Editor's note:

Since the time John Myrdhin Reynolds made this translation Chgyal Namkhai Norbu gave this
transmission publicly one more time in Tashigar Sur, Argentina, March 2013.
This manuscript collection of available materials related to practice of Simhamukha Gonter of Ayu
Khandro is intended for people who received this transmission or wish to receive it in the future.
Editors take no credit for transcribing the Tibetan text nor the translation.
Manuscript version v.1.3

1"8-8E}8m-+0$-1}8m-={$-#+}$-18m-70-*m#i
The Profound Essence of Simhamukha Who is the Queen of the Dakinis.

,-1}-0.-aj-!m-,m-9{i

NAMO VAJRA DAKINIYE

(I. Preliminaries)

i
i
And who possesses the initiation and the samaya vows
i
(Should construct) a mandala of sindhura powder,
A yogin who would practice the sadhana of the Dakini

i
i
At the center (of this mandala) are the interlaced triangles of a blue-black Dharmodaya,
i
And on top of that is a kapala skull cup filled with madana wine.
i
A crystal and a mirror are placed upon the support of life.
(Visualized to be) surrounded by flaming volcanos and the rocks of a cremation ground.

Thereupon one should prepare the inner offerings with whatever materials are readily available.
At the beginning and the end one proceeds as in the general Dakini rites.

Then, as for the Devayoga, the unification with the Deity, representing the aspect of Enlightenment
and which constitutes the principal practice:

(II. Principal Practice)

(IIA. Visualization of the Principal Deity)

fz^-i M1-*:-#=v1-)m$-${-84n,i
%}$-&{,-L}I{-02t,-18m-1":i

hung nam thar sum ting ng dzin

tong chen dorje tsn m khar

In the Space of the Vajra Queen of the Great Void Which is the Contemplation of the Three
Liberations

\o,-_p-'$-08m-$m-I{-<:i

kn tu nangw nying j shar

Arises the Compassion which is everywhere manifest.

8}+-'$-%}$-#7v#=-&}=-<m-8Ap$i

d nang tong zug ch kyi jyung

This visible light is the Dharmodaya whose form is empty.

Es-#=v1-1*m$-,#-0'};-18m-+0v=i

dru sum ting nag nl m

Are [concentric] circles with four radii and sixteen radii respectively.

8"}:-;}-Pm0=-06m-Pm0=-0%t-Hs#i

korlo tsib shi tsib chu drug

Are (concentric) circles with four radii and sixteen radii respectively.

W{-0:-.+-(m-:}-#+,-%{$i

te war p nyi ro den teng

At their navel on the top of the lotus, solar disc, and a seat which is a human corpse

+A$=-:m#-Wv-9m-)m$-84n,-fz^i

ying rig gyu yi ting dzin hung

1*m$-,#-:$-8}+-80:-0-,mi

ting nag rang d barwa ni

Is the (syllable) HUNG representing the causal contemplation (embodying) Space and
Primordial Awareness.

Its radiant dark azure inherent light,

!+-#%m#-9}$=-=v->o:-.-;=i

ke chig yong su gyur pa l

In an instant completely transforms itself

'$-%}$-[s,-Es0-0v1-.8m-!qi

nang tong lhundrub bum p ku

Into the spontaneously realized Vase Body, which is both visible and empty,

9{-<{=-1"8-8E}-={$-#{-#+}$-i

yeshe khandro sen g dong

Of the Wisdom Dakini Simhamukha.

1*m$-,#-6;-#%m#-@#-#(m=-;i

ting nag zhal chig chyag nyi la

She is blue-black (in color) with a single face and two arms.

M1-8'm#=-D}-8Ds#=-8J}#->m-6{;i

nam jig tro trug trog gyi zhal

The aspect of Her face is terrifying, wrathful, agitated, threatening;

:0-M},-1&{-#2n#=-V$-8Hm;-6m$i

rab non che tsig jang dril zhing

Her fangs are exceedingly sharp and Her tongue is extended and coiled.

*:-*m,-0!;-.8m-1{-W:-80:i

mar min kalpe me tar bar

Her eye-brows blaze like the fires at the end of the kalpa,

:;-.-#},-.}->{,-`o-8>o:i
While Her blue hair bristles upward.

ralpa ngonpo gyen du gyur

<$=-,=-0!;-.8m-8*}:-T$t -83u0=i

shang ne kalpe thor lung tsub

From Her nostrils swirls the winds which scatter everything at the end of the kalpa.

?-:-;m-+$-/c->m-a=i

a ra li dang phem gyi dre

=-#=v-#9}-6m$-&:-0:-Ami

sa sum yo zhing dar war jyi

With the sounds of A-Ra-Li! and PHEM!

She causes the quaking and trembling of the three worlds.

@#-#9=-L}-I{8m-Em-]o#-8@:i

chyag ye dorje drigu chyar

With Her right hand She brandishes the vajra-knife

;=-(},-#7v$-84n,-3+-,=-#%}+i

le nyn zung dzin tsad ne chod

Which severs the roots of subject and object, of karma and passion.

#9},-.=-*}+-.-U$-;}-%,i

yn pe thd pa chang lo chen

With Her left hand She has a kapala skull cup still possessing its braided hair;

D#-#m=-0!$-0-*v#=-!:-84n,i

trag gi kang wa thug kar dzin

It is filled with blood and She holds it before Her heart.

1&,-#9},-"-2t[-P{-#=v1-0K{,i

chan yon khatvam tse sum ten

0+{-&{,-*0=-+$-8`o-K;-1{+i

de chen thab dang du drel med

In the crook of Her left arm She supports a khatvanga staff surmounted by a trident,

This represents Her inseparability with Skilful Means and Great Bliss.

={$-#{8m-Y#=-.8m-%}+-#9}#=-#=};i

senge pagpe tod yog sol

She wears a mantle of lion skin,

!q-*+-%#-#m-<1-*0=-%,i

ku md tag gi sham tab chan

While Her lower body is girded with a skirt of tiger skin.

*}+-!1-T-9-m +0v-W,-.i
Her head ornament is made of five dried skulls

thd kam nga yi ugyen pa

:v=-W,-1#}-T},-J{$-0=-0W,i

r gyan go lon treng we gyen

And She is adorned with bone ornaments and a garland of freshly severed heads.

60=-#(m=-#9=-0Fy1-#9},-0V$=-#:i

zhab nyi ye kum yon kyang gar

As for Her two legs, the right one is drawn up and the left one is extended in the posture of a
dancer,

9{-<{=-1{-+.v$-P}$-,-0bo#=i

yeshe me pung long na zhug

And She stands amidst a vast expanse filled with masses of the flames of wisdom.

(IIb. Visualisation of the Retinue of Four and Sixteen Goddesses)

Pm0=-06m:-=$=-W=-:m,-&{,-+$i

tsib zhir sangye rinchen dang

On the four radii (of the innermost circle) are Buddha Simhamukha, Ratna Simhamukha,

.]-;=-<m-={$-#+}$-1i

pema le kyi seng dong ma

Padma Simhamukha, and Karma Simhamukha,

+!:-={:-+1:-V$-"v8m-1+}#-,mi

kar ser mar jyang kh dog ni

Who are white, yellow, red and green respectively.

W,-.-&-;v#=-#2~-1}-W:i

gyan pa cha lug tso mo tar

They are adorned and attired like the Principal Goddess.

:$-K#=-@#-13,-Em-]o#-8@:i

rang tag chyag tsan drigu chyar

Similarly, they brandish curved blades marked with the respective hand-symbols which are
their own signs.

@m-:};-Pm0=-8"}:-0%t-Hs#-_pi

chyi rol tsib khor chu drug tu

Beyond them , on the sixteen radii (of the next circle) are

#X-:rm-#},-1}-6m$-+Ap#-8@:i

gauri ngonmo zhing yug chyar

The blue Gauri who brandishes a flayed human skin and a club,

2Y-:rm-={:-1}-1+8-#bo-8#{$=i

tsauri sermo da zhu geng

The yellow Chauri who draws a bow and arrow,

I-+1:-&u-Nm,-W;-13,-8/m:i

pra mar chu sin gyaltsen chyar

The red Pramoha who hoists the victory-banner marked with a makara sea monster,

0{-)-;rm-,#-L}-6m$-84n,i

betali nag dor zhing dzin

The black Vetali who carries a vajra and a flayed human skin,

.v!=m-+1:-={:-6m$-`o-8H{,i

pukasi mar ser zhing du dren

The reddish-yellow Pukkasi who pulls on a flayed human skin,

O*-:rm-V$-`o-`o$-+1:-+<o#=i

ghasmari jyang du dung mar kyug

The green Ghasmari who stirs red (blood) in a conch shell,

*<-1*m$-,#-Am=-$m$-7i

smasha ting nag chyi nying za

The blue-black Smasani who eats the heart of a child,

2o-={:-<-1#}-;v=-8H;i

tsanda serkya go lu drel

The pale-yellow Chandali who tears to pieces a head and a body,

={$-#+}$-={:-1}-1m-:}-7i

seng dong sermo mi ro za

The yellow lion-headed Sinhamuka who eats a human corpse,

%#-#+}$-+1:-1}-1m-:}-84n,i

tag dong marmo mi ro dzin

The red tiger-headed Vyaghramukha who holds a human corpse,

5-#+}$-,#-1}-6m$-&u$-X#i

wa dong nagmo zhing chung dag

The black hyena-headed Srigalamukha who licks the flayed skin of a small child,

]$-#+}$-+1:-,#-6m$-"}#-8H;i

chyang dong mar nag zhing khog drel

The red-black wolf-headed Svamukha who tears to pieces a stomach and a flayed human
skin,

G}+-#+}$-1:-1}-Wv-1-8H{,i

gd dong marmo gyu ma dren

The red vulture-headed Gridhramukha who pulls on some entrails,

!$-#+}$-+1:-[-01-:}-8={:i

kang dong mar kya bamro khyer

The reddish white crane-headed Kankamukha who carries a corpse,

.-#+}$-,#-1}-:;-*}+-84n,i

kha dong nagmo ral thd dzin

The black raven-headed Khakamukha who holds a skull cup and a sword,

8v#-#+}$-1*m$-,#-L}:-+Ap#-#+{$=i

ug dong ting nag dor yug deng

And the blue-black owl-headed Ulukamukha who brandishes a vajra and a club.

\o,-<$-87m#=-3u;-1m-07+-%},i

kun kyang jig tsul mi zad ton

Furthermore, all of them display an immensely terrifying aspect

6m$-W$-#+,-;-#:-%0=-0bo#=i

zhing gyang dan la gar tab zhug

And dance in position on mats of human skin.

@m:-8"}:-80:-08m-0:-=1=-;i

chyir khor barwe bar khyam la

In this flaming courtyard which surrounds the outer perimeter,

+0$-1}-0%t-Hs#-#:-%0=-8Am$i

wangmo chu drug gar tab jying

These sixteen Queens dance (wildly) in position.

(Than, at the four gates of the Mandala:)

<:-`o-"v-Ap#-U#=-<o-+!:i

shar du khu jyug chag kyu kar

In the east is the white cuckoo-headed Vajra Angusha with an iron hook,

[}-`o-:-#+}$-6#=-.-={:i

lho du ra dong zhag pa ser

In the south is the yellow goat-headed Vajra Pasa with a noose,

ao0-_p-={$-#+}$-U#=-a{#=-*t#i

nub tu seng dong chag dreg mug

In the west is the maroon lion-headed Vajra Srinhkala with an iron chain,

A$-`o-du;-#+}$-Hm;-0v-V$i

jyang du drul dong drilbu jyang

And in the north is the green snake-headed Vajra Ghanta with a bell.

D}-1}8m-&=-Q}#=-#:-%0=-0bo#=i

tro m che dzog gar tab zhug

Perfectly attired as wrathful goddesses, they stand there in a dance position.

(IIc. Conferring Initiation)

+{-W:-#=;-08m-#,=-#=v1-,i

de tar salwe ne sum na

The three locations which are clearly visible (on the five Goddesses)

?f-?r-fz^-#m=-13,-.-+$i

om a hung gi tsan pa dang

+0$-[-8"}:-0%=-],-H$=-){i

wang lha khor che chyen drang te

Are marked by (the syllables) OM, A, HUM; (Whereupon rays of light issue from them)

And invoke the Deities of Initiation, together with Their retinues.

+0$-0!q:-]m-0}8m-#,=-T-`oi

wang kur chyi wo ne nga du

They confer initiation on the five places which are crowns of the head

D#-8*v$-:m#=-T=-+0v:-Ap#->o:i

trag tung rig nge wur jyug gyur

And thus (the five Goddesses) are anointed on the head by the five blood-drinking Herukas.

?f-?r\fz^i

OM A HUM

fz^-?f-F[-Osm\?r\

HUM OM TRAM HRI A

(IId. Invocation of the Wisdom Deities)

As for the invocation and prayer to them to be seated:

fz^-Osmi 1m-1$},-+Am$=-,-0bo#=-.-9mi

hung hri mi ngon ying na zhug pa yi

9{-<{=-1"8-8E}-={$-#+}$-1i

yeshe khandro seng dong ma

You who dwell in unmanifested Space,

O Wisdom Dakini Simhamukha!

cu;-8"}:-0%=-.-#,=-8+m:-#<{#=i

trul khor che pa ne dir sheg

Together with Your apparitional retinue, come here and reside!

0:-&+-\o,-={;-+$}=-Es0-83~;i

bar chad kun sel ngo drub tsol

Remove all my obstacles and bestow the attainments upon me!

?f-0.-Bv!m,m-=ma-1v"-?{-3->m-0.-=-1-9-4-4i ?-5{<9-O`-O`-/c-/ci
OM VAJRA DAKINI SIMHAMUKHA E-HYA-HI VAJRA SAMAYA DZA DZA
AVESHAYA HRIM HRIM PHEM PHEM

?fi +>m$=-,=-],-H$=-9{-<{=-[i

om ying ne chyen drang yeshe lha

The Wisdom Goddessess are invoked form (the midst of) space.

+>{=-1(1-&{,-.}:-:}-#%m#-_pi

gye nyam chen por ro chig tu

As a single flavour in the state of Great Delight,

+1-3n#-9{-<{=-+A{:-1{+-+$i

damtsig yeshe yerme dang

The Wisdom Beings and the Symbolic Beings become inseparable

A$-&u0-0:-`o-0K,-.-0bo#=i

jyang chub bardu ten par zhug

And reside steadfastly (as one) until I attain Enlightenment.

4\fz^-0[->}\ 'j,-=19-)mh-[,i

DZA HUM BAM HO JNANA SAMAYA TISHTHA LHAN

(IIe. Offerings and Praises)

As for the offerings of homage, the puja offering, and the hymn of praise:

,1}i [{-1{+-+Am$=-;=-:$-<:-0i
L}-I{-J-1{,-&{,-1}-9mi
+<m;-8!}:-[-3~#=-*1=-%+-;i

namo kye med ying le rang shar wa

dorje tramen chenmo yi
kyil khor lha tsok tamche la

1m-@+-0L-9m-@#-83;-;}i

mi chyed da yi chyag tsal lo

To all of the hosts of Deities of the Mandala of the great Adamantine Sorceress ;
Who is self-arisen from uncreated Space, I do homage by means of the four unchanging
Symbols.

?-)m-.v->}i I)mc->}i ?f-?r-fz[i

ATI PU HO PRATISHTA HO OM A HUM

A-1{+-1&}#-#m-1&}+-.-,mi

jya med chog gi chod pa ni

As for the supreme puja offering which is accomplished withut activity,

+}+-9},-T-9m-cm,-/v$-8J}i

dod yon nga yi trin pung tro

I emanate cumulous clouds of the five delightful sense qualities

9v;-0+$-#(m=-1{+-1(1-.:-:};i

yul wang nyi med nyam par rol

Wherein sense object and sense faculty manifest as integrated and withut duality.

+1-3n#-#=$-08m-1&}+-.-06{=i

damtsig sangwe chod pa zhe

May this symbolic secret offering be accepted by Them!

?f-0.-=`->-1v-"-=.:m-5v:-0.-?g[-,=-:v.-<B-Ow{-:=-(>{-=N-.5-?Lm)-:%-0;`)-1ds-=v"-),-O,aO-a_p-.v4->}i

OM VAJRA SIMHAMUKHA SAPARIVARA VAJRA ARGHAM PADYAM PUSHPE DHUPE ALOKE

GHANDHE NAIVIDYA SHAPTA RUPA SHAPTA GHANDHE RASA SPARSHE SARVA PANCA
AMRITA RAKTA BALIMTA MAHASUKHA TANA GANA DHARMADHATU PUJA HO

fz^i !q-,m-1m-8>o:-\o,-07$-1}i

hung ku ni mi gyur kun zang mo

#=v$-,m-1-m 8##-3$=-.8m-+A$=i

sung ni mi gag tsang pe yang

Her Body is the unchanging Samantabhadri;

Her Speech is the voice which is pure and unobstructed;

*v#=-,m-1m-#9}-0=1-0I}+-+=i

thug ni mi yo sam jod de

Her Mind is undistracted by thought and recollection;

10

={$-#{8m-#+}$-%,-[-1}:-0%}+i

senge dong chen lhamo tod

I sing hymns of praise to the Goddess Simhamukha,

&}=-(m+-#%m#-;=-`o-18m-8Js;i

ch nyid chig le du me trl

From the single Ultimate Reality, a multiplicity (of diverse forms) emanate:

:m#=-06m-#,=-9v;-J-1{,-+$i

rig zhi ne yul tra men dang

To these (four) Sorceresses of the sacred sited of the Four Hierarchies

+0$-1}-(m-co-P-0W+-"}=i

wang mo nyi shu tsa gyu g

And to the twenty-eight Queens, together with their retinues,

cu;-8"}:-0%=-;-@#-82;-0%}+i

trul khor che la chyag tsal tod

I do homage and sing hymns of praise.

(IIf. Recitation of the Heart Mantra of the Goddess)

As for the state of mind which represents profound contemplation:

9{-<{=-1"8-8E}8m-*v#=-!8m-+0v=i

yeshe khandro thug ke

In the centre of the heart of the Wisdom Dakini,

L}-I{-W{-0:-(m-18m-%{$i

dorje te war nyi me teng

At the navel of a vajra, on top of a solar disc,

fz^-9m#-1*m$-,#-80:-08m-1*:i

hung yig ting nag barwe thar

##=-J{$-(t-<+-W-0v=-0V{+i

ngag treng pu shad ta b kyed

Is a blue-black blazing HUNG (syllable)

And around it is a rosary of mantra, visualised like fine hairs.

8}+-8J}=-8/#=-1&}+-Am,-T0=-0=v=i

d tr phag chod jyin lab s

By virtue of its emanating rays of light, offerings are made to the Exalted Ones and Their
blessings received.

11

1:-8J}=-'}+-0%t+-*1=-%+-^$=i

mar tr nod chud tamche jyang

Since these [rays] emanate (a second time) downward, all of the material world and its
inhabitants are purified.

"1=-#=v1-+#-.-={$-#+}$-18mi

kham sum dagpa seng dong me

Verily, the three worlds themselves are purified

!q-#=v1-*v#=-<m-:};-.:-Q}#=i

ku sung thug kyi rol par dzog

And the Body, Speech and Mind of Simhamukha become perfectly manifest.

?f-0.-=`->-1v-"-fz^->->{-P}i/@i

OM VAJRA SIMHAMUKHA HUM HA-HE BHYO PHAT

As for the mantrasiddhi attainment, this root mantra service should be recited some four

hundred thousand times .

(IIg. Karmayoga)

U:-9$-au0-.8m-##=-J{$-;=i

lar yang drubpe ngag treng le

Afterwards, form the rosary of mantra of realisation,

8}+-7{:-1#;-1{-W:-8"}:-6m$i

zer gal me tar khor zhing

The rays of light revolve like whirling fire-brands

9{-<{=-;=-+$-8-7m#-K{,-<mi
+.8-0}-1"-8E}8m-*v#=-Wv+-0!q;i

yeshe le dang jig ten kyi

pawo khandro thug gyud kul

And request the heart-streams of the Viras and Dakinis, both those who are Wisdom Deities
and those who are worldly.

\o,-<$-!q-,m-+>{=-.8m-#:i

kun kyang ku ni gye pe gar

For all of them, Body is the Dance of delight,

#=v$-,m-##=-<m-a-&{,-8v:i

sung ni ngag kyi dra chen ur

Speech is the murmuring of the great sound of mantra,

12

*v#=-,m-0+{-&{,-:}-9m=-B}=i

thug ni dechen ro yi ny

And Mind is the intoxication with the state of Great Bliss.

'$-Nm+-'}+-0%t+-*1=-%+-\o,i

nang sid nd chud tamche kn

All phenomenal existence, the entire material world and its living inhabitants,

9{-<{=-1"8-8E}-={$-#+}$-18m+<m;-8"}:-#%m#-_p-Q}#=-.:-0=1i

yeshe khandro seng dong me

kyil khor chig tu dzog par sam

Are conceived of as being perfected in the Mandala of the Wisdom Dakini Sinhamukha.

?-!-=-1-:-2-<-+-:-=-1-:-9-/@i
A KA SA MA RA TSA SHIA DA RA SA MA RA YA PHAT

As for the Karmayoga, recite each syllable of this mantra one hundred thousdand times

(that is to say, recite the mantra as a whole fourteen hundred thousand times.)

]m-0}:-?\!\1Em,-.:-=\1\+$i

chi wor a ka drin par sa ma dang

$m$-":-:\2\W{-0:-<\+\%{i

nying khar ra tsa te war shia da te

#=$-0:-:\=\0T-#9=-1\:\+$i

sang war ra sa la ye ma ra dang

0T->},-9\/@\M1=-<m=-13,-.:-1}=i

la yon ya phat nam kyi tsan par m

At the crown of my head is A KA and at my throat is SA MA

At my heart is RA TSA and at my navel is SHIA DA

At my secret place is RA SA and at my right thigh is MA RA

At my left thigh is YA PHAT; these places are marked by these syllables respectively.
In here the mantra should be recited for some time divided into pairs of two syllables which are visualized in their proper
places on the body. (editor's note based on the instruction by Chgyal Namkhai Norbu)

##=-0S=-+<m;-8"}:-[-3~#=-D}-6m$-8=o#=i

ngag de kyilkhor lha tsog tro zhing kyug

By reciting this mantra, the hosts of Deities of the Mandala become enraged and move
swiftly.

!q-+$-##=-J{$-@#-13,-1{-8}+-80:i

ku dang ngag treng chyag tsan me od bar

13

My Body, the rosary of mantra, and the hand-symbols blaze with the light of fire.
nam chag tsa tsa ta bu tro pa yi

#,1-U#=-5-5-[-0v-8J}=-.-9m=i

Since they emanate (lights) like sparks or meteors (in the sky),
bar che dong geg jyad phur bod tong kun

0:-&+-#+}$-0#{#=-A+-/v:-N}+-#)}$-\o,i

All hindrances, evil spirits obstacles, maledictions, and curses

je la me chod ta bur song war sam

I{=-;-1{-1&}+-W-0v:-=}$-0:-0=1i

Are thought of as being cast into a fire sacrifice (and thus being utterly consumed).

/@-9-:-1-=-:-+-<-2-:-1-=-!-?\ #,}+-A{+-+E-0#{#=-A+-1-*1-%+-;-1r-:-9-N+-/@i

PHAT YA RA MA SA RA DA SHIA TSA RA MA SA KA A

NOD JYED DRA GEG JYAD-MA THAM CHAD LA MARAYA BAD PHAT

May all enemies who do harm and all obstacles and demons be accursed!

(III.Conclusion)

Afterwards, one should carry on as in the general Dakini practice.

Even though this upadesa is all there is,

It was actually given by the Wisdom Dakini.

It was kept in mind and practiced

For a time of twenty-three human years.

Finally, in order to bring forth the benefit of beings

And in order to propitiate the wishes of sel Wangmo,

It was written down in letters.

May it be protected by Ekajati!

=-1-9i W-W-Wi "-*1i

SAMAYA GYA GYA GYA KHA-THAM

This was writen down by Dorje Paldan in the year of the Iron-female Mouse.
Rejoice!

14
Colophon:
At the request of and following the oral instructions of Namkhai Norbu, this text of the sadhana for
the Jnana Dakini Simhamukha was translated from Tibetan by Vajranatha (John Myrdhin Reynolds)
at the Dzogchen Community of Conway, January 1981. May the Power of the Great Lion-headed
Goddess subdue and transform the anger and aggressiveness which festers in the hearts of men, in this
year and in all the years to come.
SARVA MANGALAM.

15

Notes by the Translator:

"The Profound Essence of Simhamukha Who is the Queen of the Dakinis". titled in Tibetan
the mkha' 'gro'i dbang mo'i seng gdong ma'i zab thig is dgongs gter the or ''mind treasure" of
Ayu Khandro ( 1818-1951). The introduction to the text states that the would-be practitioner
of this sadhana of the Jnana Dakini Simhamukha seng ge gdong ma, "the Lion-Headed
Goddess") should possess the requisite initiation (abhisheka) and samaya vows. The
transmission was given by Namkhai Norbu Rinpoche at Merigar and at Conway; he had
received it directly from Ayu Khandro herself in eastern Tibet. Ayu Khandro was a direct
disciple of the great Jamyang Khyentse Wangpo and of Nyala Pema Dondu, the Master of
Changchub Dorje.
I. In terms of preparations: Place a kapala or skull cup filled with madana or dark wine on a
tripod (called the support of life) and rest on top of it a melong or mirror. Cover the surface of
the mirror with red sindhura powder and draw on this two interlaced "triangles of
origination" called Dharmodaya chos byung, and at the center of this draw the syllable HUM.
Place a crystal either under the tripod or in the center of the interlaced triangles. We then
proceed according to the usual practice of the Vajrayogini sadhana, that is to say, recite the
Refuge and Bodhichitta (such as the opening verses found in "The Rite"). This constitutes the
preliminaries sngon 'gro to the sadhana. We now come to the principal practice dngos gzhi
which is he Devayoga lha'i rnal 'byor or unification of the practitioner with the Deity.

IIA. The practice proper begins with the three contemplations or three samadhis ting nge 'dzin
We sound and visualize the syllable HUM and from this HUM, dark azure rays of light
emanate which dissolve all of our dualistic vision, so that we come to rest in the state of the
three Liberations rnam par thar pa'i sgo gsum, that is, the Void ngo bo stong pa nyid, the Signless
rgyu mtshan ma med pa, and the Wishless 'bras bu smon pa med pa. Our own physical bodies and
our entire material environment are dissolved and there remains only the clear empty sky
which is without any characteristics and without any intentions. This is the first
contemplation (samadhi) known as the Contemplation of Reality
de bzhin nyid ting nge 'dzin. Then the Triangles of Origination of the Dharmodaya, "the source of
all phenomena", spontaneously appear as self-perfected in the midst of space. Out of the
original primordial state of Sunyata (emptiness or void) arises this luminous manifestation of
compassion. This experience represents luminous clarity (gsal ba) and is called the
Contemplation which is Everywhere Manifest kun tu snang ba ting nge 'dzin.

gsum.

Above these interlaced Triangles of Origination appears a chakra or circle like a wheel with
four radii and outside this another circle with sixteen radii. At the center of the innermost
circle, on a white lotus (lunar energy) and a red solar disc (solar energy) lies a prostrate
human corpse, the symbol of grasping after an ego bdag 'dzin. Standing on top of the corpse is
an upright blue-black HUM syllable, which embodies the essence of one's own mind. This
HUM represents the Causal Contemplation rgyu'i ting nge 'dzin. Such a seed-syllable (bija), the
seed or germ of compassion, provides the basis for transformation and is itself the symbol of
the sound or vibration which moves us to transformation. In Mahayoga, such a seed-syllable
is the cause of transformation, but in Anuyoga, it is the symbol of the union of Space dbyings
and Primordial Awareness ye shes. According to the method of Anuyoga, it is sufficient to
merely sound the HUM and instantly transform into Simhamukha; a long wordy recitation in
not necessary. In summary, the Contemplation of Reality corresponds to Emptiness, the
Dharmakaya, and the 'chi kha'i bar do; the Contemplation which is Everywhere Manifest

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corresponds to Luminous Clarity, the Sambhogakaya, and the chos nyid bar do; and the Causal
Contemplation corresponds to unobstructed Compassion (as energy), the Nirmanakaya, and
the srid pa'i bar do.
Now the radiant inherent light rang 'od of this seed-syllable, a dark azure in color, instantly
transforms into the darkly radiant form of the wrathful Goddess Simhamukha, who is none
other than oneself in a purified subtle body. Her form is both visible snang and empty
stong like the rainbow and so it is called a spontaneously realized Vase-like Body lhun grub
bum pa'i sku. This process of generation of the deity bskyed rim proceeds according to the
method of Anuyoga. Then follows the description of the Goddess. Here we perform the
recitation and the visualization together. According to Mahayoga, the visualization
of the principal deity and the retinue must be very clear, detailed, and precise; but in Anuyoga
(the method we are employing here) there is more emphasis on actually feeling the presence
of the deity.
The body of Simhamukha is blue-black in color like the clear night sky, and this includes Her
face; it is not white, as is the case with many thangkas. Her hair and eye-brows are a flaming
blue, like the fire which destroys the world at the end of the age or kalpa. On another
occasion, the world will be destroyed by a great wind, and the breath from Her nostrils is like
that wind. She holds in Her right hand a curved blade or vajra-kartri gri gug surmounted by a
vajra emblem which severs the root of dualistic thinking, while She holds in Her left hand a
kapala or skull cup filled with blood, signifying Her compassion for all living beings. The
skull still has braids of hair attached to it. Simhamukha belongs to the Vajrakula and
therefore She has the function of transforming anger and aggressiveness into wisdom or
enlightened awareness ye shes. Under Her left arm is a khatvanga staff surmounted by a
trident and this signifies Her Yab or male consort. The three severed heads (fresh, decayed,
and dried) impaled on this staff signify the Trikaya. The feminine aspect embodied in the
Dakini represents Sunyata, while Her male consort, the Heruka, represents Upaya or Skillful
Means, His presence being indicated by this staff.
IIB. On the four radii of the innermost circle are the four goddesses of Her immediate retinue
and who are in actuality aspects of Herself. They represent the other Buddha-families or
Hierarchies; in the east is Buddha Simhamukha of the Buddhakula, white in color, signifying
the transformation of delusion; in the south is Ratna Simhamukha of the
Ratnakula, yellow in color, signifying the transformation of pride; in the west is Padma
Simhamukha of the Padmakula, red in color, signifying the transformation of greed; and in
the north is Karma Simhamukha of the Karmakula, green in color, signifying the
transformation of envy. They are all dancing and resemble in appearance the principal
goddess, except for their respective colors and respective emblems on the handles of
their curved knives.
In the outer circle there are sixteen radii and on them dance sixteen goddesses described in
the text. They are all wrathful in manner and appearance; eight of them are animal-headed,
eight human-faced. Beyond them are four more animal-headed goddesses who act as
guardians (dvarapalas) of the four gates of the Mandala. The iconography of all these
goddesses in the retinue are fully described in the kar gling zhi khro and in other texts
belonging to the Tibetan Book of the Dead cycle. Amog these sixteen goddesses, the eight
wrathful Gauris ke'u ri ma brgyad are the Wisdom Dakinis of the eight types of consciousness
rnam ses brgyad ki ye shes mkha' 'gro, while the eight wrathful animal-headed Sorceresses phra
men mo brgyad are the goddesses of the objects of consciousness yul gyi phra men brgyad. These
two sets of goddesses appear before the deceased on the twelfth and thirteenth days of the

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Bardo experience. Please note that their order here is slightly different than in the Book of the Dead, and also
different than in the Guhyagarbha Mandala. (editor's note)
IIC. Now, at the three locations of the five Simhamukha figures in the innermost circle
appear the three mystic syllables: at the head is the white syllable OM, at the throat is the red
syllable AH, and at the heart is the dark blue syllable HUM. Rays of light issue from them in
their respective colors and invoke from out of the infinitude of celestial space the Deities of
Initiation (the five Dhyani Buddhas in Their Heruka aspect), together with Their retinues of
Bodhisattvas, both male and female. Holding bejewelled vases of initiation, They anoint the
heads of the five Simhamukha Goddesses, who are in actuality oneself. The mantras
authenticate the experience of initiation.
IID. Then we invoke the presence of the Wisdom Beings or Jnanasattvas ye shes pa of the
Principal Goddess and Her retinue, and They descend upon and enter into our visualization
like snowflakes falling upon the surface of a mountain lake. In this way, the Wisdom Beings
become unified with and inseparable with the Symbolic Beings dam tshig pa which we are
visualizing. The mantras and mudras seal the presence of these Wisdom Beings in our
visualization.
IIE. Thereupon offerings and hymns of praise are presented to the Wisdom Beings now
inseparably united with the Symbolic Beings projected by our minds. The four unchanging
Symbols here refer to the four Symbols brda bzhi in the practice of Longde; by means of
practicing them we do homage to the Goddess.
IIF. Then we proceed with the mantra recitation and the bestowal of siddhis, the magical and
mystical attainments. In the heart center of oneself as Simhamukha is an upright vajra
standing on a lotus and a solar disc. At its navel is a blazing blue-black HUM syllable.
Around it revolves a rosary of mantra or a mantramala, in this case it is the twelve syllable
heart-mantra of Simhamukha: OM VAJRA SIMHAMUKHA HUM HA-HE BHYO PHAT.
This mantra revolves faster and faster as we recite it, so that rays of light flash out from its
syllables, and penetrating into the farthest reaches of celestial space, they make offerings to
all the Buddhas and Bodhisattvas residing there in Their pure realms. These rays return and
are absorbed into one's own heart, bearing with them the blessings and inspiration of all the
Buddhas. A second time the rays flash out and this time they purify the six destinies of
rebirth, transforming them into pure realms of the Dakinis and their inhabitants into Dakinis.
We visualize this occurring while reciting the heart-mantra of the Goddess. In this way, by
virtue of the requisite number of repetitions of the mantra, we come to attain
the mantrasiddhi or the powers realized from mantra practice. At the conclusion of a period
of mantra recitation, we may enter into the state of contemplation mnyam bzhag. This may then
be followed by the Karmayoga practice given below, where we again visualize ourselves as
Simhamukha.
IIG. For the activity of Karmayoga (las sbyor) or the acquisition of and the application of
magical powers, there is a second mantra recitation. Beyond the blue-black HUM and its
mantramala, thereis a second mantramala appearing like a torch or fire-brand being swung
about in the night, making a ring of fire. Whereas the above heart-mantra is specific to
Simhamukha, the following mantra is the general mantra of the Dakinis:
A KA SA MA RA TSA SHIA DA RA SA MA RA YA PHAT

Rays of light come out from this rapidly revolving mantramala and penetrate all of the Dakini
realms; making offerings there, they receive the energies of the hearts or mind streams of all

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the Dakas (Viras) and Dakinis dpa' bo mkha' 'gro'i thugs rgyud and then these rays, now pregnant
with powert return and are absorbed into one's own heart. Among them there are two kinds of
Dakinis, the Jnana Dakinis or Wisdom Goddesses who are enlightened beings and the Karma
Dakinis or the worldly goddesses of magic power; the latter are still within the
encompassment of Samsara while the former are not. Thus with the reciting and the revolving
in our heart centers of this fourteen syllable general mantra of all the Dakinis, we put into
action the worldly powers of all of the Dakinis.
In addition, as part of the Karmayoga, we visualize the various syllables of this mantra as
lying on the corresponding parts of one's body, this constituting a kind of magical armor
which totally protects us from psychic attack. Feeling the presence of the mantra, we see
sparks of light shoot out from our bodies and the mantramalas within and they, like flashing
meteors, totally annihilate all negativities and hostile influences within our immediate
environment. Maintaining this awareness, we repeat the mantra backwards, but not more than
three times on any one occasion. This is the action of averting bzlog pa where we reverse and
send back to their source any hostile influences. For a full effectuation of its power, the
mantra should be recited fourteen hundred thousand times, that is to say, a hundred thousand
recitations for each syllable of the mantra.
The protective mantric syllables are arranged on the body as follows: at the crown of the head
is A KA, at the throat is SA MA, at the heart center is RA TSA, at the navel is SHIA DA, at
the secret place (the genitals) is RA SA, at the right thigh is MA RA, and at the left thigh is
YA PHAT.
Ill. At the conclusion of the principal practice, the visualization of the Goddess and Her
retinue is dissolved. According to the methods of Yoga Tantra and Mahayoga, gradually the
figures in the retinue dissolve into the central deity; She then dissolves into the seed-syllable
in Her heart and finally this dissolves into the empty space of the sky. However, according to
the methods of Anuyoga and Atiyoga, we simply enter directly into contemplation, the state
of primordial intrinsic awareness (rig-pa), for what we have achieved by transformation is
actually what already exists; there is nothing to alter or change.
According to the usual procedure in the practice of sadhana, after the state of contemplation
we enter into the condition of subsequent realization rjes thob and recite the
verses of dedication and benediction (such as those found at the conclusion of "The Rite").
The essential instruction or upadesa found in this text was revealed to Ayu Khandro (Dorje
Paldan) by the Jnana Dakini Herself and the former practiced it for twenty-three years.
Having written it down in the year of the Iron-female Mouse (1900 CE) at her friend's
request, it is now protected by the supreme Guardian Ekajati. These notes are based on both
literary sources and on the oral instructions of Namkhai Norbu given at Conway.
mnyam bzhag,

SARVA MANGALAM