“There is, Mañjuśrī, yet another secret cloth-painting procedure, a third type, referred to as ‘smallest,’ by the means of which all beings can effortlessly win accomplishment.
“Following the procedures as previously described, skilled craftsmen should prepare a cloth one width of the Buddha’s hand across that is in the same four-sided shape as before. The painting should then be done with the paints as previously described.
“First one should paint Noble Mañjuśrī, sitting on a lion throne with the form, as before, of a young boy expounding the Dharma. He should be painted as having a charming form that radiates light. To his left, the noble Samantabhadra stands on a dais of precious stone, with his right hand extended forth holding a yak-tail whisk and his left hand holding a wish-fulfilling gem. As before, he should be painted in the dark blue color of the beautyberry flower. To the right of Noble Mañjuśrī stands the noble Avalokiteśvara on a dais of precious stone. As before, he has a yak-tail whisk in his [right] hand and a lotus in his left. He should be drawn with his form haloed in blazing light.
“Below Mañjuśrī’s lion throne should be painted a golden-colored mountain, extending down to the edge of the canvas. In the corner at the edge of the canvas, below the lion throne of Noble Mañjuśrī and to his right, Yamāntaka, the Lord of Wrath, should be painted with the same details as before. The practitioner should be painted as before, holding an incense holder.
“Above Noble Mañjuśrī should be painted Tathāgata Saṃkusumitarājendra, sixteen fingers tall, sheltering in a cave on a jeweled mountain. Its ten peaks should be drawn to resemble palaces. Around the perimeter of the cloth one should draw a ring of mountains. Above, perched on the front slopes of the mountains located in the two upper corners of the cloth, are two divine sons from the realm of the Pure Abode, named Śuddha and Viśuddha, who scatter heaps of flowers that float in arrays. They should be painted [with the same details] as before. The painting should be drawn with various flowers placed all around it.
“Whatever evil has been committed or caused to be committed, All this terrible karma, Accumulated over thousands of eons, Will be purified through merely seeing this painting.
“A wise man will obtain the same merit By merely looking at this smallest painting As he would obtain by worshiping All the protector buddhas. In this life he will thus perform Meritorious acts leading to good fortune.
“By all the rākṣasas, Dhanada and so forth; By the lordly dānavas or mahoragas; By Soma, Vāyu, Yama, and so forth— Any that have been taught by Viṣṇu or Śiva— All these mantras brought here before this painting Would be accomplished.
“One should always perform pacifying And enriching rites in this way. Violent acts ought to be shunned, As they have been condemned by the best of victors.”
“There is, Mañjuśrī, yet another secret cloth-painting procedure, a third type, referred to as ‘smallest,’ by the means of which all beings can effortlessly win accomplishment.
“Following the procedures as previously described, skilled craftsmen should prepare a cloth one width of the Buddha’s hand across that is in the same four-sided shape as before. The painting should then be done with the paints as previously described.
“First one should paint Noble Mañjuśrī, sitting on a lion throne with the form, as before, of a young boy expounding the Dharma. He should be painted as having a charming form that radiates light. To his left, the noble Samantabhadra stands on a dais of precious stone, with his right hand extended forth holding a yak-tail whisk and his left hand holding a wish-fulfilling gem. As before, he should be painted in the dark blue color of the beautyberry flower. To the right of Noble Mañjuśrī stands the noble Avalokiteśvara on a dais of precious stone. As before, he has a yak-tail whisk in his [right] hand and a lotus in his left. He should be drawn with his form haloed in blazing light.
“Below Mañjuśrī’s lion throne should be painted a golden-colored mountain, extending down to the edge of the canvas. In the corner at the edge of the canvas, below the lion throne of Noble Mañjuśrī and to his right, Yamāntaka, the Lord of Wrath, should be painted with the same details as before. The practitioner should be painted as before, holding an incense holder.
“Above Noble Mañjuśrī should be painted Tathāgata Saṃkusumitarājendra, sixteen fingers tall, sheltering in a cave on a jeweled mountain. Its ten peaks should be drawn to resemble palaces. Around the perimeter of the cloth one should draw a ring of mountains. Above, perched on the front slopes of the mountains located in the two upper corners of the cloth, are two divine sons from the realm of the Pure Abode, named Śuddha and Viśuddha, who scatter heaps of flowers that float in arrays. They should be painted [with the same details] as before. The painting should be drawn with various flowers placed all around it.
“Whatever evil has been committed or caused to be committed, All this terrible karma, Accumulated over thousands of eons, Will be purified through merely seeing this painting.
“A wise man will obtain the same merit By merely looking at this smallest painting As he would obtain by worshiping All the protector buddhas. In this life he will thus perform Meritorious acts leading to good fortune.
“By all the rākṣasas, Dhanada and so forth; By the lordly dānavas or mahoragas; By Soma, Vāyu, Yama, and so forth— Any that have been taught by Viṣṇu or Śiva— All these mantras brought here before this painting Would be accomplished.
“One should always perform pacifying And enriching rites in this way. Violent acts ought to be shunned, As they have been condemned by the best of victors.”
Sutraya