Chapter : The Dags po 'i bka ' 'bum 377 Segment DK *A.Ma : The segment begins (DK B Ma l l b ) : //dpa l ldan rdo rje rnal 'byor ma la phyag 'tshal lo/ /phag rgya chen po rdo rje ye shes kyi dkyil 'khor du/ It ends (DK.B Ma l 4b ) : rnal 'byor ma 'i byin brlabs bla ma rin po che 'i thugs nas phyung ba rdzogs s-/10 22// 23 The first segment contains a Tantric empowerment ritual (dbang bskur, *abhi�eka) A [red] sindhura substance is [to be placed] in the maw;lala of [the goddess] Vajra-Knowledge (Rdo rje ye shes, *Vajrajfiiin a), [who represents] Mahiimudrii (phyag rgya chen po rdo rje ye shes kyi dkyil 'khor du sin dhu 'i dbang bskur ba) The goddes s in question is Vajrayoginf ( rdo rje rnal 'byor ma) or Vajraviiriih l (rdo rje phag mo) having one face and two arms She is surrounded by a retinue of four other goddesses Once the teacher, who is imparting the empowerment, has visualized himself as Vajra yoginf surrounded by her retinue and has recited their mantras , he applies red sindhura paste to a mirror and with his finger traces in the paste a *dharmodaya symbol (chos byung) in the form of two intertwined triangles wherein he writes the pertinent �akin! mantras Placing the mirror in the middle of the mm:i4ala, he arranges v arious offering substances around it, including a suitable kapiila filled with beer Having again visualized himself as the goddess, he recites her mantra and then visualizes Vajrayoginf and her retinue standing in the mirror smeared with the sindhura paste After inviting the yoginfs to come to the empowerment site from U��iyana and to merge with the ma!i�ala in the mirror, the yogi recites the mantra , proceeds to bless the beer in the kapiila, and then sprinkles the other offerings with this blessed liquid Having recited offering prayers and praises, the students who are receiving the empowerment take refuge and make prostrations while reciting a prayer Having instructed the students on how to sit in the right sitting posture and the use of the pot-like breathing technique (bum pa can, *kumbhaka), the bla ma proceeds to bless the students with the mirror, the beer in the kapiila, and a sviistika These steps constitute the vase empowerment (bum pa 'i dbang, *kalasiibhi�eka) The second empowerment called the secret empowerment (gsang ba 'i dbang, *guhyiibhi�eka) is bestowed by making the students taste a little milk mixed with beer and blessing pills , while instructing them in how to meditate on their their bodies as being full of bliss The teacher then displays a symbol of wisdom (ye shes brda, *jiiiinaketu) while instructing the students how to meditate on non-thought (mi rtog pa, *nirvikalpa) This constitutes the third empowerment called the insight-wisdom empowerment (shes rab ye shes dbang, *prajfiiijfiiiniibhi�eka) 22 The transliteration s-ho is here used to indicate the stacked letter-combination sa btags s-ha na ro s-ho, i e , a superscript sa letter with a subscript letter with the o-vowel on top of the stack It is an unorthodox, irregular letter stack in the Tibetan script This manner of adding the final particle (slar bsdu or rdzogs tshig) after the suffix s is a common writing feature employed in several sixteenth-century xylographs, as seen here rdzogs s-ho instead of the regular form rdzogs so 23 Correl ated passages: DK.cx.Ka 4as- 6b i , DK.cx.Nga 26b 6- 29a4, DK.D.Ma l lb -4a1 , DK.P.Ma l l br325a2, DK.Q.Ma l 280b6-284a2, DK.R.Ma b -5bs, DK.S Ma l l b -6b2 , DK.T.Ma l l b-4n, Phyag chen mdzod vol Ka (TBRC W23447- 94) pp - h The segment is found twice in different volumes of ms DK ex 378 Chapter : The Dags po 'i bka ' 'bum Touching the students with a vajra scepter on the palms of their hands, the teacher instructs them how to meditate on emptines s This forms the fourth empowerment (dban g bzhi pa, *caturthabhi�eka), which is the pointing out of Mahiimudra (phyag rgya chen po) At the end of the ritual, the invited deities (ye shes sems dpa ', *jiianasattva) leave and the - visualized deities (dam tshig sems dpa ', *samayasattva) are absorbed into the hearts of the teacher and the students While thinking of each other as Vajrayogin f, the assembly then eats and drinks the ga�iacakra (tshogs) offerings The segment ends with the colophon (quoted in Tibetan above): " The blessing of [Vajra} Yogin I extracted from the heart of the precious one is finished " The colophon thus refers to the teacher who formulated this ritual as the "precious one" (rin po che), though it is not certain which bla ma is meant here, i e , whether it is S gam po pa (as indicated in the overall text title, i e , rje dags po lha rjes mdzad pa 'i phyag rgya chen po rdo rje ye shes dbang) or someone else It should again be underlined that such text titles are not attested in the earliest witness, ms DK.a Segment DK.*A.Ma.2: The segment begins (DK.B Ma.2 4b ) : lbla ma rnams la phyag 'tshal lo/ /dang po byang chub kyi sems sngon du song bas/ It ends (DK B Ma a7 ) : !jags rdo rje 'i sbu gu na yar gsol bar bsam/ 'dod pa 'i don la gsol ba btab bo// 24 The second segment explains how to perform the inner offering (nang mchod) to Vajrayoginl After visualizing Vajrayoginf in front and praying to her, the yogi visualizes himself as Vajra yoginf having inside her body a small Vajravarahf maw/ala in the navel-cakra Then he visualizes the inner offering in the form of a large kapiila filled with impure substances that are transformed into the wisdom nectar (ye shes kyi bdud rtsi, *jiianamrta) These visualizations are explained in some detail in the segment Reciting a mantra three times, the guests for receiving the offering are invited from beneath and above the ground, and everything appears as the 111 a�1tjala of Vajravariihf with her retinue of four goddesses surrounded by a charnel ground With another mantra , the yogi offers the nectar to them The segment has no colophon Segment DK.*A.Ma.3 : The segment begins (DK.B Ma 5a7 ) : //rje btsun ma rdo rje rnal 'byor ma la phyag 'tshal lo/ lrten gyi gang zag dad pa dang ldan pas dur khrod la so gs pa 'i dben pa 'i gnas su ras ris dang/ It ends (DK.B Ma 6b ) : /chos kyi nyams dang mi 'bral 'tshal/ /'di 'i yig sna/ rje dags po sgom tshul gyis mdzad pa lags// 92 The third segment is a practice text (sgrub thabs, *siidhana) for the Generation and Completion stages of the goddess Vajrayoginf It begins by briefly indicating the proper place of practice to be a place of solitude, such as a chamel ground or the like Thereafter, it outlines in prose how the yogi should visualize himself as Vajrayoginl After inviting the wisdom-aspects (ye shes 24 Correlated passage s : DK.a Ka 6b 1- l 7a6 , DK.D Ma.2 4ar5as , DK.P.Ma.2.325a2-326as, DK Q.Ma.2.284ar284b6, DK.R.Ma 5b -7a2, DK S Ma.2.6bz-8a4, DK.T.Ma.2.4n-5n, Phyag chen mdzad vol Ka (TBRC W23 447 - 94) pp I h- 41 92 Correlated passages : DK a.Ka a6 - l 9ai , DK.D Ma.3 a5 -6b , D K.P Ma 26as-3 28as , DK Q Ma 284br287a5 , DK.R.Ma 7az-9a3, DK.S Ma �- l l a2, DK.T.Ma 5n-6b, Phyag chen mdzad vol Ka (TBRC W23447- 94) pp 1- Chapter : The Dags po 'i bka ' 'bum 379 se/ns dpa ', *jfiiinasattva) from the pure land of *Akani�_tha ( 'og min), the practitioner contemplates the four immeasurable attitudes (tshad med bzh i) of kindness , compassion, joy, and equanimity Thereupon, the meditator again generates himself as Vajrayogin l and now visualizes the three realms (khams, *dhiitu) of sm71siira within his body and imagines an inner visualization of the 11ia!1