The palm leaf manuscript is held at the Royal Asiatic Society in London (ref. Cowell no. 46/31, dated Nepal Saṃvat 500, 1380 c.e.).
Skt. oṁ śrīcaṇḍamahāroṣaṇa sarvaparivārasahita āgaccha āgaccha jaḥ hūṁ vaṁ hoḥ atra maṇḍale adhiṣṭhānaṃ kuru hūṁ phaṭ svāhā.
Tib. “Having brought my existence here to cessation, I shall become a refuge for all beings.”
Skt. oṁ gṛhṇa gṛhṇa kaṭṭa kaṭṭa sarvaduṣṭān pāśena bandha bandha mahāsatya te dharma te svāhā.
The “churning method” is explained in the commentary. It means that one mentally creates the deity out of the male and female sexual fluids mingled in the vagina of the consort.
It is not completely clear what “according to that” means; possibly that if the girl is of “red nature,” one should visualize oneself as Red Acala.
Skt. oṁ hrāṁ hrīṁ hrauṁ caṇḍarūpe caṭa caṭa pracaṭa pracaṭa kaṭṭa kaṭṭa prasphura prasphura prasphāraya prasphāraya hana hana grasa grasa bandha bandha jambhaya jambhaya stambhaya stambhaya mohaya mohaya sarvaśatrūṇāṃ mukhabandhanaṃ kuru kuru sarvaḍākinīnāṃ grahabhūtapiśācavyādhiyakṣānāṃ trāsaya trāsaya mara mara māraya māraya rurucaṇḍaruk rakṣa rakṣa devadattaṃ caṇḍamahāsenaḥ sarvam ājñāpayati. oṁ caṇḍamahāroṣaṇa hūṁ phaṭ.
Skt. namaḥ sarvāśāparipūrakebhyaḥ sarvatathāgatebhyaḥ. sarvathācalakānanā naṭṭa naṭṭa moṭṭa moṭṭa saṭṭa saṭṭa tuṭṭa tuṭṭa tiṣṭha tiṣṭha āviśa āviśa āḥ mahāmattabālaka dhūṇa dhūna tiṇa tiṇa khāda khāda vighnān māraya māraya duṣṭān bhakṣa bhakṣa sarvaṃ kuru kuru kiri kiri mahāviṣavajra phaṭ hūṁ hūṁ hūṁ. trivalitaraṅgāvartaka hūṁ hūṁ hūṁ. acala ceṭa phaṭ sphāṭaya sphāṭaya hūṁ hūṁ asamantike trāṭ mahābala sāṭaya samānaya trāṁ māṁ hāṁ śuddhyantu lokāḥ. tuṣyatu vajrī namo 'stv apratihatabalebhyaḥ. jvālaya trāṭ asaha namaḥ svāhā.
Skt. namaḥ sarvāśāparipūrakebhyaḥ sarvatathāgatebhyaḥ sarvathā trāṭ. amoghacaṇḍamahāroṣaṇa sphāṭaya sphāṭaya hūṁ. bhramaya bhramaya hūṁ trāṭ hāṁ māṁ.
Skt. oṁ namo bhagavate śrīcaṇḍamahāroṣaṇāya devāsuramānuṣyatrāsanāya samastamārabalavināśanāya ratnamakuṭakṛtaśirase imaṃ baliṃ gṛhṇa gṛhṇa mama sarvavighnān hana hana caturmārān nivāraya nivāraya trāsa trāsa bhrāma bhrāma chinda chinda bhinda bhinda nāśa nāśa tāpa tāpa śoṣa śoṣa cheda cheda bheda bheda duṣṭasattvān mama viruddhacittakān bhasmīkuru kuru phaṭ phaṭ svāhā.
This line is missing from the Tibetan. Instead, for this and the next three lines, it reads: “Therefore, having drawn out with one’s mouth / The semen and blood in the lotus / One should look at it again and again / Then consume it.”
Harunaga Isaacson suggested emending svedaṃ to śvetaṃ, in which case the translation would be “semen and blood.” The Tibetan also supports the reading śvetaṃ.
The Tibetan differs in these two lines. It reads: “The yogi, by virtue of his meditative equipoise / Should thus be possessed of altruism.” Neither the Sanskrit nor the Tibetan seems to fit the context very well.
The Tibetan differs: “A yogin should rest in equipoise / And only focus on the form of the innate.”
Kulatriṇī, which could not be identified, was rendered into the Tibetan as śabarī (a mountaineer/tribal woman).
The Tibetan transliterates hatriṇī, which could not be identified, as hāḍi (one of the outcaste groups).
The translation “house builder” is based on the Tibetan. The Sanskrit has kemālinī, which could not be identified.
This and the next one-and-a-half verses up to “Through this very means” are absent in the Tibetan.
The Tibetan reads: “As long as one is afraid of worldly evil / One will not gain power.” The Sanskrit reading, however, is corroborated by the commentary.
The Sanskrit term kāmabhoga has been translated here as “the pleasure of sex.” However, other interpretations are also possible, for example that the text adds another body to the formative list of the three just mentioned.
Instead of “the sons of the victorious ones,” the Tibetan seems to say that lust is the nature of the victorious ones.
This verse and the entire section are missing from the Tibetan, which jumps from “The blessed lord then said” to “What boon shall I grant you?” below.
The Tibetan has: “One should strike the ḍākinīs and so forth” (mkha’ ’gro ma la sogs pa rnams la brab par bya’o).
“Withered thorn” is a translation of saṃkocakaṇṭaka. The meaning of saṃkoca is unclear. It is one of several possible names for saffron, but the saffron plant does not have thorns, as in this context. The Tibetan for this term (mtshon sbal) was in none of the available dictionaries.
In a general sense, samādhi can describe a number of different meditative states. In the Mahāyāna literature, in particular in the Prajñāpāramitā sūtras, we find extensive lists of different samādhis, numbering over one hundred.
In a more restricted sense, and when understood as a mental state, samādhi is defined as the one-pointedness of the mind (cittaikāgratā), the ability to remain on the same object over long periods of time. The Drajor Bamponyipa (sgra sbyor bam po gnyis pa) commentary on the Mahāvyutpatti explains the term samādhi as referring to the instrument through which mind and mental states “get collected,” i.e., it is by the force of samādhi that the continuum of mind and mental states becomes collected on a single point of reference without getting distracted.
Another name for Caṇḍamahāroṣaṇa.
An accomplishment that is the goal of sādhana.
One of the five wisdoms corresponding to the tathāgata Amoghasiddhi.
Trachyspermum ammi.
One of the five buddhas; in the system followed in the CMT, he is at the center of the maṇḍala.
The eleventh bodhisattva level.
One of the five buddhas.
The buddha of the western buddhafield of Sukhāvatī, where fortunate beings are reborn to make further progress toward spiritual maturity. Amitābha made his great vows to create such a realm when he was a bodhisattva called Dharmākara. In the Pure Land Buddhist tradition, popular in East Asia, aspiring to be reborn in his buddha realm is the main emphasis; in other Mahāyāna traditions, too, it is a widespread practice. For a detailed description of the realm, see \1\2The Display of the Pure Land of Sukhāvatī, Toh 115. In some tantras that make reference to the five families he is the tathāgata associated with the lotus family.
Amitābha, “Infinite Light,” is also known in many Indian Buddhist works as Amitāyus, “Infinite Life.” In both East Asian and Tibetan Buddhist traditions he is often conflated with another buddha named “Infinite Life,” Aparimitāyus, or “Infinite Life and Wisdom,”Aparimitāyurjñāna, the shorter version of whose name has also been back-translated from Tibetan into Sanskrit as Amitāyus but who presides over a realm in the zenith. For details on the relation between these buddhas and their names, see \1\2The Aparimitāyurjñāna Sūtra (1) Toh 674, i.9.
The buddha of the western buddhafield of Sukhāvatī, where fortunate beings are reborn to make further progress toward spiritual maturity. Amitābha made his great vows to create such a realm when he was a bodhisattva called Dharmākara. In the Pure Land Buddhist tradition, popular in East Asia, aspiring to be reborn in his buddha realm is the main emphasis; in other Mahāyāna traditions, too, it is a widespread practice. For a detailed description of the realm, see The Display of the Pure Land of Sukhāvatī, Toh 115. In some tantras that make reference to the five families he is the tathāgata associated with the lotus family.
Amitābha, “Infinite Light,” is also known in many Indian Buddhist works as Amitāyus, “Infinite Life.” In both East Asian and Tibetan Buddhist traditions he is often conflated with another buddha named “Infinite Life,” Aparimitāyus, or “Infinite Life and Wisdom,”Aparimitāyurjñāna, the shorter version of whose name has also been back-translated from Tibetan into Sanskrit as Amitāyus but who presides over a realm in the zenith. For details on the relation between these buddhas and their names, see The Aparimitāyurjñāna Sūtra (1) Toh 674, i.9.
One of the five buddhas.
Unidentified; occurs in a mantra of enthrallment.
One of the eight nāga kings.
One of the five vital airs, centered in the anus.
Celestial nymph.
There are two versions of ardhaparyaṅka posture—one sitting, the other dancing. In the CMT, this term refers to the former.
Terminalia arjuna.
The name of a star.
Ferula nartex (Boiss.), Ferula foetida (Regel.)
Seventh lunar asterism.
Saraca indica.
A type of nonhuman being whose precise status is subject to different views, but is included as one of the six classes of beings in the sixfold classification of realms of rebirth. In the Buddhist context, asuras are powerful beings said to be dominated by envy, ambition, and hostility. They are also known in the pre-Buddhist and pre-Vedic mythologies of India and Iran, and feature prominently in Vedic and post-Vedic Brahmanical mythology, as well as in the Buddhist tradition. In these traditions, asuras are often described as being engaged in interminable conflict with the devas (gods).
The ninth bodhisattva level.
The prāṇa channel in the centre of the body.
One of the “eight close sons of the Buddha,” he is also known as the bodhisattva who embodies compassion. In certain tantras, he is also the lord of the three families, where he embodies the compassion of the buddhas. In Tibet, he attained great significance as a special protector of Tibet, and in China, in female form, as Guanyin, the most important bodhisattva in all of East Asia.
Pentapetes Phoenicea; bandhūka flower because of its rich red color is a standard of comparison for anything colored red.
Dalbergia lanceolaria.
This seems to be either another name for Caṇḍamahāroṣaṇa, or an epithet referring to him, meaning “youth”.
Psoralea corylifolia , Psoralea plicata, Vernonia anthelmintica.
The third bodhisattva level.
Aegle marmelos.
Terminalia bellirica.
Piper betle.
In this text, it mostly refers to the female sexual and reproductive organs, however, this terms encompasses several meanings, including “good fortune,” “happiness,” and “majesty”; and forms the root of the word bhagavān (Blessed One).
Same as bhūmisphoṭa (?); Agaricus campestris (?)
This term in its broadest sense can refer to any being, whether human, animal, or nonhuman. However, it is often used to refer to a specific class of nonhuman beings, especially when bhūtas are mentioned alongside rākṣasas, piśācas, or pretas. In common with these other kinds of nonhumans, bhūtas are usually depicted with unattractive and misshapen bodies. Like several other classes of nonhuman beings, bhūtas take spontaneous birth. As their leader is traditionally regarded to be Rudra-Śiva (also known by the name Bhūta), with whom they haunt dangerous and wild places, bhūtas are especially prominent in Śaivism, where large sections of certain tantras concentrate on them.
A female bhūta.
Acala corresponding to Buddha Akṣobhya in the center of the maṇḍala.
A type of soil (?)
Solanum nigrum.
Piper nigrum.
Syzygium cumini.
Nymphaea caerulea (?)
dpal gtum po khro bo chen po’i rgyud kyi rgyal po dpa’ bo gcig pa zhes bya ba. Toh 431, Degé Kangyur, vol. 80 (rgyud ’bum, nga), folios 304b–343a.
Ekallavīranāmacaṇḍamahāroṣaṇatantram. London: Royal Asiatic Society. Ref.: Cowell 46/31.
Ekallavīranāmacaṇḍamahāroṣaṇatantram. Kathmandu: National Archives of Nepal. Ref.: NGMPP 3/687, Reel no. A 994/4.
Ekallavīratantram. Kathmandu: National Archives of Nepal. Ref.: NGMPP 5/170, Reel no. B 31/11.
Caṇḍamahāroṣaṇatantram. Göttingen: University of Göttingen Library. Ref.: Bandurski Xc 14/43–45.
Mahāsukhavajra, Padmāvatīnāmā Pañjikā. Kathmandu: National Archives of Nepal. Ref.: NGMPP 3/502, Reel no. B 31/7.
de la Vallée Poussin, Louis. “The Buddhist ‘Wheel of Life’ from a New Source.” Journal of the Royal Asiatic Society of Great Britain and Ireland (New Series) 29, no. 3 (July 1897), pp 463–70.
Dharmachakra Translation Committee. The Tantra of Siddhaikavīra (Toh 544). 84000: Translating the Words of the Buddha, 2016.
Gäng, Peter, trans. Das Tantra des Grausig-Groß-Schreklichen. Berlin: Stechapfel, 1981.
George, Christopher S., trans. and ed. The Caṇḍamahāroṣaṇa Tantra, Chapters I–VIII: A Critical Edition and English Translation. New Haven, CT: American Oriental Society, 1974.
Isaacson, Harunaga (2010). The Caṇḍamahāroṣaṇatantra. Handout. Kathmandu: Rangjung Yeshe Institute, February 17, 2010.
Isaacson, Harunaga (2006). Reflections on the Caṇḍamahāroṣaṇatantra. Handout. Kathmandu: Nepal Research Centre, August 25, 2006.
Snellgrove, David. Hevajra Tantra: A Critical Study. London: Oxford University Press, 1959.
Written around the tenth or the eleventh century
This translation was produced by Dharmachakra Translation Committee under the supervision of Chökyi Nyima Rinpoche. Wiesiek Mical translated the text from the Sanskrit manuscripts, prepared the Sanskrit edition, and wrote the introduction. The translation was then compared against the Tibetan translation found in the Degé Kangyur by James Gentry, and edited by Andreas Doctor.
The Dharmachakra Translation Committee is also indebted to Professor Harunaga Isaacson and Dr. Péter Szántó for their help in obtaining facsimiles of some of the manuscripts, and to Professor Isaacson for making available some of his personal materials.
This translation has been completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
Like most Buddhist tantras, the Caṇḍamahāroṣaṇatantra (CMT) is regarded within the Vajrayāna tradition as a divinely revealed text, with its teachings delivered directly from the level of the saṃbhogakāya, that is, the bliss body of Lord Buddha. In such tantras, the saṃbhogakāya deity who delivers the original discourse varies—it could be Avalokiteśvara, Vajrapāṇi, or others. In this case, it is Lord Vajrasattva. The teaching itself takes the form of a dialogue between Vajrasattva and his consort. Lord Vajrasattva here assumes the identity of the deity Acala (Immovable One), which is another name for the deity of the title, Caṇḍamahāroṣaṇa (Fierce Great Angry One). His consort is Vajradhātvīśvarī (Goddess of the Vajra Realm).
As is the case with all tantras, the person who put the CMT into writing chose to remain anonymous in conformity with the tradition, which no doubt saw the author merely as a medium for conveying this secret teaching. However, in the search for the earthly origin of this text, the circumstantial evidence seems to point to a Nepalese origin, most likely Newar. Of the more than one hundred extant manuscripts of the CMT, ranging in date from 1380 up to the twentieth century, all were written in Nepal, as were the only two known manuscripts of the CMT commentary, the Padmāvatī.
Although the tradition of this tantra and its title deity never became widespread or popular outside the Kathmandu Valley, it flowered and thrived for almost a millennium among Kathmandu’s Newar Buddhist community, leaving a rich legacy still evident today. There is at least one active shrine of Caṇḍamahāroṣaṇa in the Kathmandu Valley; it is part of the sacred Hiraṇyavarṇa Mahāvihāra complex in Patan. Most shops that sell Buddhist art in Kathmandu offer a selection of Caṇḍamahāroṣaṇa paintings, and the CMT is still being taught by Newari Bajracharyas—themselves part of its unbroken spiritual heritage—such as Yagnyaman Pati Bajracharya, who traces his family line back to the eighth-century Buddhist master Vilāsavajra.
The CMT appears to have drawn on a number of earlier scriptures, including the Guhyasamājatantra (Toh 442), the Hevajratantra (Toh 417), the Siddhaikavīratantra (Toh 544), and the Cittaviśuddhiprakaraṇa of Āryadeva (Toh 1804). In turn, it influenced other works, such as the Vidyādharavinodatantra. However, among all the works devoted to the deity Caṇḍamahāroṣaṇa, the CMT is unquestionably the most important. Other works centered on this deity include sādhana, dhāraṇī, and stotra compositions—all of them, as their genres might suggest, much shorter than the CMT.
One should note, however, that the CMT was not the first scripture to introduce its main deity. There is at least one earlier occurrence of the name Caṇḍamahāroṣaṇa, found in the first chapter of the Siddhaikavīratantra as part of the mantra oṁ caṇḍamahāroṣaṇa hūṁ phaṭ. Moreover, the deity himself seems to predate the name Caṇḍamahāroṣaṇa. Under his other name, Acala, he has a tantra devoted to himself, the Acalakalpa. This is one of the core Kriyātantras of the Tathāgatakula group, predating the CMT by a few or even several hundred years. The name Acala is also found in the Vairocanābhisambodhi (Toh 494), one of the two known Caryātantra texts extant in Sanskrit. Although the cult of this deity under the name Caṇḍamahāroṣaṇa was more or less confined to the Kathmandu valley, it spread farther afield under the name Acala, reaching as far as Japan, where the practice of Acala (“Fudō” in Japanese) became important in Shingon Buddhism.
The text of the CMT exists in the original Sanskrit and in translations. Only parts of the Sanskrit text have been edited and published. Since no previous edition exists of the complete text, we had to reconstruct the Sanskrit text of the remaining chapters from manuscripts, revising the existing editions in the process. The resulting Sanskrit text of the complete tantra that appears as the appendix to this translation is a half-critical, half-diplomatic edition chiefly based on the oldest and the most correct of the CMT manuscripts.
The Tibetan canonical translation, according to its colophon, was the work of one Trakpa Gyaltsen (grags pa rgyal mtshan) and the Indian scholar Ratnaśrī. As the translation was sponsored by Sherab Senge (shes rab seng ge), 1251–1315, we can safely conclude that the first of the two translators was Sherab Senge’s disciple, Trakpa Gyaltsen from Yarlung (yar klungs pa grags pa rgyal mtshan), 1242–1346, and not the celebrated Sakya scholar of the same name. It was completed at the monastery of Sakya (sa skya), in a year of the Snake, probably during Sherab Senge’s lifetime or soon after his death. This translation, which is the only one known to exist in Tibetan, is included in all the major editions of the Tibetan Kangyur.
There are also two partial translations from recent years: an English translation by Christopher George and a German translation by Peter Gäng. George translated chapters 1–8, whereas Gäng translated the whole tantra except chapters 17–21, which he abridged into one short chapter. The translation presented here is therefore the first complete translation of this text since the Tibetan appeared. In general, it follows the Sanskrit edition, although it does at times incorporate the Tibetan; such instances are listed in the endnotes. However, as there are literally hundreds of minor differences between the Sanskrit and the Tibetan, not all variations have been noted; only major discrepancies have been included.
The translation also attempts to reflect the exegesis found in the Padmāvatī, the only extant commentary on the CMT, which was written by one Mahāsukhavajra. The Padmāvatī is preserved in two Nepali manuscripts, one of which is a direct copy of the other. The older of the two, used for this translation, can be dated to 1297. This commentary has never been edited or translated, except the part corresponding to chapters 9–12 of the CMT, which was edited by Harunaga Isaacson to accompany his edition of the root text of these four chapters. Professor Isaacson’s edition, along with text-critical and analytical notes, was kindly made available for the present translation. The Padmāvatī covers select chapters only, and even then tends to skip lengthy parts of the text. This Sanskrit text, which was never translated into Tibetan, is in many places corrupt and fraught with ambiguities, and the manuscript is unfortunately not always legible. Nevertheless, a provisional transcript of the complete text was prepared to help interpret the root text in the course of this translation.
The text of the CMT presumes the reader’s prior knowledge and understanding of Buddhism’s main principles, including the tenets of Vajrayāna. Further, it requires that the reader has faith and devotion, which is so indispensable for the intuitive grasp of, and the eventual awakening to, the true nature of things—the nature that is described as empty (śūnya). According to the CMT, this awakening is irreversible and is therefore termed indestructible awakening (vajrabodhi). It can only take place when all dualistic concepts, such as “pure” and “impure,” fall away. And it is here that the seemingly revolting practices found in our text become significant: they are a call to give up our deluded dualistic notions, while at the same time constituting a touchstone for the direct experience of reality, a reality where even what may seem revolting to the conceptual mind can now be experienced as the deity. The inclusion of such “extreme” practices is a testimony to the fact that the CMT presents us not with mere sophistries, but with practices rooted in actual experience.
One needs to assume that the practice of Caṇḍamahāroṣaṇa is secret to the same extent that all the Yoginītantra deity practices are. The CMT distinguishes between two types of conduct: the first, which is for everybody to see and which accords with Buddhism’s ten wholesome practices, is described as open (prakaṭa), and the other, which is secret, is termed inverted (viparīta). The motto of inverted conduct is:
- By passion, passion is killed;
- A conflagration is killed by fire.
- One should destroy poison with poison,
- Applying the instructions. (CMT, 13.6)
The text clearly states that the master must not give instructions on the “inverted” practices to someone who has not first been initiated into the maṇḍala of Caṇḍamahāroṣaṇa. The initiation itself would not be effective unless the pupil has realized the empty nature of mind, and the practices must not be undertaken by someone who has not achieved sufficient control over his prāṇa-mind (vāyucitta). However, as there are currently no lineage masters who could give the Caṇḍamahāroṣaṇa empowerment or even the reading authorization (Tib. lung) for the formal Caṇḍamahāroṣaṇa sādhanas, or who could give instruction in other Caṇḍamahāroṣaṇa practices found in the CMT, it would be difficult, if not impossible, to become initiated into these practices. As for simply reading the CMT, one should proceed at one’s own risk—with the prerequisite, at the least, of an open and respectful frame of mind.
To facilitate the arising of nondual awareness, the tantras, especially those of the Yoginī class, bring in another essential element. This is the overwhelming intensity of experience that obliterates mental acts of self-reference. When this experience is founded on an exclusively benevolent frame of mind, such as the feeling of great affection (mahārāga), there is a chance that dualistic fixations can melt away, bringing on an irreversible change. This brings us closer to the specific content of the Caṇḍamahāroṣaṇatantra, namely its sexual practices. When used skillfully, sexuality becomes a powerful tool. The ritual union engages the two partners on all levels—the physical level; the level of the five senses (the senses constituting a bridge between the body and consciousness); and all the different levels of consciousness. The partners, perceiving each other as deities, generate strong love and devotion for one another. Their union allows for an intense experience, which brings the mind effortlessly into focus and sharpens the awareness. After the intensity peaks, there is a brief natural gap, when the three kleśas—desire, aversion, and indifference, which normally drive one’s conceptual thinking—completely cease. All that is needed at this point is recognition. This recognition can be arrived at and stabilized through the repeated practice of ritual union.
The theory and practice of this union as presented in the CMT revolves around the four joys (caturānandāḥ). One observes these four as they arise during the ritualized lovemaking, and one learns to discern the “gap”—an ineffable state of nondual awareness at the point at which supreme joy (paramānanda) gives way to innate joy (sahajānanda). This gap can be discerned during the innate joy phase, which, as the commentary tells us, corresponds in the male to the period between the moment when semen reaches the tip of the penis, to the moment when all of the semen has entered the vagina. Once this gap—an interruption in the continuum of the subject, the object, and grasping—is recognized, one gradually learns to prolong this state of mind until one attains stability. The four joys are, in fact, the foundation stone for the practice of the deity Caṇḍamahāroṣaṇa, and also the central theme of the soteriological part (roughly the first sixteen chapters) of the CMT.
Readers not familiar with the social customs of the period might feel surprised at the young age of girls—sometimes as low as twelve—accepted as consorts in the practice of sexual yoga. Sexual initiation early in life was the norm of the day and certainly not unique to the tantras. In India, the ancient norm-setting law books (smṛtiśāstras), which remained authoritative throughout the entire Indian phase of Vajrayāna Buddhism, were concerned not so much with the youngest age at which sexual activity was permissible, but rather with the oldest before which the girl must become sexually active in order not to miss her first opportunity to conceive. One law book warns of consequences if this opportunity is missed: “When she reaches twelve…, the forefathers (pitṛ) of the girl who has not yet been given in marriage will themselves drink her menstrual discharge every month” (Parāśarasmṛti, 7:5–6). Another book concurs: “A girl who sees her own menstrual blood in her father’s house shall be known as an outcaste” (Viṣṇusmṛti, 24:41). The purpose of the sexual act as espoused in different literary genres may have varied (from the reproductive in the smṛtiśāstras to the soteriological in the Yoga- and Yoginītantras), but the early sexual initiation is evidenced throughout the whole spectrum of Indian literature. That said, one must add that the age most often recommended by the tantras was actually not twelve but sixteen; this is paralleled by the age of the deity forms visualized during the sādhana.
The sexual practices, however, are far from being the only content of the CMT, which is varied and rich. This tantra aims to be a guide, complete in itself, which takes care of both our soteriological and mundane needs. Since the CMT includes all the standard elements of a classical Buddhist tantra of the later period, it may be unnecessary to describe, or even list, all these elements here. Instead a brief mention of some of its salient features might be of benefit. (For a full list of topics, please consult the chapter headings in the contents section.)
One such feature is the exalted position of women. This thread, present throughout the text, starts from the premise that the man and the woman are deities—Caṇḍamahāroṣaṇa and Vajradhātvīśvarī, respectively—and both should worship each other as such. The text, however, dwells on the service rendered by a man to a woman, rather than the other way around. The woman is the one who grants the ultimate beatitude and the final awakening, and she is the one who deserves infinite gratitude and devout service. This may be best illustrated by a quotation:
- Women are heaven, women are the Dharma,
- And women are truly the supreme austerity.
- Women are the Buddha, women are the Saṅgha,
- Women are the Perfection of Wisdom. (CMT, 8.14)
The word used for “service” is sevā, which in Sanskrit means “attending to” (as a servant would to a master). It also means “sexual intercourse,” which—being in itself a form of service—here takes a ritualized form. Again a quotation summarizes it all:
- For a woman, the man is a deity;
- For a man, the woman is a deity.
- They should honor each other
- By uniting the vajra and the lotus. (CMT, 10.9)
The content of the CMT thus ranges from soteriological, through magical (which combines soteriological and mundane elements), to practical. Consequently the text becomes, in turn, a manual of deity practice with its development (utpatti) and completion (utpanna) stages, a compendium of magical practices comprising the four types of tantric (not necessarily “enlightened”) activity, and a do-it-yourself manual offering instruction on various practical subjects, some as mundane as waterproofing cloth or dying one’s hair. Among the different types of magic, prominence is given to the rites of enthrallment (vaśīkaraṇa); and among the magical remedies, to those enhancing sexual experience during lovemaking. The CMT is also a rich source of materia medica; it contains a wealth of ritual prescriptions and recipes in which magic blends with folk medicine.
The plant names and other materia medica presented a particular difficulty during the translation work. There are discrepancies between the traditional sources as regards plant names, and sometimes several plant species contend for the same name. Modern scholars of āyurveda or ethnobotany do not always agree among themselves concerning the correct identification of some plants. A certain amount of care was taken, however, to identify every plant by the names found in the Sanskrit and the Tibetan texts. A number of reference works and specialized websites were consulted, but, needless to say, not all the plants and substances have been identified reliably, and some could not be identified at all. Some passages in the sections containing such recipes still remain unclear.
The mantras and dhāraṇīs have been translated, for the most part, as they often take the form of a request or a prayer, and their semantic content is usually related to the ritual in which they are employed. This particularly applies to the longer formulae, such as garland mantras or dhāraṇīs. However, because they are meant to be recited in their original Sanskrit form, which is believed to possess liturgical and magical significance, their full Sanskrit text has been given in notes. Translation of these formulae, again, presented a problem, and the reader should note that many words that are not standard Sanskrit have not been identified with certainty, and some have not been identified at all.
Technical Sanskrit terms that do not have English equivalents have either been translated descriptively, or the original term was used with a link to the glossary. As the ritual jargon of the tantras is often incompatible with modern English in terms of semantics and usage, the reader will find that certain English words in our translation have been used in a somewhat unconventional way. For example, in our translation the direct object of the verb to incant can be not only the mantra but also, just as in Old English, the object over which the spell or the mantra is to be recited. Although there is a significant precedent for this particular usage in modern English, in genres ranging from academic works to the Harry Potter novels, this could still seem “incorrect” to many readers.
As already mentioned, the CMT includes instructions that are not intended as spiritual per se. Among the methods of the do-it-yourself type, the tantra distinguishes a special category that it refers to as kutūhala, that is, “curious” or “odd.” As this name suggests, these methods—such as setting a cow bone ablaze, making things glow at night, or causing iron to appear as copper—might have been included in the tantra because of their curiosity rather than their practical value. Obtaining the necessary requisites for some of these practices might require killing animals or performing other acts conventionally regarded as unwholesome. A few of these practices might appear, by society’s norms, as frivolous, if not gratuitously harmful. These “odd” elements are, however, neither unique to the CMT (many tantras include a chapter or section devoted to them), nor do they purport to be part of this tantra’s main message. The aim and purpose of the CMT’s profound teachings lies in the realization of nondual awareness through the practice of the four joys. As such its unique beauty is in the love and devotion experienced in the union of the two partners—the wisdom and the means.
Oṁ, homage to Caṇḍamahāroṣaṇa!
Thus did I hear at one time. Lord Vajrasattva dwelt within the bhaga of the goddess of the Vajra Realm, which is the essence of body, speech, and mind of all tathāgatas. He dwelt there together with many hosts of vajra yogins and yoginīs, namely: White Acala vajra yogin, Yellow Acala vajra yogin, Red Acala vajra yogin, Green Acala vajra yogin, Delusion Vajrī vajra yoginī, Calumny Vajrī vajra yoginī, Passion Vajrī vajra yoginī, and Envy Vajrī vajra yoginī. He dwelt there with trillions of yogins and yoginīs, headed by those just mentioned.
Then Lord Vajrasattva, having entered the absorption of Black Acala, spoke:
Then the blessed goddess of the Vajra Realm, having entered the absorption of Hatred Vajrī, said this:
The lord Black Acala deeply kissed and firmly embraced Hatred Vajrī, and said:
This concludes the first chapter, the introduction to the tantra, in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the blessed Hatred Vajrī tightly embraced Lord Caṇḍamahāroṣaṇa and said:
The lord then said:
“Now comes the maṇḍala tutelage mantra:
“Oṁ, Blessed Caṇḍamahāroṣaṇa, together with your retinue, come, come! Jaḥ hūṁ vaṁ hoḥ! Assume tutelage over this maṇḍala! Hūṁ phaṭ! Svāhā!
“With this mantra, one should summon, induct, bind, and enthrall Caṇḍamahāroṣaṇa, and then worship him.
“Now comes the worship mantra:
This concludes the chapter on the maṇḍala, the second in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the goddess said:
The lord then said:
“This is the water empowerment:
“Visualizing the disciple to be pure and spotless like a crystal, one should draw some water from the victory jar with a mango blossom and sprinkle the disciple with it, with the words ‘Oṁ āḥ, for the one possessed of the glory of the pledge of the empowerment of all the tathāgatas, hūṁ.’
“This is the crown empowerment:
“One should first fashion a cloth crown that resembles a crown with many gems. Then one should visualize the disciple as a universal emperor, place the crown on his head, and sprinkle him as before. The mantra is ‘Oṁ, Caṇḍamahāroṣaṇa, enter, enter into his heart! Hūṁ phaṭ!’
“This is the sword empowerment:
“One should place a sword made of iron or the like in the disciple’s right hand and sprinkle him as before. ‘Oṁ, strike, strike! Kill, kill all the enemies! O sword of knowledge! Hūṁ phaṭ!’
“This is the noose empowerment:
“One should place a noose made of copper or the like in his left hand, which should display the threatening gesture. Then sprinkle him as before. ‘Oṁ, seize, seize! Pull, pull all the evildoers with the noose! Bind, bind! To you, O great truth, to you, O Dharma, svāhā!’
“This is the name empowerment:
“One should invite the disciple, crowned with the seal of Caṇḍamahāroṣaṇa, to sit down, visualizing him in Caṇḍamahāroṣaṇa’s form. One should recite, ‘Oṁ, blessed lord Black Acala, you are an accomplished being! Hūṁ phaṭ!’ Then one should anoint him as before. In this way, the name empowerment of the five Acalas, according to the color division of black and so forth, should be given to the sādhaka. This is the fivefold empowerment.
“To women, however, instead of the crown empowerment, a vermillion empowerment should be given:
“Visualizing the disciple in the form of the fierce great goddess, one should recite, ‘Oṁ, goddess, enter, enter into her heart! Hūṁ phaṭ!’ One should place in her right hand a knife of iron or other material, and recite, ‘Oṁ, knife, cut, cut the flesh of all the māras! Hūṁ phaṭ!’ In her left hand, one should place a human skull, or one made of wood, and so on, and recite, ‘Oṁ, skull, hold, hold the blood of all the enemies! Hūṁ phaṭ!’ Then one should invite her to assume the goddess’s posture, and visualize her in the goddess’s form. One should recite, ‘Oṁ, blessed Hatred Vajrī, you are an accomplished being! Hūṁ phaṭ!’ In this way, with the names of the five yoginīs according to the division of colors starting with the black, one should anoint women. To them, however, in place of the wisdom empowerment, the skillful means empowerment should be given.
“Now comes the secret empowerment.
“The disciple should first offer clothes and so forth to the teacher before presenting him with a girl who is young and beautiful and dear to his heart.
“The disciple should then bow to the teacher, leave the room, and recite the mantra, ‘Oṁ, Caṇḍamahāroṣaṇa, hūṁ phaṭ!’
“The teacher should make offerings to himself with wine, meat, and so forth, and then satiate the wisdom consort. He should unite with her and place the semen and blood obtained from this in the fold of a leaf or such. He should then summon the disciple. Using his ring finger and thumb, the teacher should take the substance and use it to write the syllables hūṁ and phaṭ on the disciple’s tongue. He should then ask the disciple to recite, ‘Ah, pleasure.’
“Then the teacher should say, ‘Today I will cause the buddha-knowledge to arise, through which lord buddhas of the past, future, and present attain nonabiding nirvāṇa. But you must not speak of this in front of anyone who has not seen the maṇḍala. If you do speak of it, then…’
“Placing the sword against the disciple’s heart, the teacher should continue as follows:
“The teacher should fasten a blindfold across the disciple’s eyes and invite him to throw a flower onto the maṇḍala. As the teacher removes the blindfold, he should then point out the maṇḍala to the disciple and explain its symbolism. Then he should offer the same wisdom consort to the disciple, saying:
“Next the teacher should whisper into the disciple’s ear about the division of the four joys. Then the teacher should go out. The wisdom consort should undress and, lying on her back, point to her secret place, saying:
“The sādhaka should say:
“And she should say:
“Then the sādhaka, visualizing himself in the form of Caṇḍamahāroṣaṇa and visualizing the wisdom consort in the form of Hatred Vajrī, should make love and note the four joys. When this is completed, he should offer the gaṇacakra feast with wine and meat, with the teacher as the guest of honor.
“This was the wisdom empowerment.”
This concludes the chapter on empowerments, the third in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the goddess said:
The lord then said:
“ ‘Oṁ, I am of the nature of vajra, which is the wisdom of emptiness.’
Written around the tenth or the eleventh century
This translation was produced by Dharmachakra Translation Committee under the supervision of Chökyi Nyima Rinpoche. Wiesiek Mical translated the text from the Sanskrit manuscripts, prepared the Sanskrit edition, and wrote the introduction. The translation was then compared against the Tibetan translation found in the Degé Kangyur by James Gentry, and edited by Andreas Doctor.
The Dharmachakra Translation Committee is also indebted to Professor Harunaga Isaacson and Dr. Péter Szántó for their help in obtaining facsimiles of some of the manuscripts, and to Professor Isaacson for making available some of his personal materials.
This translation has been completed under the patronage and supervision of 84000: Translating the Words of the Buddha.
Like most Buddhist tantras, the Caṇḍamahāroṣaṇatantra (CMT) is regarded within the Vajrayāna tradition as a divinely revealed text, with its teachings delivered directly from the level of the saṃbhogakāya, that is, the bliss body of Lord Buddha. In such tantras, the saṃbhogakāya deity who delivers the original discourse varies—it could be Avalokiteśvara, Vajrapāṇi, or others. In this case, it is Lord Vajrasattva. The teaching itself takes the form of a dialogue between Vajrasattva and his consort. Lord Vajrasattva here assumes the identity of the deity Acala (Immovable One), which is another name for the deity of the title, Caṇḍamahāroṣaṇa (Fierce Great Angry One). His consort is Vajradhātvīśvarī (Goddess of the Vajra Realm).
As is the case with all tantras, the person who put the CMT into writing chose to remain anonymous in conformity with the tradition, which no doubt saw the author merely as a medium for conveying this secret teaching. However, in the search for the earthly origin of this text, the circumstantial evidence seems to point to a Nepalese origin, most likely Newar. Of the more than one hundred extant manuscripts of the CMT, ranging in date from 1380 up to the twentieth century, all were written in Nepal, as were the only two known manuscripts of the CMT commentary, the Padmāvatī.
Although the tradition of this tantra and its title deity never became widespread or popular outside the Kathmandu Valley, it flowered and thrived for almost a millennium among Kathmandu’s Newar Buddhist community, leaving a rich legacy still evident today. There is at least one active shrine of Caṇḍamahāroṣaṇa in the Kathmandu Valley; it is part of the sacred Hiraṇyavarṇa Mahāvihāra complex in Patan. Most shops that sell Buddhist art in Kathmandu offer a selection of Caṇḍamahāroṣaṇa paintings, and the CMT is still being taught by Newari Bajracharyas—themselves part of its unbroken spiritual heritage—such as Yagnyaman Pati Bajracharya, who traces his family line back to the eighth-century Buddhist master Vilāsavajra.
The CMT appears to have drawn on a number of earlier scriptures, including the Guhyasamājatantra (Toh 442), the Hevajratantra (Toh 417), the Siddhaikavīratantra (Toh 544), and the Cittaviśuddhiprakaraṇa of Āryadeva (Toh 1804). In turn, it influenced other works, such as the Vidyādharavinodatantra. However, among all the works devoted to the deity Caṇḍamahāroṣaṇa, the CMT is unquestionably the most important. Other works centered on this deity include sādhana, dhāraṇī, and stotra compositions—all of them, as their genres might suggest, much shorter than the CMT.
One should note, however, that the CMT was not the first scripture to introduce its main deity. There is at least one earlier occurrence of the name Caṇḍamahāroṣaṇa, found in the first chapter of the Siddhaikavīratantra as part of the mantra oṁ caṇḍamahāroṣaṇa hūṁ phaṭ. Moreover, the deity himself seems to predate the name Caṇḍamahāroṣaṇa. Under his other name, Acala, he has a tantra devoted to himself, the Acalakalpa. This is one of the core Kriyātantras of the Tathāgatakula group, predating the CMT by a few or even several hundred years. The name Acala is also found in the Vairocanābhisambodhi (Toh 494), one of the two known Caryātantra texts extant in Sanskrit. Although the cult of this deity under the name Caṇḍamahāroṣaṇa was more or less confined to the Kathmandu valley, it spread farther afield under the name Acala, reaching as far as Japan, where the practice of Acala (“Fudō” in Japanese) became important in Shingon Buddhism.
The text of the CMT exists in the original Sanskrit and in translations. Only parts of the Sanskrit text have been edited and published. Since no previous edition exists of the complete text, we had to reconstruct the Sanskrit text of the remaining chapters from manuscripts, revising the existing editions in the process. The resulting Sanskrit text of the complete tantra that appears as the appendix to this translation is a half-critical, half-diplomatic edition chiefly based on the oldest and the most correct of the CMT manuscripts.
The Tibetan canonical translation, according to its colophon, was the work of one Trakpa Gyaltsen (grags pa rgyal mtshan) and the Indian scholar Ratnaśrī. As the translation was sponsored by Sherab Senge (shes rab seng ge), 1251–1315, we can safely conclude that the first of the two translators was Sherab Senge’s disciple, Trakpa Gyaltsen from Yarlung (yar klungs pa grags pa rgyal mtshan), 1242–1346, and not the celebrated Sakya scholar of the same name. It was completed at the monastery of Sakya (sa skya), in a year of the Snake, probably during Sherab Senge’s lifetime or soon after his death. This translation, which is the only one known to exist in Tibetan, is included in all the major editions of the Tibetan Kangyur.
There are also two partial translations from recent years: an English translation by Christopher George and a German translation by Peter Gäng. George translated chapters 1–8, whereas Gäng translated the whole tantra except chapters 17–21, which he abridged into one short chapter. The translation presented here is therefore the first complete translation of this text since the Tibetan appeared. In general, it follows the Sanskrit edition, although it does at times incorporate the Tibetan; such instances are listed in the endnotes. However, as there are literally hundreds of minor differences between the Sanskrit and the Tibetan, not all variations have been noted; only major discrepancies have been included.
The translation also attempts to reflect the exegesis found in the Padmāvatī, the only extant commentary on the CMT, which was written by one Mahāsukhavajra. The Padmāvatī is preserved in two Nepali manuscripts, one of which is a direct copy of the other. The older of the two, used for this translation, can be dated to 1297. This commentary has never been edited or translated, except the part corresponding to chapters 9–12 of the CMT, which was edited by Harunaga Isaacson to accompany his edition of the root text of these four chapters. Professor Isaacson’s edition, along with text-critical and analytical notes, was kindly made available for the present translation. The Padmāvatī covers select chapters only, and even then tends to skip lengthy parts of the text. This Sanskrit text, which was never translated into Tibetan, is in many places corrupt and fraught with ambiguities, and the manuscript is unfortunately not always legible. Nevertheless, a provisional transcript of the complete text was prepared to help interpret the root text in the course of this translation.
The text of the CMT presumes the reader’s prior knowledge and understanding of Buddhism’s main principles, including the tenets of Vajrayāna. Further, it requires that the reader has faith and devotion, which is so indispensable for the intuitive grasp of, and the eventual awakening to, the true nature of things—the nature that is described as empty (śūnya). According to the CMT, this awakening is irreversible and is therefore termed indestructible awakening (vajrabodhi). It can only take place when all dualistic concepts, such as “pure” and “impure,” fall away. And it is here that the seemingly revolting practices found in our text become significant: they are a call to give up our deluded dualistic notions, while at the same time constituting a touchstone for the direct experience of reality, a reality where even what may seem revolting to the conceptual mind can now be experienced as the deity. The inclusion of such “extreme” practices is a testimony to the fact that the CMT presents us not with mere sophistries, but with practices rooted in actual experience.
One needs to assume that the practice of Caṇḍamahāroṣaṇa is secret to the same extent that all the Yoginītantra deity practices are. The CMT distinguishes between two types of conduct: the first, which is for everybody to see and which accords with Buddhism’s ten wholesome practices, is described as open (prakaṭa), and the other, which is secret, is termed inverted (viparīta). The motto of inverted conduct is:
- By passion, passion is killed;
- A conflagration is killed by fire.
- One should destroy poison with poison,
- Applying the instructions. (CMT, 13.6)
The text clearly states that the master must not give instructions on the “inverted” practices to someone who has not first been initiated into the maṇḍala of Caṇḍamahāroṣaṇa. The initiation itself would not be effective unless the pupil has realized the empty nature of mind, and the practices must not be undertaken by someone who has not achieved sufficient control over his prāṇa-mind (vāyucitta). However, as there are currently no lineage masters who could give the Caṇḍamahāroṣaṇa empowerment or even the reading authorization (Tib. lung) for the formal Caṇḍamahāroṣaṇa sādhanas, or who could give instruction in other Caṇḍamahāroṣaṇa practices found in the CMT, it would be difficult, if not impossible, to become initiated into these practices. As for simply reading the CMT, one should proceed at one’s own risk—with the prerequisite, at the least, of an open and respectful frame of mind.
To facilitate the arising of nondual awareness, the tantras, especially those of the Yoginī class, bring in another essential element. This is the overwhelming intensity of experience that obliterates mental acts of self-reference. When this experience is founded on an exclusively benevolent frame of mind, such as the feeling of great affection (mahārāga), there is a chance that dualistic fixations can melt away, bringing on an irreversible change. This brings us closer to the specific content of the Caṇḍamahāroṣaṇatantra, namely its sexual practices. When used skillfully, sexuality becomes a powerful tool. The ritual union engages the two partners on all levels—the physical level; the level of the five senses (the senses constituting a bridge between the body and consciousness); and all the different levels of consciousness. The partners, perceiving each other as deities, generate strong love and devotion for one another. Their union allows for an intense experience, which brings the mind effortlessly into focus and sharpens the awareness. After the intensity peaks, there is a brief natural gap, when the three kleśas—desire, aversion, and indifference, which normally drive one’s conceptual thinking—completely cease. All that is needed at this point is recognition. This recognition can be arrived at and stabilized through the repeated practice of ritual union.
The theory and practice of this union as presented in the CMT revolves around the four joys (caturānandāḥ). One observes these four as they arise during the ritualized lovemaking, and one learns to discern the “gap”—an ineffable state of nondual awareness at the point at which supreme joy (paramānanda) gives way to innate joy (sahajānanda). This gap can be discerned during the innate joy phase, which, as the commentary tells us, corresponds in the male to the period between the moment when semen reaches the tip of the penis, to the moment when all of the semen has entered the vagina. Once this gap—an interruption in the continuum of the subject, the object, and grasping—is recognized, one gradually learns to prolong this state of mind until one attains stability. The four joys are, in fact, the foundation stone for the practice of the deity Caṇḍamahāroṣaṇa, and also the central theme of the soteriological part (roughly the first sixteen chapters) of the CMT.
Readers not familiar with the social customs of the period might feel surprised at the young age of girls—sometimes as low as twelve—accepted as consorts in the practice of sexual yoga. Sexual initiation early in life was the norm of the day and certainly not unique to the tantras. In India, the ancient norm-setting law books (smṛtiśāstras), which remained authoritative throughout the entire Indian phase of Vajrayāna Buddhism, were concerned not so much with the youngest age at which sexual activity was permissible, but rather with the oldest before which the girl must become sexually active in order not to miss her first opportunity to conceive. One law book warns of consequences if this opportunity is missed: “When she reaches twelve…, the forefathers (pitṛ) of the girl who has not yet been given in marriage will themselves drink her menstrual discharge every month” (Parāśarasmṛti, 7:5–6). Another book concurs: “A girl who sees her own menstrual blood in her father’s house shall be known as an outcaste” (Viṣṇusmṛti, 24:41). The purpose of the sexual act as espoused in different literary genres may have varied (from the reproductive in the smṛtiśāstras to the soteriological in the Yoga- and Yoginītantras), but the early sexual initiation is evidenced throughout the whole spectrum of Indian literature. That said, one must add that the age most often recommended by the tantras was actually not twelve but sixteen; this is paralleled by the age of the deity forms visualized during the sādhana.
The sexual practices, however, are far from being the only content of the CMT, which is varied and rich. This tantra aims to be a guide, complete in itself, which takes care of both our soteriological and mundane needs. Since the CMT includes all the standard elements of a classical Buddhist tantra of the later period, it may be unnecessary to describe, or even list, all these elements here. Instead a brief mention of some of its salient features might be of benefit. (For a full list of topics, please consult the chapter headings in the contents section.)
One such feature is the exalted position of women. This thread, present throughout the text, starts from the premise that the man and the woman are deities—Caṇḍamahāroṣaṇa and Vajradhātvīśvarī, respectively—and both should worship each other as such. The text, however, dwells on the service rendered by a man to a woman, rather than the other way around. The woman is the one who grants the ultimate beatitude and the final awakening, and she is the one who deserves infinite gratitude and devout service. This may be best illustrated by a quotation:
- Women are heaven, women are the Dharma,
- And women are truly the supreme austerity.
- Women are the Buddha, women are the Saṅgha,
- Women are the Perfection of Wisdom. (CMT, 8.14)
The word used for “service” is sevā, which in Sanskrit means “attending to” (as a servant would to a master). It also means “sexual intercourse,” which—being in itself a form of service—here takes a ritualized form. Again a quotation summarizes it all:
- For a woman, the man is a deity;
- For a man, the woman is a deity.
- They should honor each other
- By uniting the vajra and the lotus. (CMT, 10.9)
The content of the CMT thus ranges from soteriological, through magical (which combines soteriological and mundane elements), to practical. Consequently the text becomes, in turn, a manual of deity practice with its development (utpatti) and completion (utpanna) stages, a compendium of magical practices comprising the four types of tantric (not necessarily “enlightened”) activity, and a do-it-yourself manual offering instruction on various practical subjects, some as mundane as waterproofing cloth or dying one’s hair. Among the different types of magic, prominence is given to the rites of enthrallment (vaśīkaraṇa); and among the magical remedies, to those enhancing sexual experience during lovemaking. The CMT is also a rich source of materia medica; it contains a wealth of ritual prescriptions and recipes in which magic blends with folk medicine.
The plant names and other materia medica presented a particular difficulty during the translation work. There are discrepancies between the traditional sources as regards plant names, and sometimes several plant species contend for the same name. Modern scholars of āyurveda or ethnobotany do not always agree among themselves concerning the correct identification of some plants. A certain amount of care was taken, however, to identify every plant by the names found in the Sanskrit and the Tibetan texts. A number of reference works and specialized websites were consulted, but, needless to say, not all the plants and substances have been identified reliably, and some could not be identified at all. Some passages in the sections containing such recipes still remain unclear.
The mantras and dhāraṇīs have been translated, for the most part, as they often take the form of a request or a prayer, and their semantic content is usually related to the ritual in which they are employed. This particularly applies to the longer formulae, such as garland mantras or dhāraṇīs. However, because they are meant to be recited in their original Sanskrit form, which is believed to possess liturgical and magical significance, their full Sanskrit text has been given in notes. Translation of these formulae, again, presented a problem, and the reader should note that many words that are not standard Sanskrit have not been identified with certainty, and some have not been identified at all.
Technical Sanskrit terms that do not have English equivalents have either been translated descriptively, or the original term was used with a link to the glossary. As the ritual jargon of the tantras is often incompatible with modern English in terms of semantics and usage, the reader will find that certain English words in our translation have been used in a somewhat unconventional way. For example, in our translation the direct object of the verb to incant can be not only the mantra but also, just as in Old English, the object over which the spell or the mantra is to be recited. Although there is a significant precedent for this particular usage in modern English, in genres ranging from academic works to the Harry Potter novels, this could still seem “incorrect” to many readers.
As already mentioned, the CMT includes instructions that are not intended as spiritual per se. Among the methods of the do-it-yourself type, the tantra distinguishes a special category that it refers to as kutūhala, that is, “curious” or “odd.” As this name suggests, these methods—such as setting a cow bone ablaze, making things glow at night, or causing iron to appear as copper—might have been included in the tantra because of their curiosity rather than their practical value. Obtaining the necessary requisites for some of these practices might require killing animals or performing other acts conventionally regarded as unwholesome. A few of these practices might appear, by society’s norms, as frivolous, if not gratuitously harmful. These “odd” elements are, however, neither unique to the CMT (many tantras include a chapter or section devoted to them), nor do they purport to be part of this tantra’s main message. The aim and purpose of the CMT’s profound teachings lies in the realization of nondual awareness through the practice of the four joys. As such its unique beauty is in the love and devotion experienced in the union of the two partners—the wisdom and the means.
Oṁ, homage to Caṇḍamahāroṣaṇa!
Thus did I hear at one time. Lord Vajrasattva dwelt within the bhaga of the goddess of the Vajra Realm, which is the essence of body, speech, and mind of all tathāgatas. He dwelt there together with many hosts of vajra yogins and yoginīs, namely: White Acala vajra yogin, Yellow Acala vajra yogin, Red Acala vajra yogin, Green Acala vajra yogin, Delusion Vajrī vajra yoginī, Calumny Vajrī vajra yoginī, Passion Vajrī vajra yoginī, and Envy Vajrī vajra yoginī. He dwelt there with trillions of yogins and yoginīs, headed by those just mentioned.
Then Lord Vajrasattva, having entered the absorption of Black Acala, spoke:
Then the blessed goddess of the Vajra Realm, having entered the absorption of Hatred Vajrī, said this:
The lord Black Acala deeply kissed and firmly embraced Hatred Vajrī, and said:
This concludes the first chapter, the introduction to the tantra, in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the blessed Hatred Vajrī tightly embraced Lord Caṇḍamahāroṣaṇa and said:
The lord then said:
“Now comes the maṇḍala tutelage mantra:
“Oṁ, Blessed Caṇḍamahāroṣaṇa, together with your retinue, come, come! Jaḥ hūṁ vaṁ hoḥ! Assume tutelage over this maṇḍala! Hūṁ phaṭ! Svāhā!
“With this mantra, one should summon, induct, bind, and enthrall Caṇḍamahāroṣaṇa, and then worship him.
“Now comes the worship mantra:
This concludes the chapter on the maṇḍala, the second in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the goddess said:
The lord then said:
“This is the water empowerment:
“Visualizing the disciple to be pure and spotless like a crystal, one should draw some water from the victory jar with a mango blossom and sprinkle the disciple with it, with the words ‘Oṁ āḥ, for the one possessed of the glory of the pledge of the empowerment of all the tathāgatas, hūṁ.’
“This is the crown empowerment:
“One should first fashion a cloth crown that resembles a crown with many gems. Then one should visualize the disciple as a universal emperor, place the crown on his head, and sprinkle him as before. The mantra is ‘Oṁ, Caṇḍamahāroṣaṇa, enter, enter into his heart! Hūṁ phaṭ!’
“This is the sword empowerment:
“One should place a sword made of iron or the like in the disciple’s right hand and sprinkle him as before. ‘Oṁ, strike, strike! Kill, kill all the enemies! O sword of knowledge! Hūṁ phaṭ!’
“This is the noose empowerment:
“One should place a noose made of copper or the like in his left hand, which should display the threatening gesture. Then sprinkle him as before. ‘Oṁ, seize, seize! Pull, pull all the evildoers with the noose! Bind, bind! To you, O great truth, to you, O Dharma, svāhā!’
“This is the name empowerment:
“One should invite the disciple, crowned with the seal of Caṇḍamahāroṣaṇa, to sit down, visualizing him in Caṇḍamahāroṣaṇa’s form. One should recite, ‘Oṁ, blessed lord Black Acala, you are an accomplished being! Hūṁ phaṭ!’ Then one should anoint him as before. In this way, the name empowerment of the five Acalas, according to the color division of black and so forth, should be given to the sādhaka. This is the fivefold empowerment.
“To women, however, instead of the crown empowerment, a vermillion empowerment should be given:
“Visualizing the disciple in the form of the fierce great goddess, one should recite, ‘Oṁ, goddess, enter, enter into her heart! Hūṁ phaṭ!’ One should place in her right hand a knife of iron or other material, and recite, ‘Oṁ, knife, cut, cut the flesh of all the māras! Hūṁ phaṭ!’ In her left hand, one should place a human skull, or one made of wood, and so on, and recite, ‘Oṁ, skull, hold, hold the blood of all the enemies! Hūṁ phaṭ!’ Then one should invite her to assume the goddess’s posture, and visualize her in the goddess’s form. One should recite, ‘Oṁ, blessed Hatred Vajrī, you are an accomplished being! Hūṁ phaṭ!’ In this way, with the names of the five yoginīs according to the division of colors starting with the black, one should anoint women. To them, however, in place of the wisdom empowerment, the skillful means empowerment should be given.
“Now comes the secret empowerment.
“The disciple should first offer clothes and so forth to the teacher before presenting him with a girl who is young and beautiful and dear to his heart.
“The disciple should then bow to the teacher, leave the room, and recite the mantra, ‘Oṁ, Caṇḍamahāroṣaṇa, hūṁ phaṭ!’
“The teacher should make offerings to himself with wine, meat, and so forth, and then satiate the wisdom consort. He should unite with her and place the semen and blood obtained from this in the fold of a leaf or such. He should then summon the disciple. Using his ring finger and thumb, the teacher should take the substance and use it to write the syllables hūṁ and phaṭ on the disciple’s tongue. He should then ask the disciple to recite, ‘Ah, pleasure.’
“Then the teacher should say, ‘Today I will cause the buddha-knowledge to arise, through which lord buddhas of the past, future, and present attain nonabiding nirvāṇa. But you must not speak of this in front of anyone who has not seen the maṇḍala. If you do speak of it, then…’
“Placing the sword against the disciple’s heart, the teacher should continue as follows:
“The teacher should fasten a blindfold across the disciple’s eyes and invite him to throw a flower onto the maṇḍala. As the teacher removes the blindfold, he should then point out the maṇḍala to the disciple and explain its symbolism. Then he should offer the same wisdom consort to the disciple, saying:
“Next the teacher should whisper into the disciple’s ear about the division of the four joys. Then the teacher should go out. The wisdom consort should undress and, lying on her back, point to her secret place, saying:
“The sādhaka should say:
“And she should say:
“Then the sādhaka, visualizing himself in the form of Caṇḍamahāroṣaṇa and visualizing the wisdom consort in the form of Hatred Vajrī, should make love and note the four joys. When this is completed, he should offer the gaṇacakra feast with wine and meat, with the teacher as the guest of honor.
“This was the wisdom empowerment.”
This concludes the chapter on empowerments, the third in the glorious Caṇḍamahāroṣaṇa tantra called “The Sole Hero.”
Then the goddess said:
The lord then said:
“ ‘Oṁ, I am of the nature of vajra, which is the wisdom of emptiness.’
