大方廣佛華嚴經疏 25.9

25.9

第三「時兜率」下見佛嚴處，中二：初明感應緣會；二「即於」已下正顯嚴處，於中分二，先明一方嚴處、後結通十方。今初。初雖標座，下列樓帳等皆兼處嚴。文分為二：初總顯體德、後「有百萬」下別明體用。今初，有十一句，初總、餘別。總中無盡大願隨意出生，悲智必俱生死無染，名摩尼藏。展行彌布，故有敷言。別有十種圓滿勝相，以斯妙座實德成故。初一自體相，以寶成故；次六因相，一深遠相、二勝妙相、三廣大相、四同體相、五具德相、六堅固相；後三總顯殊特，即座之德用，一端嚴故、二離染故、三無極故。二別明體用中，通有三百二種百萬億，廣上三段即為三別。初廣自體、次「有百萬億初發心」下廣前殊特、三「百萬億善根」下廣前因相。初一多明器世間嚴，後二顯眾生世間嚴，皆智正覺世間之力也。皆言百萬億者，位增十行之百萬故。初中，長分為十：前九色相嚴、後一音聲嚴，其一一嚴事皆即法門，可以意得。第一有十句座體嚴，於中初句辨座層級；後九覆座之嚴，雖四面行列執蓋亦為覆座。第二「樓閣」下十句，復於殿內建立樓閣繞座莊嚴，亦是嚴處，於中初句總、下九句別顯嚴閣。第三「寶鈴帳」下十句辨帳嚴，亦是繞座，前已辨覆故；若重辨者，帳上建樓、樓上覆帳，重重無盡耳。第四「妙寶華」下有十二句辨嚴座身。其頻婆帳應在寶華之前，類例穩便。亦可十二句辨帳，九句嚴座身。頻婆者，此云身影質，謂帳莊嚴具中現外質之影故。第五「因陀羅金剛寶」下有十七句，亦嚴座四周，皆明妙寶以為窗門及覆，亦嚴座體，以莊嚴其藏。是蓮華藏故，標中表法有異，住行不言蓮華，理實應有。或是座身之龕名藏。第六「真珠瓔珞」下十二句，瓔珞周垂嚴。「其摩尼身」下二句文似缺略，謂因陀羅妙色寶下無所結屬，又非下之香類，不可別為一段。第七「黑栴檀」下有十六句，以香為嚴。阿樓那者，此云紅赤色。第八「雨百萬」下二十句，雨雲為嚴。第九「建百萬」下四十八句，座外四面嚴。於中有四：初二十句，雜雜莊嚴，羅列座側。言樓閣延袤者，靜法云：「梵云蒲莫迦，此云帳輿。若是樓閣，應云微麼囊。既不爾者，譯之誤也。」此或應爾，前文已有樓閣故。若重辯者，亦無大失。寶悉底迦者，具云塞縛悉底迦，此云有樂，若見此相必獲安樂。其形如萬字，具於《音義》，今寶形似此。二「光明寶」下九句，光明嚴。言網覆者，若世之燈，以護夕蟲成隱映故。三「天寶衣」下九句，寶衣敷布嚴。四「天鈴幢」下十句，寶幢行列嚴。第十「天蠡出妙音」下，辨音聲嚴。於中二：初十句樂音嚴、後「悅意音」下二十句法音嚴。前中云牟陀羅者，此云鋒鼓，謂天樂初奏此鼓先作故。後法音嚴中，初十一句讚歎三寶、後「隨順音」下九句說法益物。

Third, from "At that time, in Tuṣita" onward, seeing the Buddha's adorned place, within which are two: first, clarifying the meeting of the conditions of resonance and response; second, from "thereupon in" onward, directly revealing the adorned place, within which it divides into two: first clarifying the adorned place in one direction, and later concluding with pervasion of the ten directions. Now the first. Although it initially indicates the seat, the towers, canopies, and so on enumerated below all concurrently adorn the place. The text divides into two: first, generally revealing the essence and virtue; later, from "there are a million" onward, individually clarifying essence and function. Now the first: there are eleven phrases, the first general, the rest particular. In the general, inexhaustible great vows arise according to wish, compassion and wisdom must be concurrent without worldly defilement, called a maṇi treasury. Unfolding practice and widely spreading, hence it speaks of laying out. In particular, there are ten kinds of consummate supreme marks, because this wondrous seat is accomplished by real virtues. The first is the mark of its own essence, because it is formed of jewels; the next six are causal marks: 1. Profound and vast mark, 2. Supreme and wondrous mark, 3. Broad and great mark, 4. Identical essence mark, 5. Complete virtue mark, 6. Solid mark; the last three generally reveal extraordinary nature, which are the virtues and functions of the seat: 1. Dignified and adorned, 2. Free of defilement, 3. Boundless. Second, in individually clarifying essence and function, there are altogether three hundred and two kinds of hundred thousand koṭis, which, expanding the three sections above, become three divisions: first, expanding its own essence; next, from "there are a hundred thousand koṭis of first resolving the mind" onward, expanding the former extraordinary nature; third, from "a hundred thousand koṭis of roots of goodness" onward, expanding the former causal marks. The first mostly clarifies the adornment of the vessel world; the latter two reveal the adornment of the sentient being world; all are the power of the world of the wisdom of correct enlightenment. That all say "hundred thousand koṭis" is because the station increases by the million of the ten practices. In the first, it is divided into ten: the first nine are adornments of form and mark; the last one is adornment of sound. Each and every adorned event is in itself a Dharma gate, which can be understood mentally. The first has ten phrases on the adornment of the seat's essence, within which the first phrase distinguishes the levels of the seat; the remaining nine are the adornments covering the seat; although parasols are held arranged on four sides, they also serve to cover the seat. Second, the ten phrases from "towers" onward, further establish towers within the palace surrounding the seat as adornment, which is also an adornment of the place; within which the first phrase is general, and the nine phrases below individually reveal the adorned towers. Third, the ten phrases from "precious bell curtains" onward distinguish curtain adornments, which also surround the seat, since covering was already distinguished before; if distinguished again, towers are built above the curtains, and curtains cover above the towers, layer upon layer without end. Fourth, the twelve phrases from "wondrous precious flowers" onward distinguish adorning the body of the seat. The bimba curtains should be before the precious flowers, which would be harmonious and fitting for the sequence. Or twelve phrases distinguish curtains, and nine phrases adorn the body of the seat. Bimba is translated here as "shadow form", meaning that within the decorative articles of the curtains, shadows of external forms are manifested. Fifth, the seventeen phrases from "Indra vajra jewel" onward also adorn the four sides of the seat, all showing wondrous jewels as windows, doors, and coverings, and also adorning the body of the seat, so as to adorn its treasury. Because it is a lotus treasury, the presentation in the title differs: abodes and practices do not mention lotus, though in reality there should be. Or the niche of the seat body is named treasury. Sixth, the twelve phrases from "pearl necklaces" onward are the adornment of necklaces hanging all around. The two phrases from "its maṇi body" onward appear textually incomplete, in that below Indra's wondrous colored jewel there is nothing to conclude them, nor do they belong to the category of incense below, so they cannot form a separate section. Seventh, the sixteen phrases from "black sandalwood" onward take incense as adornment. Aruṇa is translated here as reddish-crimson. Eighth, the twenty phrases from "raining a million" onward take rain clouds as adornment. Ninth, the forty-eight phrases from "erecting a million" onward are adornments on the four sides outside the seat. Within this are four: first, twenty phrases of assorted adornments arrayed beside the seat. Regarding "towers extending long", Jingfa says: "In Sanskrit it is *bhaumaka*, translated here as a curtained palanquin. If it were a tower, it should be *vimāna*. Since it is not so, it is a translator's error." This might be so, because towers already appeared in the earlier text. If distinguished again, there is also no great flaw. Precious *svastika* is in full *svastika*, translated here as "possessing joy"; if one sees this mark, one will certainly attain peace and joy. Its shape is like the character 卍, detailed in the *Sound and Meaning*; now the jewel shape resembles this. Second, the nine phrases from "luminous jewels" onward are luminous adornments. Speaking of net-covering: like worldly lamps, they protect nocturnal insects, creating a concealed radiance. Third, the nine phrases from "heavenly precious robes" onward are the adornment of laid-out precious robes. Fourth, the ten phrases from "heavenly bell banners" onward are the adornment of arrayed precious banners. Tenth, from "heavenly conches emitting wondrous sounds" onward distinguishes sound adornments. Within this are two: first, ten phrases of musical sound adornments; later, twenty phrases from "delightful sounds" onward are Dharma-sound adornments. In the former, *mudra* is translated here as "front drum", meaning that when heavenly music first plays, this drum is struck first. In the Dharma-sound adornments later, the first eleven phrases praise the Three Jewels; the nine phrases from "compliant sounds" onward expound the Dharma to benefit beings.