times, the left hand turns three times along the clock, and the watch is removed.

times, the right hand turns three times against the clock, and the table enchantment.

times, go around the body three times along the clock, and the watch is supported.

Second, the pestle is tossed three degrees between the two hands, left, right, and left, representing the Ming King's sturdy and immovable vajra nature and extremely active jumping nature.

Finally, turn left and right, turning and reciting the Vajra mantra as you turn.

When practicing the Vajra Method, the key to activating the central channel, left and right pulses is: first, the mind needs to be calmed down, and the three karmas of the body, mouth, and mind are pure, so that the intelligent qi of these three pulses can be revealed, and if so, the qi can enter the pulse.

Then, without any thoughts in the heart, the mind rotates the pestle naturally, comfortably, comfortably, and smoothly, slowly calming the mind and entering into the consciousness of the artistic conception of the Vajra Purpa.

Then continue to recite, while dwelling on the void above the diagonal top, that is, the empty realm in my heart, feeling that there is a Vajra word or mantra in the void, and then with the recitation of the mantra, the heart is extremely soft and comfortable to express, and slowly the words in the air are ready-made into Vajra, the amount of the void.

Then continue to chant so that the whole person is intoxicated by the Buddha-figure's moral awareness, and then then turn the pupa pestle in his left hand three times to the right and visualize the Buddha-figure to perform the repulsion, and then hold the pupa pestle in his right hand and turn left three times to visualize the Buddha-figure to perform the enchantment, and then circle the body three times along the clock, visualizing the Buddha-figure supporting the practitioner.

Finally, the pestle is tossed three degrees between the two hands, left, right, and left, representing the Ming King's sturdy and immovable vajra nature and extremely active jumping, as well as the activity of the intelligent fire, which quickly destroys and subdues everything, so that he can quickly gain true intelligence.

At this time, the deity emits an immeasurable intelligent phosgene, and the whole person is shrouded in the samadhi of the deity.

After practicing so many times, the feeling of the Buddha-figure became clearer and clearer, and even became one with the Buddha-figure, entering the realm of "I am the Buddha-figure, and the Buddha-figure is me."

Then begin to meditate mentally on the practice of turning the pupa pestle in the spine.

The pestle rotates in the spine like a diamond oil well, spiraling down, and when it hits the oil, it spews upwards.

The pestle is like a drill in a diamond oil well, stretching its spine all the way down to the long strong point of the tail.

In this way, like a churner, all the chakras are broken (the chakras are the gathering place of all karma and energy), and when they are broken, the middle of the front end of the pupa pestle is pointed like a straw, and all the karma is sucked out, rushed upwards, and turned out to make offerings to the Buddha-figures.

This method is like the Shingon practice of Goma, where karma is offered to the deity, and after the deity has eaten it, the deity's heart fire turns it into a wisdom fire, and then it is offered to the Buddhas of the Ten Directions.

But how do you make a karmic offering? There is a difference between sentient beings, the Buddhas have already attained emptiness, everything is illusory, there is no good, there is no evil, there is no karmic distinction.

Therefore, when making offerings, through the fire of the Buddha-figures, the karma of sentient beings is burned, and the emptiness is attached, becoming a piece of emptiness, making offerings to the Buddhas of the Ten Directions, and making offerings to one's own nature.

The practice of such karmic offerings works in terms of Dharma concepts, and is a method of cultivating qi.

However, practitioners should know that when practicing the Praupa Vajra Method, only in this way can the rational interest (mind cultivation) and the cultivation of qi (self-cultivation) echo each other, and only then can they enter the realm of truthfulness.

There are three points to note about this, one is that when the rotating pupa pestle is inserted from the heart of the Brahmana acupoint to the tail lurd, the body and mind are not left only the central channel or settle in the pupa pestle.

The second is that Vajra Puba is tall and one with me.

The third is that the position of the heart chakra is visualized, and there is a kind of word that shines.

When visualizing, the three points should be one, and the mind qi should flow smoothly throughout the spine, and as the pestle rotates, the qi rotates and shoots out in all directions, and the ultimate qi is the light, and in the light, there are countless puffers shooting into the endless void.

If you feel that you are in a disorder, you can return to the basic meditation you learned earlier, practice Vajra in front of you, and when your foundation is solid and your mind is smooth, you can retract Vajra back to yourself.

Sometimes, practitioners should not be limited by one contemplative thought, but should adjust and choose the above appropriate contemplative thoughts according to the needs of the actual situation.

At the beginning of the practice, you should first chant freely to relax your body and mind, and when your mind and qi are in tune, you can meditate and settle down as much as your mind can until your body and mind are stable, light, and pure. The point of visualization is not to think of the Buddha-figure as a human body, but as a body of light made up of meritorious and intelligent energy.

Practicing the Vajra method is to move oneself from beginning to end, but the mind cannot move, but visualizes within the qi veins.

When the heart pestle rotates in the central channel, there is stillness in the movement, and the spine will heat up and burst out with some explosive force, and there will be movement in the stillness at this time.

This inner immobility is to settle down, to be able to stay is to be able to hold the qi, to be able to hold the qi to gather the qi, and if this is the case, to collect all the thoughts, so that the mind can be settled in a deeper and more subtle place for a long time.

It should be understood that meditation and visualization are not in conflict, because when the mind is at its limit, the state of dwelling without dwelling and not dwelling arises from the state of the mind. Therefore, if you live in the qi but do not live, there is no place to settle down, and as the body and mind relax, the qi will become deeper and deeper.

At this moment, the only way to do this is to fully devote yourself to and merit in the state of dwelling in the compassionate light of the Buddha-figure, blessed with its vows and merits, and to let go all the way to the state of letting go of thoughts, troubles, and self-grasping, until you have nothing to let go, and you are completely engaged in the state of giving birth to your mind without dwelling.

At the end of the Vajra meditation, there are two points to contemplate the Purpa, one is to collect all the Baba pestle back into every pore on the body.

The second is to visualize yourself becoming a Purba Vajra.

In the secret practice of Vajra Pupa, first visualize the black and blue character "吽" from emptiness in the heart chakra, and from the word "吽" emits a very bright multicolored intelligent light.

In that room, the self transforms into the Buddha-figure, and the mind of the Vajra Pupa transforms the mind of the Buddha-figure.

Puba is blue and has three heads, six arms, four legs, and two wings, each with three eyes and a total of nine eyes.

The face is painted with three colors, and the surface is clean with three poisons.

The white on the right side represents the wrath of Manjushri Bodhisattva - the Great Buddha Vajra, which is the representative of the Buddha's body.

The red on the left represents the wrath of Amitabha Buddha (or Guanyin Bodhisattva) - King Matou Ming, which is the representative of the Buddhas.

The black and blue color in the middle represents the wrath of the Bodhisattva - Vajrapani Bodhisattva, which is the representative of the Buddha's will.

Each head has four pairs of fangs protruding, two fangs pointing upwards, and wings growing from the back, like a very sharp sword body.

Behind it is a flame that represents intelligence.

The first hand on the right is holding a nine-strand vajra made of heavenly iron.

Iron symbolizes wrath, the nine strands, the three realms, the nine multiplications, and all sentient beings.

The second right hand holds a five-strand pestle made of gold.

The material of gold symbolizes joy, and the five-strand watch turns five poisons into five wisdom.