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...
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Text 7.4 (Commentary)
[Guhyagarbha-Tantra, Text section 7.4]
K峁峁� HI 搁膧闯膧驰础
TR膧峁� 膧 GARBHAYA岣�
贬搁莫岣� HA H弄峁� PADM膧BHATAMA岣�
JI峁� KURUP膧峁咥 贬搁莫岣�
H弄峁� L膧SYE SAMAYAS 罢痴础峁�
TR膧峁� M膧LYE SAMAYA 贬翱岣�
贬搁莫岣� 骋莫罢滨 搁膧骋翱/贬础峁�
膧岣� N峁歍I R膧GAY膧MI [4] ...
Commentary:
[The second category includes the mantras of the male and female spiritual warriors of buddha-mind. (It comments on Ch. 7.4):]
These also comprise two groups (i.e. male and female): The four (initial syllables) of the male spiritual warriors are respectively K峁峁�, TR膧峁�, 贬搁莫岣�, and JI峁�. These are their creative seed-syllables or root-mantras.
HI 搁膧闯膧驰础 (is the mantra of 碍峁迟颈驳补谤产丑补), the king who acts on behalf of sentient beings in the manner of the earth or of eyes.[1]
膧 GARBHAYA岣� is (the mantra of 膧办腻艣补驳补谤产丑补), the nucleus from which all desired necessities emerge. HA H弄峁� PADM膧BHATAMA岣� is (the mantra of 础惫补濒辞办颈迟别艣惫补谤补) who has a lotus-like face because he is without attachment and captivates the minds of those to be trained; and KURUP膧峁咥 贬搁莫岣� is (the mantra of 痴补箩谤补辫腻峁噄) who acts on behalf of sentient beings in an indestructible manner (i.e. wielding a vajra).
The initial syllables of their four female spiritual warriors are respectively H弄峁�, TR膧峁�, 贬搁莫岣�, and 膧岣�. These are their root-mantras and seed-syllables. L膧SYE SAMAYAS罢痴础峁� is (the mantra of 尝腻蝉测腻) meaning she who lets the commitments of all buddhas be assumed because she is endowed with a playful or erotic air. M膧LYE SAMAYA 贬翱岣� is (the mantra of 惭腻濒测腻), meaning she who must keep the commitments of all the Buddhas through retention and contemplation. 骋莫罢滨 搁膧骋翱/贬础峁� is (the mantra of 骋墨迟腻), meaning I am the one like a sweet melody who is attracted to sentient beings; and N峁歍I R膧GAY膧MI is (the mantra of Nart墨), meaning I must be devoted to sentient beings through enlightened activity which resembles the movements of a dance.
[The third category includes the mantras of the male and female spiritual warriors of buddha-speech. (It comments on Ch. 7.5):]
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Footnotes and references:
[1]:
According to Dil-mgo mKhyen-brtse Rin-po-che鈥檚 oral exegesis, these are metaphors respectively for utility and care.