**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.93 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*).94 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 bodhip ´ aks ¯ .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.97 His body is half black and half green.98 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.99 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,101 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 hand107 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´ ´ san¯ ¯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" (*sil ´ a¯*) and a "mace" (*gad. a¯* <sup>=</sup> *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>136</sup> He is Vajrajñana in Ratnasena's ¯ *Man. d. alarcanavidhi ¯* (Skt ms. NGMPP B24/52, 10v4 and 22v7).

<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>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).
