華嚴經探玄記 3.75

3.75

第二總明山下地海嚴者，長行五句：初二句顯地名，謂蓮華臺面為寶王地；二明地鎮海；三地相具德；四地體堅固；五明地勝用，於中初句出法寶、後句起智照。頌中十偈，分二：初六明眾德嚴、後四明法行嚴。又初是體備眾德、後明妙用自在。又初依、後正。又初事相嚴、後法理嚴。又初法、後人。又初頌前文、後明異義，竝可知。初中，前一總辨嚴因、次二頌上山地。於中初一標，謂寶輪、香輪為山上嚴，珠輪、眾寶為山下依；後一釋，謂初二句釋上寶輪嚴、次一句顯上香輪、下一句辨莊嚴義。梵云斫迦羅，此云輪圍山也。次一偈頌上體相二嚴，謂初體、後相。次一偈頌上香水海。次一偈頌上地勝用，亦是海岸邊寶地上即有寶樹，樹下座上有佛菩薩之身也。第二段中四偈：初一總明身語法輪。次二別辨身色依正無礙，於中初一佛現多嚴具之中、次多佛現一嚴具內，即調物為法輪也。又前華香幡蓋中菩薩充法界，此則寶幢寶樹莊嚴中眾諸佛身雲滿十方，竝以正為依也。後一偈別顯上語法輪，此即剎說也。此上通三世間圓融無礙，隨入一門皆具一切，故致然也。又此等諸文長行所說則編其次第，令隨事生解；偈中所頌則融其始終，圓通無礙順於法性。長行以法就機、偈頌會機歸法，文家綺互善巧之相，應知。

Second, generally explaining the adornments of the ground and sea beneath the mountain: the prose has five phrases: the first two phrases reveal the name of the ground, saying that the surface of the lotus calyx is the ground of precious kings; the second explains that the ground stabilizes the sea; the third, the characteristics of the ground possess virtues; the fourth, the essence of the ground is solid; the fifth explains the superior functions of the ground, wherein the first phrase brings forth Dharma-treasures, and the latter phrase gives rise to the illumination of wisdom. In the verses, there are ten stanzas, divided into two: the first six explain adornments of numerous virtues; the latter four explain adornments of Dharma-practice. Furthermore, the first is the essence equipped with numerous virtues; the latter explains marvelous functions operating with sovereignty. Again, the first is environmental [recompense], the latter primary [recompense]. Again, the first is adornment of concrete phenomena, the latter adornment of Dharma-principles. Again, the first is Dharma, the latter persons. Again, the first versifies the preceding text, the latter clarifies different meanings; all of this can be understood. In the first [part], the first stanza generally explains the causes of adornment; the next two stanzas versify the mountain and ground above. Within that, the first introduces, saying that jewel-wheels and fragrance-wheels are adornments atop the mountain, while pearl-wheels and various jewels are the basis beneath the mountain; the latter one explains, with the first two lines explaining the adornment of jewel-wheels above, the next single line revealing the fragrance-wheels above, and the next single line analyzing the meaning of adornment. In Sanskrit it is *cakra*, translated here as 'encincturing wheel-mountains' (Cakravāḍa). The next single stanza versifies the two adornments of essence and characteristics above, with the first on essence and the latter on characteristics. The next single stanza versifies the fragrant-water sea above. The next single stanza versifies the superior functions of the ground above, which is also that on the precious ground along the coast of the sea there are jewel-trees, and beneath the trees upon seats there are the bodies of buddhas and bodhisattvas. In the second section, there are four stanzas: the first generally explains the dharmacakras of body and speech. The next two specifically distinguish the unobstructed nature of bodily forms, primary, and environmental [recompense], wherein first, one Buddha appears amidst many adornments, and next, many Buddhas appear within a single adornment, which is taming beings as the dharmacakra. Furthermore, previously, bodhisattvas amidst flowers, fragrances, banners, and canopies filled the dharmadhātu; here, within the adornments of precious banners and jewel-trees, clouds of the bodies of all buddhas fill the ten directions, both taking the primary as the environmental. The final single stanza specifically reveals the dharmacakra of speech above; this is the world-realm expounding [the Dharma]. The above generally refers to the complete interpenetration and non-obstruction of the three realms; whichever single doorway one enters, all are fully present; therefore it is thus. Furthermore, in these various texts, what is expounded in prose arranges the order to allow understanding to arise following the phenomena; what is versified in the verses fuses beginning and end, being thoroughly unobstructed in accord with the dharmatā. The prose adapts the Dharma to capacities; the verses gather capacities back to the Dharma. One should understand this characteristic of literary alternating skillfulness.