[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) › [大方廣佛華嚴經疏](https://indike.org/pramana/in.bauddha.taisho.1735) › 16.21 # 大方廣佛華嚴經疏 16.21 大方廣佛華嚴經疏 16.21 - **Language:** Classical Chinese ### [16.21](https://indike.org/pramana/in.bauddha.taisho.1735.16.21) 第五「一切」下，喻況玄旨分，亦名舉劣顯勝分。以上所說普賢行德，窮于佛境，蓋是信滿之位。既越常規、乖於視聽，滯情封教取信無由，故舉斯近事以鏡玄趣，令開悟也。七十九頌分為三段：初二總標喻意、二七十六頌別顯喻相、三一頌結說顯德。今初，先一偈半明非喻能喻、後半偈借喻通玄。今初，舉四難思，意在菩薩神力。《瑜伽．決擇分》有六種不可思議，謂一者我、二有情、三世間、四有情業果、五諸修靜慮者靜慮境界、六諸佛世尊諸佛境界。今眾生含其前三，加龍變化，所以有四。菩薩神力，即靜慮者境界，舊經、梵本皆云禪定力用故。然眾生業報，四因難思，謂處所差別故、事差別故、因差別故、異熟果差別故。諸龍變化不起心念，六天四洲雲雨不同等，故難思也。佛自在者，有五難思，謂真如甚深故、自在轉故、無漏界證得故、無障礙故、成立有情所作事故。菩薩神力由三種相，除佛後二。以今經文，分同佛五，以皆超言念故，無可同喻。後半中然取分喻，以小喻大，令聞喻者忘象領意，故褒以智者。二「聲聞」下別辨中，略顯二十種大喻以況菩薩之德。初有三頌半，明聲聞現通喻，況菩薩自在益生德。先明喻，末偈舉劣顯勝，不為眾生，無大悲也；不求菩提，無大智也。大饒益者，具悲智也。二有二偈，日月現影喻，況菩薩普應群機德。三有二頌，水現四兵喻，喻菩薩海印現像德。四有二頌，善音巧辨喻，喻菩薩總持巧說德。五二頌，女授辯才喻，喻授法益生德。六「譬如幻師」下二頌，幻師巧術喻，喻不思議解脫德。七二頌，修羅隱形喻，喻勝通隱顯德。八五頌，象王隨變喻，喻定用自在德。九二頌，修羅大身喻，喻法界身雲德，同於上文主伴嚴麗。十有四頌，帝釋破怨喻，喻降伏眾魔德。十一「忉利天」下六頌，天鼓說法喻，況菩薩以無功用現身說法德。十二有三頌，天鼓安慰喻，況菩薩慈音除惱德。十三有三頌，天王普應喻，喻普應悅機德。十四有二頌，魔繫愚夫喻，喻攝生同行德。十五有二頌，梵王殊現喻，況菩薩解脫自在德。十六「魔醯」下二頌，自在數滴喻，況菩薩一念普知德。十七三頌，大風成事喻，喻大願宿成德。十八二頌，眾聲悅意喻，喻四辯悅機德。十九二頌，大海包含喻，喻禪慧普修德。二十「大海龍」下二十四頌半，龍王遊戲喻，喻菩薩遊戲神變德，文分為二：初二十二頌半明龍王大用不同、後二頌正明舉劣顯勝。前中，初半偈總標、餘頌別顯。於中四：初四偈半，雲色不同，喻菩薩身雲各異。次有四頌，電光差別，喻菩薩光明等殊。第三偈云寶藏色者，梵云室利揭娑，此云勝藏，勝藏即寶名也。閻浮提中帝青色者，梵云天帝火焰摩尼色，亦珠寶名也。三有三頌半，雷聲不等，喻菩薩三昧多種。四有十頌，所雨不一，喻菩薩說法多門。言曼陀羅者，此云悅意。澤香，即塗香也。鷄羅多摩者，鷄羅此云華蘂，多摩此云天上華，謂此香是天華蘂所作故也。婆利師迦者，此云雨時生華。末利香，即華名，其色猶黃金。第二「如是無量」下二頌，正舉劣顯勝。謂娑竭羅龍，於六欲天等總十五處現斯作用，而身不動搖、心無分別，但由業報之力現斯自在。菩薩亦爾，住無功用，不動不思，於十方界應現多種，亦以菩薩功德之力隨機見殊。此就喻意顯勝可知。第三「彼諸」下一頌，結說難思，前半非喻能喻、後半結上略說。引諸喻者，略有二意：一顯菩薩自在不同、二貴令眾生起信。且江南之人不信千人㲲帳，河北之者多疑萬斛之舟，皆耳目不暨故耳。所以或舉目擊、或據具縛之人，自在若斯，菩薩之用固當無惑，今猶疑者豈不傷哉。 > Fifth, from "all" below, is the section that illustrates the profound purport through metaphors, also called the section that adduces the inferior to manifest the superior. The practices and virtues of Samantabhadra explained above culminate in the Buddha's domain, representing the stage of complete faith. Because they transcend the common norm and conflict with \[ordinary\] seeing and hearing, those who cling to feelings and are confined by \[provisional\] teachings have no means of giving rise to faith; hence these close matters are adduced to mirror the profound objective, bringing about awakening. The seventy-nine verses are divided into three parts: first, two \[verses\] generally indicate the intent of the metaphors; second, seventy-six verses individually manifest the characteristics of the metaphors; third, one verse concludes by praising and manifesting their virtues. In the first part, the first verse and a half clarifies that no metaphor can fully illustrate \[this reality\], while the latter half-verse borrows metaphors to penetrate the profound. In the first part, four unfathomables are adduced, aiming at the bodhisattva's supernatural power. The \*Viniścayasaṃgrahaṇī\* of the \*Yogācārabhūmi\* contains six kinds of the inconceivable: first, the self; second, sentient beings; third, the world; fourth, the karma and fruit of sentient beings; fifth, the meditative domain of those who cultivate meditative absorption (dhyāna); sixth, the domain of the Buddhas, the Bhagavats. Here, sentient beings encompass the first three, and with the addition of the dragons' transformations, there are four. The bodhisattva's supernatural power is precisely the domain of those in meditative absorption, because the older translation and the Sanskrit text both refer to the power and function of dhyāna. Sentient beings' karmic retribution is unfathomable due to four causes: difference in location, difference in phenomena, difference in causes, and difference in the fruition of maturation (vipāka). The transformations of the dragons arise without giving rise to thought, and their clouds and rain differ among the six desire heavens and the four continents; thus they are unfathomable. The Buddha's sovereignty possesses five unfathomables: the profound depth of tathatā, sovereign operation, the realization and attainment of the untainted realm, unobstructedness, and the accomplishment of works undertaken for sentient beings. The bodhisattva's supernatural power consists of three characteristics, omitting the Buddha's final two. But in the present sūtra text, it partially shares in the Buddha's five; since both transcend words and thought, there are no metaphors that can fully match them. In the latter half, partial metaphors are adopted, using the small to illustrate the great, so that those hearing the metaphors may forget the imagery and grasp the intent; hence they are praised as the wise. Second, in the detailed differentiation from "śrāvakas" below, twenty great metaphors are briefly displayed to illustrate the virtues of the bodhisattva. First, there are three verses and a half illustrating the śrāvaka's manifestation of supernormal powers, illustrating the bodhisattva's virtue of sovereignly benefiting beings. The metaphor is first clarified; the final verse adduces the inferior to manifest the superior: not acting for sentient beings lacks great compassion; not seeking bodhi lacks great wisdom. Those of great benefit are endowed with both compassion and wisdom. Second, there are two verses, the metaphor of the reflections of the sun and moon, illustrating the bodhisattva's virtue of universally responding to diverse capacities. Third, there are two verses, the metaphor of water manifesting the four divisions of the army, illustrating the bodhisattva's virtue of manifesting images through the oceanic reflection samādhi (sāgara-mudrā-samādhi). Fourth, there are two verses, the metaphor of skilled eloquence through fine sounds, illustrating the bodhisattva's virtue of skillful speech through dhāraṇī. Fifth, two verses, the metaphor of a woman bestowing eloquence, illustrating the virtue of bestowing the Dharma to benefit beings. Sixth, from "just as an illusionist" below, two verses, the metaphor of the illusionist's skillful art, illustrating the virtue of inconceivable liberation. Seventh, two verses, the metaphor of the asura concealing his form, illustrating the virtue of superior supernormal powers of concealment and manifestation. Eighth, five verses, the metaphor of the elephant king adapting and transforming, illustrating the virtue of sovereignty in meditative function. Ninth, two verses, the metaphor of the asura's great body, illustrating the virtue of the clouds of the dharmadhātu body, matching the wondrous adornment of lord and companions above. Tenth, four verses, the metaphor of Śakra defeating his enemies, illustrating the virtue of subduing the hosts of Māra. Eleventh, from "Trāyastriṃśa Heaven" below, six verses, the metaphor of the heavenly drum preaching the Dharma, illustrating the bodhisattva's virtue of manifesting the body and preaching the Dharma without effort. Twelfth, three verses, the metaphor of the heavenly drum bringing solace, illustrating the bodhisattva's virtue of removing affliction with a compassionate sound. Thirteenth, three verses, the metaphor of the heavenly king universally responding, illustrating the virtue of universally responding to please capacities. Fourteenth, two verses, the metaphor of Māra binding the foolish, illustrating the virtue of gathering beings through common action. Fifteenth, two verses, the metaphor of the Brahmā King's distinct manifestation, illustrating the bodhisattva's virtue of sovereign liberation. Sixteenth, from "Maheśvara" below, two verses, the metaphor of Maheśvara counting rain drops, illustrating the bodhisattva's virtue of universally knowing in a single thought. Seventeenth, three verses, the metaphor of the great wind completing tasks, illustrating the virtue of ancient fulfillment through great vows. Eighteenth, two verses, the metaphor of delightful sounds, illustrating the virtue of delighting capacities through the four analytical knowledges. Nineteenth, two verses, the metaphor of the great ocean embracing all, illustrating the virtue of universally cultivating dhyāna and wisdom. Twentieth, from "the great ocean dragon" below, twenty-four verses and a half, the metaphor of the dragon king at play, illustrating the virtue of the bodhisattva's playful supernormal transformations. The text is divided into two: first, twenty-two verses and a half clarify the dragon king's diverse great functions; second, two verses directly adduce the inferior to manifest the superior. In the first part, the first half-verse generally states \[the theme\], and the remaining verses distinguish it in detail. Within this, there are four: first, four verses and a half, where the differing colors of clouds illustrate the diverse clouds of the bodhisattva's bodies. Next, four verses, where the differences of lightning flashes illustrate the distinct splendors of the bodhisattva's radiance and so forth. In the third verse, 'the color of a treasure trove' translates the Sanskrit śrīvatsa, here rendered as 'superior treasury'; superior treasury is the name of a jewel. In Jambudvīpa, 'the color of Indra-blue' translates the Sanskrit indranīla-mani-varṇa, also the name of a precious jewel. Third, three verses and a half, where the unequal sounds of thunder illustrate the many varieties of the bodhisattva's samādhis. Fourth, ten verses, where the diverse rains illustrate the many gates of the bodhisattva's preaching of the Dharma. As for 'mandārava', it translates as 'delightful'. 'Moistened incense' is anointing incense (vilepana). As for 'kairātaka', \*kaira\* translates as 'flower stamen' and \*taka\* translates as 'heavenly flower', meaning that this incense is made from the stamens of heavenly flowers. As for 'vārṣikā', it translates as 'flower blooming in the rainy season'. 'Mallikā incense' is the name of a flower whose color is like yellow gold. Second, from "such countless" below, two verses directly adduce the inferior to manifest the superior. That is, the Sāgara dragon king manifests these functions across a total of fifteen places, such as the six desire heavens, yet his body does not move and his mind makes no distinctions; simply through the power of karmic retribution, he manifests this sovereignty. The bodhisattva is also like this: abiding in effortlessness, unmoving and non-conceptualizing, he responds and manifests in diverse ways throughout the realms of the ten directions, and also through the power of the bodhisattva's merit and virtue, distinct visions appear according to capacities. Thus manifesting the superior through the intent of the metaphor can be understood. Third, from "all those" below, one verse concludes by praising the unfathomability: the first half explains that no metaphor can fully illustrate \[this reality\], and the latter half concludes the brief explanation above. The citation of these metaphors has two main intents: first, to reveal the diverse sovereignties of the bodhisattva; second, of primary importance, to cause sentient beings to give rise to faith. People south of the Yangtze do not believe in fine woolen tents holding a thousand men, and those north of the Yellow River often doubt ships carrying ten thousand bushels, solely because their ears and eyes have not reached them. Therefore, whether adducing things witnessed with one's own eyes or relying on fully fettered people who possess such sovereignty, the bodhisattva's function should certainly be beyond doubt; how lamentable it is that some still doubt today! > — English (machine translation) (machine translation) - [Previous: 16.20](https://indike.org/pramana/in.bauddha.taisho.1735.16.20) - [Next: 16.22](https://indike.org/pramana/in.bauddha.taisho.1735.16.22) - [Up: 16](https://indike.org/pramana/in.bauddha.taisho.1735.16) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1735~en-mt.16.21) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1735.16.21](https://indike.org/pramana/in.bauddha.taisho.1735.16.21) · Pramāṇa