that all activities will be accomplished. Between reciting 'accomplish', in front of the Vajra, sway the body slightly in the manner of musical dance. In the gap between reciting 'accomplish', the hands rotate like a lotus, the same as the previous four beats. Then, at the end, perform three four-beats in the manner of lotus rotation, the same as before, and when chanting, the first four-beats should be coordinated with the words and music at the end of the chant. On the ninth beat, the hands rotate forward from the right in a dancing posture, and when reciting 'seven, eight', the left hand rotates forward, and the right hand reaches below the left elbow. On the ninth beat, the hands are slightly extended to the left, the body is slightly bent, and at the same time, hit the big drum heavily. Again, perform three four-beats in the manner of lotus rotation, while hitting the cymbals. The offering person offers the sacrificial wine and Torma in various directions. The master and disciples pray that everything goes well. Then, in the midst of the music, all the masters and disciples gather together and face the dance room and other places. Those who hold flags, conch shells, Gyaling and other instruments are arranged in front in order. Then, led by the lead dancer, in the sound of three or so small drums, move to the left, dancing with both hands. Then, with the four-beat big drum, write the letter 'ra' like Vajra half-step, the waist posture is similar to before, and when swaying, the hands and feet are coordinated, swaying alternately left and right, which is called 'three tips' or 'flame dance'. In this way, reach the mandala room, or reach a suitable place far away. Then, the master and disciples arrive at the mandala room. The master is located in the center of the mandala drawing, and the others surround him, making the posture of the Ten Wrathful Deities. Those who beat the drums put their hands together, and only need to chant and other rituals, no dance is required. All the dancing masters and disciples hold Vajras, and the dance posture should be coordinated with the chanting. When reciting 'Om', just pose. When reciting 'Hum', raise the right foot. Extend both hands upwards to shoulder height.
【English Translation】 While chanting 'chen ne' (藏文), keep the hand gesture unchanged, step the right foot forward, and bend the body slightly. Then, lift the hips and straighten the body. While chanting 'ka ba'i' (藏文), keep the right foot still and rotate it on the ground. Drag the tip of the left foot backward, and turn all faces to the rear. While chanting 'ra'i e'e yi' (藏文), keep both feet side by side. Place both hands in front of the knees. While chanting ''a'i ya'i' (藏文), bend the body greatly, lift the hips and straighten the body. While chanting 'phyag ga'i' (藏文), lift the right foot. Extend both hands as before. While chanting 'rgya 'a'a ba' (藏文), the footwork is the same as before, rotating to the right front, and all faces face forward. While chanting 'ni e'e ya' (藏文), keep both feet side by side. Place both hands in front of the knees. While chanting ''a'i ya'i ya'i' (藏文), bend the body slightly, lift the hips and straighten the body. While chanting 'lag ga'i' (藏文), rotate the phurba (藏文) to the bandha (藏文). While chanting 'gnyis ya'i' (藏文), raise the phurba to the sky. While chanting 'thal 'a la'i' (藏文), put the tip of the phurba into the bandha, bend the body slightly, lift the hips and straighten the body, which is the center of the vast lotus rotation. While chanting 'sbyar 'a'a ra' (藏文), rotate the phurba to the bandha on the left side. While chanting ''a'i ya'i' (藏文), raise the phurba to the sky. While chanting 'phyag ga'i' (藏文), put the tip of the phurba into the bandha, bend the body slightly, lift the hips and straighten the body, which is the lotus rotation on the left side. While chanting 'gyen na'i' (藏文), rotate the phurba to the bandha on the right side again. While chanting 'du 'u 'u 'u' (藏文), raise the phurba to the sky. While chanting 'bsgreng 'a'a nga' (藏文), put the tip of the phurba into the bandha, which is the lotus rotation on the right side, that is, the three lotus rotations. While chanting ''a'i ya'i ya'i' (藏文), bend the body slightly and shake. The feet 'rkang nga'i gnyis ya 'a'a'i. mthil e'e le'e e'e sbyar 'a'a ra. 'a'i ya'i thur ru du 'u 'u 'u zug 'u 'u ya' (藏文). During this time, join hands and raise them upwards in front of the forehead. With the soles of the feet on the ground and the heels together, leave as much space as possible, such as four fingers wide, and in a frog-like sitting position, spread the knees outwards, bend the body slightly, lift the hips and straighten the body. While chanting ''a'i ya'i ya'i' (藏文), keep the hand gesture unchanged, twist the body to the left front, shake twice, and press the body weight greatly to the left. While chanting 'tshigs ge chen ne e'e' (藏文), rotate the left heel, shake the right foot once or twice in rhythm, lean the body weight to the right, bend the body, and lift the hips to straighten the body. While chanting 'bzhi e'e yo'i yang 'a'a nga' (藏文)
【English Translation】 During the 'པའི་དུས་' (time), keep the body upright, hands in place, and legs crossed in a bent position. During the 'ཡའི་ཞེས་པའི་དུས་' (time), twist the body to the left front as before and puff out the chest. During the 'བཅག་ག་པར་ར་འ་འ་ཞེས་པའི་དུས་' (time), twist the body to the right as before, similar to the posture of puffing out the chest. During the 'བྱ་འ་འ་ཡ་ཞེས་པའི་དུས་' (time), keep the body upright. During 'ཨོཾ་མོ་བཛྲ་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Om Mo Vajra), rotate the hands in the center, making a lotus rotation gesture. During 'ཀྲོ་འོ་དྷ་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Kro Odha), rotate the hands to the left, making a lotus rotation gesture. During 'ཧཱུྃ་ངོ་ཀ་ར་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Hum O Kara), rotate the hands to the right, making a lotus rotation gesture. During 'ཧཱུྃ་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Hum), twist the body to the right rear, bending more, and extend both hands to the right. During 'གརྫ་གརྫ་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Gardza Gardza), twist the left waist, and rotate the right leg and right hand from the front, completing all rotations in one go. During 'ཧཱུྃ་ཕཊ་' (Tibetan, Devanagari, Romanized Sanskrit, Literal Meaning: Hum Phat), rotate the right hand into a Vajrakila gesture, waving the Vajrakila to the right, the left hand holds the Vajrakila in Tarjani mudra at the chest, the right side puffs out the chest more, the left leg is spread to the left, the heel is planted on the ground, the toes are raised upwards, the right leg sways the hips like the sitting posture of Krodha, the knees are spread outwards, and the toes are placed vertically on the ground. From here on, coordinate with the rhythm of the music. Regarding the 'རྣམ་པར་རྒྱལ་བའི་ཕྱག་རྒྱ་ནི།' (Victory Mudra): During 'ཞེས་པའི་དུས་' (time), just make a preparatory action. During 'ལག་གཉིས་ཐུགས་ཀར་བསྣོལ་བྱས་ནས།' (crossing the hands at the chest), according to the meaning of this phrase, cross the hands at the chest, and slightly twist the body until the next two lines of lyrics are finished. While chanting the mantra, make the lotus rotation gesture, rotate the right leg inward, puff out the chest on the right side, etc., similar to the Krodhas in the four directions as before. When chanting the mantra for the Krodhas in the corners and below, the lotus rotation gesture is performed in the middle, left, and right, and when rotating, the left leg rotates inward, the left hand is raised, the left side puffs out the chest, and other postures are similar. During 'སྟོབས་པོ་ཆེའི་དབྱངས་ཀྱི་སྐབས་' (the time of the powerful sound), only the right and left hands and feet are interchanged, and the right and left rotations are reversed, otherwise the dance posture is similar to the previous 'ཧཱུྃ་ཀ་ར་' (Hum Kara). The blessing mudra of Krodha is coordinated with the lyrics and is performed like the victory mudra, so it is easy to understand. However, during the Hayagriva part, when 'ལག་གཉིས་སྤྱི་བོར་རྒྱ་བཅིངས་ནས།' (the hands are bound in a mudra on the crown of the head), imagine it on the crown of the head, in front of the forehead, the hands are like tying a Vajrabandha, and the body twists left and right, swaying the hips. When 'བདུད་རྩི་འཁྱིལ་བའི་སྐབས་སུ་སྐེད་པ་བརྡུང་བར་བསྟན་པ་ནི།' (the nectar is swirling, indicating that the waist is beaten), place both hands on the sides of the waist and sway the waist left and right. When 'སྟོབས་པོ་ཆེའི་སྐབས་སུ་སྟེང་ནས་གནོན་པ་ལྟ་བུ་བྱ།' (when it is powerful, make a gesture of pressing down from above), cross the fingertips and gradually press down from the forehead.
【English Translation】 Press the center down, sway the hips, and bend the body slightly. 1-608 These are the meanings stated in 'The Jewel Garland Clarifying the Mandala Ritual': 'The wrathful deities of the upper and directional realms, the left foot stands straight, the right foot is bent inward. The wrathful deities of the lower and intermediate realms, the left foot is bent inward.' Then there is protection, the first of which is the placement of the phurba (ritual dagger): the ritual and visualization are as indicated in the side notes. Regarding the manner of the dance, the master faces east, holding the vajra phurba in the right hand, making the Hum gesture with the left hand, etc., holding the phurbas in order. The others make the vajra-fist gesture with the right hand, holding their respective phurbas in the left hand, visualizing themselves as the ten wrathful deities. The master leads the crossing Brahma sound of the upper direction, and all the disciples' voices are harmonious and pleasing to the mind. Then, between the three Kīlaya, perform according to the vajra steps and sound. That is, when reciting 'Om O O Om,' the right hand circles over the left hand, the right arm is raised upward, the left hand makes the threatening gesture at the heart. The right foot circles from the front of the left foot and is placed on the right side. The left heel is planted on the ground, the toes are raised, and spread to the left. At the syllable 'Mo,' slightly lift the left foot, lean greatly to the right, and place the left side in the direction of travel. 1-609 Bend the body slightly and straighten the hips. At the syllable 'Badda Jra,' lift the right foot, circle it from the front, and draw the vajra's right turn on the left rear side, and lift the left foot so that the toe almost does not touch the ground. The left hand holds the head of the phurba, visualizing the right hand holding a hammer, making the gesture of striking the head of the phurba. At the syllable 'ra,' straighten the hips. At the syllables 'Kī E E' and at the syllable 'Li,' the steps, hand gestures, and body postures are no different from the time of the previous 'Om.' At the syllables 'Kīla A A,' place the right foot in front of the left foot. Make the gesture of striking the hammer with both hands, etc., drawing the right turn as before, softening the body and suddenly straightening the hips. At the syllable 'Ya A,' circle the right foot from the front of the left foot and place it on the right side. Similarly, lift both hands slightly. At the height of the waist, rotate the left and right hands separately, twist the waist, plant the left heel on the ground. Raise the toes, soften the body, lean greatly to the right, and rotate the heel. First twist the upper body to the right rear, then to the front, and then twist to the left rear, making a charming posture. At the syllable 'Ba Ya,' lift the left foot.
【English Translation】 The body bends slightly and is placed on the left side. 1-610 In the rhythm of 'Sararavaaah,' the feet circle forward on the left and right sides, making the gesture of the vajra center, and then lower to the right side. Similarly, the hands make the rhythm of 'Yaaah,' twisting the waist. In the rhythm of 'Bigge,' the body is soft, and the upper body twists left and right. The 'Ying' body is more flexible, similar to the previous rhythm. In the rhythm of 'Nannai,' lift the left foot and then lower it, the body bends softly, and the hips suddenly straighten. In the rhythm of 'Bannai,' the hand gestures and foot movements are similar to the previous 'Om.' In the rhythm of 'Dhaaa,' slightly lift the left foot and place it in the direction of travel on the left side. The body bends slightly, and the hips straighten. In the rhythm of 'Hūṃ,' lift the right foot and place it in the direction of travel. The right hand makes the gesture of hammering and binding, and the left hand makes the gesture of striking the top of the stake. In the rhythm of 'Ang,' also just lift the right foot and then lower it, the body is soft and slightly bent, and the hips straighten. In the rhythm of 'Phat Da'i Ta,' lift the left foot and place it in the direction of travel. The hand gestures, etc., are similar. After performing such Cham dance three times, the drummers strike the outside of the drum, making a crisp sound, and recite the ghata mantra. The Vajracarya makes the 'Hūṃ' mudra, throws it upwards, and then, according to tradition, inserts the stake into the stake seat or other suitable place on the right side of east-southeast or the right side of east. 1-611 Namgyal is inserted in the east or the center of the southeast by throwing towards the east. Similarly, insert the stakes in the corresponding directions as described above. The blue stake is inserted in the southeast or the left side of the southeast. Yama (Shinje) is inserted on the right side of the south or southwest. Achala (Mikyowa) is inserted on the left side of the southwest or southwest. Hayagriva (Tamdrin) is inserted on the right side of the west or northwest. Aparajita (Zhengyi Mithub) is inserted in the center or left side of the northwest. Amrita Kundalin (Dutsi Khyilwa) is inserted on the right side of the north or northeast. Trailokyavijaya (Kham Sum Namgyal) is inserted on the northeast or the left side of the northeast. Mahabala (Toboche) is inserted on the left side of the northwest by throwing downwards. At the end of the dance, the rhythm of the music and dance is: In the first of the three initial heavy strikes, the body twists left and right, and the hands wave at the corners. The left palm faces down and is placed in front of the right chest. The hips swing greatly, the body shakes violently, and the head bends. In the second heavy strike, the body twists to the right, the right hand is raised to the sky, and the left palm faces up and is placed in front of the navel. The body shakes, etc., are similar. In the third heavy strike, both hands are extended to the right side, the body bends greatly, shakes violently to the right side, and then strikes nine times.
【English Translation】 With alternating hand movements, rotate forward from the right. While chanting 'seven, eight,' retract the right hand backward and rotate the left hand forward. With both hands making lotus-like rotations, bring them together at the heart. While chanting 'nine' and striking a large drum once, twist the body dramatically, raising the right hand towards the sky on the right side and stirring vigorously. Finally, two leg stomps are performed as before. Then, with one strike of the large drum, place both hands separately in front. This dance style can be flexibly applied to the previous empowerment and the nine-beat musical dances such as the subjugation of phurba. When the phurba subjugation is complete, strike the instruments three times, and then place the instruments separately. The practice of the protective circle: All masters and disciples should follow the sadhana. From 'Above is a vajra banner' to 'Bhandza ra Na Hum Phet' (藏文：བྷཉྫ་ར་ཎ་ཧཱུྃ་ཕཊ།), the mantra of the fire offering, perform with mudras and chanting as practiced. Part Three: Subsequent Activities. The third part is the subsequent activities, which involve eliminating the extremes of permanence and annihilation, and concluding with dedication, aspiration prayers, and auspicious wishes. Through the mudra dance, the generated mandala and the assembly of deities, as well as oneself and one's parents, dissolve. The mother also dissolves into the father. Oneself dissolves into the Hum (藏文：ཧཱུྃ།, Devanagari: हूँ, Roman: hūṃ, meaning: seed syllable of compassion) at the heart. The foot of the Hum dissolves into the body. The body dissolves into the head. The head dissolves into the moon. The moon dissolves into the bindu. The bindu dissolves into the nada. The nada becomes increasingly subtle, and finally, like a rainbow disappearing into the sky, it becomes invisible, becoming emptiness. Reciting and contemplating 'becoming emptiness' is to eliminate the extreme of permanence. Oneself, like a fish leaping from water, instantly transforms into the form of Vajrakumara (金剛童子) in union with his consort. Recite 'Om Shri Vajrakumara Krodha Raksha Hum Phet. Om Vajra Kavatse Hum Phet' (藏文：ཨོཾ་ཤྲཱི་བཛྲ་ཀུ་མཱ་ར་ཀྲོ་དྷ་རཀྵ་ཧཱུྃ་ཕཊ། ཨོཾ་བཛྲ་ཀཱ་ཝ་ཙེ་ཧཱུྃ་ཕཊ།), and protect the body, visualizing wearing vajra armor, which is to eliminate the extreme of annihilation. The dedication, aspiration prayers, and auspicious wishes are all performed in accordance with the subsequent ritual of the ceremony. Then, put down the robes and, according to their respective practices, make offerings, praises, tsok, and quick torma to the guardian deities of the ritual. From obtaining the accomplishment of the five wisdoms to the dedication, aspiration prayers, and auspicious wishes, these are the generation stage mudra dances required for the earth ritual, and how Salo the Great performed them, has been fully demonstrated with all the components. Finally, the preliminary practices for the dance ritual of expelling enemies and obstacles in conjunction with the final offering of liberation. Finally, the preliminary practices for the dance ritual of expelling enemies and obstacles in conjunction with the final offering of
【English Translation】 According to the vow, the practice of the dance to expel hostile demons begins with the preliminaries. The main practice, the subsequent practice. First, the preliminary, the order of the drum dance is: to practice the great mandala in a manner that is inseparable from oneself and the deity, starting from offerings, etc., and taking self-entry, offering tormas to the yidam protectors, etc. Nowadays, it is necessary to perform fulfillment, supplication, and praise according to the patron's situation. After the confession of the torma offering is completed, bless the tsok offering, and proceed according to the practice up to the middle part of the tsok. The yogis should have the pride of Vajrakumara. Wear clothes as before, and wear hats, etc. Hold the drum and drumstick instead of the vajra. Those who beat the drums strike the cymbals. The drums needed for the dance, and the linga prepared by the offering attendant, made of cloth, with intestines about three fathoms long inside, the six ends of the intestines connected to bamboo tubes about four fingers wide, with a device for blowing air. At the heart, there is a thin sac filled with blood, very full, and with just a slight touch of the tip of the stake, the blood can spray into the sky, so that everyone can see it. On the forehead, smear yogurt mixed with blood, and insert the collective stake of the ten wrathful deities from the hairline into the forehead. Especially when the six-faced stake is struck, it should appear as if the brain is splattering. In addition, each of the inner and outer secret time wheel dancers should be given many pieces of raw meat tied with black ropes, with special craftsmanship, and placed according to the practice. The linga seat is painted on cloth, with a very terrifying and large human skin base, with a black hole burning with fire in the heart, the top pointing forward, and in the center is written 'Nṛḥ Triḥ'. Incense burner and Guggul incense. A vajra bell and vajra are placed on a small table. Three very sharp small iron stakes are the main stakes. One collective stake of the ten wrathful deities, twenty subjugation stakes, and one collective stake of the four gatekeepers, totaling three. Liberation knife. A small amount of mustard seed needed above and below. Vajra hammer, etc. The dance master wears a dog mask, and others wear masks of subjugation and gatekeepers, etc. Four colors of drum tails: blue, red, green, and black, decorated with various silks. The dance master's hand weapon is a sword, and others hold according to the manifested realization. All left hands hold a willow branch vajra. Do not use other good knives and staffs, etc. as decorations, and do not have wrong views on the embellishments of the lama's practice, do not omit, and do not confuse what to accept and reject.
【English Translation】 With the fierce pride of subduing enemies, the Yidam deity is clearly manifested, first the banner. 1-616 Dungchen Lingpa (personal name), the monk and his attendants, the incense burner, and the silver cup filled with fine wine, etc., followed by the dancers and drummers who enter the stage in order. Before the dancers arrive at the dance arena, like the root dance of the ground ritual, the aforementioned attendants are sent to the wandering place. Then, the dancers, as before, starting from the dance leader, the rows are evenly spaced and slightly wider, with the drum handle inserted on the left thigh. The drummers strike the drum surface, and then slowly dance to the right. Then, strike the drum once slowly, and with the sound of the drum, the body sways, raising the right foot. The left arm does not bend the elbow, extending to the left side of the drum. With one drum sound, lower the direction of travel. Similarly, the left foot is circled from behind, extending to the left corner, placed down, and the body sways, etc., are the same. The drum goes from the left to the front, rotating to the left, doing the bird-perching motion to the right, and inserting the drum handle on the left thigh as before. Like this, with each drum sound, the right and left feet alternate, and the posture of the drum and drumstick is elegant, the waist sways, the dance is beautiful, and keeping the body upright is the main characteristic of the drum dance. In accordance with this, it is necessary to be proficient and coordinated in bird-perching, outward rotation, inward rotation, and other movements. 1-617 After such a slow circle, the dance master strikes a loud signal drum. Then, everyone strikes a loud triple drumbeat. After that, the drum and drumstick together, using the wrist of the right hand to do the bird-perching motion to the right, holding the spacing and height evenly. The left hand is on the waist, and the body leans back slightly and stands. The drummers sit in a row on the cushions. The monk attendants, etc., are seated in appropriate positions. Then, among the thirty-six preliminary rituals, offering golden wine, turning the Phurba (藏文：ཕུར་བ，梵文天城體：कीलक，梵文羅馬擬音：kīlaka，漢語字面意思：金剛橛), inviting and sending away the Dharma protectors, clarifying the three clarities and establishing the three steadfastnesses, thereby generating pride, and performing the rituals of innocent witnesses, etc. Among them, initially only the form of dance and melody, simplified during the offering of golden wine, is led by the dance master. From the drummers, select two or three people with loud and dignified voices to stand next to the dance master, skilled in chanting. The other drummers sit in the row and simply chant the melody as they are, because if everyone stands up, it would be unsightly like beggars, so consider it that way.
【現代漢語翻譯】 然後，將包括跳舞者和鼓手的負責人和學生們聚集起來，以悅耳動聽、婉轉悠揚、協調一致且引人入勝的歌聲開始。 1-618 首先，獻上黃金飲料（གསེར་སྐྱེམས།，gser skyems）。古汝（གུ་རུ།，Guru，上師）的優美旋律和曼妙的旋轉舞跳三遍。首先，供養上師持明眾（བླ་མ་རིག་འཛིན་ཚོགས་བཅས།，bla ma rig 'dzin tshogs bcas）。供養本尊寂怒眾（ཡི་དམ་ཞི་ཁྲོ་རབ་འབྱམས།，yi dam zhi khro rab 'byams）。在念誦這兩句詞時，古汝（གུ་རུ།，Guru，上師）的優美旋律結束之際，用左手握住鼓，放在左腿上，右手敲擊鼓，跳舞開始時，領舞者像之前一樣用力敲擊一面大鼓來示意。所有舞蹈動作的轉換都一樣。除了領舞者之外，所有人都不要敲擊大鼓來示意等，所以記住這一點非常重要。跳完三遍小鼓后，第三遍時配合一面稍大的鼓，稍微抬起左腳，放在那個方向。身體大幅度搖擺，然後以六次緩慢而輕柔的鼓聲來保持平衡。隨著每一次鼓聲，右腳從前面拖動，扭動腰部，彎曲身體，轉動身體，使臉和鼓朝外。將鼓和鼓槌伸直，抬起右腳，放在行進的方向。然後左腳從後面拖動並轉動。臉和鼓朝內，將鼓向右側舉起，抬起左腳，放在行進的方向。同樣，第三遍向右，第四遍向左，第五遍向右，都和之前一樣。當說到『六』時，將大鼓壓低，幾乎不接觸地面，從前面轉動，抬起左腳，放在行進的方向。 1-619 右腳像之前一樣從前面拖動並轉動。臉和鼓朝向自己的後方。將鼓向左側伸直並舉起，然後在六次緩慢而輕柔的鼓聲中向後方行進，除了左右腳交替移動相似之外，第三遍時敲擊大鼓，右腳向後方行進的方向放下，直接舉起鼓，大幅度扭動腰部，這只是先後順序的區別。在『六』的時候，鼓的姿勢等都和之前一樣，左腳向後方行進的方向放下。然後，在三次鼓聲的第一聲時，抬起右腳，放在後方。第二聲時，抬起左腳，放在前方的行進方向。第三聲時，敲擊大鼓，看向朵拉（དོ་ར།，do ra）的內部。抬起右腳，向右側張開並放下，這就是曼妙的旋轉舞。 同樣，第二遍是：特別是供養金剛橛（ཕུར་བུ།，phur bu）的諸神。從不可見的虛空中，以慈悲心。第三遍是：內外障礙不生，祈願二成就增長。除了這些詞語之外，旋律
【English Translation】 Then, the leaders and students, including the dancers and drummers, were gathered together, and the singing began with a melodious, tuneful, harmonious, and captivating voice. 1-618 First, offer the golden drink (གསེར་སྐྱེམས།, gser skyems). The beautiful melody of Guru (གུ་རུ།, Guru, Teacher) and the graceful whirling dance are performed three times. First, offer to the assembly of Lama Vidyadharas (བླ་མ་རིག་འཛིན་ཚོགས་བཅས།, bla ma rig 'dzin tshogs bcas). Offer to the vast expanse of peaceful and wrathful deities of Yidam (ཡི་དམ་ཞི་ཁྲོ་རབ་འབྱམས།, yi dam zhi khro rab 'byams). At the end of reciting these two lines, as the beautiful melody of Guru (གུ་རུ།, Guru, Teacher) concludes, hold the drums with the left hand, placing them on the left thigh, and strike with the right hand. As the dance begins, the dance leader strikes a large drum forcefully, as before, to signal. All transitions of dance movements are the same. Except for the dance leader, no one else should strike the large drum to signal, so remembering this is very important. After dancing three times with the small drums, on the third time, coordinate with a slightly larger drum, slightly lift the left foot, and place it in that direction. Sway the body greatly, and then strike six slow and gentle drumbeats to maintain balance. With each drumbeat, drag the right foot from the front, twisting the waist, bending the body, and turning, so that the face and drum face outward. Stretch out the drum and drumstick, lift the right foot, and place it in the direction of travel. Then drag the left foot from behind and turn. Face the drum inward, raise the drum to the right side, lift the left foot, and place it in the direction of travel. Similarly, the third time to the right, the fourth time to the left, and the fifth time to the right are all as before. When saying 'six,' press down on the large drum, almost without touching the ground, turn from the front, lift the left foot, and place it in the direction of travel. 1-619 Drag and turn the right foot from the front as before. Face the face and drum towards your own back. Stretch out the drum to the left side and raise it, and then move backwards in six slow and gentle drumbeats, except that the left and right feet alternate similarly, and on the third time, strike the large drum, lower the right foot in the direction of backward travel, raise the drum directly, and twist the waist very greatly, this is only the difference in sequence. At the time of 'six,' the posture of the drum, etc., is the same as before, and the left foot is lowered in the direction of backward travel. Then, on the first of the three drumbeats, lift the right foot and place it in the back. On the second, lift the left foot and place it in the direction of forward travel. On the third, strike the large drum and look inside the Dora (དོ་ར།, do ra). Lift the right foot, spread it to the right side, and place it down, this is the graceful whirling dance. Similarly, the second time is: Especially offer to the deities of Vajrakilaya (ཕུར་བུ།, phur bu). From the invisible space, with compassion. The third time is: May inner and outer obstacles not arise, and may the two accomplishments increase. Apart from these words, the melody
【English Translation】 There is no difference from the previous dance. The second part is the rotation of the phurba (ritual dagger), including the arrogant voice of the Vidyadhara (knowledge holder) and the swaying dance of the jewel three times. First, hold the upper left corner of the drum thigh. 1-620 Strike the drum outwards in accordance with the sound, and master the technique of striking according to the size of the drumstick sound. This powerful phurba of tonight will not be shown to the gods above. The gods descend to the summit of Gangkar (white glacier mountain). Open the powerful phurba path now!' When the arrogant voice of the Vidyadhara is completed, signal the drum holding method as before. Then strike five slightly smaller drums outwards, fixing the drum handle on the left thigh, twisting the drum to the right so that it is approximately at the waist level, maintaining a small and even rhythm between the three strikes, slightly lifting the left foot, bending the body slightly, and maintaining the forward direction. Strike four and five times in quick succession, pressing the drum to the ground, suddenly rotating the drum, and raising it to the sky. Strike from the front, extending the left hand forward. Strike five small and even rhythms from the inside, simultaneously lifting one foot and maintaining the forward direction. Sway the body slightly. Similarly, lift the left foot for the second time. For the third time, lift the right foot and maintain the forward direction, bending the body as before, slightly lifting the left foot, and placing the tip of the right foot behind the heel. Strike four and five times quickly as before, with the same body bending and other movements. 1-621 Again, fix the drum handle on the left thigh, and for the first of the five small strikes, lift the right foot and move outwards, placing the left foot on the ground behind the right foot. Rotate the drum and strike, swaying the body, etc., the same. For the second time, place the left foot behind the right foot as before. Strike from under and inside the drum. For the third time, lift the right foot as before, and for the fourth and fifth times, strike outwards quickly as before. Slightly lift the left foot and maintain the forward direction. Bend the body. Do the same going forward, and then retreat backwards. The drum's inward and outward rotations, etc., are the same as the previous three times. Instead of retreating backwards for the third time, point to the top of the Dharmadhatu (realm of phenomena), striking one of the five very large drums outwards, placing the right foot in front. For the second time, strike the drum inwards, placing the left foot behind, forming two corners. For the third time, strike the drum outwards, spreading the legs towards the direction of travel, indicating the direction of travel, bending the body very severely.
【English Translation】 Then, like before, quickly strike four or five times, lift the left foot, look back, and then lower it to the rear. Again, on the first beat of the fifth small section, lift the right foot, and then place the left foot in front. Place the knee of the left foot on the heel of the right foot, straighten the waist, and hold the pose between the second and third beats. Strike four or five times as before. Slightly lift the left foot and place it in the same position. Again, on the first beat of the fifth small section, lift the right foot, and then step back, placing the right foot behind the left foot, while striking the drum backwards and twisting the hips. From the second to the fifth beat. Again, on the fifth beat, alternate feet forward, and again go back and forth, repeating three times, dancing as before. Then, on the first beat of the fifth large section, place the right foot back. Second beat, place the left foot forward. Third beat, place the right foot back in its original position, forming two corners. Strike four or five times as before, stretch the left foot back and down, with the toe pointing back, which is the way of writing, i.e., back-to-back in the scriptures. Then, between the third beat of the slightly larger fifth section, tighten the drum, strike inward, lift the right foot on one side, and then turn it back and down. Second beat, place the left foot in the direction of travel. Third beat, looking into the tent, place the right foot to the right. Strike four or five times as before, and then put it down, which is called the precious dance. The inward and outward turning of the drum back and forth is called the Xiangxiang step. Similarly, in the second part, the chant between 'Tonight's...' The chant disappears on the red rock. 'Purlan...' etc. In the third part, the dragon under 'Tonight's...' The dragon disappears into the depths of the ocean. 'Purlan...' etc. Apart from the translation, the melody and dance are no different from before. In the third part, there is no dance and melody for inviting the guardian deities. In the fourth part, the three clarities and three steadfastnesses are elucidated, and pride is cultivated, accompanied by a joyful majestic melody. In the precious round dance, the way of holding the drum at the beginning is the same as before. Strike from the inside according to the melody, bending the body slightly. Visualize yourself as Vajrakumara: Hūṃ (Tibetan: ཧཱུྃ，Sanskrit Devanagari: हुं，Sanskrit Romanization: hūṃ, Chinese literal meaning: 吽) I am Vajrakumara. Flames burn in my heart. When the joyful majestic melody is completed, the drum signals etc. are the same as before. Then, on the first and second beats of the small section of the fourth beat, dance with the drum tilted to the right. Third beat, press the drum on the ground, slightly lift the left foot, from the front...
【English Translation】 Then put down the drum. Bend the body slightly. On the fourth beat, raise the right leg. On the first beat of the four-beat drum, face and drum slightly towards the back, right foot placed in front of the left foot. On the second beat, puff out the chest. On the third and fourth beats, raise the left foot and then lower it, as before, the drum slowly rotating from the back. On the first beat of the four-beat drum, face and drum towards the front. Right foot placed to the right side. Similarly, holding the drum horizontally like this, perform this dance step seven times with small and even four beats. On the third and fourth beats of the seventh time, the drum and body bend greatly, raise the left foot, stretch to the left and lower it. On the first beat of the next four-beat drum, raise the right foot, face towards the back, etc., the same as before. On the first beat of the next four-beat drum, as before, place the drum on the right side, lower the right foot. Face towards the front, on the third and fourth beats, the drum sounds loudly, the body stretches to the left, etc., the same as before. Then there are four-beat drums, face towards the back. On the first beat of the four-beat drum, face towards the front, like stretching to the left. In the larger four-beat drum, the body bends greatly, face outwards, write the source of Dharma. That is, on the first beat, suddenly raise the drum and right foot, and then lower it, forming a corner. On the second beat, raise the left foot. On the third beat, stretch backwards and lower it, forming a point. On the fourth beat, raise the right foot. On the first beat of the smaller four-beat drum, lower it towards the back, write a corner, place the left knee on the heel of the right foot, on the second beat, puff out the chest. On the third and fourth beats, slightly raise the left foot, face outwards, maintain that posture, move the drum to the right side, lower it, etc., the same as before, six small and even four-beat drums. The two movements of stretching to the left are the same as before. In the larger four movements, on the first beat, stretch the right foot backwards, forming a point, on the second beat, raise the left foot, on the third beat, place it on the left side of the front, forming a corner. On the fourth beat, raise the right foot, face towards the front, in the larger drum sound, on the first beat, place it on the right side, write a corner, that is, write two face-outwards sources of Dharma, this is the dance of the jewel. It is very important to understand the dance steps of facing outwards and facing inwards. Like this, in the second aspect, 'Eight verses, the crown of the head and the soles of the feet, the nature of the Wrathful One and the Wrathful Mother abides'. In the third aspect, 'The view of realization is that all phenomena of appearance and existence are none other than the nature of the Wrathful King', apart from these, the tone and dance are no different from before. In the fifth aspect, the image of innocent witness, the radiance of the vajra.
【English Translation】 At the beginning of performing the 'Wish-Fulfilling Dance' three times, first perform the holding-drum posture, bending over, etc., like offering golden liquor. At the end of reciting 'Lineage Three Roots Lama Rigdzin', perform the holding-drum posture, gestures, etc., like offering golden liquor. When reciting the two 'ངའི་ངའི་' (Nga'i Nga'i, Mine, Mine), start from the drum dance, and when reciting 'ང་འ་' (Nga A, I Ah), slightly tilt the body and drum, lift the left foot a little, and face forward. Drag the right foot on the ground from the front, and then rotate slowly. 1-626 Face the back of the drum, and tap the drum slightly in accordance with the tune. When reciting 'ཡི་' (Yi, Ya), lift the right foot slightly and put it down. Lift the right foot again, and when reciting 'ཡའི་འ་འ་' (Ya'i A A, Ya's Ah Ah), face forward. Similarly, when reciting 'དམ་' (Dam, Vow), drag the left foot from behind and lift it slightly, facing forward. When reciting 'འ་འམ་' (A Am, Ah Or), lift the left foot, tilt the body and drum slightly, look inward, and when reciting 'མའི་འའི་' (Ma'i A'i, Ma's Ah's), put down the foot and face forward. When reciting 'ཞི་འི་' (Zhi'i, Peace's), strike the right side of the drum close to the back, lift the right foot, tilt the body greatly, swing the hips flexibly, and then put it down. Lift the right foot again. When reciting 'ཡའི་འེ་འེ་' (Ya'i Ei Ei, Ya's Eh Eh), put the right foot on the right side. Lift the left foot again, tilt the drum slightly towards the front, face the left side, and strike from below inward. When reciting 'ཁྲོ་' (Khro, Wrathful), put down the left foot and face forward, and when reciting 'པའི་' (Pa'i, Of), also lift the left foot slightly and put it down in that position. When reciting 'བ་འ་འ་' (Ba A A, Wa Ah Ah), lift the right foot, tilt the body greatly, put down the right foot and face forward, and when reciting 'ཡའི་' (Ya'i, Ya's), lift the right foot slightly again and face forward. When reciting 'རབ་' (Rab, Supreme), lift the left foot slightly, tilt the body and put it down. When reciting 'འ་འམ་' (A Am, Ah Or), lift the left foot, tilt the body and drum slightly, and look inward. When reciting 'མའི་འ་འི་འི་' (Ma'i A'i'i, Ma's Ah's's), put down the foot and face forward. 1-627 When reciting 'འབྱམས་འ་འམ་' (Byams A Am, Boundless Ah Or), strike the right side of the drum close to the back. Lift the right foot, tilt the body greatly, swing the hips flexibly, and then put it down. Lift the right foot again. When reciting 'མའི་འེ་འེ་' (Ma'i Ei Ei, Ma's Eh Eh), put the right foot on the right side. When reciting 'ཚོགས་' (Tshogs, Assembly), lift the left foot, face forward, look inward, and strike the inside of the drum. When reciting 'བའི་བའི་' (Ba'i Ba'i, Wa's Wa's), strike the drum forcefully, and then put the left side of the drum on the ground. Let the drum handle be below the right elbow, and perform four small and even downward strikes. Perform four small strikes again, and then spread the right side of the drum. Point the drum handle to the left, and then strike upward. Repeat this three times, and then tilt and press down the body between the four large downward strikes. Then, in the two large dragging strikes, slightly lift the left foot and the drum, rotate from the front to the right, and then put it down slightly on the ground.
【English Translation】 The right foot is like the left foot, rotating together and looking back. Again, like before, strike four times. The first and second strikes are loud, and the third and fourth strikes are soft. The left drum corner falls, the right drum corner rises, the left drum corner falls, and the small drum is struck, etc., repeating three times as before. When striking the four loud strikes, the drum face is down, the right foot is dragged on the ground from behind and rotated, incidentally rotating to the left, with the face looking inward. 1-628 Then strike four times like a vajra, raise the drum and right foot, rotate from the front, lower the left corner close to the back, bend the body greatly, and draw the left circle of the three-pointed object. Again, strike four loud strikes, raise the right foot, place it close to the front of the left corner, and draw the right circle. Again, strike four loud strikes, place the right foot in the middle path between the two circles, making the appearance of drawing the middle circle. When drawing the circles, the left and right feet are slightly raised, the body is bent, and only strike under the drum. The eyes and hat press towards the left corner. Then turn the drum and strike outward, strike four loud strikes, raise the drum and right foot. Rotate from the front, face forward, the left foot jumps slightly, the back leans back greatly, the body is soft and flexible, bend greatly, and at the time of 'two', place the right foot on the right rear corner, making the appearance of drawing the handle of the three-pointed object. Raise the left foot. At the time of 'three', rotate forward and raise it to about the height of the right knee. The right foot jumps slightly and moves outward. At 'four', lower the left foot. Again, strike one loud strike, raise the right foot, turn the drum and stretch, strike from the inner front, lean back greatly, and lower the foot. 1-629 Similarly, at the second loud strike, raise the left foot, lean back and lower the foot, which is called the three-pointed step. Draw the three-pointed object in this way five or seven times, etc., drawing only with the right foot, this is the dance of the wish-fulfilling jewel. In this way, in the second case, especially pray to the deities of Vajrakilaya, please listen to me. In the third case, with power and miraculous abilities, please grasp it well. Apart from these, the tone and dance style are no different from before. When the tip step of the third part of the wish-fulfilling jewel dance is completed, the dancers strike the cymbals in coordination with the drum. Play in coordination with the large and small horns, and in one small stretch strike, place the drum handle on the left thigh, move to the right, and strike from below. The second time, the drum handle is like before.
【English Translation】 Shake to the left and strike on the outward turn. Similarly, alternate left and right five times for zam, slightly shaking the body. Then, with the rhythm of the music and a large swaying of the body, lean forward, raise the right foot, keeping the drum parallel to the ground, and when leaning to the right, strike the drum outward, shaking to the left, and looking outward. When leaning to the left, strike the drum inward, shaking to the right, and looking inward. Alternating in this way, the dancer themselves rotates in the center for a little over one circle, and upon completion, the left side faces the drum, the right side strikes downward, swaying to the right, and remaining in that posture, the dancer strikes the drum rapidly with little force, giving a signal. As above, perform five smaller rhythm zam. The Vajra half-step, single-step, cross-step, etc., are the same as the previous basic dance. The difference lies in the hand gestures and steps. At the end of the zam, the final rhythm does not use a rhythm step, but after one rhythm, two larger rhythms are struck in succession, with a large swaying of the body, while striking the drum outward four times, raising the right foot on one large strike. Rotate from the front, placing the left foot on the left rear side, drawing a left circle. Again, on one large four-strike, strike the drum from below, raising the right foot, placing the left foot on the left side of the front, drawing a right circle. Again, on one large four-strike, strike the drum outward from above, raising the right foot. Place the path between the two circles in the middle, proceeding in the manner of drawing a central circle. Then, on one small four-strike, rotate the right foot from the front, proceeding in the manner of drawing the center. Twist the waist, strike the drum inward, facing the inside of the dora, leaning to the right side. When leaning right and leaning left, tilt the drum towards the direction of the lean, and strike inward. Again, on one large four-strike, raise the left foot, placing it on the front right side. Strike the drum from below and inside, similarly, when drawing the left circle, strike the drum outward. When drawing the central circle, strike the drum inward, other than that, it is the same as before. Do like that five or seven times, etc. Stop and lean to the left, facing inward, as above, give a signal with a rapid drumbeat, complete the zam and the previous steps, after rotating one circle, give the signal for the Vajra single-step, zam etc. are the same. When performing the zam, face towards the right side, and when drawing the circle, when drawing the right circle with the right foot, strike the drum outward. Similarly, as above, alternate turning the drum outward and inward, completing the drawing of the circle. On one large drumbeat, raise the right foot. Rotate from the back, lowering the direction of travel. Again, on one large drumbeat, raise the left foot, facing the direction of travel.
【English Translation】 The right foot is placed in front of the left foot. Strike the drum from below, and write on the right side in a way similar to writing on the left side in the Vajra Dance half-step. The meaning is that when the right foot begins to write, the drum is struck outward. When the left foot begins to write, the drum is struck from below. After completing three, four, five, etc., the gestures and steps are the same as before. Similarly, the Vajra Cross Dance should also be understood in its category, and after completing two or three, the gestures and steps are the same. Maintaining the same pace, the dancers follow the lead dancer, becoming faster and faster, very coordinated, and turning inward, etc., as appropriate. Thus, the sequence of the preliminary drum dance is completed. When descending (འབེབས་དུས), the right hand presses in the direction of travel. Similarly, when lifting the left foot, the hand circles from the front and waves to the right. When descending (འབེབས་དུས), when the right hand presses to the right side, etc., bend the waist slightly. Similarly, before the end of the Yangma (དབྱངས་མ), ensure that the striking of the feet is without error. When striking three times, offer to Banling (བན་ལིང), and when striking once at the end, offer to the directions, above and below, the Dharma protectors, the earth lords, etc., wherever they are located. Ensure that the dance implements, hand-held objects, etc., are not obstructed in any way, and scatter them carefully. At the end, accompanied by the fierce striking of the instruments, scatter them on the ground three times, and then drink a little yourself. The arrangement of washing the white statues and other offerings with clean water needs to be clean. The Golden Drink (གསེར་སྐྱེམས) is offered to the Guru, Vidyadharas, and the assembly, etc., as in the abbreviated ritual and the Vidyadhara invocation. Rotating the Phurba (ཕུར་ཁ) is: 'This fierce Phurba of tonight (དོ་ནུབ་ཀྱི་ཕུར་ཁ་གཉན་པོ་འདི)' etc. Inviting the Dharma protectors, performing the hooking and returning, hooking and returning three times, accompanied by mantras, visualizing them transforming into life and wisdom, these are done below, so they are not needed here. The invitation is: 'Bhagavan Great Glorious Heruka (བཅོམ་ལྡན་དཔལ་ཆེན་ཧེ་རུ་ཀ)' etc., up to 'Om Vajra Ankusha Jah Jah (ཨོཾ་བཛྲ་ཨངྒུ་ཤ་ཛཿཛཿ, Tibetan; oṃ vajra aṅkuśa jaḥ jaḥ, Sanskrit Devanagari; Om Vajra Ankusha Dza Dza, Sanskrit Romanization; Om, Vajra, Hook, Jah Jah, Hooking)'. Clarifying the three clarities and the three certainties, generating pride is: 'I am the Vajra Youth (ང་ནི་རྡོ་རྗེ་གཞོན་ནུ་ཡིན)' etc., visualizing oneself as the Vajra Youth. 'Wrathful deities, wrathful mothers, attendants, etc. (ཁྲོ་བོ་ཁྲོ་མོ་ཕྲ་མེན་དང་)', up to 'Residing in splendor and glory (དཔལ་དང་གཟི་བརྗིད་འབར་བར་བཞུགས)' etc., this is the certainty of the antidote deity. 'All phenomena of appearance and existence (སྣང་ཞིང་སྲིད་པའི་ཆོས་རྣམས་ཀུན)', these two lines are the certainty of realizing the view. 'Kilaya, the certainty of the mantra that suppresses the head (ཀཱི་ལ་ཡ་སྟེ་མགོ་གནོན་སྔགས་ཀྱི་གདེངས)'. 'Dipta Chakra Phurba deity (དཱིཔྟ་ཙཀྲ་ཕུར་པའི་ལྷ)' etc., visualizing Phurba as the prince. 'Lingam, the devourer of the place to be devoured (ལིངྒ་བསྒྲལ་ཡུལ་བཟས་པ་པོ)' etc., visualizing Lingam as the devourer. These are all innocent witnesses.
【English Translation】 According to the supplementary ritual of 'Subduing All Demons' written by Sa-kya Paṇḍita (a famous scholar of the Sakya school), perform the preliminary rituals including the Three Lineage Lamas, Vidyadharas (Rigdzin), etc. After that, the offering attendants return to the Chamkhang (dance hall). The Vajra Master, drummers, conch shell players, gyaling players, flag bearers, and other attendants come together to the entrance of the Chamkhang. The drummers are on one side of the entrance, and the other attendants are arranged facing the entrance. Frankincense, etc., are placed in censers and lit, causing them to burn and produce thick smoke, like swirling clouds. Then, musical instruments are played, conch shells are blown, etc., producing majestic sounds. After completing three drum beats, accompanied by the chanting of 'Hūṃ' (seed syllable), the prayers written by Sa-kya Paṇḍita are performed in sequence. First is: 'Hūṃ! With a majestic and terrifying face, baring fangs, red-yellow hair standing on end, adorned with a garland of skulls. Manifesting as twenty terrifying forms, to subdue those who break their vows, descend to this place!' After the chanting is completed, three drum beats are performed. Two Zamnyukpas (ritual performers) start from the door, with their left shoulders facing outward, right hands extended downward, left hands waving, and bodies slightly bent, dancing to the accompaniment of three small drum beats. During one larger four-beat drum sound, the dancers turn the drumsticks backward, bending their bodies greatly, facing inward, placing their right feet behind to the right rear, lifting their left feet and then lowering them. Both hands are opened upward, forming a lotus shape, extending to the right rear. Again, during one four-beat drum sound, facing the crowd, they turn the drumsticks forward, pressing downward. The right foot rotates forward, and the left foot is lowered. At the same time, both hands are pressed downward, forming a lotus shape, lowering to the left side. Again, during one four-beat drum sound, as before, they complete the lotus mudra facing inward. After a large body bend and sway, the hands are straightened. During the first and second beats of a large nine-beat drum sound, the right foot is lifted, the right hand is waved slightly, facing the crowd. During the third and fourth beats, the left foot is lifted and waved, and so on, alternating. On the ninth beat, the right foot and right hand are placed on the left side in front, the head is shaken violently, the drumsticks almost touching the ground. Accompanied by the rhythm of the music, the body straightens, the drumsticks are thrown backward, and the mask is shown to the crowd. This is the Zam dance in the subduing ritual, except that the lotus mudras are fewer. Then, as before, perform three lotus mudras and the nine-beat drum music and dance. During one four-beat drum sound, perform the lotus mudra again.
【English Translation】 Then, make a lotus posture and strike the Putra drum. In the central lotus circle, in the first step of the dus theng three steps, extend the right hand upwards, approximately above the right knee. The left hand downwards, approximately at the height of the left breast. In the second step, reverse the hands left and right as before, and say the word 'two' very loudly, shaking the head, and the drumstick and hands almost touch the ground, then lower them forward. In the third step of the dus theng three steps, the drumstick is shaken backwards, showing the mask. The palms of both hands are downwards, aligned with the shoulders, the body is bent and straightened. The lotus circle on the left side is also similar to the dus theng three steps and other movements, but the drumstick and hands should be pressed on the ground on the left side. The drumstick is shaken backwards, and the body is straightened upright. However, when retracting the hands, the feet etc. should be like pulling iron. The lotus circle etc. at the right dus is similar. Press on the ground on the right side. Pull and retract the hands, like pulling iron. That is, extend the right hand to the ground on the right side. Place the left hand in front of the chest, and when the palm reaches above the left shoulder, lower the left elbow and twist the left shoulder backwards. Drag the left foot on the ground, reaching the right ankle, twist the hips greatly, turn the head, and twist the drumstick backwards as much as possible. If there are tassels on the drumstick, they need to be curled like a lotus at the tip. When pressing on the left side, when retracting the hands, the other movements are the same, except that the right foot is dragged on the ground. Reaching the left ankle etc. are the same. If the hands are joined together in front of the chest at this time, the mistake of 'pulling the rope' will be made, so concentrate your attention. Whenever the word 'pulling iron' appears below, it is important to remember this movement. Like this, after striking the theng twice, complete one pulling iron movement on the left and right respectively. Immediately afterwards, strike the five major instruments, spread the hands, lift the right foot, and while counting, touch the ground slightly with the toes each time, then rotate to the right, shaking the head and hands greatly. When completing the five minor instruments, place the hands on the waist, drag the right foot on the ground, and rotate to the left. When striking the fifth of the five minor instruments, strike forcefully, lift the right foot and strike the ground. When lifting the left foot to count, the movements such as touching the ground with the toes are all the same. The difference is that the large instruments rotate to the left, and the small instruments rotate to the right, only the right foot is joined on the ground. Like this, after striking the four major instruments and four minor instruments, a total of eight instruments, as before, do three yang pa lotus postures and two pulling iron movements, then do one large and one small.
【English Translation】 The four-beat drum is struck alternately, the body jumps slightly, the right foot is raised, and immediately leans and lowers sharply in the direction of the dance. The left and right feet move in small steps alternately. The left hand is stretched back, and the right hand circles from the front, like slashing with a weapon, swinging from the left diagonally to the right. In response, when the left side leans, the right hand is stretched back, and the left hand swings in the same posture as before. Like this, in coordination with the four-beat drum, do not confuse it with the four-step dance of placing offerings below, rotate once in the dance room or any other place. This is the instruction of the cemetery lord and lady, just like the praise made by Salo, because everyone is familiar with it, it is slightly changed. The tune of the White Tara invocation is added, reciting: 'Hūṃ (Tibetan: ཧཱུྃ, Sanskrit Devanagari: हुं, Sanskrit Romanization: hūṃ, literal meaning: seed syllable), Lord of the cemetery flesh-eaters! Extremely white bones, terrifying form! Please have compassion on those who uphold vows! Lord and Lady of wealth, and all retinue, in order to bestow accomplishments, please descend here!' Then, play the percussion instrument twice, with a large pause between each time, ending with a strong unison. Knock on the wooden board, in coordination with this rhythm, the cemetery lord and lady lean and run majestically, and when they reach the center of the square, in coordination with the strong four-beat drum, like the Black Woman Dance, in the first four-beat drum, the right hand is raised to the sky, the left hand is opened with the palm facing down, placed below the navel, and stretched towards the ground. Raise the right foot, the body jumps, and the head bends sharply to the right. Similarly, in the second four-beat drum, the left hand is raised to the sky, the right hand is stretched towards the ground, raise the left foot, etc., except for the difference in left and right directions, the dance posture is the same. When facing right, the face looks to the right. When facing left, the face turns to the left, both times looking up at the sky. In the third and fourth four-beat drums, the hands are placed on the waist. Other dance postures are the same as before. Then, in the four limping drums, first the right foot, then the left foot, then the right foot, then the left foot, in coordination with each limping drum, alternately make a clapping gesture, alternating left and right, while coordinating with the left and right feet alternately raised, leaning and running very sharply. When reaching the top of the square, the couple separates left and right, running towards any direction where there is a Thangka, and reaching the location of the linga (male phallic symbol). In the rhythm of the four-beat drum, rotate around the person carrying the linga back and forth in the middle of the square, leaning three times, and then one person returns, running towards the ninth drum. One person...
【English Translation】 Then, they would run around there, left and right, jumping four times, giving signals, such as asking their companions, 'Where is the liṅga (藏文，梵文天城體，梵文羅馬擬音，漢語字面意思：liṅga，林伽，male genital) enemy?' and nodding. Their companions would also dance and twist their waists, being very happy and joyful, jumping nine times in a majestic manner, and then rushing violently towards the place where the liṅga is. The other one would also run as before. After repeating this three times, they would pull the left and right sides of the covering (which is neither white nor yellow) of the place where the liṅga is, trying their best to show their strength, but in reality, they are weak and powerless. The one holding the covering would try to cover and hide it, and would join their palms in prayer, acting very pitiful. All of this is full of drama and shows their performance skills. They pull the covering in a majestic manner, their hair not disheveled, and each time they pull the covering, they would jump nine times in different directions, and then jump backwards four times, dancing and twisting their waists with their hands as before. They would jump nine times and then rush inwards, and jump four times in the middle. Repeat this twice. During this time, the one holding the liṅga would untie the black rope wrapped under the covering. In the second time, they would fall down as if unable to resist the strength and prayers, and offer the two ends of the rope to the parents (referring to the male and female). They would pull the ends of the rope, and jump nine times and four times as before, rushing towards the crowd, repeating this three times, they would circle around the deep pit and then arrive there. The three smaller dancers and the two very small dancers would, in a chaotic manner, knock the liṅga base over onto the dharmodaya (chos-'byung, the source of all phenomena) in the center of the pit, with the head pointing upwards, and shake and hit it. Then, they would stand up abruptly, face outwards, and jump nine times. Then, they would jump facing inwards towards the liṅga. Then, they would put their left hand on their waist, stretch out their right hand, and jump nine times to the right. Then, they would put their right hand on their waist, stretch out their left hand, and jump nine times to the left, and then jump four times at a slower pace. They would turn their hands as if offering, with their palms facing upwards, and lift their right foot and left foot. They would do this alternately, left and right, and then return inwards. Like this, the great field guardians, the masters of the cemetery, the dance of the parents is so that when subduing enemies and obstacles, all the Dharma protectors will come as backup to help, so this is not irrelevant. In order to offer this performance, we ourselves came up with this idea and put it into practice. The second chaotic entrance, accompanied by loud, majestic, and terrifying melodies.
【English Translation】 Similar to that. Hūṃ (藏文：ཧཱུྃ，梵文天城體：हूँ，梵文羅馬擬音：hūṃ，漢語字面意思：Seed syllable)! Messenger woman emanated from the heart of the mighty glorious one! Harmful yaksha, blood-drinking flesh-eater! For the sake of subduing enemies and obstacles, I invite you to come! With compassion as swift as lightning, please come here! After completing the recitation, strike the instruments three times, and then begin the slow and gentle dance, with two dancers starting from the middle of the steps, left shoulder facing outward, right hand extended, left hand waving, in the same manner as before. When the music becomes louder, cover the mask with the drum facing forward, concealing the face, and with the right hand circling behind, look inward. With the back facing the crowd, raise the right foot, face inward, and begin the dance on the right side with the loudest sound. Twist the upper body, with the mask's face looking down from the right side, making a terrifying expression, and slightly shake the head. Extend the right hand outward, and the left hand inward. Then, except for switching left and right, follow the same dance style as before, slightly lifting the right foot on the soft drumbeat, and staying in place. With the left foot facing outward, step to the left side, and slightly shake the head with the left hand, etc. This is the four-step double-foot dance between the five steps. On the loud drumbeat of the fifth step, the right foot lands on the inner right side. On the soft drumbeat, the music is loud, the right foot is not lifted, the left foot is slightly lifted, the body jumps and twists, and then lands forcefully there. On the loud drumbeat of the sixth step, strike very loudly. Lift the right foot, rotate it inward from behind, suddenly jump, and place both feet between two steps of the staircase, with the right foot facing outward towards the crowd. On the soft drumbeat, the feet are not lifted, and the body twists and shrugs. Maintaining that posture, extend both hands, and shake the drum on the back. The mask's face faces the crowd, twisting to the right, twisting to the left, like playing, in the slightly gentle and slow three steps, twisting and swaying alternately left and right. Before this, the dance is performed in the middle of the steps. Striking seven times on the dance floor, twisting the body to the right, and on the soft drumbeat of the third step, strike the loud drumbeat again. Slightly lift the left foot, land in place, the body slightly jumps and twists, and lift the right foot to jump outward. Similarly, shake and twist the right hand and the drum greatly, jumping alternately left and right, and at all times when it is called 'seven,' lower the head towards the ground on the left side. When it is called 'eight' on the soft drumbeat, shake the drum on the back, the mask's face faces the crowd, and the left hand extends forward into the sky and waves. The right hand looks inward and downward.
【English Translation】 Then, repeat this twice, performing right and left rotations, and displaying masks on seven sides as before. Repeat as needed two or three times, then return inside. This is the third Zamnyuk. The dance movements of Putra's Nine Beats are the same as the previous melody. Recite: 'Hūṃ! Terrifying red-black one, in the center of flames and raging winds! With extreme wrath, punish those who break their vows! Protecting practitioners, the twelve oath-bound ones! To subdue the unruly, I beseech you to come to this place!' After completing the recitation, finish with three drum beats and responses, then perform three small and slow four-beat drum patterns. The two Zamnyuk dancers will show the left corner outwards, dancing in the same way as before. Then, on the larger four-beat drum pattern, raise the right foot, showing the right corner outwards, stretching as much as possible, while dragging the left foot on the ground, bringing it close to the ankle of the right foot. The right hand swings from the left corner towards the right corner, as if opening a knife. The left waist bends. Similarly, the left foot stretches, and the right hand bends, only with the left and right reversed. Again, stretch to the right as before, these are three four-beat drum patterns. Then there are four very large limping steps. The body jumps, with a large amount of twisting. In the first limping step, the right hand bends, and the left foot is raised. Rotate inwards from the front, stretching and lowering towards the direction to be danced. The left hand waves forward, lowering in sync with the left foot. The drumstick almost touches the ground. In the second limping step, the left foot rotates backwards, stretching backwards, and lowering towards the direction to be danced. The left hand also swings backwards, the drumstick twisting behind, displaying the mask. In the third limping step, the right foot hops slightly, the left foot is raised, rotating forward and inwards, making a movement similar to a fake stretch, the left hand waving, lowering, the drumstick twisting, the body twisting greatly, etc. A wise person should know how to analogize the previous movements. In the fourth limping step, raise the right foot, rotate from the outside, making a small step pretending to stretch towards the direction to be danced, the body jumps, twisting greatly, and immediately after lowering, a loud instrument sound and three small ones sound, in one four-beat drum pattern, the drumstick twisting behind, displaying the mask and face. The hands stretch out, the left foot is raised, stretching as much as possible towards the direction to be walked, lowering, the left and right feet alternately raised, slightly twisting and turning left and right like a puppet, this is the Zam dance step of Putra*. After repeating this three times, perform three lotus rotations and chain-pulling movements as in the previous five-beat drum pattern. Then, in the first and second large nine-beat drum patterns, raise the right foot and rotate from the front. Similarly, in the third and fourth beats, raise the left foot.
【English Translation】 Lower the raised right foot and continue to rotate. The fifth movement is to raise the right foot and rotate backwards. The sixth movement is to lower the right foot. The seventh movement is to press the musical instrument, raise the left foot, extend it to the right, twist the waist, lean the body to the right and press down. Shake both hands, and the eighth and ninth movements are to lean to the left and pull the chain. The tenth movement is to play a small cymbal instrument. When leaning on one leg, extend to the right and pull the chain. Except for this false backward movement, the other stretching movements are very large. When stretching to the right, the left foot drags on the ground, close to the right foot. When stretching to the left, the right foot drags, and so on. Like this, the rotation is completed by nine strikes. Then, the Cham master goes to the dressing room. The other drummers, following the instructions of the headdress, make the sound of 'Hūṃ' (藏文：ཧཱུྃ，梵文天城體：हुं，梵文羅馬擬音：hūṃ，漢語字面意思：Seed syllable), and imitate the heads of pigs and hooves, etc. According to the ritual, slightly supplement and change the lyrics, such as: 'Wrathful Yaksha, blood drinker, (藏文：གནོད་སྦྱིན་འཇིགས་མ་བདུད་རྩི་གསོད་བྱེད，Chinese literal meaning: Harm, giving, terror, nectar, killing, actor) In order to subdue the oath breakers, please come to this place!' (藏文：དམ་ཉམས་བསྒྲལ་བའི་སླད་དུ་གནས་འདིར་གཤེགས།，Chinese literal meaning: Vow, break, for subduing, for the sake, place, here, please come) After the three verses and drumbeats are completed, coordinate with the rhythm of the single-leg lean. The lead dancer signals to the left rear and dances three times. Then, in coordination with the slow and steady rhythm of the single-leg lean, jump outwards in sequence and rotate in the market. The flag bearers should also parade neatly in the market. The dancers perform right leans in sequence. During the large single-leg lean, raise the right foot and lower it in the direction of travel. Slightly raise the left foot and then step on the ground. Rotate the drumstick and shake it, with the mask facing above the left shoulder to show off. The right hand rotates from the front and extends to the lower left. The left hand waves in the air. During the small single-leg lean, slightly raise the right foot, the body sways, and then lower it. During the large single-leg lean, raise the left foot, lean in the direction of travel and lower it. Slightly raise the right foot and then step on the ground. Rotate the drumstick and shake it, with the mask facing above the right shoulder to show off. The right hand swings back and waves in the air. The left hand extends downwards. During the small single-leg lean, slightly raise the left foot and jump, then fall back to the original place, etc., the same as above. Like this, coordinate with the rhythm of the single-leg movement. The drummers, in coordination with the Cham master, advance slowly, and after reaching the center, stand and sit on the cushions behind the Cham master in order. The Cham master walks around the edge of the linga once, then puts down the instruments and sits on the ground. The Cham master sits on the seat facing the linga, holding the vajra bell and vajra, and makes the sound of 'Hūṃ' (藏文：ཧཱུྃ，梵文天城體：हुं，梵文羅馬擬音：hūṃ，漢語字面意思：Seed syllable).
【English Translation】 Holding the mudras (hand gestures). 1-648 A musician or a person with a good voice performs the summoning three times according to the ritual. All the teachers and students have clear goals in mind, and with the firm pride of the Yidam deity (personal deity), they perform it in unison. At the end, the musical instruments are struck violently, and the dancers wave vigorously, rotating the drumsticks forward. Those skilled in the direction of the Linga (phallus symbol) jump with full dedication, showing as much power as possible. This is done three times, and at the last time, visualize the transformation of the five skandhas (Pañca-kandha, aggregates of existence) etc., into deities, and the transformation of life into wisdom. During the reversal, it should be done continuously and clearly, like destroying all demons and obstacles. After that, the musicians gradually reduce the volume, playing slowly and continuously, and then sit down on their seats. The dance leader puts down the vajra (thunderbolt scepter) and bell, picks up the sword and skull cup, and looks in all directions and dances according to the situation. Then, slightly increase the pace and perform three lotus rotations. In the first large step, the left and right hands are swung under the armpits, and the body is tilted to the left. The left hand is rotated in front of the chest, with the palm facing up or down. Shake the drumsticks, and the mask face looks down to the left. In the small step, twist the body and sway the hips. 1-649 In the second large step, the right hand is raised to the sky above the right arm, the drumsticks are rotated behind the back, and the mask face proudly looks upwards. The left hand is stretched downwards next to the right knee. In the small step, twist the body and sway the hips as before. The third large step is the same as the first, with the hands together in a lotus shape. During the lotus rotation, the mask face should look in the direction the right hand is moving. All subsequent lotus rotations can be inferred from this. Then perform five 'Jam' dances. In the first large step, at the end of the lotus rotation, the hands are joined together and then separated, extending to the right side. The right hand is placed above the right knee with the palm facing up, and the left hand is placed inside the right elbow with the palm facing up, crossing the hands. The mask face looks down. In the small step, twist the body, bend the left arm back. The left hand is pulled to the chest, the drumsticks are rotated slightly back, and the mask face looks at the top of the left arm and proudly displays. In the second large step, go to the left side. The third to the right. The fourth to the left. The fifth to the right, taking turns. Except for the difference in the left and right directions, all the dance styles are the same as before, and can be inferred from this.
【English Translation】 These should be understood. 1-650 When the body twists to the right and twists to the left, the two feet alternately rotate their heels. After completing five 'dzam' in this way, perform the footwork as appropriate, as before. Then, the actual majestic lion gait is: like before, three lame leg movements plus one lotus circle. At the end of the five 'dzam', raise the right leg in the larger movement of one lame leg, press both hands on the ground, and simultaneously wag the tail to the back, showing off the mask, stretching both hands as if playing a musical instrument, and posing in the smaller movement of the lame leg. Then, for the five very large lame leg movements, rotate to the right, that is, in the first large movement, put the right foot forward, and similarly, put both hands and the tail forward as well. In the smaller movement of the lame leg, raise the right leg, wag the tail to the back, showing off the large mask, with both hands acting as if playing a musical instrument. In the second lame leg movement, go to the right, the third to the back, and the fourth to the left, all putting down as before, putting down in the larger movement and raising in the smaller movement. However, in the fourth smaller movement, make a larger movement, and immediately after raising the right leg, jump up and put it down, stretching and putting down the left leg in the fifth larger movement, stretching in the smaller movement, twisting to the right and back, moving very slowly. 1-651 Then, perform lotus rotations, single 'dzam' steps, etc., as before. Repeat twice again to perform the double step, that is, after completing the 'dzam', raise the right leg in the larger movement of the lame leg, stretch and put it down in the direction of travel. Raise the right leg in the smaller movement of the lame leg. Again, in the larger movement of one lame leg, stretch and put it down in the previous direction. In the smaller movement of the lame leg, raise the right leg slightly, the body jumps and shakes. In one larger movement of one lame leg, suddenly raise the left leg, rotate the body, and stretch and put it down in the direction of travel. Raise the left leg in the smaller movement of the lame leg. Again, in the larger movement of one lame leg, stretch and put it down in the previous direction. In the smaller movement of the lame leg, raise the left leg slightly, the body jumps and shakes. The right leg has two lame leg movements, and the left leg has two, alternately stretching. When putting down the foot, put the right hand on the ground, the mask face looks to the left, and the tail rotates downwards from the back. When raising the foot, wave the right hand towards the right arm, the mask face looks to the upper right, and the tail wags and rotates backwards, showing the face. Both the left hand stretches downwards when putting down and raising. After completing the four lame leg movements, with two moderately paced drum sounds, jump to the right and to the left, stretching slightly, making a waving gesture. 1-562 In one lame leg movement, jump to the middle, waving both hands to the sky.
【English Translation】 This is a swaying dance accompanied by two movements. When repeating again, the swaying motion in the center of the stretching leg is smaller, and when the amplitude is slightly larger, the left foot is lifted, and the body leans and lowers in that direction. Then, at the first large movement of the four stretching leg movements, the right foot is suddenly lifted, alternately swaying three times, etc., as mentioned above, do it appropriately three or four times, which is the majestic pace of the lion. Remember the time point of 'two movements' below. The tiger's mighty pace is: lotus rotation and five jumps as mentioned above. On the first beat of the eleventh beat of the fast and powerful music, the right foot is slightly lifted, and immediately place the toe of the left foot near the right ankle and lower it. The hands sway and rotate in front of the body, stretching towards the sky. The tail and hands keep swinging forward, the feet do not separate, the body leans slightly and rotates to the right. At the time point of 'ninety', the body leans very greatly. The right foot is lifted on the ninth beat, quickly swaying and lowering as if hitting the ground. On the tenth beat, the left foot is lifted and suddenly rotated, the body leans and sways and opens forward, and then lowers on the eleventh beat, twisting the body to the right rear. The tail rotates and swings backward, the mask face faces the upper right. The hands are stretched, accompanied by the twisting of the waist, appearing very majestic, the music slows down and lengthens, and then stops. Then there is lotus rotation, five jumps. The swaying dance accompanied by three movements is as mentioned above. Repeating this three times is the tiger's mighty pace. The wolf's wandering pace is: perform one lotus rotation in the center. Then, the right foot rotates backward and moves behind the left foot. The tail swings backward, make a lotus rotation to the right, the left hand is on the waist, the tail rotates, the right hand sways, the right foot moves slightly forward, moving little by little between the four slow stretching leg movements, when reaching the front right, the right foot is slightly lifted, in the fast and powerful two beats of the four strikes, like bending forward, the feet drag on the ground, the body walks with a slight lean. That is, at the 'third' beat of the four strikes, the music is loud and heavy. The body turns, the tail almost touches the ground in front. On the fourth beat, the right foot is lifted, the right hand is raised to the sky. The tail swings backward, the mask face faces forward. On the fourth beat of the subsequent four strikes, do not lift the foot but press down, in one stretching leg movement, sway to the left rear and make a lotus rotation, the left hand is on the waist, etc., except for the difference in left and right directions, the rest is the same as before. The subsequent one stretching leg movement faces forward, the feet...
【English Translation】 Next is the Bear Dance: Stretching out both hands, bending backwards while stepping backwards, doing lotus rotations, five 'dzam's, two sways, etc., as mentioned before, this is the dance of the female wolf. Do this three times. The running dance of the female bear: Like before, do lotus rotations in the center and right rear corner. Then, move the left foot behind the right foot and do one lotus rotation. Again, like before, move the right foot behind and do one lotus rotation, a total of four, looking outwards, looking inwards, etc. After establishing the foundation. In the four small lame steps, two towards the left front and two towards the right rear corner, do two 'dzam' postures. On the small step of the fourth lame step, strike the big step and bend the body. In the two big lame steps, bend forward to the left front, accompanied by a big bend. On the big step of the first lame step, lift the left foot and put it down. Lift on the small step of the lame step. Again, put down on the big step. Immediately after lifting the small step, put it down and do two 'dzam's. Similarly, lift the right foot. The right rear corner faces forward, bending forward to do two intense 'dzam's. Again, lift the right foot, like before, facing forward, do two intense 'dzam's on the two big lame steps. Again, bending forward to the left front, do two intense 'dzam's on the two big lame steps, after doing as before. Do one lotus rotation. Then is the dog sleeping action: Lift the left foot and place it horizontally next to the ankle of the right foot. Stretch out both hands and, in four beats, rotate to the right like an eagle circling. When saying 'three', the music becomes loud and heavy. Rotate both hands like a lotus rotation at about the chest level. Bend the body, the tail almost touching the ground. On the fourth beat, lift the left foot, the tail curls back, showing off. Stretch out both hands and shake the ritual implement behind. After such four beats, accompanied by three dances. Do one lotus rotation. The left hand is on the waist and the right hand sways. The tip of the right foot almost touches the ground, moving slightly forward. In the eleven fast notes, on the ninth note the music becomes loud and heavy, twisting the body to the right and lowering the tail forward. The right hand almost doesn't touch the ground, twisting, lifting the right foot, the right hand rotates slightly forward below the knee, and when the right arm reaches above, put it down on the eleventh note. The tail also rotates, coordinating with the right hand, bending forward and pressing down. In the small melody music, lift the right foot and immediately put it down, a total of twelve notes including the acquisition of meaning. Then, in two beats, bend forward like a female wolf. In one lame step, jump to the left rear, do a lotus rotation.
【English Translation】 Then, except for the difference between left and right, such as the right hand on the waist, the left hand waving, etc., twelve circles, four strikes, two jumps, etc., are all the same as the previous dance style. At the end, one leg jumps back, and one leg jumps forward. Again, one leg, facing forward, the legs are separated. Extend both hands, and at the end of jumping back, the lotus rotates once, five praises, two movements, waving, etc., are all the same as before. However, the last three times make a single-leg rotation, which is the bear girl's running dance. Then incense with Linga Gugu. Then, the dance master holds the vajra bell (dor drel), with the 'Hum' (ཧཱུྃ，hūṃ，seed syllable, representing the wisdom of the Buddha) mudra, performs one summoning and sending back as before, and then puts down the vajra bell. Pick up the dharma instrument, bend the body, and lower the tail. As the slow music sounds, straighten the body and lift the right foot. Extend both hands, bend the tail back, and show the mask. Twist the body to the right, and with a loud music, put the right foot back and stand tall. Similarly, as the music sounds, lift the left foot. Bend and then straighten the body, twist to the left, and with a loud music, put the left foot back and stand tall. Except for the difference between left and right, all the dance styles are the same as before, but when lifting one leg, lift the right foot, twist to the right, etc., are all the same as before, just standing tall. When lifting the calf, put the right foot on the right front side, and immediately strike four times once. The feet alternate left and right, in coordination with the music. Lift the foot, like dragging, and twist the body alternately. In one music, when twisting to the right, extend the right hand to the waist. The left hand is at the position of the heart, rotating crosswise like an upturned lotus. In the second music, when twisting to the left, extend the left hand to the waist. The right hand rotates at the position of the heart, etc., the dance style is the same as before. The third and fourth times do the upturned lotus. Twisting left and right, etc., are all the same as before. The fourth time the music is loud, and the left foot is put down with great force. At the position of the forehead, rotate the left hand from the inside out with the fingertips of the right hand, extend both hands, and shake the dharma instrument. Bend the tail forward, rotate to the right, and in the nine strikes of the fast seven times, the body and tail, etc., lean to the right. Shake both hands. In the eighth time, lift the left foot, immediately jump to the left, and put down in the ninth time. Drag the right foot on the ground, close to the left foot, and with the music of 'len' sounds.
【English Translation】 The small one is ten beats. Both hands make a gesture of pulling iron. Lift one leg and jump to the right, completing the iron-pulling motion. In the four beats, the first and fourth beats are heavy, and the second and third beats are light. You must understand the rhythm of the music. The above nine beats, four steps, and all real movements are coordinated in the same way, so it is called the knife dance in the steps. In one musical beat, the right foot is lifted, jumping to the right front, while the right hand circles from under the right knee in a knife-dancing posture, and then the right foot is lowered. In the second beat, lift the right foot and jump to the left rear. The left hand makes an iron-pulling gesture and drags. In the third beat, jump and lower the right foot. In the fourth beat, the body bends greatly, and the hands are like pulling out from a scabbard, the right hand is pulled to the front of the forehead, and the left hand is stretched downwards. In the two four-beat sets, there must be two movements of knife dance and drawing the knife. In the first beat of the second set of four beats, lift the left foot, jump forward and lower it. The right hand drags as before. In the second beat, lift the left foot, jump to the right rear, and retreat. The third and fourth beats are the same as before. Each time you jump, the left hand swings in the direction of travel. The right hand stretches downwards, repeating three or four times, which is the step. Then, the real action is to cooperate with the lyrics and proceed slowly according to the steps. At this time, the drummer sings loudly, and when singing 'Ja Bay Bay', the lead dancer stretches out both hands to the right and dances. When singing 'Baya', the body bends and the right foot is lifted. When singing 'Dama', lower the right foot. The right hand does the knife dance as before. In the beat of the lyrics, lift the right foot and sway the body. When singing 'Chinnai', bend the body greatly and lower it. When singing 'Boyi', lift the left foot. Both hands make a gesture of drawing the knife and stretch as before. Lower it in accordance with the beat. When singing 'Labe', lift the left foot. When singing 'Ba', lower it. When singing connecting words such as 'Baya', slightly lift the left foot, bend the body and lower it. Each sentence of the lyrics must complete two movements of knife dance and drawing the knife, which is the same as the previous two sets of four beats. The movements should be slow and complete, without bending and jumping greatly, just looking outward or inward. Although it looks different, it is only a difference in the degree of lightness and heaviness, which is the same as the coordination method of dances such as the blessing of the earth god and the four-step knife dance. Similarly, in accordance with the lyrics, from 'the great incarnation' to 'the time of salvation', when singing 'Ba', lift the left foot.
【現代漢語翻譯】 ཕབ། (phab) 放下，降下。སྦྲེལ་མཚམས་ཀྱི་ཚིགས་ལྷོད། (sbrel mtshams kyi tshigs lhod) 連線處的關節鬆開。བའི་ཡའི་དུས་རྐང་གཡོན་བཏེགས་ཙམ་ངོས་ཕབ་ལ་རྐང་གཡས་བཏེགས། (ba'i ya'i dus rkang g.yon btegs tsam ngos phab la rkang g.yas btegs) 在'བའི་ཡ'(ba'i ya')的時候，稍微抬起左腳並放下，然後抬起右腳。 1-660 གཡས་ཕྱོགས་སུ་འཕར་ཞིང་མཆོངས་ནས་བཞི་རྡུང་གི་གཅིག་ལ་ཕབ་ཅིང་གཉིས་ནས་བཞིའི་བར་ལ་པད་སྐོར་བྱས་ནས་གཡོན་སྐེད་གཟེར་དང་གཡས་གཡོབ་ཅིང་རྔ་མ་གསིག་ཙམ་མ་ཆག་པ་མདུན་ལ་བྱ། (g.yas phyogs su 'phar zhing mchongs nas bzhi rdung gi gcig la phab cing gnyis nas bzhi'i bar la pad skor byas nas g.yon sked gzer dang g.yas g.yob cing rnga ma gsig tsam ma chag pa mdun la bya) 向右跳躍，在四拍的第一拍落下，然後在第二拍到第四拍之間做蓮花旋轉，同時左腰扭動，右邊搖擺，尾巴稍微彎曲，但不要折斷，保持朝前。 རྐང་པ་གཡས་ཀྱི་རྩེ་ས་ལ་རེག་ཙམ་ངོས་ཅུང་ཟད་རེ་མདུན་ཕྱོགས་སུ་སྤོས། (rkang pa g.yas kyi rtse sa la reg tsam ngos cung zad re mdun phyogs su spos) 右腳尖稍微接觸地面，身體稍微向前方移動。རོལ་མོ་དྲག་མྱུར་དགུའི་བདུན་པ་ལ་རོལ་མོ་ཆེ་ཞིང་ལུས་མནན་རྔ་མ་མདུན་དུ་དཀྲུག (rol mo drag myur dgu'i bdun pa la rol mo che zhing lus mnan rnga ma mdun du dkrug) 在九個強節奏的第七個節奏上，音樂變得強烈，身體下壓，尾巴向前搖動。རྐང་གཡས་མནན། (rkang g.yas mnan) 壓住右腳。ལག་ གཡས་ས་ལ་མ་རེག་ཙམ་བྱས་ནས། (lag g.yas sa la ma reg tsam byas nas) 右手做到幾乎沒有碰到地面的程度。བརྒྱད་ལ་རྐང་གཡས་བཏེགས། (brgyad la rkang g.yas btegs) 在第八拍抬起右腳。ལག་གཡས་པུས་གཡས་འོག་ཙམ་མདུན་ལ་བསྐོར་ཏེ། (lag g.yas pus g.yas 'og tsam mdun la bskor te) 右手在右膝下方稍微向前旋轉。དཔུང་གཡས་སྟེང་དུ་སླེབ་པ་དང་། (dpung g.yas steng du sleb pa dang) 右臂向上伸展。དགུ་ལ་རྐང་གཡས་ཕབ། (dgu la rkang g.yas phab) 在第九拍放下右腳。རོལ་མོ་ཆེ་ཞིང་དལ་ བའི་སྒོ་ནས་མནན། (ba'i sgo nas mnan) 音樂變得強烈而緩慢，身體下壓。ལག་གཡས་གོང་བཞིན་བསྐོར་ཞིང་སྒྱིད་ལྡེམ་ལྷོད་སྐོར་ངང་རིང་བ་བྱས་རྗེས་ལེན་གྱི་རོལ་མོ་ཆུང་བ་གཅིག་སྟེ་བཅུ་པ་ལ་ལུས་བསྲངས་ནས། (lag g.yas gong bzhin bskor zhing sgyid ldem lhod skor ngang ring ba byas rjes len gyi rol mo chung ba gcig ste bcu pa la lus bsrangs nas) 右手像之前一樣旋轉，臀部緩慢地扭動，然後隨著一個小的過渡音樂，在第十拍伸直身體。ལག་གཡས་བསྐོར་ཞིང་རོལ་མོ་གཅིག་ དང་གཉིས་ཆུང་སྙོམས་ལ་ལུས་ཅུང་ཟད་གསིག (dang gnyis chung snyoms la lus cung zad gsig) 第一拍和第二拍音樂輕柔而平衡，身體稍微彎曲。གསུམ་ཤིན་ཏུ་ཆེ་ཞིང་མནན། (gsum shin tu che zhing mnan) 第三拍非常強烈，身體下壓。ལུས་སྒྱིད་ལྡེམ་སོགས་གོང་བཞིན་ལག་མགོ་ས་ལ་མནན། (lus sgyid ldem sogs gong bzhin lag mgo sa la mnan) 身體的扭動等像之前一樣，手掌按在地上。བཞི་ལ་རྐང་པ་མ་བཏེགས་པ་ལུས་བསྲང་། (bzhi la rkang pa ma btegs pa lus bsrang) 在第四拍不抬腳，伸直身體。ལག་གཡས་དཔུང་སྟེང་སླེབ་ པ་དང་། ('bag rnga bskor te g.yas rgyab la bskyur 'bag ngom de 'dra ba bzhi rdung gnyis bskyar nas byas te lan gsum gyi rting ma'i bzhi la rnga ma rgyab la dkrug) 右手到達肩膀上方，旋轉面具鼓，向右後方拋出，重複兩次這樣的面具展示，在第三次重複的第四拍，尾巴向後搖動。འབག་ངོམ་ཞིང་ལུས་འཕར་ནས་རྒྱབ་ལ་མཆོང་། ('bag ngom zhing lus 'phar nas rgyab la mchong) 展示面具，身體跳躍，向後跳躍。 1-661 ལག་གཉིས་བརྒྱངས། (lag gnyis brgyangs) 雙手伸直。བཞི་རྡུང་གཅིག་ལ་པད་སྐོར་འཐེང་རྐང་གསུམ་ལ། (bzhi rdung gcig la pad skor 'theng rkang gsum la) 在四拍的第一拍做蓮花旋轉，然後是三步跛腳。གཡས་གཡོན་གཡས་རྣམས་སུ་ལྕགས་འཐེན་བྱས་ནས་གོང་བཞིན་བཞི་འགྲོས་ཀྱིས་གྲི་སྐོར་མ་ཇི་ལྟར་རིགས་པར་བྱ། (g.yas g.yon g.yas rnams su lcags 'then byas nas gong bzhin bzhi 'gros kyis gri skor ma ji ltar rigs par bya) 向右、左、右方向拉動鐵器，像之前一樣用四步舞的方式，根據情況進行刀舞。དེ་ནི་གདབ་ཚུལ་ལོ། (de ni gdab tshul lo) 這就是安插的方法。 དེ་ནས་བྱང་ཆུབ་མཆོག་ཏུ་ནས། (de nas byang chub mchog tu nas) 然後，從'菩提勝'開始。བདུད་དང་བར་དུ་གཅོད་པ་རྣམས། (bdud dang bar du gcod pa rnams) 那些阻礙魔障的事物。ཞེས་པའི་རྗེས་ལ། (zhes pa'i rjes la) 在這之後。གདབ་ཚུལ་གོང་བཞིན་འགྲོས་དང་བཅས་པ་བྱ། (gdab tshul gong bzhin 'gros dang bcas pa bya) 像之前一樣，按照安插的方法進行舞蹈。ཡང་ཁྲོ་བོ་ཆེན་པོའི་ནས། (yang khro bo chen po'i nas) 再次，從'大忿怒尊'開始。སྡུག་བསྔལ་ཉམས་སུ་མྱོང་བར་མཛོད། (sdug bsngal nyams su myong bar mdzod) 體驗痛苦吧！ ཞེས་པ་དང་གཡས་ཕྱོགས་སུ་འཕར་ཞིང་བཞི་རྡུང་གཅིག་ལ་པད་སྐོར་བྱས་ནས་འཐེང་རྐང་བཞིའི་བར་དུ། (zhes pa dang g.yas phyogs su 'phar zhing bzhi rdung gcig la pad skor byas nas 'theng rkang bzhi'i bar du) 這樣說著，向右跳躍，在四拍的第一拍做蓮花旋轉，然後在四步跛腳之間。གཡོན་ཟུར་མདུན་དུ་བསྟན་པ་ངོས་སུ་ཛམ་ལྕགས་འཐེན་བྱ། (g.yon zur mdun du bstan pa ngos su dzam lcags 'then bya) 左角朝前，向身體方向拉動ཛམ་(dzam)鐵器。དེ་བཞིན་རྒྱབ་གཡས་ཟུར། (de bzhin rgyab g.yas zur) 同樣，后右角。གོང་བཞིན་ གཡོན་དང་། (g.yon dang) 像之前一樣，左邊。གཡས་ཟུར་དུ་ལྕགས་འཐེན་རེ་སྟེ་བཞི་སོང་བ་དང་། (g.yas zur du lcags 'then re ste bzhi song ba dang) 向右角拉動鐵器，這樣走了四次。ཆེམ་རྡུང་བྱེད་པ་དང་བསྟུན་འཆམ་དཔོན་གྱི་ལིངྒ་བསྒྲལ་ཕྱིར་ཕྱག་མཚན་བཞག (chem rdung byed pa dang bstun 'cham dpon gyi ling+ga bsgral phyir phyag mtshan bzhag) 隨著敲擊聲，爲了殺死跳神首領的 लिंग（梵文天城體：लिङ्ग，梵文羅馬擬音：liṅga，漢語字面意思：林伽），放下法器。མཆོད་གཡོག་པས། (mchod g.yog pas) 侍奉者。 གོང་དུ་བཤམས་པའི་ལྕགས་ཕུར་ཕུལ་ཞིང་བཞེས་ནས་ལིངྒའི་སྙིང་གར་བསྒྲིལ་ནས་བཏབ། (gong du bshams pa'i lcags phur phul zhing bzhes nas ling+ga'i snying gar bsgril nas btab) 獻上之前準備好的鐵橛，接過後將其纏繞在 लिंग（梵文天城體：लिङ्ग，梵文羅馬擬音：liṅga，漢語字面意思：林伽）的心臟處並安插。ཚེ་ལུང་ཁྲུས་ལུང་གི་དམིགས་པ་སོགས་བྱ་ཞིང་གནས་སྤར། (tshe lung khrus lung gi dmigs pa sogs bya zhing gnas spar) 進行長壽灌頂、沐浴灌頂等觀想，然後轉移位置。ཕུར་ཤུལ་ཐུན་གྱིས་བྲབས་ལ་སྙིང་གར་བཙུགས། (phur shul thun gyis brabs la snying gar btsugs) 用錘子敲打橛子的尾部，將其插入心臟。གཞན་རྣམས་ཀྱིས་དགུག་གཞུག་བཞིན་བན་གསིག་སོགས་གང་སྤྲོས་འཇིགས་ ཚུལ་སྟོན། (tshul ston) 其他人則像拉弓一樣，展示各種恐嚇姿勢。དེ་ནས་འཆམ་དཔོན་གཞོན་པ་ཡིན་ན། (de nas 'cham dpon gzhon pa yin na) 然後，如果跳神首領是年輕的。ལྕགས་ཕུར་ཁྲོ་བཅུའི་སྤྱི་ཕུར་ཐོགས་ལ། (lcags phur khro bcu'i spyi phur thogs la) 手持十忿怒尊的總橛。གོང་བཞིན་གཡས་གཡོན་དུ་བསྐོར་བ་སོ(gong bzhin g.yas g.yon du bskor ba so) 像之前一樣向左右旋轉等。
【English Translation】 ཕབ། (phab) To put down, to descend. སྦྲེལ་མཚམས་ཀྱི་ཚིགས་ལྷོད། (sbrel mtshams kyi tshigs lhod) The joints at the connection points loosen. བའི་ཡའི་དུས་རྐང་གཡོན་བཏེགས་ཙམ་ངོས་ཕབ་ལ་རྐང་གཡས་བཏེགས། (ba'i ya'i dus rkang g.yon btegs tsam ngos phab la rkang g.yas btegs) During 'བའི་ཡ'(ba'i ya'), slightly lift and lower the left foot, then lift the right foot. 1-660 གཡས་ཕྱོགས་སུ་འཕར་ཞིང་མཆོངས་ནས་བཞི་རྡུང་གི་གཅིག་ལ་ཕབ་ཅིང་གཉིས་ནས་བཞིའི་བར་ལ་པད་སྐོར་བྱས་ནས་གཡོན་སྐེད་གཟེར་དང་གཡས་གཡོབ་ཅིང་རྔ་མ་གསིག་ཙམ་མ་ཆག་པ་མདུན་ལ་བྱ། (g.yas phyogs su 'phar zhing mchongs nas bzhi rdung gi gcig la phab cing gnyis nas bzhi'i bar la pad skor byas nas g.yon sked gzer dang g.yas g.yob cing rnga ma gsig tsam ma chag pa mdun la bya) Leap and jump to the right, landing on the first beat of the four beats, then do a lotus spin between the second and fourth beats, while twisting the left waist and swaying the right, keeping the tail slightly bent but not broken, facing forward. རྐང་པ་གཡས་ཀྱི་རྩེ་ས་ལ་རེག་ཙམ་ངོས་ཅུང་ཟད་རེ་མདུན་ཕྱོགས་སུ་སྤོས། (rkang pa g.yas kyi rtse sa la reg tsam ngos cung zad re mdun phyogs su spos) Slightly touch the ground with the tip of the right foot, moving the body slightly forward. རོལ་མོ་དྲག་མྱུར་དགུའི་བདུན་པ་ལ་རོལ་མོ་ཆེ་ཞིང་ལུས་མནན་རྔ་མ་མདུན་དུ་དཀྲུག (rol mo drag myur dgu'i bdun pa la rol mo che zhing lus mnan rnga ma mdun du dkrug) On the seventh of the nine strong and fast beats, the music becomes strong, the body presses down, and the tail shakes forward. རྐང་གཡས་མནན། (rkang g.yas mnan) Press down on the right foot. ལག་ གཡས་ས་ལ་མ་རེག་ཙམ་བྱས་ནས། (lag g.yas sa la ma reg tsam byas nas) With the right hand almost touching the ground. བརྒྱད་ལ་རྐང་གཡས་བཏེགས། (brgyad la rkang g.yas btegs) On the eighth beat, lift the right foot. ལག་གཡས་པུས་གཡས་འོག་ཙམ་མདུན་ལ་བསྐོར་ཏེ། (lag g.yas pus g.yas 'og tsam mdun la bskor te) Rotate the right hand slightly forward, just below the right knee. དཔུང་གཡས་སྟེང་དུ་སླེབ་པ་དང་། (dpung g.yas steng du sleb pa dang) As the right arm reaches upwards. དགུ་ལ་རྐང་གཡས་ཕབ། (dgu la rkang g.yas phab) On the ninth beat, put down the right foot. རོལ་མོ་ཆེ་ཞིང་དལ་ བའི་སྒོ་ནས་མནན། (ba'i sgo nas mnan) The music becomes strong and slow, pressing down. ལག་གཡས་གོང་བཞིན་བསྐོར་ཞིང་སྒྱིད་ལྡེམ་ལྷོད་སྐོར་ངང་རིང་བ་བྱས་རྗེས་ལེན་གྱི་རོལ་མོ་ཆུང་བ་གཅིག་སྟེ་བཅུ་པ་ལ་ལུས་བསྲངས་ནས། (lag g.yas gong bzhin bskor zhing sgyid ldem lhod skor ngang ring ba byas rjes len gyi rol mo chung ba gcig ste bcu pa la lus bsrangs nas) Rotate the right hand as before, swaying the hips slowly, then after a small transition music, straighten the body on the tenth beat. ལག་གཡས་བསྐོར་ཞིང་རོལ་མོ་གཅིག་ དང་གཉིས་ཆུང་སྙོམས་ལ་ལུས་ཅུང་ཟད་གསིག (dang gnyis chung snyoms la lus cung zad gsig) The first and second beats are soft and balanced, bending the body slightly. གསུམ་ཤིན་ཏུ་ཆེ་ཞིང་མནན། (gsum shin tu che zhing mnan) The third beat is very strong, pressing down. ལུས་སྒྱིད་ལྡེམ་སོགས་གོང་བཞིན་ལག་མགོ་ས་ལ་མནན། (lus sgyid ldem sogs gong bzhin lag mgo sa la mnan) The body sways as before, pressing the palms on the ground. བཞི་ལ་རྐང་པ་མ་བཏེགས་པ་ལུས་བསྲང་། (bzhi la rkang pa ma btegs pa lus bsrang) On the fourth beat, without lifting the foot, straighten the body. ལག་གཡས་དཔུང་སྟེང་སླེབ་ པ་དང་། ('bag rnga bskor te g.yas rgyab la bskyur 'bag ngom de 'dra ba bzhi rdung gnyis bskyar nas byas te lan gsum gyi rting ma'i bzhi la rnga ma rgyab la dkrug) As the right hand reaches above the shoulder, rotate the mask drum, throw it to the right back, repeat such a mask display twice, and on the fourth beat of the third repetition, shake the tail back. འབག་ངོམ་ཞིང་ལུས་འཕར་ནས་རྒྱབ་ལ་མཆོང་། ('bag ngom zhing lus 'phar nas rgyab la mchong) Display the mask, jump the body, and jump back. 1-661 ལག་གཉིས་བརྒྱངས། (lag gnyis brgyangs) Stretch out both hands. བཞི་རྡུང་གཅིག་ལ་པད་སྐོར་འཐེང་རྐང་གསུམ་ལ། (bzhi rdung gcig la pad skor 'theng rkang gsum la) Do a lotus spin on the first beat of the four beats, then three limping steps. གཡས་གཡོན་གཡས་རྣམས་སུ་ལྕགས་འཐེན་བྱས་ནས་གོང་བཞིན་བཞི་འགྲོས་ཀྱིས་གྲི་སྐོར་མ་ཇི་ལྟར་རིགས་པར་བྱ། (g.yas g.yon g.yas rnams su lcags 'then byas nas gong bzhin bzhi 'gros kyis gri skor ma ji ltar rigs par bya) Pull the iron implements to the right, left, and right, and perform the knife dance in a four-step manner as appropriate. དེ་ནི་གདབ་ཚུལ་ལོ། (de ni gdab tshul lo) This is the method of insertion. དེ་ནས་བྱང་ཆུབ་མཆོག་ཏུ་ནས། (de nas byang chub mchog tu nas) Then, starting from 'Supreme Enlightenment'. བདུད་དང་བར་དུ་གཅོད་པ་རྣམས། (bdud dang bar du gcod pa rnams) Those who obstruct demons. ཞེས་པའི་རྗེས་ལ། (zhes pa'i rjes la) After that. གདབ་ཚུལ་གོང་བཞིན་འགྲོས་དང་བཅས་པ་བྱ། (gdab tshul gong bzhin 'gros dang bcas pa bya) Perform the dance with the steps as in the insertion method above. ཡང་ཁྲོ་བོ་ཆེན་པོའི་ནས། (yang khro bo chen po'i nas) Again, starting from 'Great Wrathful One'. སྡུག་བསྔལ་ཉམས་སུ་མྱོང་བར་མཛོད། (sdug bsngal nyams su myong bar mdzod) Experience suffering! ཞེས་པ་དང་གཡས་ཕྱོགས་སུ་འཕར་ཞིང་བཞི་རྡུང་གཅིག་ལ་པད་སྐོར་བྱས་ནས་འཐེང་རྐང་བཞིའི་བར་དུ། (zhes pa dang g.yas phyogs su 'phar zhing bzhi rdung gcig la pad skor byas nas 'theng rkang bzhi'i bar du) Saying this, leap to the right, do a lotus spin on the first beat of the four beats, and then between the four limping steps. གཡོན་ཟུར་མདུན་དུ་བསྟན་པ་ངོས་སུ་ཛམ་ལྕགས་འཐེན་བྱ། (g.yon zur mdun du bstan pa ngos su dzam lcags 'then bya) Point the left corner forward and pull the ཛམ་(dzam) iron implement towards the body. དེ་བཞིན་རྒྱབ་གཡས་ཟུར། (de bzhin rgyab g.yas zur) Similarly, the rear right corner. གོང་བཞིན་ གཡོན་དང་། (g.yon dang) As before, the left. གཡས་ཟུར་དུ་ལྕགས་འཐེན་རེ་སྟེ་བཞི་སོང་བ་དང་། (g.yas zur du lcags 'then re ste bzhi song ba dang) Pull the iron implement to the right corner, and after going four times. ཆེམ་རྡུང་བྱེད་པ་དང་བསྟུན་འཆམ་དཔོན་གྱི་ལིངྒ་བསྒྲལ་ཕྱིར་ཕྱག་མཚན་བཞག (chem rdung byed pa dang bstun 'cham dpon gyi ling+ga bsgral phyir phyag mtshan bzhag) In accordance with the striking sound, put down the weapon in order to kill the लिंग（梵文天城體：लिङ्ग，梵文羅馬擬音：liṅga，漢語字面意思：林伽）of the Champon (dance leader). མཆོད་གཡོག་པས། (mchod g.yog pas) By the attendant. གོང་དུ་བཤམས་པའི་ལྕགས་ཕུར་ཕུལ་ཞིང་བཞེས་ནས་ལིངྒའི་སྙིང་གར་བསྒྲིལ་ནས་བཏབ། (gong du bshams pa'i lcags phur phul zhing bzhes nas ling+ga'i snying gar bsgril nas btab) Offer the iron stake prepared earlier, take it, wrap it around the heart of the लिंग（梵文天城體：लिङ्ग，梵文羅馬擬音：liṅga，漢語字面意思：林伽）, and insert it. ཚེ་ལུང་ཁྲུས་ལུང་གི་དམིགས་པ་སོགས་བྱ་ཞིང་གནས་སྤར། (tshe lung khrus lung gi dmigs pa sogs bya zhing gnas spar) Perform visualizations such as longevity empowerment and bathing empowerment, and then move the position. ཕུར་ཤུལ་ཐུན་གྱིས་བྲབས་ལ་སྙིང་གར་བཙུགས། (phur shul thun gyis brabs la snying gar btsugs) Strike the tail of the stake with a hammer and insert it into the heart. གཞན་རྣམས་ཀྱིས་དགུག་གཞུག་བཞིན་བན་གསིག་སོགས་གང་སྤྲོས་འཇིགས་ ཚུལ་སྟོན། (tshul ston) Others show terrifying gestures, such as pulling a bow. དེ་ནས་འཆམ་དཔོན་གཞོན་པ་ཡིན་ན། (de nas 'cham dpon gzhon pa yin na) Then, if the Champon (dance leader) is young. ལྕགས་ཕུར་ཁྲོ་བཅུའི་སྤྱི་ཕུར་ཐོགས་ལ། (lcags phur khro bcu'i spyi phur thogs la) Hold the general stake of the ten wrathful deities. གོང་བཞིན་གཡས་གཡོན་དུ་བསྐོར་བ་སོ(gong bzhin g.yas g.yon du bskor ba so) Rotate to the right and left as before, etc.
【English Translation】 In addition, perform the four subsequent actions of traction, bending, and placement. All other coordination from the second to the sixth posture is the same as above, with no substantial difference. However, when cutting with the sword in the fourth posture, the Zamnyukpa (a type of dancer) jumps, soars, and runs, arriving next to the dance leader. The dance leader and the sacrificial assistant take out the intestines of the Linga (symbol of the male reproductive organ). Carefully remove it without cutting it off and without spilling blood, then sequentially hand the thin tubes at the tip of the intestines to the Zamnyukpa. The Zamnyukpa also uses weak force to put the opening end of the thin tube into their mouth, inflate it with breath, and coordinate with the music. During the nine drumbeats, except for the outer and inner circles, everything else is the same as before. If the nine drumbeats and chain-pulling are not skillful enough, causing the intestines to break and blood to spill on the robe, problems will occur. Therefore, during the nine drumbeats and chain-pulling, it is very important to be highly skilled and proficient, and to complete it with the cooperation of components such as Banling (a type of musical instrument). In the sixth posture, perform the Chem Dong (a type of dance movement). As before, the large Banling and the loud drumming sound, as well as a lame person rotating and swaying left and right. When the lame person is young, immediately after putting down the left foot, make inner and outer secret sounds. The dancers coordinating with this are: When the word 'ཕྱི་ཡའི་' (Tibetan, literal meaning: outer) is said, raise the knees of the left and right feet to the left side. First, turn both hands face down to the right side, then turn them upwards, raising them to the height of the left and right shoulders, making a gesture of offering to the spirits. When saying 'ནང་ངའི་' (Tibetan, literal meaning: inner), put the right foot down to the right side. Stretch both hands straight, turning them face down to the right. When saying 'གསང་ངའི་' (Tibetan, literal meaning: secret), as before, turn both hands upwards, raising them to just above the right shoulder, making a gesture of offering, raising the left foot to the height of the right knee. When 'བའི་ཡའི་' (Tibetan, literal meaning: given) is said, go outwards and put it down to the left side. When saying 'མཆོད་དོ་' (Tibetan, literal meaning: offering), raise the right foot. When saying 'པ་ཝ་' (Tibetan, literal meaning: hero), put down the direction of travel. When saying 'རྒྱམ་འམ་' (Tibetan, literal meaning: victory), raise the left foot. When saying 'མའི་མའི་' (Tibetan, literal meaning: mother's), put down the direction of travel to the left. When saying 'མཚོ་བོ་' (Tibetan, literal meaning: lake), raise the right hand. When 'ཡའི་ཡའི་' (Tibetan, literal meaning: yes) is said, put the right foot down in the direction of travel. When saying 'ཚོགས་འོ་འོ་' (Tibetan, literal meaning: gathering), raise the left foot. When saying 'ཝ་' (Tibetan, literal meaning: sound), rotate the left foot, open the direction of travel and put it down. Put the heel of the right foot on the ground. When saying 'འའི་' (Tibetan, literal meaning: of), sway to the left. When 'ཡའི་ཡའི་' (Tibetan, literal meaning: yes) is said, jump twice continuously to the right. Shake both hands in the direction of the jump, including the skirt. At the same time, the two Chem Dong instruments are also played together. In the second sentence, raise the left foot and put down the direction of travel to the right rear. Raise the right foot and put down the direction of travel, walking to the right and jumping to the left. The third and fourth sentences are performed alternately as before. The meaning is...
【English Translation】 Lift the knee to the height that can be lifted or not lifted. When lifting the right leg, both hands face down on the right side, and the left arm is raised in a gesture of offering. 1-664 Similarly, except for the difference between the left and right legs and hands, the rest is the same, so it is very important to discern with wisdom. After the four lines are finished, there are two jumping postures. Sway slightly to the left and right, accompanied by four drum beats that get faster and faster. Make the posture of Linga offering. Finally, scatter the chopped Torma fragments in all directions. After the dancers gather together, the lead dancer starts dancing with three or four small drum beats. Like before, beat the drum four times, and hold the knife in the right hand, like opening the blade, without the scabbard falling off. The lead dancer leads everyone to jump, with graceful movements, making everyone marvel, with skillful movements and no mistakes, concentrating and returning to the dancing place in order. This is the offering of killing the last demon, the preliminary part of the dance of expelling demons, all complete. ༄། །Subsequent matters The third part is the subsequent matters, putting down the dancing costumes, sitting down in order, performing the Tsok, praises, etc. according to their respective rituals, until the final auspicious prayer, performing it like a usual offering ceremony. The above is the detailed offering ritual of Vajrakila, the handprint dance is the dance of the rain of achievements, 1-665 It is also the dance template that shows the root of the dance of expelling demons needed for killing the last demon, called 'Manifestation Can Be Changed'. This is by the venerable master of boundless compassion and wisdom, the Mahapandita who is proficient in the five sciences, without obstacles, who is taken care of and personally seen by Vajrakumara and many other deities, the great Sakya Pandita Jamyang Kunga Sonam Drakpa Gyaltsen Palsangpo himself, and through great kindness, these rituals are taught in detail, and made to be firmly remembered. For the sake of the Vajrakila teachings, at the request of the disciples Awang Sonam Wangpo and Jamyang Sonam Gyaltsen brothers, the dust of the feet of the venerable Sakya Pandita is placed on the head, recorded by the mediocre Sakya mantra holder Awang Kunga Rinchen, at the time of the Fire Male Rat year, the beginning of the water month, the day when the Dakinis gather, and also the birthday of Jamyang Chokyi Gyalpo.
【English Translation】 Written by the great benefactor, the Lhakhang Gazy of the Great Jokhang Temple, and Ngawang Peljor, the scribe located in the sacred site of Potala. If there are any faults, may the Lamas, Dharma protectors, white and black protectors, Vajrakila protectors, etc., forgive them. May the doctrine of Vajrakila flourish and spread. Through diligent practice of the dance of conventional illusion, may one quickly realize the ultimate meaning free from elaboration. May the intentions of Manjushri Salo be fulfilled, and may those who enter this path quickly attain accomplishment. Whatever constitutes the offerings to Vajrakumara (Dorje Shönnu), according to the practice of the venerable compassionate one (Avalokiteśvara), abandoning laziness and striving diligently, may this virtue enable the six realms of beings to quickly attain Buddhahood. Mangalamastu sarva jagatam. May it benefit the teachings and sentient beings!
