 Tsongkhapa wrote works on the Vajrabhairava, Cakrasaṃvara (Gray 2017), and Kālacakra tantras, but is best known for his exposition of the Guhyasamāja tantra based on Indian commentaries associated with the names of Nāgārjuna and Āryadeva, particularly his short but influential Commentary on the Jñāna-vajra-samuccaya (Ye shes rdo rje kun las ‘dus pa'i ṭī kā) (1410), and magisterial Clear Exposition of the Five Stages of Guhyasamāja (gSang ‘dus rim lnga gsal sgron) (1411) (Thurman 2011, Kilty 2013). He accords great importance to esoteric yoga. In this respect, his work is firmly located in the mainstream Tibetan tradition, influenced in particular by the translator Mar pa (Mar pa Chos kyi blo gros) (1012–1097), who spread the Six Teachings of Nāropa (Nā ro chos drug), a later Indian synthesis of diverse tantric practices, in Tibet. Based on this Tsongkhapa gives detailed explanations of the nāḍī (channels for the energy or feelings that run through the tantric practitioner's body), cakra (circles of channels in the heart, throat, and other central points up the center of the body from the bottom of the spine, or tip of the sex organ, to the top of the head) and caṇḍalī (an intense pleasure experienced as heat that spreads through the channels and fills the body). Tsongkhapa is praised, in particular, for his explanation of theory and praxis associated with the illusory body (Sk. māyā-kāya, Tib. sgyu lus) and clear light (Sk. prabhāsvara, Tib. 'od gsal), a skillful adaptation of his understanding of the two truths to yogic praxis (Natanya 2017). This is summed up nicely in the statement, “The Pañcakramasaṃgrahaprakāśa (Illumination of the Summary of the Five Steps), a short treatise attributed to Nāropa (956–1040), combining the Six Teachings with the ‘Five Steps’ (pañcakrama) of the Ārya tradition provided Tsong kha pa with the basic ideas of his Tantric system” (Tillemans 1998). 