**4. The Structure, Form, and Significance of the Heruka Man. d. ala in the** *D. ak¯ arn ¯ . ava* **<sup>15</sup>**<sup>91</sup>

The form of man. d. ala that is widely taught in the scriptures belonging to the Sam. vara scriptural tradition is the fivefold Heruka man. d. ala.<sup>92</sup> It consists of five concentric circles: from the center, the Great Pleasure Circle (*mahasukhacakra ¯* ), the Mind Circle (*cittacakra*), the Speech Circle (*vakcakra ¯* ), the Body Circle (*kayacakra ¯* ), and the Vow Circle (*samayacakra*). The Mind, Speech, and Body Circles are collectively called the triple wheel (*tricakra*) and are colored black, red, and white, respectively. The Lord and Mistress, Heruka (also called Sam. vara in some texts) and Vajravar¯ ah¯ ¯ı, are situated in sexual union at the center. Heruka has four faces with three eyes on each and twelve arms and is colored black (or dark blue). Vajravar¯ ah¯ ¯ı has one face and two arms and is colored red. There are sixty-two deities in the fivefold Heruka man. d. ala. A pair of male and female deities is counted as one. There are twenty-five coupled deities; therefore, the sixty-two deities are counted as thirty-seven.<sup>93</sup> The thirty-six coupled or single deities encircle the pair of Heruka and Vajravar¯ ah¯ ¯ı, located in the center. The structure and form of the fivefold Heruka man. d. ala mentioned above are used as the core elements that form the structure and form of the Heruka man. d. ala in the *D. ak¯ arn ¯ . ava* 15.

In this chapter, I indicate the deities' names and other key components of the Heruka man. d. ala in the *D. ak¯ ar¯ n. ava* 15 in boldface when they appear first in this paper. Passage numbers in parentheses, such as (15.242), are passage numbers in the Sanskrit edition of the *D. ak¯ ar¯ n. ava* 15 as presented in Chapter 5. Figure 1 is a wall painting of the Heruka man. d. ala based on the *D. ak¯ ar¯ n. ava* 15 in Tibet. Figure 2 is a Tangka of the same man. d. ala. Figure 3 shows the outline of this man. d. ala. The man. d. ala comprises four layers (*put. a*) which consist of thirteen concentric circles: one lotus (*padma*) with forty-eight petals at the center and twelve concentric circles (*cakra*).<sup>94</sup> The four layers are **the** *Sahaja* ("innate"), *Dharma* (*dharma*), *Sam. bhoga*

<sup>91</sup> (Sugiki 2020b) is a draft paper of this chapter. In this chapter, I have corrected some and dealt with more topics.

<sup>92</sup> The fivefold Heruka man. d. ala is taught in many texts. In this paper, I have used the text in the *Nis.pannayogaval ¯ ¯ı* of Abhayakaragupta ( ¯ Lee 2004). In this text, Heruka is called Sam. vara.

<sup>93</sup> The thirty-seven coupled or single deities are generally connected with the Thirty-seven Wings of Factors Pertaining to Awakening (*saptatrim. ´sad bodhipaks ¯ . ika dharm ¯ ah¯ .* ).

<sup>94</sup> These twelve concentric circles, on which thirty-six couples of female and male deities reside, as mentioned below, are also symbolically related to the practice of exchanging gestures or jargons (*choma¯*,

("enjoyment"), and *Nirman¯ . a* ("emanation") **Layers**, which represent the Buddha's fourfold body, as presented below. The first three layers are round in shape, and the *Nirman¯ . a* Layer, the outermost one, is square (15.101c–102b and 225ab). The east, north, west, and south divisions of the entire man. d. ala are colored blackish-dark blue, green, red, and yellow, respectively (15.98c–100b), which are identical to the colors representing four of the five lineages (the Vajra, Action, Lotus, and Jewel Lineages) of Buddhist deities. The deities on this man. d. ala have images of their respective lords on the diadem (15.121–122).<sup>95</sup> While making an offering and offering praise, a practitioner recites each deity's name with the word "Vajra" before it (15.242).

**Figure 1.** The Heruka Man. d. ala based on the *D. ak¯ ar¯ n. ava* 15 drawn on a wall in Dpal 'khor chos sde, Tibet. Source: A photograph taken by Dr. Kimiaki Tanaka in 1991.

*chomaka¯*, *mudra¯*, or *sam. keta*) performed in the Tantric meeting by male practitioners and their female partners. These gestures or jargons are taught in the following twelve chapters of the *D. ak¯ ar¯ n. ava*: (1) The *vajracakra*, or Adamantine Circle is related to the gestures taught in Chapter 26; (2) the *hr.dayacakra*, or Heart Circle, to Chapter 27; (3) the *gun. acakra* or Merit Circle, to Chapter 28; (4) the *ak¯ a´sacakra ¯* , or Space Circle, to Chapter 29; (5) the *vayucakra ¯* , or Wind Circle, to Chapter 30; (6) the *medin¯ıcakra* or Earth Circle, to Chapter 31; (7) the *agnicakra*, or Fire Circle, to Chapter 32; (8) the *udakacakra*, or Water Circle, to Chapter 33; (9) the *jñanacakra ¯* , or Knowledge Circle, to Chapter 34; (10) the *cittacakra* or Mind Circle, to Chapter 35; (11) the *vakcakra ¯* , or Speech Circle, to Chapter 36; and (12) the *kayacakra ¯* , or Body Circle, to Chapter 37. For details, see (Sugiki 2005, pp. 223–25).

<sup>95</sup> According to Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 22r4–v1), the lords of the Five Lineages of Buddhist deities (Aks.obhya, Vairocana, Ratnasam. bhava, Amitabha, and Amoghasiddhi) are the lords ¯ on the diadem. The Victors of the Fortunate Aeon, who are also members of this man. d. ala, do not have such images of the Lord.

**Figure 2.** The Heruka Man. d. ala based on the *D. ak¯ ar¯ n. ava* 15. Source: Haln Kwang-Ho Collection (Tanaka 2003, p. 23).


**Figure 3.** Outline of the Heruka Man. d. ala according to the D. ak¯ ar¯ n. ava 15. Source: Created by the author.

#### **4.1. The First** *Sahaja* **(Innate) Layer (15.29–112)**

The *Sahaja* or Innate Layer is the innermost layer and consists of a lotus of forty-eight petals (which is named *thig le'i 'khor lo* or "Drop Circle" in the *Bohita¯* and Jayasena's *Ratnapadmaraganidhi ¯* ) <sup>96</sup> and three circles (the Adamantine, Heart, and Merit Circles) arranged in a concentric fashion.

#### *4.1.1. The Lotus (padma) at the Center (15.29–60)*

(1) **Heruka** and (2) **Vajravar¯ ah¯ ¯ı**, the Lord and Mistress of the whole man. d. ala, are situated in sexual union at the center of the lotus, the innermost of the *Sahaja* Layer.

**Heruka** in the *D. ak¯ ar¯ n. ava* described below can be roughly considered as an extended form of Lord Heruka of the fivefold Heruka man. d. ala, who has four faces (with three eyes on each) and twelve arms. Heruka in the *D. ak¯ ar¯ n. ava* has seventeen faces (with three eyes on each) and seventy-six arms. He holds the objects shown in Table 1 in his seventy-six hands.<sup>97</sup> His body is half black and half green.<sup>98</sup> The four faces looking toward the east, south, west, and north directions are colored black, yellow, red, and green, respectively, and the other thirteen faces are black like the front (east) face.<sup>99</sup> He has twisted locks of hair on which a crossed vajra and a half moon are fixed. He is grinning. He stands on Bhairava and Kalar ¯ atr ¯ ¯ı and is dancing. He is adorned with a string of five hairless heads as a headband,<sup>100</sup> six

<sup>96</sup> *Bohita¯* (D 1419, 140v1) and Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 8r4). In the *D. ak¯ ar¯ n. ava* (15.238c) and Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 9v6) it is called "lotus" or "interior lotus" (*garbhapadma*).

<sup>97</sup> Lord Heruka of the fivefold Heruka man. d. ala holds a vajra (*vajra*) and a vajra bell (*vajraghan. t. a¯*) in the first right and left hands, an elephant skin (*gajacarman*) in the second right and left hands, a small drum (*d. amaru*), an axe (*par´su*), a knife (*kartri*), and a trident (*tri´sula ¯* ) in the other four right hands, a skull staff marked with a vajra (*vajra¯nkitakha ˙ t.va¯nga ˙* ), a skull bowl filled with blood (*raktapuritakap ¯ ala ¯* ), a vajra noose (*vajrapa´sa ¯* ), and Brahman's head (*brahma´siras*) in the other four left hands (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004), p. 35, l. 5–l.8). These objects roughly correspond to the objects in the 3rd right and left hands, the object in the 1st right and left hands, the objects in the 13th, 7th, 8th, and 6th right hands, and the objects in the 10th, 8th, 7th, and 25th (or 26th) left hands shown in Table 1, respectively. These objects shown in Table 1 are also symbolically related to the practice of exchanging hand gestures performed in the Tantric meeting by male practitioners and their female partners. In Chapter 29, the *D. ak¯ ar¯ n. ava* teaches weapon-signs (*astrachomaka¯*), which are thirty-six pairs of the female's hand gesture and male's answering hand gesture. These hand gestures are made in the form of the thirty-six objects that Heruka holds in the thirty-six left hands (3rd–38th in Table 1) and the thirty-six objects in his thirty-six right hands (3rd–38th in Table 1), respectively. For details, see (Sugiki 2005, pp. 219–21).

<sup>98</sup> However, Lord Heruka of the fivefold Heruka man. d. ala is colored black (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 4)).

<sup>99</sup> In the fivefold Heruka man. d. ala, Heruka's four faces, which look toward the east, north, west, and south, are also colored black, green, red, and yellow, respectively (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 4)).

<sup>100</sup> However, Lord Heruka of the fivefold Heruka man. d. ala wears a headband made of five skulls (*kapala ¯* ) (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 9)).

seals, a garland of a hundred hairless heads as a necklace,<sup>101</sup> sounding armlets and anklets, a garment made of some tiger skin, and a line of bodily hair on the body.


**Table 1.** Objects in each of Heruka's seventy-six hands.

<sup>101</sup> However, Lord Heruka of the fivefold Heruka man. d. ala wears a garland of fifty (*pañca´sat ¯* ) hairless heads (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 9)).

**Vajravar¯ ah¯ ¯ı** in the *D. ak¯ ar¯ n. ava* described below is almost the same as Vajravar¯ ah¯ ¯ı in the fivefold Heruka man. d. ala, the female consort of Lord Heruka, who has one face (with three eyes) and two arms. Vajravar¯ ah¯ ¯ı in the *D. ak¯ ar¯ n. ava* has one face (with three eyes) and two arms. She holds an adamantine knife (*vajrakartti*) in the right hand<sup>107</sup> and a skull bowl in the left hand. She is red in color. She hugs Heruka with her legs. Her hair is untied and is crowned with a string of skulls. She wears a garland of hairless heads as a necklace, and is adorned with six seals<sup>108</sup> and other ornaments. She is flaming like the destructive fire at the end of a *kalpa*.

A total of twenty-four d. akin ¯ ¯ıs reside on the petals of the lotus. They are headed by the four major d. akin ¯ ¯ıs of the Sam. vara tradition (D. akin ¯ ¯ı, Lam¯ a, Kha ¯ n. d. aroha, and ¯ Rupi ¯ n. ¯ı). They are arranged in counterclockwise fashion. Their names and locations are as follows: (1) **D. akin ¯ ¯ı**, (2) **Rupik ¯ a¯**, (3) **Cumbika¯**, (4) **Paravr ¯ . tta¯**, (5) **Sabalik ¯ a¯**, and (6) **Anuvart¯ı** are on the petals between the east and the north; (7) **Lam¯ a¯**, (8) **Yoge´svar¯ı**, <sup>109</sup> (9) **Bhadra¯**, (10) **Kapalin ¯ ¯ı**, (11) **Kank˙ alik ¯ a¯**, and (12) **Raj¯ avart ¯ ¯ı** on the petals between the north and the west; (13) **Khan. d. aroha¯**, (14) **Sma´s ´ an¯ ¯ı**, (15) **Vidrav¯ı**, (16) **Kurukullika¯**, (17) **Rudant¯ı**, <sup>110</sup> and (18) **Nat . ¯ı**, on the petals between the west and the south; and (19) **Rupin ¯ . ¯ı**, (20) **Bhairav¯ı**, (21) **Sikh ´ ¯ı**, (22) **Sikhan ´ . d. ¯ı**, (23) **Jat . il¯ı**, 111 and (24) **Rudra¯**, on the petals between the south and east. They reside alone without male consorts.

These d. akin ¯ ¯ıs have the same physical features and objects as Vajravar¯ ah¯ ¯ı (i.e., one face and two arms) except for the body color and standing posture. D. akin ¯ ¯ıs (22)–(24) and (1)–(3) are colored black; (4)–(9) are green; (10)–(15) are red; and (16)–(21) are yellow, which can be seen as being in accordance with the respective colors of the

<sup>102</sup> I am not certain what this indicates. The Tibetan translation is also *bho kam.* . In the *D. ak¯ ar¯ n. ava* (29.3c), a Tibetan translation for that term is *mdung*, meaning "lance".

<sup>103</sup> This drum is named *d. ukka¯* and *d. uka¯* in the parallel parts in the *D. ak¯ ar¯ n. ava* (10.46c) and (29.3c), respectively. There is also a possibility that this derives from *hud. ukka¯*, a kind of drum.

<sup>104</sup> This is a "rock" (*´sila¯*) and a "mace" (*gad. a¯* = *gada¯*) in the *D. ak¯ arn ¯ . ava* (10.47b) and (29.4b), respectively.

<sup>105</sup> This is a "short club" (*dan. d. ika¯*) and a "*datrik ¯ a¯* sickle" in the *D. ak¯ arn ¯ . ava* (10.47c) and (29.4c).

<sup>106</sup> I am not certain what this indicates. Literally, "bad adorning". Its Tibetan translation is *du bhu sa*. In the *D. ak¯ ar¯ n. ava* (10.44b) and (29.10a), Tibetan translations for that term are *sgrog* ("chain [or some binding tool]") and *skogs* ("peel"), respectively.

<sup>107</sup> However, Vajravar¯ ah¯ ¯ı of the fivefold Heruka man. d. ala holds a vajra (*vajra*) in the right hand and assumes a threatening hand gesture (*tarjan¯ıka*) with the same right hand (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 12–l. 13)).

<sup>108</sup> However, Vajravar¯ ah¯ ¯ı of the fivefold Heruka man. d. ala is adorned with the five seals (*pañcamudrin. ¯ı*) (*Nis.pannayogaval ¯ ¯ı*, Skt ed. (Lee 2004, p. 35, l. 14)), which is a more general form of Vajravar¯ ah¯ ¯ı in the Sam. vara tradition.

<sup>109</sup> She is Yog¯ı´svar¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 25r4).

<sup>110</sup> She is Rupat ¯ a in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 9v3 and 22r3). There is also a possibility that *rupat ¯ a¯* is merely a corruption of *rudant¯ı*.

<sup>111</sup> Her name is Jat.al¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 25r5).

four divisions of the entire man. d. ala mentioned earlier. They stand in the *pratyal¯ ¯ıd. ha* posture.

This way, there are twenty-six deities on the central lotus. **Skull bowls [filled with] the fivefold nectar** (*pañcam¯ r. takarot. aka*) are placed on the twenty-four petals that are located in between the twenty-four petals where the twenty-four d. akin ¯ ¯ıs reside.

#### *4.1.2. The Adamantine Circle (vajracakra) (15.61–72)*

The twelve circles starting with the Adamantine Circle comprise thirty-six couples of d. akin ¯ ¯ıs and heroes (*v¯ıra*). I consider that the number "thirty-six" is particularly derived from the number of deities residing on the fivefold Heruka man. d. ala; in that man. d. ala, thirty-six coupled or single deities form five circles and encircle Heruka and Vajravar¯ ah¯ ¯ı, who are located at the center.

The Adamantine Circle mostly comprises the major deities in the Sam. vara tradition (such as the major four d. akin ¯ ¯ıs (1)–(4), the twenty-four d. akin ¯ ¯ıs and heroes related to the twenty-four Sam. vara holy sites (5)–(28), and five of the six armor d. akin ¯ ¯ıs (29)–(33). The thirty-six d. akin ¯ ¯ıs, who are seen copulating with their consort heroes (collectively called "Leader Heruka," *nayaka ¯* , 15.80c and 15.233–237b) are as follows: (1) **D. akin ¯ ¯ı** and **Vajrad. aka ¯** , (2) **Lam¯ a¯** and **Vi´svad. aka ¯** , (3) **Khan. d. aroha¯** and **Padmad. aka ¯** , (4) **Rupin ¯ . ¯ı** and **Ratnad. aka ¯** , (5) **Pracan. d. a¯** and **Khan. d. akapalin ¯** , <sup>112</sup> (6) **Can. d. aks ¯ . ¯ı** and **Mahaka ¯ nk˙ ala ¯** , (7) **Prabhavat ¯ ¯ı** and **Kank˙ ala ¯** , (8) **Mahan¯ as¯ a¯** and **Vikat . adam. s. t . rin**, (9) **V¯ıramat¯ı** and **Suravairin ¯** , (10) **Kharvar¯ı** and **Amitabha ¯** , (11) **Lanke´svar ˙ ¯ı** and **Vajraprabha,** (12) **Drumacchay¯ a¯** and **Vajradeha**, <sup>113</sup> (13) **Airavat ¯ ¯ı** and **Ankurika ˙** , <sup>114</sup> (14) **Mahabhairav ¯** ¯ı and **Vajrajat . ila**, 115 (15) **Vayuveg ¯ a¯** and **Mahav¯ ¯ıra**, <sup>116</sup> (16) **Surabhaks ¯ . ¯ı** and **Vajrahum¯ . kara ¯** , <sup>117</sup> (17) **Sy´ am¯ adev ¯ ¯ı** <sup>118</sup> and **Subhadra**, <sup>119</sup> (18) **Subhadrika¯** and **Vajrabhadra**, <sup>120</sup> (19)

<sup>112</sup> He is Vajrakhan. d. akapala (or Kha ¯ n. d. akapala) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r1 and 22v5).

<sup>113</sup> He is Vajradeha¯nkurika in Ratnasena's ˙ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r3 and 22v6).

<sup>114</sup> He is Vajrajat. ilaka (or Vajrajat. ila) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r4 and 22v6).

<sup>115</sup> He is Vajramahav¯ ¯ıra (or Mahav¯ ¯ıra) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r4 and 22v6).

<sup>116</sup> He is Vajrahum¯ . kara in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r4-r5 and 22v6).

<sup>117</sup> He is Vajrasubhadra (or Subhadra) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r5 and 22v6).

<sup>118</sup> She is Sy´ amadev ¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 25v2).

<sup>119</sup> He is Vajrabhadraka (or Vajrabhadra) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r5 and 22v6).

<sup>120</sup> He is Vajramahabhairava (or Mah ¯ abhairava) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r6 and 22v6).

**Hayakarn. a¯** and **Mahabhairava ¯** , <sup>121</sup> (20) **Khaganan ¯ a¯** and **Virup¯ aks ¯ . a**, <sup>122</sup> (21) **Cakravega¯** and **Mahabala ¯** , <sup>123</sup> (22) **Khan. d. arohika¯** and **Ratnavajra**, <sup>124</sup> (23) **Saun ´ . d. in¯ı** and **Hayagr¯ıva**, <sup>125</sup> (24) **Cakravarmin. ¯ı** and **Ak¯ a´sagarbha ¯** , <sup>126</sup> (25) **Suv¯ıra¯** and **Heruka**, <sup>127</sup> (26) **Mahabal ¯ a¯** and **Padmanartaka**, <sup>128</sup> (27) **Cakravartin¯ı** and **Vairocana**, <sup>129</sup> (28) **Mahav¯ ¯ırya¯** and **Vajrasattva**, <sup>130</sup> (29) **Yamin ¯ ¯ı** and **Mahabala ¯** , 131 (30) **Yumin¯ı** <sup>132</sup> and **Jñanad ¯ . aka ¯** , <sup>133</sup> (31) **Sam. calin ¯ ¯ı** and **Dhairya**, <sup>134</sup> (32) **Trasan ¯ ¯ı** and **Sthairya**, <sup>135</sup> (33) **Can. d. ika¯** and **Moks. a**, <sup>136</sup> (34) **Sarasvat¯ı** and **Jñana ¯** , <sup>137</sup> (35) **Icchasiddhi ¯** and **Upaya ¯** , <sup>138</sup> and (36) **Mahajv ¯ al¯ a¯** and **Cittavajra**. 139

These d. akin ¯ ¯ıs and heroes and the Adamanine Circle are dark bluish-black in color, which is similar to the color of the Mind Circle of the fivefold Heruka man. d. ala (*n¯ıla* or dark blue).<sup>140</sup> The d. akin ¯ ¯ıs and heroes have a similar appearance (15.79ab). The d. akin ¯ ¯ıs and heroes each have one face (with three eyes) and four arms, hold a skull bowl and a skull staff in the two left hands and a small drum and a knife in the two right hands, and wear a garland of hairless heads as a necklace. The d. akin ¯ ¯ıs are all naked, are adorned with the same ornaments as Vajravar¯ ah¯ ¯ı, and have

<sup>139</sup> He is Vajracakraka in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v5).

<sup>121</sup> He is Vajravirup¯ ak¯ s. a (or Virup¯ ak¯ s. a) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r6 and 22v6).

<sup>122</sup> He is Vajramahabala (or Mah ¯ abala) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r6 and 22v6).

<sup>123</sup> He is Vajraratnavajra (or Ratnavajra) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r7 and 22v6).

<sup>124</sup> He is Vajrahayagr¯ıva (or Hayagr¯ıva) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r7 and 22v6).

<sup>125</sup> He is Vajrak¯ a´sagarbha (or ¯ Ak¯ a´sagarbha) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10r7–v1 and 22v6).

<sup>126</sup> He is Vajraheruka (or Heruka) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v1 and 22v7).

<sup>127</sup> He is Vajrapadmanarte´svara (or Padmanartaka) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v1 and 22v7).

<sup>128</sup> He is Vajravairocana (or Vairocana) in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v1–v2 and 22v7).

<sup>129</sup> He is Vajrasattva in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v2 and 22v7).

<sup>130</sup> He is Vajramahabala (or Mah ¯ abala) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v2 and 22v7).

<sup>131</sup> He is Vajrajñana ¯ d. aka (or Jñ ¯ ana ¯ d. aka) in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v2–v3 and 22v7).

<sup>132</sup> Generally, the name of this goddess is Mohan¯ı and not Yumin¯ı. Manuscript C names her Kamin ¯ ¯ı. The Tibetan translation is *skyes gshin rje ma*. Her name is Yamin¯ı (*gshin rje ma*) in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 8v2 and 25v5).

<sup>133</sup> He is Vajradhairya in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v3 and 22v7).

<sup>134</sup> He is Vajrasthairya in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v3 and 22v7).

<sup>135</sup> He is Vajramoks. a in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v3 and 22v7).

<sup>136</sup> He is Vajrajñana in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v4 and 22v7).

<sup>137</sup> He is Vajropaya in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v4 and 22v7).

<sup>138</sup> He is Vajracitta in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v4 and 22v7).

<sup>140</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (f).

a lock of hair on the head (15.231d). The d. akin ¯ ¯ıs each assume the *pratyal¯ ¯ıd. ha* posture and the heroes each assume the *al¯ ¯ıd. ha* posture (15.79cd).<sup>141</sup> The heroes each have twisted locks of hair, wear a hero's or a warrior's turban, and their entire bodies are smeared with ash (15.230d–231b). Alternatively, the heroes each have the same physical features as Heruka in union with the triple wheel (*tricakrasam. varaheruka*, 15.84ab),<sup>142</sup> who has four faces and twelve arms. Knives (*karttika¯*) are arranged in a circular pattern on the Adamantine Circle (15.22a).

## *4.1.3. The Heart Circle (hr.dayacakra) (15.73–85)*

The Heart Circle mostly consists of the major deities from the Guhyasamaja ¯ tradition, viz., those derived from the six lineage masters (1)–(6), the four goddesses (7)–(10), the six adamantine goddesses of the Six Sensorial Objects (11)–(16), a group of deities including the Eight Bodhisattvas (17)–(26), and the Ten Vidya¯ Kings (27)–(36). The thirty-six d. akin ¯ ¯ıs, who are seen copulating with their consort heroes, are presented below. The heroes are collectively called "Light Heruka" (*laghuheruka*, 15.80d), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c–238a):<sup>143</sup> (1) **Vajradhar¯ı**, (2) **Aks.obhy¯ı**, (3) **Vairocan¯ı**, (4) **Ratne´sika¯**, <sup>144</sup> (5) **Padmanart¯ı**, <sup>145</sup> (6) **Amogh¯ı**, (7) **Locana¯**, (8) **Mamak ¯ ¯ı**, (9) **Pan¯ . d. ara¯**, (10) **Tar¯ a¯**, (11) **Rupavajr ¯ a¯**, (12) **Sabdavajr ´ a¯**, (13) **Gandhavajra¯**, (14) **Rasavajra¯**, (15) **Spar´savajra¯**, (16) **Dharmadhatuvajr ¯ a¯**, (17) **Khitigarbh¯ı** (for Ks. itigarbh¯ı), (18) **Khagarbhak¯ı**, (19) **Vajrapan¯ . ¯ı**, (20) **Lokanath¯ ¯ı**, (21) **Sarvan¯ı** (for Sarvanivaran. avis.kambhin¯ı), (22) **Samantabhadr¯ı**, (23) **Ratnolak¯ı** (*m.c.* for Ratnolk¯ı), (24) **Nairatmy ¯ a¯**, (25) **Bhr.kut . ¯ı**, (26) **Pan. n. asorika¯** (for Parn. a´sabar¯ı), (27) **Yamantak ¯ ¯ı**, (28) **Prajñantak ¯ ¯ı**, (29) **Padmantak ¯ ¯ı**, (30) **Vighnantak ¯ ¯ı**, (31) **Acal¯ı**, (32) **N¯ıladan. d. ¯ı,** (33) **T. akkiraj¯ ¯ı**, (34) **Mahabal ¯ a¯**, (35) **Us.n. ¯ıs. a¯**, and (36) **Sumbharajñ¯ ¯ı**.

These d. akin ¯ ¯ıs and heroes and the Heart Circle are reddish-yellow in color, which is similar to the color of the Speech Circle of the fivefold Heruka man. d. ala (*rakta* or

<sup>141</sup> The text does not explicitly explain the postures that the heroes assume. However, I consider that their standing posture is the *al¯ ¯ıd. ha* posture because their consort d. akin ¯ ¯ıs assume the *pratyal¯ ¯ıd. ha* posture. The *al¯ ¯ıd. ha* posture is assumed while shooting: a hero stretches and advances his right leg to his right side and bends his left knee. A d. akin ¯ ¯ı stretches and advances her left leg to her left side and bends her right knee. This is the *pratyal¯ ¯ıd. ha* posture.

<sup>142</sup> For "Heruka in union with the triple wheel (*tricakrasam. varaheruka*)," see footnote 885 in this monograph.

<sup>143</sup> The *D. ak¯ ar¯ n. ava* does not teach individual heroes' names; it just tells that their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names. This is also the case for the remaining heroes on the man. d. ala. The *Bohita¯* does not clarify their names either. Their individual names are detailed in the *Ratnapadmaraganidhi ¯* and the *Man. d. alarcanavidhi ¯* . In Chapter 9 of this monograph, I have noted their individual names according to the *Ratnapadmaraganidhi ¯* .

<sup>144</sup> She is also named Ratna´sikhin¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 25v7).

<sup>145</sup> She is named Padmanarte´svar¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 9r4 and 25v7).

red).<sup>146</sup> Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle (such as one face and four arms). Jewels (*ratna*) are arranged in a circular pattern on the Heart Circle (15.22a).

#### *4.1.4. The Merit Circle (gun. acakra, Also Called sarvagun. acakra, "Entire Merit Circle") (15.86–111)*

The Merit Circle comprises d. akin ¯ ¯ıs and heroes who are anthropomorphized castes in human society. Of them, twenty-four d. akin ¯ ¯ıs are similar to twenty-four of the thirty-six lineage-d. akin ¯ ¯ıs found in the *Kalacakra ¯* (and its commentary, Pun. d. ar¯ıka's *Vimalaprabha¯*) and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, a commentary on the *Cakrasam. vara*. 147 Twelve d. akin ¯ ¯ıs are similar to the twelve manifestations of the Mistress in the *Can. d. amaharo ¯ s. an. atantra* (abbreviated to *Can. d. amaharo ¯ s. an. a*).<sup>148</sup> The thirty-six d. akin ¯ ¯ıs

<sup>146</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (g).

<sup>147</sup> *Kalacakra ¯* , Skt ed. (Dwivedi 1994), 3.130–134, which describes the d. akin ¯ ¯ıs as lineage yogin¯ıs divided according to the 36 *varn. a*s, and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, Skt ed. (Cicuzza 2001), p. 69, l. 3–l. 16, which calls the d. akin ¯ ¯ıs "thirty-six lineage female messengers" (*s. at. trim. ´satkuladutik ¯ a¯*). Their correspondence is shown below: "D. (1)" means the first d. akin ¯ ¯ı in the *D. ak¯ ar¯ n. ava*; "K (4)," the fourth d. akin ¯ ¯ı in the *Kalacakra ¯* ; and "L (4)," the fourth d. akin ¯ ¯ı in the *Laghutantrat. ¯ıka¯*. Brahma ¯ n. ¯ı in D. (1) corresponds to Dvijajanakulaja in K (4), who is Br ¯ ahma ¯ n. ¯ı according to the *Vimalaprabha¯*, and Brahma ¯ n. ¯ı in L (4); Ks. atrin. ¯ı in D. (2) to Ks. atrin. ¯ı in K (2) and L (2); Vai´sy¯ı in D. (3) to Vai´sya in K (3) and L (3); ¯ S´udr ¯ ¯ı in D. (4) to S´udr ¯ ¯ı in K (1) and L (1); Nat. ¯ı in D. (8) to Nartak¯ı in K (17), who is Nat. ¯ı according to the *Vimalaprabha¯*, and Nat. ¯ı in L (32); Kaivart¯ı in D. (10) to Dh¯ıvar¯ı in K (16), who is Kaivart¯ı according to the *Vimalaprabha¯*, and Kaivart¯ı in L (34); Ven. unat. ¯ı in D. (11) to Ven. unr. tya in K (28), who is Ve ¯ n. unartak¯ı or D. ombanat. ¯ı according to the *Vimalaprabha¯*, and Ven. unartak¯ı in L (18); Tantuvay¯ ¯ı in D. (13) to Am. ´sukar¯ ¯ı in K (9), who is Tantuvay¯ ¯ı according to the *Vimalaprabh*, and Am. ´sukari ¯ n. ¯ı in L (13); Kandun¯ı in D. (14) to Kanduk¯ı in K (13) and L (30); Ka¯s. t.hakarik ¯ a in ¯ D. (15) to Ka¯s. t.hakar¯ ¯ı in K (24) and L (27); Malin ¯ ¯ı in D. (16) to Mal¯ ak¯ ar¯ ¯ı in K (8) and L (15); Tailin¯ı in D. (17) to Tailap¯ıd. a in K (21), who is Tailin ¯ ¯ı according to the *Vimalaprabha¯*, and Tailin¯ı in L (24); Chey¯ı in D. (18) perhaps to Rangak ˙ ar¯ ¯ı in K (19), who is Lak¯ s. ak¯ ar¯ ¯ı according to the *Vimalaprabha¯*, and Lak¯ s. ak¯ ar¯ ¯ı in L (22); Ko´sakar¯ ¯ı in D. (19) to Ko´sakar¯ ¯ı in K (20) and L (23); Had. aga¯d. ¯ı in D. (21) to Had. d. in¯ı in K (30) and L (6); Gan. ika in ¯ D. (22) to Gan. ika in K (14) and L (36); ¯ Kallaval¯ ¯ı in D. (23) to Saun ´ . d. in¯ı in K (6) and Kalyapalin ¯ ¯ı in L (14); Kupar ¯ ¯ı in D. (24) to Kupakartr ¯ ¯ı in K (27) and Kupakart ¯ ¯ı in L (17); Khat. t. ik¯ı in D. (26) to Khat. t. ik¯ı in K (11) and Khat. ikin¯ı L (29); Suvarn. akar¯ ¯ı in D. (28), Hemakar¯ ¯ı in K (7), who is Suvarn. akar¯ ¯ı in *Vimalaprabha¯*, and Hemakar¯ ¯ı in L (16); Lohar¯ ¯ı in D. (29) to Lohakar¯ ¯ı in K (22) and L (21); Man. ihar¯ ¯ı in D. (30) to Man. ikar¯ ¯ı in K (10) and L (20); Mlecch¯ı in D. (32) to Mleccha in K (29) and Mlecch ¯ ¯ı in L (5); and Carmakar¯ ¯ı in D. (36) to Carmakar¯ ¯ı in K (23) and L (26). D. omb¯ı in D. (7) may correspond to D. ombanat. ¯ı in *Vimalaprabha¯* (for K, 3.133), which is not mentioned in K, and D. ombin¯ı in L, which is mentioned as a lower lineage woman (*akul¯ı*) and not as one of the thirty-six lineage females. The lists of the thirty-six d. akin ¯ ¯ıs in the *Kalacakra ¯* and the *Laghutantrat. ¯ıka¯* mentioned above are quite similar, and the *D. ak¯ ar¯ n. ava*'s list is slightly more similar to the *Laghutantrat. ¯ıka¯*'s than to the *Kalacakra ¯* 's.

<sup>148</sup> *Can. d. amaharo ¯ s. an. a*, Skt ed. (DTC 2019), 8.6–8. (5) Can. d. alin ¯ ¯ı in the *D. ak¯ ar¯ n. ava* (D. ) is similar to *can. d. al¯ ¯ı* in *Can. d. amaharo ¯ s. an. a* (C, 8.6); (7) D. omb¯ı in D. to *d. omb¯ı* in C, 8.6; (8) Nat. ¯ı in D. to *nat. in¯ı* in C, 8.7; (9) Kapalin ¯ ¯ı in D. to *kap¯ alin ¯ ¯ı* in C, 8.8; (10) Kaivart¯ı in D. to *kaivart¯ı* in C, 8.7; (12) Sa´ nkhin ˙ ¯ı in D. to *´sankhin ˙ ¯ı* in C, 8.8; (16) Malin ¯ ¯ı in D. to *malin ¯ ¯ı* in C, 8.7; (21) Had. aga¯d. ¯ı in D. perhaps to *hatrin. ¯ı* (*had. d. in¯ı*) in C, 8.6; (23) Kallaval¯ ¯ı in D. to *´saun. d. in¯ı* in C, 8.6; (26) Khat. t. ik¯ı in D. to *khat. ak¯ı* in C, 8.7, or *kocin¯ı* in C, 8.8; (28) Suvarn. akar¯ ¯ı in D. to *suvarn. akarin ¯ . ¯ı* in C, 8.7; and (34) Pattharagad¯ . h¯ı in D. to *´silakut ¯ . ¯ı* in C, 8.8.

are seen copulating with their consort heroes on the Merit Circle, and are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.87–95). The heroes are collectively called "Lotus Heruka" (*padmaheruka*, 15.81a), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c–238a): (1) **Brahman ¯ . ¯ı**, (2) **Ks. atrin. ¯ı**, (3) **Vai´sy¯ı**, (4) **S´udr ¯ ¯ı**, <sup>149</sup> (5) **Can. d. alin ¯ ¯ı**, (6) **Suc¯ı** (perhaps for Svac ´ ¯ı, *m.c.* for Svapac ´ ¯ı),<sup>150</sup> (7) **D. omb¯ı**, <sup>151</sup> (8) **Nat . ¯ı**, (9) **Kapalin ¯ ¯ı**, (10) **Kaivart¯ı**, (11) **Ven. unat . ¯ı**, (12) **Sa´ nkhin ˙ ¯ı**, <sup>152</sup> (13) **Tantuvap¯ ¯ı**, <sup>153</sup> (14) **Kandun¯ı** (for Kanduk¯ı),<sup>154</sup> (15) **Kas¯ . t .hakarik ¯ a¯**, (16) **Malin ¯ ¯ı**, (17) **Tailin¯ı**, <sup>155</sup> (18) **Chep¯ı** (or Chey¯ı),<sup>156</sup> (19) **Ko´sakar¯ ¯ı**, (20) **Dhutin ¯ ¯ı** (for Dutin ¯ ¯ı, *m.c.* for Dut¯ ¯ı),<sup>157</sup> (21) **Had. agad¯ . ¯ı**, (22) **Gan. ika¯**, (23) **Kallaval¯ ¯ı** (for Kalyapal¯ ¯ı), (24) **Kupar ¯ ¯ı** (*m.c.* for Kupak ¯ ar¯ ¯ı), (25) **Rajabhat ¯ . ¯ı**, (26) **Khat . t . ik¯ı**, (27) **Tambolavikray¯ı** (for Tamb ¯ ulavikray ¯ ¯ı), (28) **Suvarn. akar¯ ¯ı**, (29) **Lohar¯ ¯ı** (*m.c.* for Lohakar¯ ¯ı), (30) **Man. ihar¯ ¯ı**, (31) **Davak ¯ ¯ı**, (32) **Mlecch¯ı**, who is **Od. in¯ı**, <sup>158</sup> (33) **Van. ij¯ı**, (34) **Pattharagad¯ . h¯ı**, <sup>159</sup> (35) **Kr. s. ika¯**, <sup>160</sup> and (36) **Carmakar¯ ¯ı**. 161

These d. akin ¯ ¯ıs and heroes and the Heart Circle are whitish-red in color, which is similar to the color of the Body Circle in the fivefold Heruka man. d. ala (*´sukla* or white).<sup>162</sup> Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical

<sup>149</sup> Her name is S´udrin ¯ . ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27v1).

<sup>150</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , her name is Svacin ´ ¯ı (used as Svapacin ´ ¯ı) (D 1516, 27v1). Suc¯ı is perhaps a corruption of Svac ´ ¯ı (*m.c.* for Svapac ´ ¯ı). Eight of the thirty-six d. akin ¯ ¯ıs on the Merit Circle may be equivalent to the eight (including Svapac ´ ¯ı) of the sixteen goddesses (eight Kula goddess, *kula¯s. t. aka*, and eight non-Kula goddesses, *akula¯s. t. aka*) taught in the Saiva or ´ S´akta ¯ *Kular¯ n. avatantra* (abbreviated to *Kular¯ n. ava*, Skt ed. (Avalon and Vidyaratna [1965] ¯ 1975, 7.42–44b)). Their correspondence is shown below. "D. (5)" means the fifth d. akin ¯ ¯ı in the *D. ak¯ ar¯ n. ava*; "KK (1)," the first goddess in the eight Kula goddesses in the *Kular¯ n. ava*; and "KA (1)," the first goddess in the eight non-Kula goddesses in the *Kular¯ n. ava*: Can. d. alin ¯ ¯ı in D. (5) corresponds to Can. d. al¯ ¯ı in KK (1); Suc¯ı in D. (6), to Svapac ´ ¯ı in KK (5); Kaivart¯ı in D. (10), to Kaivart¯ı in KK (7); Kandun¯ı in D. (14), to Kanduk¯ı in KA (1); Chep¯ı in D. (18), to Rañjak¯ı in KA (4); Kallaval¯ ¯ı in D. (23), to Sau ´ n. d. ik¯ı in KA (2); Khat. t. ik¯ı in D. (26), to Khat. t.ak¯ı in KK (6); and Carmakar¯ ¯ı in D. (36), to Carmakar¯ ¯ı in KK (2). For this part in the *Kular¯ n. ava*, see also (Rai 1999, p. 112).

<sup>151</sup> Her name is D. ombin¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27v1).

<sup>152</sup> Her name is Sa´ nkhak ˙ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27v2).

<sup>153</sup> Her name is Tantuvayak ¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 26v2–v3).

<sup>154</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , her name is Kanduk¯ı and Kan. d. uk¯ı (D 1516, 9v1 and 26v3, respectively).

<sup>155</sup> Her name is Tail¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 26v3).

<sup>156</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , her name is transcribed as Chiy¯ı (D 1516, 26v4).

<sup>157</sup> The words *dut¯ ¯ı* ("female messenger") and (*ava*)*dhut¯ ¯ı* (the central inner channel in the body) are equivalent in the etymology in the *D. ak¯ arn ¯ . ava* (12.33).

<sup>158</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , she, Mlecch¯ı alias Od. in¯ı, is also called Mlecched. ¯ı (D 1516, 26v7). In Ratnasena's *Man. d. alarcanavidhi ¯* , Mlecch¯ı and Od. in¯ı are two different goddesses (Skt ms. NGMPP B24/52, 12v1 and 12v2).

<sup>159</sup> She is named Pattharagadh ¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 26v7).

<sup>160</sup> She is named Kr. s. ikar¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 26v7).

<sup>161</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , Carmakar¯ ¯ı is not considered a goddess's name: Kr. s. ika is the ¯ thirty-sixth and last d. akin ¯ ¯ı.

<sup>162</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (h).

features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Vajras (*vajra*) are arranged in a circular pattern on the Merit Circle (15.22a).

The Merit Circle also contains the four gates, eight charnel grounds, and some others shown in Table 3, which are located outside the circle of the thirty-six couples of d. akin ¯ ¯ıs and heroes described above. The Merit Circle has a three-layer structure: the inner ground (*bhumi ¯* ), on which the thirty-six pairs of d. akin ¯ ¯ıs and heroes reside, the middle ground, on which the four gates are placed, and the outer ground, on which the eight charnel grounds exist. These constitute the Merit Circle.<sup>163</sup>

The eight d. akin ¯ ¯ıs shown in Table 2 reside at the four gates and four corners. Except for the body color and the face, the four gate d. akin ¯ ¯ıs have the same physical features and objects as the d. akin ¯ ¯ıs on the Adamantine Circle. Except for the body color, the four corner d. akin ¯ ¯ıs have the same physical features and objects as the d. akin ¯ ¯ıs on the Adamantine Circle (15.66–68b). Their names are identical to the eight d. akin ¯ ¯ıs on the Pledge Circle of the fivefold Heruka man. d. ala. The animal faces of the four gate d. akin ¯ ¯ıs are in line with their respective names (crow-faced, owl-faced, dog-faced, and boar-faced). They have the same body color as D. akin ¯ ¯ı, Lam¯ a, Kha ¯ n. d. aroha, and R ¯ upi ¯ n. ¯ı on the central lotus, namely, (1) black, (2) green, (3) red, and (4) yellow, respectively, which can be seen as identical to the colors of the four divisions of the entire man. d. ala, as mentioned earlier. The four corner d. akin ¯ ¯ıs are colored (5) half black and half yellow, (6) half yellow and half red, (7) half red and half green, and (8) half green and half black, respectively. They appear very violent, have their mouths wide open, and are resplendent with halos of fire (15.229cd).



There are **eight charnel grounds** (*´sma´sana ¯* ), **tree**s (*vr. ks. a*), **guardians of direction** (*dikpala ¯* ), **serpent king**s (*nagendra ¯* ), and **cloud king**s (*meghendra*) outside the four gates. They are shown in Table 3. They are similar to the eight serpents (*naga ¯* ) and the eight cloud kings (*megharaja ¯* ) in the *Catus.p¯ıt.ha* (and Bhavabhat. t.a's *Nibandha*, a commentary on it),<sup>164</sup> the eight charnel grounds in Luy¯ ¯ıpa's *Cakrasam. varabhisamaya ¯* , <sup>165</sup> the eight trees and direction-guardians (no word

<sup>163</sup> The other outermost circles (the Earth, Knowledge, and Body Circles described below) also have the same three-layer structure.

<sup>164</sup> *Catu¸sp¯ıt.hatantra* (with Bhavabhat. t.a's *Nibandha*), Skt ed. (Szántó 2012b), 1.2.74b–77.

<sup>165</sup> Luy¯ ¯ıpa's *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7.b.

for it) in the *Samput. odbhava*, <sup>166</sup> the eight charnel grounds, trees, direction-guardians (no word for it), serpent kings (no word for it), and cloud kings (*meghadhipa ¯* ) in the *Sam. varodaya*, <sup>167</sup> eight charnel grounds, trees (*druma*), direction-guardians (*pati*), serpents (*naga ¯* ), and clouds (*megha*) in Umapatideva's ¯ *Vajravar¯ ah¯ ¯ısadhana ¯* , 168 and the eight charnel grounds, trees, direction-guardians (*dikpati*), serpents, and clouds in Jalandharap ¯ ada's ¯ *Vajraprad¯ıpa¯*, <sup>169</sup> Bhadrapada's ¯ *Dves. avajrasadhana ¯* , <sup>170</sup> and Rahulagupta's ¯ *Hevajrapraka´sa ¯* . 171


**Table 3.** Eight charnel grounds and others outside the four gates on the Merit Circle.

<sup>166</sup> *Samput. odbhava*, Skt ed. (DTC 2021), 3.4.65–69. The eight direction-guardians are called *as. t. amahabh ¯ uta ¯* or "the eight great spirits (or beings)" (Skt. 3.4.65). In connection with these eight trees and direction-guardians, the *Samput. odbhava* also mentions the eight charnel grounds (*as. t. a´sma´sana ¯* ) and the cloud king (*megharaja ¯* ). However, it does not teach the respective names of the eight charnel grounds, and the cloud king is mentioned as a deity residing in the *a´soka* (= *kankeli ˙* ) tree in the west (Skt. 3.4.65 and 67ab). The cloud king in the west became the eight cloud kings residing in the eight directions in the *Sam. varodaya* (see also footnote 175).

<sup>167</sup> *Sam. varodaya*, Skt ed. (Tripathi and Negi 2001), 17.36–41.

<sup>168</sup> Umapatideva's ¯ *Vajravar¯ ah¯ ¯ısadhana ¯* , Skt ed. (English 2002), 70–76. See also (English 2002, pp. 140–41).

<sup>169</sup> Jalandharap ¯ ada's ¯ *Vajraprad¯ıpa¯*, Skt ed. (Gerloff 2017), 8.1–8.

<sup>170</sup> Bhadrapada's ¯ *Dves. avajrasadhana ¯* , Skt ed. (Gerloff 2017), p. 414, l.9–p. 416, l.6.

<sup>171</sup> Rahulagupta's ¯ *Hevajrapraka´sa ¯* , Skt ed. (Gerloff 2017), p. 491, 8.1–8.

#### **4.2. The Second** *Dharma* **Layer (15.113–151)**

The *Dharma* Layer encircles the *Sahaja* Layer and consists of three circles (viz., the Space, Wind, and Earth Circles) arranged in a concentric way.

#### *4.2.1. The Space Circle (ak¯ a´sacakra) (15.113–123) ¯*

The Space Circle comprises flying musical deities who are divine musicians and anthropomorphizations of musical concepts such as instruments. The thirty-six flying musical deities or d. akin ¯ ¯ıs (collectively called "Sky-goers," *khecar¯ı*), who are seen copulating with their consort heroes, are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.114–117). The heroes are collectively called "Space Heruka", (*ak¯ a´saheruka ¯* , 15.81b), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Kinnar¯ı**, (2) **Gandhar¯ ¯ı**, <sup>175</sup> (3) **Huntak¯ı** (perhaps for Hud. ukk¯ı),<sup>176</sup> (4) **Pat¯ . av¯ı**, (5) **V¯ın. a¯**, (6) **Vam. ´sa¯**, (7) **Mukunda¯**, (8) **Muruja¯** (for Muraja), ¯ <sup>177</sup> (9) **Gaggarika¯** (for Gargarika), (10) ¯ **Kam¯ . sa¯**, (11) **Selendrik¯ı** (for Sailendrik ´ ¯ı),<sup>178</sup> (12) **G¯ıta¯**, (13) **Karad. a¯** (for Karat.a), (14) ¯ **Tamad. a¯**, (15) **Nr. tya¯**, (16) **Lasy ¯ a¯**, (17) **D. ukka¯** (for D. hakka), (18) ¯ **Tal¯ ¯ı**, (19) **Saran ¯ . a¯**, <sup>179</sup> (20) **Dundubhika¯**, (21) **Modr¯ı** (for Maudry¯ı),<sup>180</sup> (22) **Tan¯ ¯ı**, (23) **Pañcama¯**, <sup>181</sup> (24) **Nalav ¯ ¯ı** (*m.c.* for **Nalavam ¯ . ´s¯ı**), (25) **T. ambhak¯ı** (perhaps for Tumbak¯ı),<sup>182</sup> (26) **D. amar¯ı**, (27) **D. un. d. uk¯ı**, <sup>183</sup> (28) **Kahal ¯ ¯ı**, (29) **Orak¯ı**, (30) **Bhuk¯ ¯ı** (perhaps for Bhukk¯ı), (31) **Ghan. t . a¯**, (32) **Kinkin ˙ . ¯ı**, (33) **Ghugghur¯ı** (for Ghurghur¯ı), (34) **D. ukolika¯**, <sup>184</sup> (35) **S´ a¯nkh ˙ ¯ı**, and (36) **Ghos. avat¯ı**. 185

<sup>172</sup> It is Karankabhairava in Ratnasena's ˙ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 30r1).

<sup>173</sup> According to Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 30r2), the four charnel grounds in the four intermediate quarters, starting with At. t.at. t.ahasa, are located in the southeast, southwest, ¯ northwest, and northeast, respectively. However, in the other part of the text (Skt ms. 12v6), Ratnasena says that they are located in the directions starting with the northeast, as shown in the table.

<sup>174</sup> It is Laks.m¯ıvanahuta´sana in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 12v5 and 30r1).

<sup>175</sup> She is Gandhaharin. ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27r2).

<sup>176</sup> She is Hut.uk¯ı (which is perhaps a corruption of Hud. ukk¯ı) in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27r2–r3).

<sup>177</sup> She is Murj¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27r4).

<sup>178</sup> She is named S´¯ılendrik¯ı and Sailendrik ´ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 12r3 and 27r4, respectively).

<sup>179</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , Tal¯ ¯ı and Sara ¯ n. ¯ı are not divided: Tali´sara ¯ n. ¯ı is the name of a single goddess (D 1516, 27r6).

<sup>180</sup> She is named Maudr¯ı (for Maudry¯ı) in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27r6).

<sup>181</sup> She is named Matun ¯ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 12r3 and 27r7).

<sup>182</sup> Her name is D. hambak¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 12r3 and 27r7).

<sup>183</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , she is also named T. un. t.uk¯ı (D 1516, 27r7) as well as D. un. d. uk¯ı.

<sup>184</sup> Her name is D. akolik¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 12r4 and 27v2).

<sup>185</sup> The word *pars. ada¯*, which comes after the word *ghos. avat¯ı*, is regarded as the name of the thirty-sixth goddess (Pars. ad. ¯ı) in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 27v3). According to the *Bohita¯* (D 1419, 143v2), the thirty-sixth goddess is Ghos. avat¯ı and not Pars. ad. ¯ı.

These d. akin ¯ ¯ıs and heroes are variously (*nan¯ a¯*) colored, and the Space Circle is colored dark blue. Alternatively, all these d. akin ¯ ¯ıs and heroes and the Space Circle are colored dark blue. Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Alternatively, each of the d. akin ¯ ¯ıs have their respective marks or musical gestures (instead of a skull bowl and a skull staff)<sup>186</sup> in the two right hands. Lotuses (*padma*) are arranged in a circular pattern on the Space Circle (15.22b).

#### *4.2.2. The Wind Circle (vayucakra) (15.124–133) ¯*

The Wind Circle comprises d. akin ¯ ¯ıs and heroes who are anthropomorphized sky-going creatures such as birds. Eighteen deities are similar to eighteen of the thirty-six female deities found in the *Kalacakra ¯* (and its commentary, *Vimalaprabha¯*) and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, who are transformed into birds or sky-going creatures (*khecara* or *khecar¯ı*).<sup>187</sup> The thirty-six d. akin ¯ ¯ıs are seen copulating with their consort heroes on the Wind Circle, and are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.125c–129b). The heroes are collectively called "Wind Heruka", (*bhairambham. herum.* , 15.81c), and are also collectively called "Ak¯ a´sagarbha", and their individual names are masculine forms ¯ of their consort d. akin ¯ ¯ıs' names (15.237c–238a): (1) **Garud. ¯ı**, (2) **Ham. s¯ı**, (3) **Citr¯ı**, (4) **Kak¯ ¯ı**, (5) **Bak¯ı**, (6) **Tittirika¯**, (7) **Mayur¯ ¯ı**, (8) **Tamrac ¯ ud¯ . ¯ı**, (9) **Gudabulika¯** (perhaps for Gudaculik ¯ a), (10) ¯ **Komala¯**, (11) **Par¯ avat ¯ ¯ı**, (12) **Br.hatkak¯ ¯ı**, (13) **Gad. in¯ı**, (14) **Kapiñjal¯ı**,

<sup>186</sup> Neither the *D. ak¯ ar¯ n. ava* nor the *Bohita¯* gives details of what these musical gestures are like. I interpret that the deities make hand gestures that look like, or that symbolically represent, musical instruments and other musical concepts that are used as their individual names.

<sup>187</sup> *Kalacakra ¯* , Skt ed. (Dwivedi 1994), 3.150–152, and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, Skt ed. (Cicuzza 2001), p. 70, l. 16–p. 71, l. 2. These female deities are called "pledge-females" (*samaya¯*) in the *Kalacakra ¯* and "yogin¯ıs" (*yogin¯ı*) in the *Laghutantrat. ¯ıka¯*. Their correspondence is shown below. ("D. (2)" means the second deity in the *D. ak¯ ar¯ n. ava*; "K (10)," the tenth deity in the list of birds in the *Kalacakra ¯* ; and "L (10)," the tenth deity in the list of birds in the *Laghutantrat. ¯ıka¯*)—Ham. s¯ı in D. (2) corresponds to Ham. sa in K (10) and Ham. s¯ı in L (10); Kak¯ ¯ı in D. (4), to Kaka in K (19) and K ¯ ak¯ ¯ı in L (13); Bak¯ı in D. (5) to Baka in K (7) and Bak¯ı in L (7); Tittirika in ¯ D. (6) to Tittir¯ı in K (15) and L (25); Mayur¯ ¯ı in D. (7) perhaps to Sikhin in K (20) and ´ Sikhin ´ ¯ı in L (17); Gudabulika or Gudac ¯ ulik ¯ a in ¯ D. (9) to Gudamukha in K (32) and Vagbulik ¯ a in L (32); P ¯ ar¯ avat ¯ ¯ı in D. (11) to Par¯ avata in K (6) and P ¯ ar¯ avat ¯ ¯ı in L (6); Suk¯ı in D. (15) to Suka ´ in K (2) and Suk ´ ¯ı in L (2); Saras ¯ a in ¯ D. (17) to Saras ¯ a in K (16) and S ¯ aras ¯ ¯ı in L (26); Gr.ddha in ¯ D. (18) to Gr.dhra in K (20) and Gr.dhr¯ı in L (14); Uluk¯ ¯ı in D. (19) to Uluka in K (57) and Ghuk ¯ ¯ı (which should be corrected into Uluk¯ ¯ı) in L (15); Cat. ika in ¯ D. (20) to Cat.aka in K (8) and Cat.ak¯ı in L (8); Cakravak¯ ¯ı in D. (22) to Cakravaka in K (9) and Cakrav ¯ ak¯ ¯ı in L (9); Vr.ks. ara ¯ n. ¯ı in D. (23) to Vr.ks. ari in K (28) and ¯ Vr.ks. ari ¯ n. ¯ı in L (12); Jalakak¯ ¯ı in D. (25) to N¯ıravi ¯ s. t.a in K (17) and Jalakak¯ ¯ı in L (27); Bila¯d. ¯ı in D. (26) to Vid. ala in K (26 in the list of animals moving on the ground) and Bi ¯ d. al¯ ¯ı in L (20 in the list of animals on the ground); Sarik ¯ a in ¯ D. (28) to S´arik ¯ a in K (4) and S ¯ arik ¯ a in L (3); and M ¯ r.gari ¯ n. ¯ı in D. (36) to Mr.garipu in K (22) and Mr.gari ¯ n. ¯ı in L (16). N¯ılagr¯ıv¯ı in D. (27) may correspond to N¯ılak¯ s. a in K (30) and N¯ılak¯ s. ¯ı in L (29). The lists of the thirty-six female deities in the *Kalacakra ¯* and the *Laghutantrat. ¯ıka¯* mentioned above are quite similar, and the *D. ak¯ ar¯ n. ava*'s list is slightly more similar to the *Laghutantrat. ¯ıka¯*'s than to the *Kalacakra ¯* 's.

(15) **Suk¯ı** (for Suk ´ ¯ı), (16) **Mantr¯ı**, (17) **Saras ¯ a¯**, (18) **Gr.ddha¯** (for Gr.dhra), (19) ¯ **Uluk¯ ¯ı**, (20) **Cat . ika¯**, (21) **Kas¯ . t .hacat . ¯ı** (*m.c.* for Ka¯s. t.hacat.ak¯ı), (22) **Cakravak¯ ¯ı**, (23) **Vr.ks. aran ¯ . ¯ı,** (24) **Karkav¯ı**, (25) **Jalakak¯ ¯ı**, (26) **Bilad¯ . ¯ı** (for Bid. al¯ ¯ı), (27) **N¯ılagr¯ıv¯ı**, <sup>188</sup> (28) **Sarik ¯ a¯**, (29) **Sena¯** (for Syen ´ a), (30) ¯ **Kunkumalol ˙ a¯**, (31) **Vat¯ . ir¯ı**, (32) **Kakaja ¯ nghak ˙ ¯ı**, (33) **Sam¯ a¯** (for Sy´ am¯ a), (34) ¯ **Lehapis. t . a¯**, <sup>189</sup> (35) **Daddar¯ı** (for Dardar¯ı), and (36) **Sr.galin ¯ ¯ı**. 190

These d. akin ¯ ¯ıs and heroes and the Wind Circle are variegated dark blue (*karburan¯ılakam*) in color. Alternatively, the d. akin ¯ ¯ıs and heroes have different body colors.<sup>191</sup> Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical feature and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Disks (*cakra*) are arranged in a circular pattern on the Wind Circle (15.22b).

#### *4.2.3. The Earth Circle (medin¯ıcakra) (15.134–150)*

The Earth Circle consists of d. akin ¯ ¯ıs and heroes who are anthropomorphizations of animals living on the ground. Twenty-four deities are similar to twenty-three of the thirty-six female deities taught in the *Kalacakra ¯* (and *Vimalaprabha¯*) and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, <sup>192</sup> who are transformed into creatures living on the ground (*bhucar ¯ ¯ı* or "ground-goers") according to the *Kalacakra ¯* and dry-land creatures, water creatures, and forest creatures (*sthalacarajalacaravanacara*) according to the *Laghutantrat. ¯ıka¯*. The thirty-six d. akin ¯ ¯ıs (which are, like in the *Kalacakra ¯* , collectively called *bhucar ¯ ¯ı* or creatures on the ground) are seen copulating with their consort heroes on the Earth

<sup>188</sup> Or Nalagr ¯ ¯ıv¯ı. In Jayasena's *Ratnapadmaraganidhi ¯* her name is Nalagr ¯ ¯ıva (D 1516, 28r2). ¯

<sup>189</sup> Her name is Lehasr. s. t.a in Jayasena's ¯ *Ratnapadmaraganidhi ¯* (D 1516, 28r3).

<sup>190</sup> In Jayasena's *Ratnapadmaraganidhi ¯* her name is Mr.garin ¯ . ¯ı (D 1516, 28r4).

<sup>191</sup> However, the available texts do not indicate what their respective colors are.

<sup>192</sup> *Kalacakratantra ¯* , Skt ed. (Dwivedi 1994), 3.149–150, and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, Skt ed. (Cicuzza 2001), p. 70, l. 1–l. 15. These female deities are called "pledge-females" (*samaya¯*) in the *Kalacakra ¯* and "pledge-goddesses" (*samayadevat¯ı*) in the *Laghutantrat. ¯ıka¯*. Their correspondence is shown below. ("D. (1)" means the first deity in the *D. ak¯ ar¯ n. ava*; "K (28)," the twenty-eighth deity in the list of ground creatures in the *Kalacakra ¯* ; and "L (12)," the twelfth deity in the list of dry-land, water, and forest creatures in the *Laghutantrat. ¯ıka¯*): Sim. gh¯ı in D. (1) corresponds to Sim. ha in K (28) and Aran. yasim. hin¯ı in L (12); Vyaghr ¯ ¯ı in D. (2) to Vyaghra in K (20) and Vy ¯ aghr ¯ ¯ı in L (14); Sa´s ´ ¯ı in D. (4) to Sa´saka in K (33); ´ Gaj¯ı in D. (5) perhaps to Hastin in K (4) and Hastin¯ı in L (3); Mr.g¯ı in D. (6) perhaps to Harin. a in K (7) and Harin. ¯ı (deer) in L (7); Marj ¯ arik ¯ ¯ı in D. (7) perhaps to Vid. ala in K (26) and Bi ¯ d. al¯ ¯ı in L (20); Gav¯ ¯ı in D. (8) to Go in K (3) and L (4); Mahis. ¯ı in D. (9) perhaps to Gaval¯ı in L (34); Turag¯ı in D. (10) perhaps to A´sva in K (2) and A´sv¯ı in L (2); Jambuk¯ı in D. (11) to Jambuka in K (24) and Jambuk¯ı in L (18); Gan. d. ¯ı in D. (8) to Gan. d. a in K (19) and Gan. d. ¯ı in L (13); Camar¯ı in D. (13) to Camar¯ı in K (23) and L (17); Mu¯ s. ika¯ in D. (15) to Akhu in K (30) and M ¯ u¯ s. ak¯ı in L (30); Gardabh¯ı in D. (15) perhaps to Khara in K (8) and Khar¯ı in L (8); Bhed. ¯ı or Ed. ak¯ı respectively in D. (16) or (18) perhaps to Mes. a in K (5) and Mes. ¯ı in L (6); Ajak¯ı (goat) in D. (17) to Aja in K (6) and Aj¯ı in K (6); Sv´ an¯ ¯ı in D. (19) to Svan in K (1) and ´ Sv´ an¯ ¯ı in L (2); Sukar ¯ ¯ı in D. (20) to S´ukara in K (9) and S ¯ ukara in L (9); Bhall ¯ ¯ı in D. (21) perhaps to R. ks. a in K (21) and R. ks. ¯ı in L (15); (26) Aran. ¯ı and Br.ha´svanik ¯ a respectively in ¯ D. (26) and (27) to Ara ¯ n. ya´svan in K (27) and Aran. ya´svan¯ ¯ı in L (11); Kut. ika in ¯ D. (32) perhaps to Us. t. ra in K (10) and Us. t. r¯ı in L (11); Nakul¯ı in D. (33) to Nakula in K (22) and Nakul¯ı in L (16); and Kr.k¯ı (lizard) in D. (34) to Kr.ka in K (36) and Kr.kalas¯ ¯ı in L (36). The lists of the thirty-six female deities in the *Kalacakra ¯* and the *Laghutantrat. ¯ıka¯* mentioned above are quite similar. It is difficult to say which of them the *D. ak¯ arn ¯ . ava*'s list is more similar to.

Circle, and are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.135c–138). The heroes are collectively called "Earth Heruka" (*sa yi he ru ka*; the Sanskrit †*ddhi*†*herukam* is corrupted, 15.81d), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Sim. gh¯ı**, (2) **Vyaghr ¯ ¯ı**, (3) **Bh¯ımbha¯**, (4) **Sa´s ´ ¯ı**, (5) **Gaj¯ı**, (6) **Mr.g¯ı**, (7) **Marj ¯ arik ¯ ¯ı**, (8) **Gav¯ ¯ı**, (9) **Mahis. ¯ı**, (10) **Turag¯ı**, (11) **Jambuk¯ı,** (12) **Gan. d. ¯ı**, (13) **Camar¯ı**, (14) **Mus¯ . ¯ı**, (15) **Gardabh¯ı**, (16) **Bhed. ¯ı**, (17) **Ajak¯ı,** (18) **Ed. ak¯ı**, (19) **Sv´ an¯ ¯ı**, (20) **Sukar ¯ ¯ı**, (21) **Bhall¯ı**, (22) **D. an. d. ar¯ ¯ı** (for Dan. d. ar¯ ¯ı), (23) **Muñjak ¯ ¯ı**, <sup>193</sup> (24) **Vesara¯**, (25) **Vilas¯ . ¯ı** (for Vilasin ¯ ¯ı), (26) **Aran. y¯ı**, (27) **Br.ha´svanik ¯ a¯** (for Br.hacchvanik ¯ a), (28) ¯ **Dron. akak¯ ¯ı**, (29) **S´ ard ¯ ul¯ ¯ı**, (30) **Vyad¯ . a¯**, (31) **Citrin. ¯ı**, (32) **Kut . ika¯**, (33) **Nakul¯ı**, (34) **Kr.k¯ı**, (35) **Guha¯**, and (36) **Gramaniv ¯ asin ¯ ¯ı**.

These d. akin ¯ ¯ıs and heroes and the Earth Circle are yellow in color. Alternatively, the d. akin ¯ ¯ıs and heroes have varying body colors.<sup>194</sup> Except for the body color and face, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. The d. akin ¯ ¯ıs and heroes on the Earth Circle have animal faces that are in line with their animal names. Swords (*khad. ga*) are arranged in a circular pattern on the Earth Circle (15.22b).

The Earth Circle also contains the four gates, eight charnel grounds, and some others shown in Table 5, in addition to the thirty-six couples of d. akin ¯ ¯ıs and heroes described above. The Earth Circle has a three-layer structure: the inner ground, on which the thirty-six pairs of d. akin ¯ ¯ıs and heroes reside, the middle ground, on which the four gates are placed, and the outer ground, on which the eight charnel grounds exist. All these constitute the Earth Circle.

The eight d. akin ¯ ¯ıs at the **four gates** and **four corners** are shown in Table 4. They are the Eight Mothers that are quite common in goddess-worship traditions both in Buddhism and Saivism. ´ <sup>195</sup> The eight d. akin ¯ ¯ıs at the four gates and four corners have the same physical form (except for the face) and marks as the eight d. akin ¯ ¯ıs at the four gates and four corners on the Merit Circle (Kak¯ asy ¯ a and so on). ¯

<sup>193</sup> In Jayasena's *Ratnapadmaraganidhi ¯* her name is Maujñak¯ ¯ı (D 1516, 28v2).

<sup>194</sup> However, the available texts do not specify what their colors are.

<sup>195</sup> The Eight Mothers can be called by different names, and their locations in a man. d. ala are not uniform. The *Vajrad. aka ¯* , Chapter 19 (Skt ed., (Sugiki 2016b)), and the *D. ak¯ ar¯ n. ava*, Chapter 50.8 (Skt ed., (Sugiki 2018b)), all address the man. d. ala of the Eight Mothers. They are named and located as follows: Var¯ ah¯ ¯ı (E), Sa´ m. kar¯ı or Siv ´ a (S), Kaum ¯ ar¯ ¯ı (W), Camu ¯ n. d. a or C ¯ amu ¯ n. d. ¯ı (N), Brahma¯n. ¯ı (NE), Gan. e´s¯ı or Gan. e´sa (SE), Huta´san ¯ ¯ı or Vais.n. av¯ı (SW), and Indr¯ı (NW). See (Sugiki 2018b, p. 52).


**Table 4.** Eight d. akin ¯ ¯ıs at four gates and four corners on the Earth Circle.

The **eight charnel grounds**, **trees**, **female direction-guardians** (*lokapalin ¯ ¯ı*), **female serpents** (*nagin ¯ ¯ı*), and **female clouds** (*meghin¯ı*) outside the four gates are shown in Table 5. These direction-guardians, serpents, and clouds are roughly female forms of the direction-guardians, serpent kings, and cloud kings on the Merit Circle as shown in Table 3 above. Individual names of the female serpents and female clouds are not specified in the available sources.


**Table 5.** Eight charnel grounds and others outside the four gates on the Earth Circle.

<sup>196</sup> The third and fourth charnel grounds are Mahabhayabhaya ¯ m. kara and Raudra´sma´sanaka, respectively, ¯ in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 14v7).

<sup>197</sup> The deity in the west is \*Varun. ¯ı according to the Tibetan translation (*chu mo*) and Jayasena's *Ratnapadmaraganidhi ¯* (*chu mo*, D 24v6). The protector deity in the west is more generally Varun. a than Rudra.

#### **4.3. The Third** *Sam. bhoga* **(Enjoyment) Layer (15.152–194)**

The *Sam. bhoga* or Enjoyment Layer encircles the *Dharma* Layer and comprises three circles (the Fire, Water, and Knowledge Circles) arranged in a concentric fashion.

#### *4.3.1. The Fire Circle (agnicakra) (15.152–165)*

The Fire Circle comprises d. akin ¯ ¯ıs and heroes who are gods or spirits (1)–(4) or deifications of human kin members (5)–(36).<sup>198</sup> The thirty-six d. akin ¯ ¯ıs (collectively called "Sky-goer," *khecar¯ı*), who are seen copulating with their consort heroes, are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.153c–160). Ten of the thirty-six d. akin ¯ ¯ıs are similar to the ten kinswomen, whom laymen (*gr.hin* or *gr.havasin ¯* ) give to their teacher for their initiation ritual (*seka*), as taught in the *Kalacakra ¯* 's fundamental tantra (*mulatantra ¯* ) according to the *Vimalaprabha¯*. <sup>199</sup> The heroes are collectively called "Fire Heruka" (*jval¯ aheruka ¯* , 15.82a), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c–238a): ("Pitu," "matu," and bhr ¯ at¯ ay¯ a(¯ h. )" below are used as "pitur," "matur," and bhr ¯ atu¯ h. /-r,", respectively) (1) **Devin¯ı**, (2) **Nagin ¯ ¯ı**, (3) **Yaks. ¯ı**, (4) **Bhut¯ ¯ı**, (5) **Mat¯ a¯**, (6) **Bhary ¯ a¯**, (7) **Bhagin¯ı**, (8) **Duhita¯**, (9) **Bhagineyik ¯ a¯**, (10) **Pitu Bhagin¯ı**, (11) **Matulasya Bh ¯ aryak ¯ a¯**, (12) **Bhary ¯ abhagin ¯ ¯ı**, (13) **Bhary ¯ am¯ at¯ a¯**, (14) **Bhary ¯ apitur M ¯ atr ¯ .ka¯**, (15) **Bhary ¯ apit ¯ amah ¯ ¯ı**, (16) **Matu M ¯ at¯ a¯**, (17) **Bandhav ¯ ¯ı**, (18) **Matu Bhagin ¯ ¯ı**, (19) **Matu Bh ¯ agineyik ¯ a¯**, (20) **Svamatu M ¯ at¯ a¯**, (21) **Svamatu¯ Bhagin¯ı**, (22) **Svamatu Bh ¯ aginey ¯ ¯ı**, (23) **Svamatu Putrik ¯ a¯** or **Bhaginey ¯ ¯ıputrika¯**, (24) **Pitur Mat¯ a¯**, (25) **Pitamah ¯ ¯ı**, (26) **Pitulasya** (for Pitr.vyasya) **Bharyak ¯ a¯**, (27) **Duhitaputrabh ¯ ary ¯ a¯**, (28) **Bhary ¯ ay¯ a Bhagin ¯ ¯ı**, (29) **Svapitur Bhagin¯ı**, (30) **Svapitur Putr¯ı**, (31) **Svapitur Svagotraja¯**, (32) **Bhrat¯ ay¯ a Bh ¯ ary ¯ a¯**, (33) **Bhrat¯ ay¯ ah¯ . Putr¯ı**, (34)

<sup>198</sup> Many tantras mention kinswomen (such as mother and sister) to indicate particular female spiritual beings and the practitioners' female partners. In Buddhism, the *Subahuparip ¯ r. ccha¯* presents one of the oldest examples of this kind of instruction (D 805, 130b5–b6), in which Yaks. ¯ıs (female spiritual beings) are expressed by the words *ma* ("mother"), *sgyug mo* ("mother-in-law"), *sru mo* ("maternal aunt"), *grogs mo* ("female friend"), *bu mo* ("daughter"), *chung ma* ("wife"), and *mna' ma* ("daughter-in-law"). The *Hevajratantra* (Skt ed. (Snellgrove 1959), II.5.59) mentions the eight kinswomen that a practitioner should worship (*janan¯ı*, *bhagin¯ı*, *duhitr.* , *bhagineyik ¯ a¯*, *matulasya bh ¯ ary ¯ a¯*, *mat¯ r. bhagin¯ı*, *svasr. ka¯*, and *pitur bhagin¯ı*). They are similar to (5), (7), (8), (9), (11), (18), (35), and (10), respectively, in the *D. ak¯ ar¯ n. ava* described below. The text, which is more similar to the *D. ak¯ ar¯ n. ava* than those mentioned above, can be found in the *Vimalaprabha¯*, which is noted below.

<sup>199</sup> *Vimalaprabha¯*, Skt ed. (Dwivedi 1994), p. 105, l. 1–l. 14 (a commentary on the *Kalacakra ¯* , 3.9). The ten kinswomen in the *Kalacakra ¯* 's fundamental tantra are: (1) *bhaginey ¯ a¯* ("sister's daughter"), (2) *duhitr¯ı* ("daughter"), (3) *bhagin¯ı* ("sister"), (4) *janan¯ı* ("mother"), (5) *bhary ¯ ay¯ a janan ¯ ¯ı* ("wife's mother"), (6) *matulasya a ¯ ngan ˙ a¯* ("maternal uncle's kinswoman"), (7) *pitur bhratus bh ¯ ary ¯ a¯* ("father's brother's wife"), (8) *bhagin¯ı janakasya* ("father's sister"), (9) *svamatur bhagin ¯ ¯ı* ("one's own mother's sister"), and (10) *svabhary ¯ a¯* ("one's own wife"). They correspond to d. akin ¯ ¯ıs (9), (8), (7), (5), (13), (11), (32), (10), (21), and (6), respectively, in the *D. ak¯ arn ¯ . ava*.

#### **Bhrat¯ ay¯ ah¯ . Putrasya Bharyak ¯ a¯**, (35) **Duhitay¯ a Bhartr ¯ .matuh ¯ . Putrasya Svasr.ka¯**, and (36) **Duhitaputr ¯ ¯ı**. 200

These d. akin ¯ ¯ıs and heroes and the Fire Circle are red in color. Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Crossed-vajras (*vi´svavajra*) are arranged in a circular pattern on the Fire Circle (15.22c).

#### *4.3.2. The Water Circle (jala-/udakacakra) (15.166–176)*

The Water Circle comprises d. akin ¯ ¯ıs and heroes who are anthropomorphized creatures living in water, wet places, or places near water. Twelve deities are similar to twelve of the thirty-six female deities taught in the *Kalacakra ¯* (and *Vimalaprabha¯*)

<sup>200</sup> I consider that this is the most natural and reasonable reading of the text. However, Jayasena's *Ratnapadmaraganidhi ¯* and Ratnasena's *Man. d. alarcanavidhi ¯* present different readings in several parts. According to Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 28v6–29r7), the d. akin ¯ ¯ıs' names are as follows: (1) **Dev¯ı**, (2) **Nag¯ ¯ı**, (3) **Yaks. in. ¯ı**, (4) **Bhutin ¯ ¯ı**, (5) **Mat¯ a¯** ("mother"), (6) **Bhary ¯ a¯** ("wife"), (7) **Bhagin¯ı** ("sister"), (8) **Duhita¯** ("daughter"), (9) **Bhagineyik ¯ a¯** ("sister's daughter"), (10) **Pitur Bhagin¯ı** ("father's sister"), (11) **Sa ca M ¯ atulasya Bh ¯ aryak ¯ ¯ı** ("and maternal uncle's that wife"), (12) **Bhary ¯ abhagin ¯ ¯ı** ("wife's sister"), (13) **Bhary ¯ am¯ at¯ a¯** ("wife's mother"), (14) **Tasyaiva Pitur Matr ¯ .k¯ı** ("her [viz., wife's] father's mother"; tasyaiva is tasya eva), (15) ¯ **Bhary ¯ apit ¯ amah ¯ ¯ı** ("wife's paternal grandmother"), (16) **Matur M ¯ at¯ a¯** ("mother's mother"), (17) **Bandhav ¯ ¯ı** ("female relative"), (18) **Matur Bhagin ¯ ¯ı** ("mother's sister"), (19) **Bhagineyik ¯ a¯** ("sister's daughter"), (20) **Svamatur M ¯ at¯ abhagin ¯ ¯ı** ("one's own mother's mother's sister"), (21) **Bhaginey ¯ ¯ı** ("sister's daughter"). (22) **Asya Putrika¯** ("her [viz., sister's daughter's] daughter"; asya is asya¯h. ), (23) **Pitur Mat¯ a¯** ("father's mother"), (24) **Pitamah ¯ ¯ı** ("paternal grandmother"), (25) **Pitulasya Bharyak ¯ ¯ı** ("paternal uncle's wife"), (26) **Duhitaputrabh ¯ ary ¯ ¯ı** ("daughter's son's wife"), (27) **Bhary ¯ ay¯ a Bhagin ¯ ¯ı** ("wife's sister"), (28) **Svapitur Bhagin¯ı** ("one's own father's sister"), (29) **Putr¯ı** ("[one's own father's] daughter"), (30) **Tasyaiva tu Svagotraj¯ı** ("that same one's [viz., one's own father's] own kinswoman"), (31) **Bhrat¯ ay¯ a Bh ¯ ary ¯ a¯** ("brother's wife"; bhrat¯ ay¯ a[¯ h. ] is bhratur), (32) ¯ **Putr¯ı** ("[brother's] daughter"), (33) **Putrasyaiva tu Bharyak ¯ ¯ı** ("the same son's wife"), (34) **Duhitay¯ a Bhartr ¯ .matuh ¯ . Putrasyaiva Svasr.ka¯** ("daughter's husband's mother's same son's sister"), (35) **Duhita¯** ("daughter"), and (36) **Putr¯ı** ("daughter"). According to Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 15r2–v5), the d. akin ¯ ¯ıs' names are as follows: (1) **Devin¯ı**, (2) **Nagin ¯ ¯ı**, (3) **Yaks. ¯ı**, (4) **Bhut¯ ¯ı**, (5) **Mat¯ a¯** ("mother"), (6) **Bhary ¯ a¯** ("wife"), (7) **Bhagin¯ı** ("sister"), (8) **Duhita¯** ("daughter"), (9) **Bhagineyik ¯ a¯** ("sister's daughter"), (10) **Pitur Bhagin¯ı** ("father's sister"), (11) **Matulabh ¯ aryak ¯ a¯** ("maternal uncle's wife"), (12) **Bhary ¯ abhagin ¯ ¯ı** ("wife's sister"), (13) **Bhary ¯ am¯ at¯ a¯** ("wife's mother"), (14) **Bhary ¯ apitur M ¯ atr ¯ .ka¯** ("wife's father's mother"), (15) **Bhary ¯ apit ¯ amah ¯ ¯ı** ("wife's paternal grandmother"), (16) **Matur M ¯ at¯ a¯** ("mother's mother"), (17) **Bandhav ¯ ¯ı** ("female relative"), (18) **Matur Bhagin ¯ ¯ı** ("mother's sister"), (19) **Bhagineyik ¯ a¯** ("sister's daughter"), (20) **Svamatur M ¯ at¯ a¯** ("one's own mother's mother"), (21) **Svabhagin¯ı** ("one's own sister"), (22) **Svabhaginey ¯ ¯ı** ("one's own sister's daughter"), (23) **Bhaginey ¯ ¯ıputrika¯** ("sister's daughter's daughter"), (24) **Pitur Mat¯ a¯** ("father's mother"), (25) **Pitamah ¯ ¯ı** ("paternal grandmother"), (26) **Pitulasya Bharyak ¯ a¯** ("paternal uncle's wife"), (27) **Duhita¯** ("daughter"), (28) **Putrabhary ¯ a¯** ("son's wife"), (29) **Bhary ¯ abhagin ¯ ¯ı** ("wife's sister"), (30) **Pitur Bhagin¯ı** ("father's sister"), (31) **Pituh. Putr¯ı** ("father's daughter"), (32) **Bhratr ¯ a Bh ¯ ary ¯ a¯** ("brother's wife"), (33) **Bhratr ¯ a Putr ¯ ¯ı** ("brother's daughter"), (34) **Bhratr ¯ a Putrasya Bh ¯ ary ¯ ¯ı** ("brother's son's wife"), (35) **Duhitay¯ a Bhartur ¯ Mat¯ a¯** ("daughter's husband's mother")**,** (36) **Putrasvasr.ka¯** ("son's sister"), and (37) **Duhitaputr ¯ ¯ı** ("daughter's daughter"). As above, the text mentions the names of thirty-seven d. akin ¯ ¯ıs. Part of the text has perhaps been corrupted.

and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, <sup>201</sup> who are transformed into creatures living on the ground (*bhucar ¯ ¯ı* or "ground-goers") according to the *Kalacakra ¯* and the dry-land, water, and forest creatures (*sthalacarajalacaravanacara*) according to the *Laghutantrat. ¯ıka¯*. The thirty-six d. akin ¯ ¯ıs are seen copulating with their consort heroes on the Water Circle, and are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.167–170b). The heroes are collectively called "Water Heruka" (*dravaheruka*, 15.82b), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Makar¯ı**, (2) **Kurm¯ ¯ı**, (3) **Maccha¯** (for Matsya), (4) ¯ **Ving˙ ¯ı** (for Vyang˙ ¯ı), (5) **Kacchap¯ı**, (6) **Od. rika¯**, (7) **Suc¯ ¯ı**, (8) **Gaggar¯ı** (for Gargar¯ı), (9) **M¯ıl¯ı** (perhaps a corruption of S¯ıl¯ı = S´¯ıl¯ı or Sil ´ ¯ı),<sup>202</sup> (10) **Jalaguha¯**, (11) **K¯ıt . ¯ımukha¯**, (12) **Phad. ing˙ ¯ı**, (13) **Karkat . ¯ı**, (14) **Suy¯ ¯ı**, (15) **Mus¯ . ika¯**, (16) **Pippat . ¯ımukha¯** (for Pip¯ılamukha), ¯ <sup>203</sup> (17) **Jalanar¯ ¯ı**, (18) **Vad. av¯ı**, (19) **Dantin¯ı**, (20) **Vyaghr ¯ ¯ı**, <sup>204</sup> (21) **Jambuk¯ı**, (22) **Jalah¯ ¯ı**, (23) **Sa´ nkh ˙ a¯**, (24) **Kapard¯ı**, (25) **Muktik¯ı**, (26) **Man. ¯ı**, <sup>205</sup> (27) **Jingur ˙ ¯ı**, <sup>206</sup> (28) **L¯ıs¯ı**, (29) **Durddur¯ı** (perhaps for Dardur¯ı),<sup>207</sup> (30) **Karn. at¯ . ¯ı**, <sup>208</sup> (31) **Phat¯ . ak¯ı** (perhaps for Spha¯t.ak¯ı), (32) **Davak ¯** ¯ı, (33) **Kr.m¯ı**, (34) **Jus.ujus. ¯ı**, <sup>209</sup> (35) **Dam. ´sak¯ı**, and (36) **Kala¯**. 210

These d. akin ¯ ¯ıs and heroes and the Water Circle are white in color. Alternatively, the d. akin ¯ ¯ıs and heroes have varying body colors.<sup>211</sup> Except for the body color and

<sup>201</sup> *Kalacakra ¯* , Skt ed. (Dwivedi 1994), 3.149–150, and Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, Skt ed. (Cicuzza 2001), p. 70, l. 1–l. 15. These female deities are called "pledge-females" (*samaya¯*) in the *Kalacakra ¯* and "pledge-goddesses" (*samayadevat¯ı*) in the *Laghutantrat. ¯ıka¯*. Their correspondence is shown below: ("D. (1)" means the first deity in the *D. ak¯ arn ¯ . ava*; "K (15)," the fifteenth deity in the list of ground creatures in the *Kalacakra ¯* ; and "L (25)," the twenty-fifth deity in the list of dry-land, water, and forest creatures in the *Laghutantrat. ¯ıka¯*): Makar¯ı in D. (1) corresponds to Makara in K (15) and Makar¯ı in L (25); Kurm¯ ¯ı in D. (2) to Kurma in K (17) and K ¯ urm¯ ¯ı in L (27); Maccha in ¯ D. (3) to Jhas. a in K (14) and Mats¯ı in L (24); Od. rika in ¯ D. (6) to Udra in K (25) and Udr¯ı in L (19); Karkat. ¯ı in D. (13) to Kul¯ıra in K (13) and Karkat. ¯ı in L (23); Mu¯ s. ika in ¯ D. (15) to Akhu in K (30) and M ¯ u¯ s. ak¯ı in L (30); Dantin¯ı in D. (19) perhaps to Hastin in K (4) and Hastin¯ı in L (3); Vyaghr ¯ ¯ı in D. (20) to Vyaghra in K (20) and Vy ¯ aghr ¯ ¯ı in L (14); Jambuk¯ı in D. (21) to Jambuka in K (24) and Jambuk¯ı in L (18); Sam. kha in ¯ D. (23) to Sa´ nkha in K (18) and ˙ Sa´ nkhin ˙ ¯ı in L (28); Kapard¯ı in D. (24) to Kapardika in L (22); and Dardur ¯ ¯ı in D. (29) to Dardura in K (16) and Dardur¯ı in L (26). The lists of the thirty-six female deities in the *Kalacakra ¯* and the *Laghutantrat. ¯ıka¯* mentioned above are quite similar. The *D. ak¯ ar¯ n. ava*'s list is slightly more similar to the *Laghutantrat. ¯ıka¯*'s than to the *Kalacakra ¯* 's.

<sup>202</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , her name is Sil ´ ¯ı (D 1516, 29v2).

<sup>203</sup> She is named Pippat. imukh¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 29v4).

<sup>204</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is Vyaghrajambuk ¯ ¯ı (Skt ms. NGMPP B24/52, 16r3): it does not separate Vyaghr ¯ ¯ı from Jambuk¯ı.

<sup>205</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is Man. ijingul ˙ ¯ı (Skt ms. NGMPP B24/52, 16r4): it does not separate Man. ¯ı from Jingur ˙ ¯ı.

<sup>206</sup> In Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 29v6), she is Jigur¯ı.

<sup>207</sup> In Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 29v7), she is Duddur¯ı.

<sup>208</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , (D 1516, 29v7) she is Karn. ot. ¯ı.

<sup>209</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , (D 1516, 30r1) she is Jus. ijus. ¯ı.

<sup>210</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , Kala (or Kal ¯ ¯ı) is the thirty-fourth goddess; the thirty-fifth and thirty-sixth goddesses are Devata (or Devat ¯ ¯ı) and Nayak ¯ ¯ı (Skt ms. 16r6–r7), respectively.

<sup>211</sup> However, the available texts do not specify their colors.

face, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Their faces are in line with their respective names. Skull bowls (*kapala ¯* ) are arranged in a circular pattern on the Water Circle (15.22c).

#### *4.3.3. The Knowledge Circle (jñanacakra) (15.177–193) ¯*

The Knowledge Circle comprises d. akin ¯ ¯ıs and heroes belonging to the asura clan. They are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.178–182b). The first female asura is the well-known apsaras (celestial nymph), Tilottama. Some of the female asuras' names (7–9) are ¯ derived from the classes of women or magical female beings (*padmin¯ı*, *´sankhin ˙ ¯ı*, and *citrin. ¯ı*) that can be found widely in both Saiva and Buddhist Tantric texts. The ´ heroes are collectively called "Knowledge Heruka" (*jñanaheruka ¯* , 15.82c), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Tilottama¯**, (2) **Atisukha¯**, (3) **Apsarasa¯**, (4) **Maharat ¯ a¯**, (5) **Rat**¯ı,<sup>212</sup> (6) **Ratakhy ¯ a¯**, 213 (7) **Padmin¯ı**, (8) **Sa´ nkhin ˙ ¯ı**, (9) **Citrin. ¯ı**, (10) **Gaja¯**, <sup>214</sup> (11) **Mahar¯ up¯ a¯**, (12) **Surup¯ a¯**, (13) **Kant ¯ ¯ı**, (14) **Vilasin ¯ ¯ı**, (15) **Sukha¯**, (16) **Pus.pakam¯ ¯ı**, (17) **Kumud¯ı**, (18) **N¯ılotpala¯**, (19) **Sundar¯ı**, (20) **Rag¯ a¯**, (21) **Mahar¯ ag¯ a¯**, (22) **Ram¯ akhy ¯ a¯**, (23) **Mahar¯ amak ¯ ¯ı**, (24) **Madana¯**, (25) **Madanapriya¯**, (26) **Kamin ¯ ¯ı**, (27) **Mahak¯ amik ¯ a¯**, <sup>215</sup> (28) **Sukhodbhava¯**, (29) **Sukhamat¯ı**, (30) **Priyatama¯**, (31) **Premaka¯**, (32) **Saubhagyamat ¯ ¯ı**, (33) **Saubhagy ¯ a¯**, (34) **Men. uka¯**, (35) **Pradyumukh¯ı**, <sup>216</sup> and (36) **Jatir ¯ up¯ ¯ı**.

These d. akin ¯ ¯ıs and heroes and the Knowledge Circle are multicolored. Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Hairless heads (*mun. d. a*) are arranged in a circular pattern on the Knowledge Circle (15.22d).

The Knowledge Circle also contains the four gates, eight charnel grounds, and some others shown in Table 7, in addition to the thirty-six couples of d. akin ¯ ¯ıs and heroes described above. The Knowledge Circle has a three-layer structure: the inner ground, on which the thirty-six pairs of d. akin ¯ ¯ıs and heroes reside; the middle ground, on which the four gates are placed; and the outer ground, on which the eight charnel grounds exist. All these constitute the Knowledge Circle.

The eight d. akin ¯ ¯ıs at the **four gates** and **four corners** are presented in Table 6. They are the Eight Yogin¯ıs from the Hevajra tradition. The eight d. akin ¯ ¯ıs at the four gates and four corners have the same physical form (except for the face) and marks

<sup>212</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is Ratirata (or Ravinabh ¯ a) (Skt ms. NGMPP B24/52, 16v2). ¯

<sup>213</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is Akhy ¯ a (Skt ms. NGMPP B24/52, 16v2). ¯

<sup>214</sup> She is Gajin¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 30r4).

<sup>215</sup> She is Mahakamin¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 30r7–v1).

<sup>216</sup> In Jayasena's *Ratnapadmaraganidhi ¯* , her name is Pradyumnak¯ı (D 1516, 30v2).

as the eight d. akin ¯ ¯ıs at the four gates and four corners on the Merit Circle (Kak¯ asy ¯ a¯ and so on).

**Table 6.** Eight d. akin ¯ ¯ıs at four gates and four corners on the Knowledge Circle.


The **eight charnel grounds**, **trees**, and **direction-guardians** outside the four gates are shown in Table 7. The first four charnel grounds are similar to the four charnel grounds found in Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*. <sup>217</sup> The direction-guardians are planets. Unlike the Merit and the Earth Circles, serpents and clouds are not mentioned.

**Table 7.** Eight charnel grounds and others outside the four gates on the Knowledge Circle.


#### **4.4. The Fourth** *Nirman¯ . a* **(Emanation) Layer (15.195–260)**

The *Nirma¯n. a* or Emanation Layer encircles the *Sam. bhoga* Layer and consists of three circles (viz., the Mind, Speech, and Body Circles) arranged in a concentric manner.

<sup>217</sup> Vajrapa¯n. i's *Laghutantrat. ¯ıka¯*, Skt ed. (Cicuzza 2001), p. 74, l. 27–p. 75, l. 4. Those similar charnel grounds are Balam ¯ r. tyu, Sarpadam. ´sa, Ghorayuddha, and Ucchis. t.a. However, they are located in the northeast, northwest, southwest, and southeast directions. In the *Laghutantrat. ¯ıka¯*, the four charnel grounds in the four cardinal directions are S´ulabheda, ¯ Savadahana, P ´ utigandha, and Klinnagandha, ¯ which are different from the charnel grounds in the *D. ak¯ arn ¯ . ava*.

<sup>218</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , the east, north, west, and south charnel grounds are Bala, M ¯ r. tyu, Ves. t.a, and Bhaks. a, respectively, and the southeast, southwest, northwest, and northeast are Ghora, Yuddha, Savada, and Sava, respectively (Skt ms. NGMPP B24/52, 17r4–r5).

#### *4.4.1. The Mind Circle (cittacakra) (15.195–205)*

The Mind Circle consists of d. akin ¯ ¯ıs and heroes who are anthropomorphizations of unwholesome states of being. The thirty-six d. akin ¯ ¯ıs, who are seen copulating with their consort heroes, are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.196–200b). The heroes are collectively called "Mind Heruka" (*cittaheruka*, 15.82d), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Nagin ¯ ¯ı**, (2) **Yaks. in. ¯ı**, (3) **Bhut¯ ¯ı**, <sup>219</sup> (4) **Pret¯ı**, (5) **Narak ¯ ¯ı**, (6) **Av¯ıci**, (7) **Patak ¯ ¯ı**, (8) **Anantar¯ı**, (9) **Kumbh¯ı**, (10) **Yamastr¯ı**, <sup>220</sup> (11) **Kalas ¯ utr ¯ ¯ı**, (12) **Kukul¯ ¯ı**, (13) **Tapan¯ı**, (14) **Pratapan ¯ ¯ı**, (15) **Raurav¯ı**, (16) **Maharaurav ¯ ¯ı**, (17) **Tailapak¯ ¯ı**, <sup>221</sup> (18) **Dviparvat¯ı**, (19) **Dves. ¯ı**, (20) **Moh¯ı,** (21) **¯Irs.ya¯**, (22) **Rag¯ ¯ı**, (23) **Madamatsar¯ı**, <sup>222</sup> (24) **Sutik ¯ a¯**, <sup>223</sup> (25) **S´¯ıtak¯ı**, (26) **Asivan¯ı**, (27) **Krandan¯ı**, (28) **Durbhiks. aka¯**, (29) **Rogakant ¯ ar¯ ¯ı**, (30) **Sastr ´ a¯** (for **Sastrak ´ ant ¯ ar¯ ¯ı**), (31) **Pan¯ ¯ıyakant ¯ ar¯ ¯ı**, <sup>224</sup> (32) **Asinakh¯ı**, (33) **Vaitaran. ¯ı**, (34) **Ks.uradhar¯ ¯ı**, (35) **Cakrika¯**, 225 and (36) **Kumbhan¯ . d. ¯ı**.

Of these, deities (1)–(4), (10), and (36) represent demons and ghosts; deities (5)–(6), (9)–(18), and (25)–(35) represent hells, calamities, and negative feelings related to them; deities (7)–(8) and (24) represent sins and impurity; and deities (19)–(23) represent unwholesome states of mind. Many of them represent hells. Hells (6), (11)–(16), (26), (33), and (34) correspond to the hells mentioned in the *Abhidharmako´sa*. 226

These d. akin ¯ ¯ıs and heroes and the Mind Circle are in black, which is similar to the color of the Mind Circle of the fivefold Heruka man. d. ala (*n¯ıla* or dark blue).<sup>227</sup> Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Skeletons (*kank˙ ala ¯* ) are arranged in a circular pattern on the Mind Circle (15.22d).

<sup>219</sup> Her name is Bhutini in Jayasena's ¯ *Ratnapadmaraganidhi ¯* (D 1516, 30v4).

<sup>220</sup> Alternatively, Yamastriya (nominative and not instrumental). Her name is Yamastriy ¯ a according ¯ to her mantra (*yamastriyayai ¯* ) incorporated in Jayasena's *Ratnapadmaraganidhi ¯* and Ratnasena's *Man. d. alarcanavidhi ¯* .

<sup>221</sup> She is Tailapac¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 31r1) and Tailapat¯ ¯ı or Tailapat¯ a in ¯ Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 17v2 and 30r5-r6, which derives from manuscripts AB's reading).

<sup>222</sup> She is Madamanas ¯ ar¯ ¯ı ("loss of control and high pride") in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 31r2).

<sup>223</sup> She is Sutrik ¯ a ("thread") in Jayasena's ¯ *Ratnapadmaraganidhi ¯* (D 1516, 31r2).

<sup>224</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , they are two separate goddesses, Pan¯ ¯ıya (or P ¯ an¯ ¯ı) and Kant ¯ arik ¯ a (or ¯ Kant ¯ arak ¯ ¯ı) (Skt ms. NGMPP B24/52, 17v5 and v6).

<sup>225</sup> Cakrika is not considered a goddess in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* .

<sup>226</sup> *Abhidharmako´sakarik ¯ a¯*, Skt ed. (Pradhan 1967), 3.1 and 3.58–59 and its *Bha¯s.y*a, Skt ed. (Pradhan 1967), p. 111, l. 11–l. 12, p. 161, l. 1, p. 163. l. 20, and p. 164, l. 6.

<sup>227</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (f).

#### *4.4.2. The Speech Circle (vakcakra) (15.206–215) ¯*

The Speech Circle consists of d. akin ¯ ¯ıs and heroes who are anthropomor-phizations of various states of mind, equated with Jñana ¯ d. akin ¯ ¯ı and other deities taught in the *Catus.p¯ıt.ha*. <sup>228</sup> The thirty-six d. akin ¯ ¯ıs are seen copulating with their consort heroes on the Speech Circle, and are presented below. Their names are annotated and translated into English in Chapters 5 and 6 (see 15.207–210). Except for the names ending with -cinta, the female endings ¯ *a¯* and *¯ı* of their names imply the word -cinta or -cint ¯ ¯ı ("considering,", e.g., Puj ¯ a is ¯ Puj ¯ acint ¯ a, and Bhak ¯ s. a is Bhak ¯ s. acinta). The heroes are collectively called "Speech ¯ Heruka" (*vak-heru ¯* , 15.83a), and their individual names are masculine forms of their consort D. akin ¯ ¯ıs' names (15.237c–238a): (1) **Puj¯ a¯**, (2) **Bhaks. a¯**, (3) **Nidra¯**, (4) **Alasy ¯ a¯**, (5) **Dharmacinta¯**, (6) **Bhavan ¯ a¯**, (7) **Gr.hacinta¯**, (8) **Str¯ıcinta¯**, (9) **Arthacinta¯**, (10) **Viyogaka¯**, (11) **Putracinta¯**, (12) **Abhi´soka¯**, <sup>229</sup> (13) **Dhyan¯ a¯**, (14) **Mantrajapik ¯ a¯**, (15) **Hr¯ıka¯**, (16) **Man¯ a¯**, <sup>230</sup> (17) **Sam. tap¯ a¯**, (18) **Sattvarthakarun ¯ . odyama¯**, <sup>231</sup> (19) **Rajacint ¯ a¯**, (20) **Paradroha¯**, (21) **Jñanal ¯ abh ¯ a¯**, (22) **Tapasvin¯ı**, (23) **Jara¯**, (24) **Maran. acinta¯**, (25) **Sukha¯**, (26) **Duh. kha¯**, (27) **A´subha¯**, (28) **Asti**, (29) **Nastik ¯ a¯**, (30) **Gurucinta¯**, (31) **Gamanika¯**, (32) **Ks. ema¯**, (33) **Aks. ema¯**, (34) **Sr´ ant ¯ a¯**, (35) **Vi´srant ¯ a¯**, and (36) **Bubhuks. ita¯**.

These d. akin ¯ ¯ıs and heroes and the Speech Circle are colored red like a madder (*raktamañji ¯ s. t.ha*), which is similar to the color of the Speech Circle of the fivefold Heruka man. d. ala (*rakta* or red).<sup>232</sup> Except for body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. Nooses (*pa´sa ¯* ) are arranged in a circular pattern on the Speech Circle (15.23a).

<sup>228</sup> This perhaps indicates the thirteen deities (and not thirty-six deities) constituting Jñana ¯ d. akin ¯ ¯ı's man. d. ala, which is expounded in the *Catus.p¯ıt.ha*, Skt ed., 2.3. They are: (1) Jñana ¯ d. akin ¯ ¯ı, (2) Vajrad. akin ¯ ¯ı or Vajr¯ı, (3) Ghorad. akin ¯ ¯ı or Ghor¯ı, (4) Vettal¯ ¯ı, (5) Ca¯n. d. al¯ ¯ı or Can. d. al¯ ¯ı, (6) Sim. gh¯ı or Sim. h¯ı, (7) Vyaghr ¯ ¯ı, (8) Jambuk¯ı, (9) Lukik ¯ a or Ul ¯ uk¯ ¯ı, (10) Raudr¯ı or D. akin ¯ ¯ı, (11) D¯ıpin¯ı, (12) Cu¯ s. in. ¯ı, and (13) Kamboj ¯ ¯ı or Kamboj¯ı.

<sup>229</sup> She is Sok ´ a according to the Tibetan translation ( ¯ *mya ngan ma*), Sokacint ´ ¯ı in Jayasena's *Ratnapadmaraganidhi ¯* (D 1516, 31v1), and Bhiks.oka in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 18r3).

<sup>230</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is Manasa ¯ m. tap¯ a: it does not divide M ¯ an¯ a from Sa ¯ m. tap¯ a (Skt ¯ ms. NGMPP B24/52, 18r4).

<sup>231</sup> Her name is Sattvarthakara ¯ n. odyama in Jayasena's ¯ *Ratnapadmaraganidhi ¯* (D 1516, 18v1 and 31v2), which is in accordance with the Tibetan translation of the *D. ak¯ ar¯ n. ava* (*sems can don byed brtson ma*). Ratnasena's *Man. d. alarcanavidhi ¯* divides *sattvartha ¯* from *karun. odyama¯*: these are two goddesses, Sattvarth ¯ a and ¯ Karun. odyama (or Karun ¯ . ottama) (Skt ms. NGMPP B24/52, 18r4). ¯

<sup>232</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (g).

#### *4.4.3. The Body Circle (kayacakra) (15.216–259) ¯*

The Body Circle consists of d. akin ¯ ¯ıs and heroes who are wheel-turning rulers (*cakravartin¯ı* and *cakravartin*) of the worlds such as heavens that constitute the Three Realms of Existence (*traidhatuka ¯* or equivalent, namely, Desire, Form, and Formless Realms [*kama- ¯* /*rupya- ¯* /*ar¯ upya-dh ¯ atu ¯* ]), i.e., one universe. The thirty-six d. akin ¯ ¯ıs who are seen copulating with their consort heroes are presented below. The heroes are collectively called "Body Heruka" (*kayika ¯ m.* , 15.83b), and their individual names are masculine forms of their consort d. akin ¯ ¯ıs' names (15.237c-238a): (1) **Caturmah ¯ ar¯ ajak ¯ ayik ¯ ¯ı**, (2) **Trayastrim ¯ . ´sacakravartin¯ı**, <sup>233</sup> (3) **Yam¯ ¯ı**, (4) **Tus. it¯ı**, (5) **Nirman¯ . aratay¯ı** (for Nirma¯n. arati), (6) **Paranirmitava´savartin¯ı**, (7) **Brahmakayik ¯ a¯**, (8) **Brahmapurohita¯**, (9) **Mahabrahm ¯ an¯ . avartin¯ı**, (10) **Par¯ıttabh ¯ a¯**, (11) **Apraman¯ . abh ¯ ¯ı**, (12) **Abh ¯ asur ¯ ¯ı**, (13) **Par¯ıtta´subh¯ı**, (14) **Apraman¯ . a´subh¯ı**, (15) **Subhakr ´ . tsna¯**, (16) **Anabhrak¯ı**, (17) **Pun. yaprasava¯**, (18) **Br.hatphalacakravartin¯ı**, (19) **Avr.h¯ı**, (20) **Atap¯ı**, (21) **Sudr. ´s¯ı**, (22) **Sudar´san¯ı**, (23) **Akanis. t .havartin¯ı**, (24) **Ak¯ a´s¯ ananty ¯ ayatan ¯ ¯ı**, (25) **Vijñan¯ ananty ¯ ayatan ¯ ¯ı**, (26) **Akim ¯ . canyayatan ¯ ¯ı**, (27) **Naivasam. jñan¯ asam ¯ . jñan¯ ¯ı** (*m.c.* for Naivasam. jñan¯ asa ¯ m. jñayatan ¯ ¯ı), (28) **Narak ¯ ¯ı**, (29) **Pretan¯ı** (*m.c.* for Pret¯ı), (30) **Tirya¯**, (31) **Nar¯ı**, (32) **Asur¯ı**, (33) **Vimanac ¯ arin ¯ . ¯ı**, (34) **Sa´sirav ´ ¯ı**, (35) **Yama¯**, and (36) **Indr¯ı**. 234

Of these, deities from (1) to (27) represent heavens and are arranged in ascending order: deities (1)–(6) are of the Desire Realm; deities (7)–(23) the Form Realm; and deities (24)–(27) the Formless Realm. Deities (28)–(33) represent the Six Paths of Reincarnation, namely, hell, ghost, beast, human, asura or demon, and god realms, in order. Deities (34)–(36) also represent celestial worlds, namely, Sa´sin and Ravi (the ´ moon and the sun), and Yama's and Indra's heavens in order.

These d. akin ¯ ¯ıs and heroes and the Body Circle are the color of body, speech, and mind (*kayav ¯ akcittavar ¯ n. akam*), which is a mixture of white, red, and black (roughly corresponding to the colors of the Body, Speech, and Mind Circles of the fivefold Heruka man. d. ala235), according to the *Bohita¯* and Ratnasena's *Man. d. alarcanavidhi ¯* . 236 Except for the body color, these d. akin ¯ ¯ıs and heroes have the same physical features and objects as the d. akin ¯ ¯ıs and heroes on the Adamantine Circle. On the Body Circle, hooks (*anku´sa ˙* ) are arranged in a circular pattern (15.23a).

The Body Circle also contains the four gates, eight charnel grounds, and some others shown in Table 9, addition to the thirty-six couples of d. akin ¯ ¯ıs and heroes described above. The Body Circle has a three-layer structure: the inner ground, on

<sup>233</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , she is not a single goddess, but instead, the word is separated into two, Trayastrim ¯ . ´sa and Cakravartin ¯ ¯ı (Skt ms. NGMPP B24/52, 18v2 and v3).

<sup>234</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , the thirty-sixth goddess is Yam¯ı (or Yama). It does not mention ¯ Indr¯ı (Skt ms. NGMPP B24/52, 31v6).

<sup>235</sup> Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* , Skt ed. (Sakurai 1998), 7 (f), (g), and (h).

<sup>236</sup> *Bohita¯* (D 1419, 148v1–v2) and Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 31v1–v2).

which the thirty-six pairs of d. akin ¯ ¯ıs and heroes reside; the middle ground, on which the four gates are placed; and the outer ground, on which the eight charnel grounds exist. All these constitute the Body Circle.

The eight d. akin ¯ ¯ıs at the **four gates** and **four corners** are shown in Table 8. The eight d. akin ¯ ¯ıs at the four gates and four corners have the same physical form (except for the face) and marks as the eight d. akin ¯ ¯ıs at the four gates and four corners on the Merit Circle (Kak¯ asy ¯ a and so on). The ¯ **eight charnel grounds**, **trees**, and female **hell-guardians** (*narakapal¯ a¯*) outside the four gates are presented in Table 9.

**Table 8.** Eight d. akin ¯ ¯ıs at the four gates and four corners on the Body Circle.


**Table 9.** Eight charnel grounds and others outside the four gates on the Body Circle.


#### **4.5. Inner Meanings of the Heruka Man. d. ala**

As described above, various classes of deities constitute the Heruka man. d. ala. Lord Heruka has physical features that extend from the physical features of Lord Heruka of the fivefold Heruka man. d. ala. The major deities on the lotus at the center are from the Sam. vara tradition; the Adamantine Circle consists mostly of the Sam. vara deities; the Heart Circle has the Guhyasamaja deities; the Merit Circle has human ¯ castes (partially similar to the *Kalacakra ¯* 's human castes) and gatekeeping Sam. vara

<sup>237</sup> It is Ardhadagdhaka in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 32v7).

<sup>238</sup> It is Ardhakhan. d. ika in Ratnasena's *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 33r1).

<sup>239</sup> In Ratnasena's *Man. d. alarcanavidhi ¯* , the four charnel grounds, Bh¯ıs. an. a, Bhayam. kara, S´ulabhinna, and ¯ Udbandhaka, are arranged in the four intermediate directions, starting with the southeast and clockwise in order (Skt ms. NGMPP B24/52, 33r1).

deities; the Space Circle has musical deities and instruments; the Wind Circle has birds (partially similar to the *Kalacakra ¯* 's birds as female deities); the Earth Circle has animals living on the ground (partially similar to the *Kalacakra ¯* 's animals on the ground as female deities) and gatekeeping Eight Mothers; the Fire Circle has human kin members (partially similar to the *Kalacakra ¯* 's human kinswomen as female partners for the initiation ritual); the Water Circle has water creatures (partially similar to the *Kalacakra ¯* 's water creatures as female deities); the Knowledge Circle has asuras and gatekeeping Hevajra deities; the Mind Circle has hells and some unwholesome states of being; the Speech Circle has various states of mind equated with the Catus.p¯ıt.ha deities; and the Body Circle has the Three Realms of Existence.

From these, it can be seen that the Heruka man. d. ala comprises deities from the Sam. vara, Guhyasamaja, Hevajra, and Catu ¯ s.p¯ıt.ha traditions and deities (some of whom are from the Kalacakra tradition) who are deifications or ¯ anthropomorphizations of the Six Realms of Reincarnation (gods, asuras, humans, beasts, ghosts, and hells) and the Three Realms of Existence, namely, the entire Buddhist cosmos. They are organized within the framework of the Sam. vara system: the major deities on the innermost circles are from the Sam. vara tradition. Each circle has thirty-six deities, which is the same number of coupled or single deities encircling Heruka on the fivefold Heruka man. d. ala of the Sam. vara tradition. The colors of the three innermost and three outermost circles are similar to the three colors of the Mind, Speech, and Body Circles in the fivefold Heruka man. d. ala.

The worldview of Buddhist Tantrism generally considers all existences as pure in nature. In the *D. ak¯ ar¯ n. ava* 15, the pure nature (*´suddhi*) of the Heruka man. d. ala is expressed by doctrinal concepts from various Buddhist traditions (which is a general mode of explaining the purity of the man. d. ala in Buddhist Tantrism). The outer circles (where there are the four gates and so on) of the four layers of the Heruka man. d. ala are decorated with two, three, four, and five lines (*rekha¯*). The two lines are colored black and dark blue; the three lines represent the body, speech, and mind aspects of the *dharma* (*kayav ¯ akcittadharma ¯* ); the four lines signify the Four Pleasures (*caturananda ¯* ); and the five lines mean the Fivefold Gnosis (*adar´s ¯ adi ¯* ) (15.94cd, 100cd–101a, 143c–144b, 184cd, 225c).<sup>240</sup> The Heruka man. d. ala also represents these Buddhist concepts,

<sup>240</sup> According to the *Ratnapadmaraganidhi ¯* (D 1516, 5v1-v2), the two lines represent the two currents of vital airs in the right and left inner channels; the three lines are colored dark blue, red, and white (which are same as the colors of the three lineages of the Buddhist deities, viz., the Vajra, Lotus, and Buddha lineages, respectively); the four lines are colored dark blue, yellow, red, and green (which are same as the colors of the four lineages, viz., the Vajra, Jewel, Lotus, and Action lineages, respectively); and the five lines are colored dark blue, yellow, red, green, white (which are colors of the five lineages, viz., the Vajra, Jewel, Lotus, Karma, and Buddha lineages, respectively).

namely, the Fourfold Body of the Buddha, the Four Modes of Birth,<sup>241</sup> the twelve classes of holy sites (such as the *p¯ıt.ha*),<sup>242</sup> the Twelve Levels (such as the *pramudita¯* or "Joyful" Level),<sup>243</sup> the Three Realms of Existence, and the seven continents (15.68c–70b, 79a, 80ab, 92–93a, 118cd–119, 130d–132, 139c–140, 161, 171c–172b, 183, 201ab, 202–203, 213cd, 224–225b, 241cd). They are shown in Table 10. All deities constituting the man. d. ala are equated with the 996 Victors (*jina*) or Buddhas during the Auspicious Eon (*bhadrakalpa*) (15.239). In Figures 1 and 2 shown previously, these Victors are depicted as independent deities seated between the circle of thirty-six pairs of heroes and d. akin ¯ ¯ıs and the circle of four gate and four corner d. akin ¯ ¯ıs on every outermost circle of the four layers (the Merit, Earth, Knowledge, and Body Circles). Perhaps this is the common means of expressing the state as the Victors of all deities constituting the man. d. ala in the painting. According to Jayasena's *Ratnapadmaraganidhi ¯* , in this system, the first 4 of the 1000 Victors are not counted; therefore, there are 996 Victors, with 249 Victors depicted in each of the four layers (249 × 4 = 996).<sup>244</sup>

<sup>241</sup> The spontaneously born, egg-born, moisture-born, and womb-born are assigned to the Four Layers in the order shown in Table 10. However, from a different perspective, it is also taught in the text that the deities on the Water Circle, who are water-creatures, are moisture-born, and that the deities on the Fire Circle, who are humans, are womb-born. (15.174–175b).

<sup>242</sup> The twelve classes of holy sites are the *p¯ıt.ha*, *upap¯ıt.ha*, *ks. etra*, *upaks. etra*, *chandoha*, *upacchandoha*, *melapaka ¯* , *upamelapaka ¯* , *´sma´sana ¯* , *upa´sma´sana ¯* , *p¯ılava*, and *upap¯ılava*. For details on how these twelve classes of holy sites are used in other Buddhist texts, see (Sugiki 2009, pp. 529–35). The order of these twelve classes in the *D. ak¯ arn ¯ . ava* is identical to that in the *Mahamudr ¯ at¯ . ilakatantra*, which is one of the latest scriptures among those belonging to the Hevajra scriptural tradition and which was composed earlier than the *D. ak¯ arn ¯ . ava*.

<sup>243</sup> The Twelve Levels (*dvada´sabh ¯ umi ¯* ) of bodhisattvas are as follows: Joyful (*pramudita¯*), Stainless (*vimala¯*), Luminous (*prabhakar ¯ ¯ı*), Radiance (*arcis.mat¯ı*), Hard-to-Conquer (*sudurjaya¯*), Immediacy (*abhimukh¯ı*), Far-Reaching (*dura ¯ m. gama¯*), Immovable (*acala¯*), Eminence (*sadhumat ¯ ¯ı*), Dharma-Cloud (*dharmamegha¯*), Universal Light (*samantaprabha¯*), and Conviction Practice (*adhimukticarya¯*).

<sup>244</sup> The *Ratnapadmaraganidhi ¯* , D 1516 9v4–v5. The first 4 of the 1000 Victors are Krakucchanda, Kanakamuni, Ka´syapa, and ¯ S´akyamuni. According to Jayasena, they are excluded because the ¯ first three, Krakucchanda, Kanakamuni, and Ka´syapa, are already liberated and because the fourth, ¯ S´akyamuni, is identical to (is present as the nature of) ¯ D. ak¯ ar¯ n. ava (Heruka), the central deity of the man. d. ala.


**Table 10.** Buddhist concepts represented in the Heruka Man. d. ala.

The thirteen circles (numbered (1)–(13)), a base component of the structure of this man. d. ala, are thus related to the twelve classes of holy sites and the Twelve Levels. The one-to-one correspondence between the twelve classes of holy sites and the Twelve Levels in the *D. ak¯ ar¯ n. ava* 15, as shown in Table 10, is more similar to that found in Abhayakaragupta's ¯ *Amn ¯ ayamañjar ¯ ¯ı* (a commentary on the *Sam. put. odbhava*) than to that found in the works of other major scholarly monks in India.<sup>246</sup>

The seven continents (simply mentioned in the *D. ak¯ ar¯ n. ava* as *dv¯ıpam. prathamakam.* , *dvit¯ıya-*, *tr. t¯ıya-*, *catur-* (*caturtha-*), *pañcama-*, *s. as. t.ha-*, and *saptama-dv¯ıpa*) are, according to the *Bohita¯*, *zla ba'i gling*, *dkar po'i gling*, *ku sha'i gling*, *mi'am ci'i gling*, *krung gi gling*, *drag po'i gling*, and *'jam bu'i gling*, respectively.<sup>247</sup> These are almost identical to the seven continents or *dv¯ıpa*s (*candra*, *sitabha ¯* , *varaparamaku´sa*, *kim. nara*, *krauñca*,

<sup>245</sup> "The spontaneously born" is not explicitly mentioned in the text. In Table 10, I have supplemented it because the other three modes of birth are taught.

<sup>246</sup> See (Sugiki 2009, p. 535). In his *Amn ¯ ayamañjar ¯ ¯ı*, Abhayakaragupta relates the ¯ *p¯ılava* (the twelfth) and the *upap¯ılava* (the thirteenth) to the "Conviction Practice" and the "Universal Light" Levels, respectively. This is the difference between the *D. ak¯ ar¯ n. ava* shown in Table 10 and the *Amn ¯ ayamañjar ¯ ¯ı*. The *Yogaratnamal¯ a¯* of Ka¯n. ha, the *Muktaval ¯ ¯ı* of Ratnakara´s ¯ anti, the ¯ *Sam. put. at. ilakatantrat. ¯ıka¯* of Indrabodhi, and the *P¯ıt.hadinirnaya ¯* of S´akyarak ¯ s. ita relate the twelve classes of holy sites to the Twelve Levels in different ways.

<sup>247</sup> *Bohita¯*, D 1419, 141r5, 142r5, 143v1, 143v6-v7, 144v1, 145r2, and 146r2.

*raudra*, and *jambu¯* in order) that are taught in the *Kalacakra ¯* , <sup>248</sup> and not the seven continents that are taught widely in the Hindu Pura¯n. ic and Tantric scriptures such as the *Vis.n. upuran¯ . a*.

Every class of holy site (the *p¯ıt.ha*, etc.) is inclusive of all twelve classes of holy sites. Similarly, every Level (the Joyful Level, etc.) is inclusive of all Twelve Levels, and every Realm (the Formless Realm, etc.) is inclusive of all Three Realms (15.69–70b). This way all circles, which have their own forms of pure nature, each have all forms of pure nature at the same time.

<sup>248</sup> *Kalacakra ¯* , Skt ed. (Dwivedi 1994), 1.16.
