**8. Jayasena's** *Ratnapadmaraganidhi ¯* **: Materials and Outline**

Jayasena's *Ratnapadmaraganidhi ¯* ("*Precious Ruby Treasury*") is a meditation manual for visualizing the man. d. ala of Heruka (also known as *D. ak¯ ar¯ n. ava* or Vajrad. aka) that was incorporated in the ¯ *D. ak¯ ar¯ n. ava* 15. As examined in Chapter 2 in this monograph, Jayasena composed it in the 12th century in Kathmandu in Nepal. It was translated into Tibetan by Dharma yon tan, a contemporary of Jayasena.

This chapter provides a critical edition of the Tibetan text of the *Ratnapadmaraganidhi ¯* , its English translation, and annotations. I have used the versions of the Tibetan text in D 1516 and P 2231 for editing and translating the *Ratnapadmaraganidhi ¯* . Of them, D 1516 is the base text. In the edited text, I have indicated the folio and line numbers of D 1516 in boldface (e.g., **(D 1v1)**). When any word in D 1516 is emended, I have presented all emended words in bold (e.g., "**nges** brjod"; D 3r5). However, as for the emendation of the orthographical peculiarities, only the emended letters are represented in bold (e.g., "ga **d. i** n¯ı"; D 12v2).

I have consulted my critical edition of the Sanskrit and Tibetan texts of the *D. ak¯ ar¯ n. ava* 15, provided in previous chapters. More than half of the text in the *Ratnapadmaraganidhi ¯* is similar to the *D. ak¯ ar¯ n. ava* 15. The *D. ak¯ ar¯ n. ava* was translated into Tibetan by Jayasena, who is the author of the *Ratnapadmaraganidhi ¯* . The Sanskrit and Tibetan texts of the *D. ak¯ ar¯ n. ava* 15 are useful for editing and translating the *Ratnapadmaraganidhi ¯* . I have also consulted the *Bohita¯* composed by Padmavajra or Saroruha (D 1419, Chapter 15: 130v5–156r2), the *Cakrasam. varabhisamayapañjik ¯ a¯* by Prajñarak ¯ s. ita (Sakurai 2005), the *Aryabh ¯ adrakalpikan ¯ amamah ¯ ay¯ anas ¯ utra ¯* (abbreviated to *Bhadrakalpika*, "Of the Fortunate Aeon," D 94), and other chapters of the *D. ak¯ ar¯ n. ava* and other texts that include parallel passages. Padmavajra taught Jayasena. As I show below, Jayasena follows Padmavajra's instruction regarding organization of the content of his *Ratnapadmaraganidhi ¯* in its entirety. Prajñarak ¯ s. ita's *Cakrasam. varabhisamayapañjik ¯ a¯* (composed around the 11th century) is a commentary on Luy¯ ¯ıpada's ¯ *Cakrasam. varabhisamaya ¯* . Jayasena mentions Prajñarak ¯ s. ita while providing details of certain practices in his *Ratnapadmaraganidhi ¯* . Jayasena also mentions the *Bhadrakalpika* and provides a list of the names of the Victors during the Fortunate Aeon, which is actually similar to the list of the Victors in the *Bhadrakalpika*.

In the edition and translation in the *Ratnapadmaraganidhi ¯* , I have indicated the parallel passages found in those texts by use of an arrow as follows.

. . . (The Tibetan text of the Ratnapadmaraganidhi) . . . ¯

→ *D. ak¯ arn ¯ . ava*, 15.6–7b. This means that the passage similar to the passage in the *Ratnapadmaraganidhi ¯* edited here can be found in the *D. ak¯ arn ¯ . ava*, 15.6–7b.

> D 3v4–4r1 → *D. ak¯ arn ¯ . ava*, 15.251–255.

This means that the passage similar to the passage D 3v4–4r1 in the *Ratnapadmaraganidhi ¯* edited here can be found in the *D. ak¯ arn ¯ . ava*, 15.251–255.

9.9. Forms of purity . . . (the Section title) . . .

→ *Bohita¯*, D 154v2–155r2.

When the arrow and text's information is thus placed beneath the Section title, this means that the passages similar to the whole Section in the *Ratnapadmaraganidhi ¯* edited here can be found in that text. (In the above example, the text similar to the whole of Section 9.9. in the *Ratnapadmaraganidhi ¯* can be found in the *Bohita¯*, D 154v2–155r2.)

However, there are also cases where I have indicated the parallel passages either in the main text or footnotes by "See also" or "cf.," for example, "See also Prajñarak ¯ s. ita's *Cakrasam. varabhisamayapañjik ¯ a¯*, Skt ed. (Sakurai 2005), 3 (p. 89, l. 18–p. 90, l. 9) . . . "

The structure of the entire content of Jayasena's *Ratnapadmaraganidhi ¯* is shown below. The fundamental components of the structure are the Triple Samadhi ¯ (\**trisamadhi ¯* )—the First Yoga, the Supreme King of Man. d. ala, and the Supreme King of Action Samadhis—the Rotation, and the Drop and Subtle Yogas, concepts that ¯ Padmavajra employed to summarize the contents of the *D. ak¯ arn ¯ . ava* 15.

• **The First Yoga** (*dang po sbyor ba*, \**adiyoga ¯* ) (D 1v5–7v6)

**Practices before visualizing Causal Heruka**: From selecting the ritual place to visualizing the divine palace on top of Mt. Sumeru (D 1v5–5r6).

**Fivefold Gnosis** (*ye shes lnga*, \**pañcajñana ¯* ): To visualize Causal Heruka (D 5v6–6r5).

**Four Sections** of practice (\**catvary a ¯ ng˙ ani ¯* )


The instructions regarding the Drop and Subtle Yogas are followed by concise mantra recitation (D 34r6–r7) and absorption of the whole man. d. ala into Lord Heruka (D 34r7–v1).

Subsequently*,* the text elucidates the inner meanings (\**artha*) of, or the pure nature (\**vi´suddhi*) inherent in the ritual components that constitute the entire process of this visualization practice. All ritual components are not dry or tasteless performance patterns. They have inner meanings that represent their pure nature. The Ten Perfections (\**da´saparamit ¯ a¯*), a traditional Mahay¯ ana concept, are used as their ¯ inner meaning or pure nature (D 34v1–v6).

The text concludes with certain concise instructions regarding meals, physical intimacy, and bathing and sleeping (D 34v6–35r5).
