Guhyagarbha Tantra (with Commentary)
by Gyurme Dorje | 1987 | 304,894 words
The English translation of the Guhyagarbha Tantra, including Longchenpa's commentary from the 14th century. The whole work is presented as a critical investigation into the Nyingma School of Tibetan Buddhism, of which the Guhyagarbhatantra is it's principle text. It contains twenty-two chapters teaching the essence and practice of Mahayoga, which s...
Text 7.2 (Commentary)
[Guhyagarbha-Tantra, Text section 7.2]
叠贬搁鲍峁� 痴滨艢痴础VI艢UDDHE [2] ...
Commentary:
[i. The first of these (comments on Ch. 7.2):]
Concerning the recitation of 叠贬搁鲍峁� 痴滨艢痴础 VI艢UDDHE, 叠贬搁鲍峁� conveys the meanings of Vairocana. a vase, a celestial palace. and a wheel, as well as being the seed-syllable of 鲍峁ａ箛墨峁肠补办谤补惫补谤迟颈苍. Among these, in this context, it visually creates the celestial palace on the circle of pristine cognition, which is the immeasurable ground. It is because the celestial palace is the essence of Vairocana and because a vase is also shaped like a celestial palace that these (other meanings) are associated with the syllable 叠贬搁鲍峁�. This mantra is Indeed indicative of the previous Buddha 鲍峁ａ箛墨峁肠补办谤补惫补谤迟颈苍 because he was the one who formed an aspiration connected with the celestial palace for the sake of buddhas and sentient beings.
It is said in the Short Commentary (P. 4755):
It is the mantra of 鲍峁ａ箛墨峁肠补办谤补惫补谤迟颈苍鈥檚 own aspiration.
And in the Sequence of Light (P. 4731):
The diverse 尘补峁囜笉补濒补蝉 are emanated in 叠贬搁鲍峁�,
As the full-grown palace of pristine cognition.
This syllable is also said to refer outwardly to the palace of the deities, inwardly to the seed-syllables of the deities, and secretly to the womb of the female consorts.
As is said in the Tantra of the Penetrating Magical Net (ngb. vol. 15):
叠贬搁鲍峁� gathers diversity in the expanse or womb.
Pure in its activity and essence
Is this jewelled receptacle of the Buddhas.
痴滨艢痴础 means diversity, and VI艢UDDHE indicates the natural purity of all that appears as the phenomena of 蝉补峁僺腻谤补 and 苍颈谤惫腻峁嘺. The expanse of reality free from conceptual elaboration, which is revealed itself to be the residence of the buddhas is in this context illustratively referred to as the celestial palace.
[ii. Secondly, there are six categories of the mantras which visually create the deities, among which the first includes the mantras of the male and female consorts of the five enlightened families. (It comments on Ch. 7.3):]
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