大毘盧遮那成佛經疏 14.44

14.44

When placing the syllables, one should divide [the body] into four parts, which are the fourfold maṇḍala. The head is the first part, which is the station of the bodhicitta of the syllable A. From Ka, Kha, Ga, Gha, Ṅa and so forth, up to Śa, Ṣa, Ha, all that have the first sound belong to bodhicitta. One should visualize the syllable Ka starting from the spot between the practitioner's eyebrows where the white ūrṇā is located; from Kha onward, one should rotate clockwise following the sun, placing them sequentially in one circumference so that they link together in a ring. Next, from the throat downward is the second part, belonging to the long Ā syllable gateway; it should also connect above and below with the white ūrṇā in the center, placed clockwise in one circumference linking together; this is the practice of bodhicitta. Next, from the heart downward is the third part, belonging to the syllable Aṃ gateway; one places the syllable Khaṃ above the heart, sequentially rotating clockwise in one circumference to link together. Next, from the navel downward belongs to the syllable Aḥ gateway, which is great nirvāṇa; one also places the syllable Ka (with entering tone) from the center, sequentially rotating clockwise in one circumference to link together. The head is the upper part, the throat and heart are the middle part, and the navel is the concluding part. (Privately I consider that generating bodhicitta is the beginning, practice and fruit are the middle, and great quiescence is the end.) The fifth syllable, Aḥ, is omnipresent everywhere; whatever is performed according to one's wish is accomplished. This is outside the body, utilized at will like the radiance of the Buddha's body, not within the bodily stations for placing syllables. The syllable Aṃ is also like this, being identical with Aḥ. Once the master has constituted the body in this way, the maṇḍala is also laid out like this; one should also visualize the disciple, instructing them to perform it in this way. When the three matters are all completed, this is the secret maṇḍala. If one does not comprehend the purport within this, even if one performs it according to the previous ritual actions, it cannot be called well-performed; it will waste effort in vain and achieve nothing. Furthermore, this method of placing syllables is the secret maṇḍala; unless one has practiced the conduct of true mantras for a long time and is capable of receiving transmission, it is transmitted only through mind-to-mind intention and cannot be recorded in writing. Therefore, the master transmits it orally, and the sūtra does not state it, merely saying that it revolves like Vairocana.