Toh 598Chiến Thắng Tất Cả Như Lai: Nghi Quỹ Đà-la-ni Uṣṇīṣavijayā

Summary

A Ritual Manual for the Uṣṇīṣavijayā Dhāraṇī is a
short work in which the Buddha Amitāyus teaches the uṣṇīṣavijayā dhāraṇī along with its benefits and a number of short rites for
its recitation.

Acknowledgements

This text was translated by Catherine Dalton, who also wrote the
introduction.

The translation was completed under the patronage and supervision of 84000:
Translating the Words of the Buddha.

The generous sponsorship of May, George, Likai, and Lillian Gu, which helped make
the work on this translation possible, is most gratefully acknowledged.

Introduction

A Ritual Manual for the Uṣṇīṣavijayā Dhāraṇī
opens in Sukhāvatī, where the Blessed One Amitāyus is residing. Amitāyus
addresses the bodhisattva Avalokiteśvara, informing him that there are beings who suffer
from illnesses and short lifespans, and introducing the uṣṇīṣavijayā dhāraṇī as a remedy for such painful circumstances.
Avalokiteśvara immediately asks Amitāyus to pronounce the dhāraṇī, which the Tathāgata
does from within a state of samādhi.

After he pronounces the dhāraṇī, Amitāyus explains the benefits of reciting
the uṣṇīṣavijayā dhāraṇī, noting that
it purifies evil deeds and extends the lifespan of someone who recites it and follows
the rite that is explained in the text.

The rite itself involves the creation of a maṇḍala in which the Tathāgata
Uṣṇīṣa Arisen from the Natural Essence is drawn in the center of an eight-spoked wheel
and surrounded by eight other uṣṇīṣa buddhas. These are surrounded by a sixteen-petaled
lotus on which are drawn uṣṇīṣa buddhas with names correlated with the sixteen
emptinesses. These are surrounded by four Uṣṇīṣavijayā goddesses and four
other goddesses. The maṇḍala is to be surrounded with different types of offerings, with
a thousand of each offering item set around the maṇḍala, and the dhāraṇī recited a
thousand times. The text concludes by stating that the performance of this rite will
extend one’s lifespan, cure illness, and prevent untimely death. The last line of the
text mentions that this is the “first chapter,” but no further chapters appear.

This work is one among a group of texts in the Kriyātantra section of the
Tibetan Kangyurs that contain the uṣṇīṣavijayā
dhāraṇī and its related rituals (kalpa). The
present text is one of four short dhāraṇī texts—three of which have the same title—that
present the uṣṇīṣavijayā dhāraṇī with
its ritual manual (kalpa). These four works share a similar
narrative opening (nidāna) up through
the presentation of the dhāraṇī proper, and several among them also share additional
passages (though the present text does not). The present text, moreover, shows evidence
of having been edited to improve upon some of the awkward readings found in the other
members of this group of texts. These changes—which include using a more standardized
spelling of Amitāyus’ name and the change of the name of a samādhi from an obscure name
to one that is more common—along with the content of the ritual section describing a
maṇḍala of eight uṣṇīṣa buddhas surrounding a central uṣṇīṣa buddha, confirm what we know
from the colophon (see

) about the date of its translation: this
work, in comparison to the other uṣṇīṣavijayā dhāraṇī works preserved
in the Tibetan canon, began to circulate considerably later.

Evidence for the later circulation not only of the Tibetan translation but probably of its
Sanskrit source, too, comes in its use of a greater number of oṁs in the main
dhāraṇī. All the other texts in the Uṣṇīṣavijayā
group—Toh 594, 595, 596, and 597/984, as well as the Dunhuang manuscripts—include only
three oṁs in the dhāraṇī. In this text, and in the
Sanskrit edition prepared by Gergely Hidas based on Nepalese manuscripts that date from
the seventeenth century onwards, oṁ appears no less
than nine times. The Tibetan translation of this text being of a significantly later date than
the other works of the group, as its colophon indicates, may possibly
demonstrate a change in the circulation of the uṣṇīṣavijayā dhāraṇī that is also reflected in extant Nepalese Sanskrit
versions of the texts. This shift is described in the colophon of the version of Toh 597
found in the Phukdrak (phug brag) Kangyur, where a
note stating that the texts with only three oṁs are to be considered more correct
also claims that although there may have been Sanskrit sources with as many as nine
oṁs, the twelfth-century translator Sumpa
Lotsāwa reported that all the Sanskrit texts he had seen contained only three, and that
the Sanskrit manuscripts of the texts held at Sakya monastery had no more than that.
Because Sumpa Lotsāwa is known to have lived and studied in Nepal, his
comment on the “correct” number of oṁs in the
Sanskrit manuscripts available to him offers a glimpse into the evolution of the text in
the Nepalese tradition.

There are many Sanskrit witnesses of the uṣṇīṣavijayā dhāraṇī proper. Moreover, what we will call—simply for the
purpose of distinguishing it from the present group of dhāraṇī-kalpas—the “primary”
uṣṇīṣavijayā dhāraṇī text (Toh 597,
which is titled Sarvadurgatipariśodhana-uṣṇīṣavijayā-dhāraṇī
rather than Uṣṇīṣavijayā-dhāraṇī-kalpasahitā
) survives in at least one incomplete early
manuscript.

While our text seems no longer to be extant in Sanskrit, there is at least
one surviving Sanskrit uṣṇīṣavijayā
dhāraṇī work that is closely related to it and belongs to the same group of related
dhāraṇī texts described above. This Sanskrit work shares the same opening narrative and
some of the ritual material with the texts from this group.

The primary uṣṇīṣavijayā text
was first translated into Chinese by Buddhapāli in the late seventh century, and then at
least five times subsequently. Several ritual manuals for the dhāraṇī’s recitation were also translated
into Chinese, but our text does not appear to be among them. One ritual manual (Taishō 978), translated into Chinese by Dharmadeva
between 973 and 981, is among the group of uṣṇīṣavijayā dhāraṇī texts to which the present work belongs. Another ritual manual surviving in Chinese is similar to our
text in that it describes a maṇḍala of eight uṣṇīṣa buddhas. The eight buddhas
themselves are, however, not the same as those described in the present text, a set that
indeed appears unique within the Tibetan canon. The primary uṣṇīṣavijayā text was significant in East
Asia, and one scholar has even identified it as the most important esoteric Buddhist
scripture translated into Chinese in the seventh century. Practices connected with
the uṣṇīṣavijayā dhāraṇī were important
in China, in particular in conjunction with funerary rites, where the dhāraṇī was
written on pillars near tombs, especially from the mid-Tang to Ming dynasties (ca.
800–1600 ce). In addition
to its ritual uses, in China this dhāraṇī receives mention in poems and tales of
miracles and is analyzed in philosophical commentaries.

The uṣṇīṣavijayā dhāraṇī also
appears to have been popular in Dunhuang. A number of Tibetan manuscripts from Dunhuang
include just the dhāraṇī on its own, both in Tibetan transliteration (dhāraṇīs, like
mantras, are commonly left untranslated in Tibetan texts) and in Tibetan
translation. The primary uṣṇīṣavijayā
dhāraṇī text (Toh 597) also appears in several Dunhuang manuscripts. Several drawings from Dunhuang show
maṇḍala (altar) arrangements corresponding to uṣṇīṣavijayā dhāraṇī texts.

In Nepal, uṣṇīṣavijayā
dhāraṇī rituals continue to be performed as part of modern Newar Buddhist practice,
where their practice is sometimes prescribed for Wednesdays in particular.
Practices connected to the uṣṇīṣavijayā
dhāraṇī likewise continue in modern Tibetan Buddhism. The so-called Tongchö (stong mchod)—the thousandfold offering
practice of Uṣṇīṣavijayā, a version of which is mentioned briefly in our text—is
currently performed in Tibetan monasteries, sometimes using a ritual manual composed by
the nineteenth-century polymath Jamyang Khyentsé Wangpo. Other notable Tibetan works on
the uṣṇīṣavijayā dhāraṇī and its
associated practices include commentaries by the great Sakya lama Butön (bu ston rin
chen grub, 1290–1364) and the fourth Panchen Lama, Losang Chökyi Gyaltsen (blo bzang
chos kyi rgyal mtshan, 1570–1662).

The question of what, or who, exactly, Uṣṇīṣavijayā
is is a complex one that cannot be clearly answered here. In short, like a number of
uṣṇīṣa deities, she is sometimes identified as a protective deity, in this case a
goddess, emanated from the Buddha’s uṣṇīṣa. Indeed,
Uṣṇīṣavijayā is clearly depicted as a goddess in a number of short sādhanas
included in Indian anthologies such as the Sādhanamāla,
compiled from the works of many authors probably during the period of the
Pāla kings (eighth to twelfth century).
Three closely similar sādhanas of a three-faced, eight armed form of the goddess are included in the
Tengyur, one in each of the three related anthologies translated from the Indian collections into Tibetan in the eleventh to fourteenth centuries
respectively,
two of them translated earlier than this text. A variety of other forms are depicted or described in Chinese, Japanese, Tibetan, Mongolian, and Kashmiri sources.
In the later Tibetan tradition Uṣṇīṣavijayā can even appear as one
of a group of three long-life deities along with the Buddha Amitāyus and White Tārā.
However, the present text is the only one of the uṣṇīṣavijayā works in this section of the Kangyur to use the name
Uṣṇīṣavijayā to refer clearly to a goddess. The present text contains an homage to
Uṣṇīṣavijayā (whereas the other texts in the series pay homage to the buddhas and
bodhisattvas), and the maṇḍala described in the rite here includes four different
Uṣṇīṣavijayā goddesses surrounding the central maṇḍala of uṣṇīṣa buddhas.
In contrast, while the dhāraṇī itself does use the feminine vocative form throughout, in
the other uṣṇīṣavijayā texts in this
section of the Kangyur, the name uṣṇīṣavijayā is not rendered into Tibetan in the feminine, and the word
uṣṇīṣavijayā is used only to refer to
the name of the dhāraṇī—the dhāraṇī of the crown victory.

The range of possible answers to the question of what the name Uṣṇīṣavijayā refers to is enlarged even further by
the existence of a group of related texts widely used in Southeast Asia, sharing the Pali
title Uṇhissa-vijaya-sutta (or in some cases
simply Uṇhissa-vijaya) but found in a
number of different forms, some in Pali but others in Siamese, Lao, Yuon, and Khmer.
Some refer at least briefly to the story of the
god Supratiṣṭhita (Pali Supatiṭṭhita) which, although it does not feature in the present text, is the frame story or a secondary narrative element in others
of the group. But instead of the dhāraṇī of the Sanskrit
and Tibetan texts these Southeast Asian texts contain a set of verses (gāthā)
to be recited whose content is unrelated to that of the Sanskrit dhāraṇī. The
gāthā are also found alone in several
ritual compilations. Even in the vernacular versions,
the verses are written in Pali. In these texts, in their own opening lines, it seems to be the verses themselves that
are referred to as the Uṇhissa-vijaya.

According to its colophon, this text was translated into Tibetan by Lotsāwa
Neten Palkyi Nyima Gyaltsen Sangpo at Tharpa Ling in accordance with the instructions of
Ne’u Khenpo. Tharpa Ling is a monastery near Zhalu in Central Tibet, and Tharpa Lotsāwa
Nyima Gyaltsen, active in the late thirteenth and early fourteenth centuries, was one of
Butön’s teachers. This translation was therefore among the last translations to be
included in the canon. One Uṣṇīṣavijayā-dhāraṇī-vidhisahitā is listed in the ninth century imperial
Phangthangma catalog. While the dating means that it cannot refer to the same Tibetan
translation as the present text, it is certainly a work of a similar type, and its
inclusion in the Phangthangma, along with the records of uṣṇīṣavijayā texts at Dunhuang, indicate the early presence in
Tibet not just of the uṣṇīṣavijayā
dhāraṇī, but also of some of its associated rites.
Nonetheless, as noted above, its contents make it clear that the present text began to
circulate later than the other similar uṣṇīṣavijayā texts included in the canon—even those that include associated
rites.

The present translation is based on the Tibetan translation of the text found
in the Tantra Collection (rgyud ’bum)
section of the Degé Kangyur, in consultation with the Stok Palace Kangyur and the notes in the
Comparative Edition of the Kangyur (dpe bsdur
ma). The text is stable across all the Kangyurs consulted, with the same
title and colophon and only minor variants. We also consulted Hidas’ edition and
translation of the surviving Sanskrit Uṣṇīṣavijayā-dhāraṇī text for the passages that are parallel with the present
text.

The main dhāraṇī is not identical in every detail across the five
different versions in the Degé Kangyur (Toh 594–598), and the existence of further
variations across different Kangyurs and versions in extra-canonical collections further
complicates the picture. Reference to the dhāraṇī as presented in Hidas’ edition of the
Sanskrit yields useful orthographic confirmation, but may be misleading as a model given
that the ten different Nepalese Sanskrit manuscripts on which it is based are of much
later date than any of the present Tibetan witnesses. Here and in the other works in the
group we have therefore chosen to transcribe the dhāraṇī as it appears in the Degé
version of each text, making only minor choices of orthography and adding annotations to
point out the most significant discrepancies.

Over the centuries, the textual transmission of the dhāraṇī has preserved the
major portion of it with remarkable fidelity. Nevertheless, the few anomalies to be seen
across all these closely related texts are a reminder that here, as with other dhāraṇī
works, some variations over time and place are to be expected.

The Translation

Crown Victory of All Tathāgatas:

A Ritual Manual for The Uṣṇīṣavijayā Dhāraṇī

Homage to
Uṣṇīṣavijayā.

Thus did I hear at one time. The Blessed One was residing in
Sukhāvatī. The blessed, thus-gone, worthy, perfectly awakened Buddha Amitāyus was
staying joyfully in the grove of the excellent secret palace, Dharma Proclamation. He said to the bodhisattva, the great being, Noble
Avalokiteśvara, “Child of noble family, there are beings who suffer, are afflicted with
diseases, and have short lifespans. To help them, one should uphold this dhāraṇī called
the crown victory of all tathāgatas and teach it extensively to
others for the sake of long life.”

Then the bodhisattva, the great being, Avalokiteśvara arose from his seat,
joined his palms, and
said to the Blessed One, “Blessed One, please teach the dhāraṇī called the
crown victory of all tathāgatas. Well-Gone One, please teach it!”

Then the Blessed One looked upon the circle of his perfect
retinue, entered the samādhi called the splendor beheld everywhere,
and pronounced this dhāraṇī called the crown victory of all
tathāgatas:

“oṁ namo bhagavate
sarvatrailokyaprativiśiṣṭāya buddhāya te namaḥ |
tadyathā | oṁ bhrūṁ bhrūṁ bhrūṁ | śodhaya śodhaya | viśodhaya viśodhaya |
asamasamantāvabhāsaspharaṇagatigaganasvabhāvaviśuddhe  | abhiṣiñcantu māṃ
sarvatathāgatāḥ sugatavaravacanāmṛtābhiṣekair mahāmudrāmantrapadaiḥ | oṁ āhara
āhara mama āyuḥsandhāraṇi | śodhaya śodhaya |
viśodhaya viśodhaya | gaganasvabhāvaviśuddhe | uṣṇīṣavijāyapariśuddhe |
sahasraraśmisañcodite | sarvatathāgatāvalokini | ṣaṭpāramitāparipūraṇi |
sarvatathāgatamāte  | daśabhūmipratiṣṭḥite |
sarvatathāgatahṛdayādhiṣṭhānādhiṣṭḥite | oṁ mudre mudre mahāmudre | vajrakāyasaṃhatanapariśuddhe |
sarvakarmāvaraṇaviśuddhe | pratinivartaya mamāyurviśuddhe |
sarvatathāgatasamayādhiṣṭhānādhiṣṭhite | oṁ muni muni mahāmuni | vimuni vimuni
mahāvimuni | mati mati mahāmati | mamati mamati mahāmamati| sumati sumati mahāsumati  | tathatābhūtakoṭipariśuddhe | visphuṭabuddhiśuddhe |
oṁ he he | jaya jaya | vijaya vijaya | smara smara |
sphara sphara | sphāraya sphāraya | sarvabuddhādhiṣṭhānādhiṣṭhite | oṁ śuddhe śuddhe | buddhe buddhe | vajre vajre mahāvajre | suvajre | vajragarbhe | jayagarbhe | vijayagarbhe | vajrajvālagarbhe | vajrodbhave |
vajrasambhave | vajre | vajrini | vajram bhavatu me śarīraṃ sarvasatvānāñ ca
kāyapariśuddhir bhavatu | me sadā sarvagatipariśuddhiś ca  |
sarvatathāgatāś ca māṃ samāśvāsayantu | oṁ budhya budhya | siddhya siddhya | bodhaya bodhaya | vibodhaya
vibodhaya | mocaya mocaya | vimocaya vimocaya | śodhaya śodhaya | viśodhaya viśodhaya | samantān
mocaya mocaya | samantaraśmipariśuddhe | sarvatathāgatahṛdayādhiṣṭhānādhiṣṭhite |
oṁ mudre mudre mahāmudre | mahāmudrāmantrapadaiḥ
svāhā.

“Child of noble family, this dhāraṇī of the crown victory of all
tathāgatas is the destroyer of the great cudgel
of death, the purifier, the destroyer of evil deeds. Anyone who wants a long lifespan
should read this dhāraṇī aloud following the rite that I will explain here.

“Smear a wide clearing on the ground with earth and substances derived from a
cow. Sprinkle it with saffron-infused water. Adorn it with a canopy above, and let that hang down. At the center
draw an elaborately ornamented eight-spoked wheel with white powder. At the
center of that is Uṣṇīṣa Arisen from the Natural Essence. Then, install these tathāgatas
on each of the spokes of the wheel in order, starting in the east: Uṣṇīṣa Arisen from
the Sky-Like Feast Gathering, Uṣṇīṣa Arisen from the Essence of the Earth, Uṣṇīṣa Arisen
from the Essence of Jewels, Uṣṇīṣa Arisen from Nutritious Food, Uṣṇīṣa Arisen from the
Boundless Essence, Uṣṇīṣa Arisen from the Essence of Splendor, Uṣṇīṣa Arisen from the
Sound of a Drum, and Uṣṇīṣa Arisen from a Breeze.

“Draw a sixteen-petaled lotus directly on the outside of this and install, on
each petal and in proper order, the following tathāgatas arisen from the sixteen drops:
Uṣṇīṣa Arisen from Inner Emptiness, Uṣṇīṣa Arisen from Outer Emptiness, Uṣṇīṣa Arisen from Outer and Inner
Emptiness, Uṣṇīṣa Arisen from the Emptiness of Emptiness, Uṣṇīṣa Arisen from Ultimate
Emptiness, Uṣṇīṣa Arisen from the Emptiness of Compounded Phenomena, Uṣṇīṣa Arisen from
the Emptiness of Uncompounded Phenomena, Uṣṇīṣa Arisen from Beginningless and Endless
Emptiness, Uṣṇīṣa Arisen
from the Emptiness of Nonrejection, Uṣṇīṣa Arisen from the Natural Emptiness, Uṣṇīṣa
Arisen from the Emptiness of All Phenomena, Uṣṇīṣa Arisen from the Emptiness of
Own-Characteristics, Uṣṇīṣa Arisen from the Emptiness of the Unobserved, Uṣṇīṣa Arisen
from the Emptiness of Nonentities, Uṣṇīṣa Arisen from the Emptiness of Own-Essence, and
Uṣṇīṣa Arisen from the Emptiness of Own-Essence of Nonentities.

“Make a maṇḍala with seats for the tathāgatas and offer them whatever flowers
are in season. Set up a throne in the upper half of it and place upon it a caitya of
Vairocanagarbha in a water vessel. Also place there a piece of paper or a leaf with the
syllables of the mantra and the practitioner’s name on it and a vase filled with water.

“Place four vases in the four directions surrounding the lotus and decorate
them with silken tassels, parasols, and pennants. To the east place the goddess
Uṣṇīṣavijayā Who Conquers All Obstacles. In the south is the goddess Uṣṇīṣavijayā Who
Conquers Death. In the west is the goddess Uṣṇīṣavijayā Who Conquers Afflictive
Emotions. In the north is the goddess Uṣṇīṣavijayā Who Conquers Illnesses of the
Aggregates. In the southeast is Life-Granting Vajra Garland. In the southwest is
Mahāmāyā. In the northwest is Golden Light. In the northeast is Life-Granting Golden
Garland.

“Fill four vessels with perfumed water, hang flower garlands on them, and
place them there also. Around these draw three images with colored powder. In the first
line arrange one thousand molded images made with wet clay that is free from hairs and
the like. If one thousand are not possible, it is essential to set out at least one
hundred. Make offerings in the four directions with utmost honor and respect.

“A dharmabhāṇaka who maintains a vow not to speak any other words should recite this
dhāraṇī. Each time they recite the dhāraṇī, they should make offerings to the head of
the caitya and consecrate it. After reciting one thousand times, they should wave their
hand at the head of the central caitya and make offerings of flowers, incense, lamps,
scented water, food offerings, and so forth. One thousand of each of these offerings
should be arranged in lines around the caitya. Make sure that the line of lamps burns
without being blown out by the wind for as long as it takes to finish the rite, and
maintain equipoise and strict purity.

“If the rite is performed in this way, a lifespan of seven days will thereby
become seven years, a lifespan of seven years will become a supremely long life, one
will be free from illness and live for a hundred years, and one will never meet an
untimely death. If one follows some other procedure to perform the rite, it will not
work.”

This was the first chapter.

Colophon

This ritual manual was translated in Glorious Tharpa Ling Temple by the
learned Lotsāwa Neten Palkyi Nyima Gyaltsen Sangpo following the instructions of the
genuine spiritual friend, the sublime monk and unparalleled teacher of the Vinaya
Piṭaka, Ne’u Khenpo.

Notes

Bibliography

Source Texts for This Translation

Other Tibetan and Sanskrit Sources

Secondary Sources

Uṣṇīṣa Arisen from the Natural Essence

rang bzhin gyi snying po ’byung ba’i gtsug tor
རང་བཞིན་གྱི་སྙིང་པོ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Sky-Like Feast Gathering

nam mkha’ ltar ’dus pa’i bza’ ston ’byung ba’i gtsug tor
ནམ་མཁའ་ལྟར་འདུས་པའི་བཟའ་སྟོན་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Essence of the Earth

sa’i snying po ’byung ba’i gtsug tor
སའི་སྙིང་པོ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Essence of Jewels

nor bu’i snying po ’byung ba’i gtsug tor
ནོར་བུའི་སྙིང་པོ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Nutritious Food

ro bcud kyi snying po ’byung ba’i gtsug tor
རོ་བཅུད་ཀྱི་སྙིང་པོ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Boundless Essence

snying po dpag med ’byung ba’i gtsug tor
སྙིང་པོ་དཔག་མེད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Essence of Splendor

gzi brjid snying po ’byung ba’i gtsug tor
གཟི་བརྗིད་སྙིང་པོ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Sound of a Drum

rnga’i sgra dbyangs ’byung ba’i gtsug tor
རྔའི་སྒྲ་དབྱངས་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from a Breeze

ser bu ’byung ba’i gtsug tor
སེར་བུ་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Inner Emptiness

nang stong pa nyid ’byung ba’i gtsug tor
ནང་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Outer Emptiness

phyi stong pa nyid ’byung ba’i gtsug tor
ཕྱི་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Outer and Inner Emptiness

phyi nang stong pa nyid ’byung ba’i gtsug tor
ཕྱི་ནང་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Emptiness

stong pa nyid stong pa nyid ’byung ba’i gtsug tor
སྟོང་པ་ཉིད་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Ultimate Emptiness

don dam pa stong pa nyid ’byung ba’i gtsug tor
དོན་དམ་པ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Compounded Phenomena

’dus byas stong pa nyid ’byung ba’i gtsug tor
འདུས་བྱས་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Uncompounded Phenomena

’dus ma byas stong pa nyid ’byung ba’i gtsug tor
འདུས་མ་བྱས་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from Beginningless and Endless Emptiness

thog ma dang tha ma med pa stong pa nyid ’byung ba’i gtsug tor
ཐོག་མ་དང་ཐ་མ་མེད་པ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Nonrejection

dor ba med pa stong pa nyid ’byung ba’i gtsug tor
དོར་བ་མེད་པ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Natural Emptiness

rang bzhin stong pa nyid ’byung ba’i gtsug tor
རང་བཞིན་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of All Phenomena

chos thams cad stong pa nyid ’byung ba’i gtsug tor
ཆོས་ཐམས་ཅད་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Own-Characteristics

rang gi mtshan nyid stong pa nyid ’byung ba’i gtsug tor
རང་གི་མཚན་ཉིད་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of the Unobserved

mi dmigs pa stong pa nyid ’byung ba’i gtsug tor
མི་དམིགས་པ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Nonentities

dngos po med pa stong pa nyid ’byung ba’i gtsug tor
དངོས་པོ་མེད་པ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Own-Essence

rang gi ngo bo nyid stong pa nyid ’byung ba’i gtsug tor
རང་གི་ངོ་བོ་ཉིད་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣa Arisen from the Emptiness of Own-Essence of Nonentities

dngos po med pa’i rang gi ngo bo stong pa nyid ’byung ba’i gtsug tor
དངོས་པོ་མེད་པའི་རང་གི་ངོ་བོ་སྟོང་པ་ཉིད་འབྱུང་བའི་གཙུག་ཏོར།

Uṣṇīṣavijayā Who Conquers All Obstacles

bgegs rab tu ’joms pa’i gtsug tor rnam par rgyal ba
བགེགས་རབ་ཏུ་འཇོམས་པའི་གཙུག་ཏོར་རྣམ་པར་རྒྱལ་བ།

Uṣṇīṣavijayā Who Conquers Death

’chi ba rab tu ’joms pa’i gtsug tor rnam par rgyal ba
འཆི་བ་རབ་ཏུ་འཇོམས་པའི་གཙུག་ཏོར་རྣམ་པར་རྒྱལ་བ།

Uṣṇīṣavijayā Who Conquers Afflictive Emotions

nyon mongs pa rab tu ’joms pa’i gtsug tor rnam par rgyal ba
ཉོན་མོངས་པ་རབ་ཏུ་འཇོམས་པའི་གཙུག་ཏོར་རྣམ་པར་རྒྱལ་བ།

Uṣṇīṣavijayā Who Conquers Illnesses of the Aggregates

phung po’i nad rab tu ’joms pa’i gtsug tor rnam par rgyal ba
ཕུང་པོའི་ནད་རབ་ཏུ་འཇོམས་པའི་གཙུག་ཏོར་རྣམ་པར་རྒྱལ་བ།

Life-Granting Vajra Garland

rdo rje phreng ba tshe sbyin ma
རྡོ་རྗེ་ཕྲེང་བ་ཚེ་སྦྱིན་མ།

Mahāmāyā

sgyu ma chen mo
སྒྱུ་མ་ཆེན་མོ།

Golden Light

gser ’od ma
གསེར་འོད་མ།

Life-Granting Golden Garland

gser gyi phreng ba can tshe sbyin ma
གསེར་གྱི་ཕྲེང་བ་ཅན་ཚེ་སྦྱིན་མ།

nyi ma rgyal mtshan bzang po
ཉི་མ་རྒྱལ་མཚན་བཟང་པོ།

Ne’u Khenpo

ne’u mkhan po
ནེའུ་མཁན་པོ།