Mahāyoga sadhana

A very elaboratesādhanawhich appears to be composed according to the threesamādhi(ting nge 'dzin gsum). The first section, linked to the "suchness" (de bzhin nyid)samādhi, is a visualization of syllables in the practitioner's body which result in a non-conceptualization described as "one taste" (ro gcig). The second section (R1.12) is linked to the "all-illuminating" (kun tu snang ba)samādhi(and this is the only place where the correspondingsamādhiis made explicit). It is a meditation on compassion based on the visualization of a moon disc in the sky, which grows from the size of the moon at the first day of the lunar month to the size of the moon at the 16th day. This moon symbolizes the accumulation of merit by the meditator and all sentient beings. The third and longest section (R1.24onwards), linked to the "causal" (rgyu)samādhi, involves the visualization of the deities. This section appears to be composed of four parts. The first part is the development of the visualization of the two main deities,Vajrasattvaand his consortSamantabhadrī. The two deities are visualized above the practitioner's head, to the right and left respectively (and therefore not in union). Unusually,Vajrasattvais seated upon an elephant. In the second part (R1.46), subsidiary deities are visualized at the navels, hearts and tongues of each of the two main deities; thus there are six subsidiary deities in all. At the end of this part, the meditator is exhorted to develop the pride of the great seal (mahāmudrā). The third part (R1.70) involves receiving the empowerment. Here, the celestial palace is visualized, and then ten further deities and their consorts appear, all with three heads and six arms but otherwise not described. The empowerment is received through these deities dissolving into the crown of the practitioner's head. The fourth part involves a visualization of the development of the whitebodhicittasubstance in the "secret heart centres" (gsang ba'i thugs ka) of the male and female deities. Here, the secret places are represented by the deitiesAmoghasiddhiandSamayatārā. The whitebodhicittasubstance is transferred from the male deity to the female, and then back to the male (at no stage, however, are the two described as being in union). After this, thebodhicittasprinkles (spreng ba) downwards. There seems to be some connection here with the later popularVajrasattvapurification practices. The final part of thissādhanais very similar toIOL Tib J 332, 8r.5-8v.2.

Mahāyoga sadhana

Asādhanabased on the visualization of amaṇḍala. The central deity, appearing from the seed syllableHūṃ, isMahāśrīheruka(Dpal chen shi ri he ru ka), blue in colour, with one head, three eyes, and four arms. He holds a skull cup, and objects calledrje'u(probably an axe),ba su taandzhang. He tramples onMahādevaand his consort. The consort ofHerukaisKhrodīṣvarī(Khro mo dbang phyug ma), who has the same attributes asHeruka. Both deities have snakes coiled about their limbs. In the eight directions, eight goddesses appear fromHasyllables:Gauriī,Caurika,Pramoha,Vetalī,Ghasmari,Kaṅkamukha,KākamukhaandHulumukha. The first five goddess usually appear in a group of eight goddess, which are to be seen in theSarvabuddhasamāyoga-tantraandGuhyagarbha-tantra. AChe mchog Heruka maṇḍalawhich incorporates the eight goddesses in an inner circle and the eight animal-headed goddesses in an outer circle is described in551. The final three goddesses usually appear in another group of eight animal-headed deities (see for exampleIOL Tib J 718/2). Both groups of eight goddesses are in fact represented in themantras at the end of the text, and it is unclear whether themaṇḍalaas described is complete, or a truncated version of what should be two concentric circles of eight goddesses each.

The innermaṇḍalais surrounded by a circle of owl-headed goddesses, then a circle of crow-headed goddesses, then a circle of crane-headed goddesses, and finally by a circle of vulture-headed goddesses. Thesādhanacontinues with recitation of the mantras of all the deities, dissolution of the visualization, and resting in non-conceptualization.

All of the texts on this scroll, though not sharing the same hand, show a high occurence of irregular spelling. There are a number of frequent syllable substitutions, including:kaforkhaandga;shaforca;cafortsa; andrgafordka. This particular text (Item 1) twice uses'arto mean'bar.

sadhana

Asādhanawhich appears to be a long life practice. The central deity (visualized as oneself) isMa mo chen mo. Various wrathful goddesses are emanated from this figure, summoning eight long-life goddesses:Tshe 'tshin ma,Tshe spyang ma,Tshe ldog ma,Tshe brtan ma,Tshe rtog ma,Tshe spyod ma,Tshe snyag maandTshe 'dzin ma. Finally, the lord of death,Yāma, is slain with iron weapons.

ritual manual

A wrathful fire offering. First come the instructions for tracing the shape of the hearth on the ground. Secondly, the visualization of the main deity of the offering, theMye'i lha, who is also referred to as "one with matted locks on his head" (dbu ral pa can) is described. He is offered ana rgaof blood. Thirdly, the offerings are described: an object called ayamis inscribed with that which one wants to accomplish and fed to the fire deity, then five mustard seeds are burned, to symbolize the burning up of the five poisons. Fourthly, variousmūdras andmantras are described, beginning with the use of akīla. Finally,Yāmaand a deity referred to asByi na ya kaare summoned, and thea rgaof blood is offered to them.