[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [金剛經纂要刊定記](https://indike.org/pramana/in.bauddha.taisho.1702) › 3.82 # 金剛經纂要刊定記 3.82 金剛經纂要刊定記 3.82 - **Language:** Classical Chinese ### [3.82](https://indike.org/pramana/in.bauddha.taisho.1702.3.82) 疏七立名中。謂由下。釋。謂約三種法上立金剛名。一、約般若體用名金剛，此如金剛堅利。二、約地位闊狹名金剛，此如金剛杵形。以信行一僧祇，淨心只一剎那，佛地二僧祇，如金剛杵初後闊中間狹故。三、約文字名金剛，此如畫像也。以詮信行地七紙餘經、佛地三紙餘文、淨心地五行經，如彼畫像亦初後闊中間狹故。又此三者，法喻之上皆展轉而成。喻中且根本是堅利金剛，因造以成其杵，因畫以成其像。法中根本是體用般若，因修以成其位地，因詮以成其文字也。又此法喻各三事中，一事即實餘二皆虛。喻中堅利金剛是實，杵形、畫像皆虛。法中體用般若是實，位地、文字皆虛。以此三事首末相似，故立金剛之名。然前一是佛本意，餘二是菩薩及古德意也。 > In the Commentary, regarding "7. Establishing the name": "meaning by..." and below is the explanation. It means establishing the name "vajra" with reference to three kinds of phenomena: 1. Naming it vajra with reference to the essence and function of prajñā; this is like the vajra being hard and sharp. 2. Naming it vajra with reference to the breadth and narrowness of the stages; this is like the shape of a vajra pestle. Because practice based on faith lasts one asaṃkhyeya \[kalpa\], the pure mind is only a single kṣaṇa, and the Buddha stage lasts two asaṃkhyeya \[kalpas\], it is like the vajra pestle being broad at the beginning and end and narrow in the middle. 3. Naming it vajra with reference to the written words; this is like a drawn image. Because the sūtra text explaining the stage of practice based on faith takes over seven sheets of paper, the Buddha stage takes over three sheets of text, and the stage of the pure mind takes five lines of sūtra text, like that drawn image it is also broad at the beginning and end and narrow in the middle. Furthermore, these three are successively accomplished in both the tenor and the vehicle of the metaphor. In the metaphor, fundamentally it is the hard and sharp vajra; through fabrication it forms the pestle, and through painting it forms the image. In the tenor, fundamentally it is prajñā of essence and function; through cultivation it forms the stages, and through explanation it forms the written words. Furthermore, among each of the three items of the tenor and vehicle, one item is real and the remaining two are conventional. In the metaphor, the hard and sharp vajra is real, while the pestle shape and the drawn image are conventional. In the tenor, prajñā of essence and function is real, while the stages and written words are conventional. Because the beginnings and ends of these three items resemble one another, the name "vajra" is established. However, the first is the Buddha's original intention, while the other two are the intentions of the bodhisattva and past masters. > — English (machine translation) (machine translation) - [Previous: 3.81](https://indike.org/pramana/in.bauddha.taisho.1702.3.81) - [Next: 3.83](https://indike.org/pramana/in.bauddha.taisho.1702.3.83) - [Up: 3](https://indike.org/pramana/in.bauddha.taisho.1702.3) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1702~en-mt.3.82) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1702.3.82](https://indike.org/pramana/in.bauddha.taisho.1702.3.82) · Pramāṇa