大方廣佛華嚴經疏 21

English (machine translation) 21

Language: English

21.1

Composed by the Śramaṇa Chengguan of Da Huayan Monastery on Mount Qingliang under the Tang

21.2

Ascending to the Suyama Heaven Palace, Chapter Nineteen

(Fascicle Nineteen) From here below is the third assembly, that of the intermediate worthies of the ten practices. First, as for the intention of its occurrence: it is because it responds to the prior inquiry regarding the ten practices. It is not knowing that is difficult, but practicing that is difficult. Previously understanding this practice was like oil and light relying upon one another, or eyes and feet assisting each other; therefore, it follows next. Next, as for the occurrence of the chapters: the four chapters of this assembly are divided into three parts: the first two chapters are the introductory occasions of the assembly; the next chapter is the main body of this assembly; the last chapter is the advancing progress toward what follows. Within the introductory occasions, the latter chapter clarifies praising virtues and manifesting the essence, while this chapter first clarifies the sympathetic resonance and reciprocal communion between the spiritual capacity and the response. The previous assembly having already ended, the subsequent exposition is about to be presented; therefore, it follows next.

21.4

Second, as for explaining the names: the assembly has three names: First, in terms of place, it is called the Assembly in the Palace of the Yama Heaven. Yama here is translated as "Time Division"; it is the foremost of the aerial dwellings, signifying that the ten practices engage in phenomenal existence to transform living beings in a manner suitable to their proper time. Speaking only after the right time, those who hear are pleased and submit; acting only after the right time, those who see revere and follow. Engaging in phenomenal existence while relying on emptiness, and entering the profound right through phenomena, it is expounded based on this. In terms of the person, it is named Guṇākara (Forest of Merits); in terms of the Dharma, it is named the Assembly of the Ten Practices; all are explained as below. All three are tatpuruṣa compounds. Next, the chapter name is largely the same as the assembly. However, in the Sanskrit text, the character "ascending" does not appear above, and below there is "spiritual transformation" (vikurvaṇa); the translators rendered "spiritual transformation" as "ascending". Ascending as a spiritual transformation has roughly four meanings: first, because [the Buddha] ascends here without leaving the prior three; second, because ascending to one place is ascending to all places; third, because having ascended, he broadens that place; fourth, because before and after are simultaneous and unobstructed. That is to say, with a perfectly pervasive body, without rising [the Buddha] ascends to the palace of the Time Division Heaven. "Ascending" belongs to the Tathāgata, and "Yama" is in terms of the place; this is a dvandva compound. The previous ascending Mount Sumeru and the subsequent ascending Tuṣita can be understood by analogy with this.

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Third, as for the central theme: the themes of both the assembly and the chapter are just as stated in their names, and their purport can be known.

21.6

Fourth, as for explaining the text: the prose of this one chapter is divided into ten parts. First, the original assembly is perfectly pervasive, meaning that the subsequent assembly is expounded without the previous assembly dispersing. The first sentence is the pervasive cause; from "ten directions" downward are the pervasive marks; there are also host and retinue, etc., all as explained above. However, with the addition of Sumeru to the place, [the Buddha] expounds the Dharma in that manner, which applies to the three assemblies above. Second, from "At that time the Bhagavat" downward, he ascends without departing. Third, from "At that time the Yama" downward, the heavenly king sees the Buddha, all as in the previous assembly. Fourth, from "immediately with" downward, each adorns the palace and seat. The first sentence generally means that practice arises based on emptiness, hence it says "created by transformation". Non-attachment guides practice, hence it is called "lotus flower". A single practice contains many, which is why it is called "treasury". The rest is as explained above. From "a million" downward, it specifically reveals the marks of adornment, within which are four: first, it clarifies that the substance of the seat is endowed with virtuous adornments, all saying "a million" because the stations gradually increase. Next, from "a million Yama" downward, it clarifies the surrounding adornments beside the seat. Third, from "a million" downward, it is the adornment of the practice-virtues of the Dharma gates. The text has eight phrases, subsumed into four pairs: 1. causes and conditions; 2. merit and wisdom, because the profound mind accords with noumenon; 3. vows and practices; 4. essence and function, because they arise from the essence of the unproduced Dharma. Fourth, the final sentence is the adornment of the propagation of the Dharma teachings. Fifth, from "At that time that [heavenly king]" downward, he requests the Buddha to dwell in the palace. Sixth, from "At that time the Buddha" downward, the Tathāgata accepts the request. Seventh, from "At that time" downward, each recalls past causes. However, the Jin sūtra also states that musical sounds ceased, which is now omitted here; this is the intention of the translator. That is to say, since it is not like the Assembly of the Ten Understandings where phenomena return to noumenon, it does not say that musical sounds ceased; and since it does not reach the non-obstruction between noumenon and phenomena of the pariṇāmanā, it does not say "blazing". Retrogressing it can equal the former, and advancing it can match the latter; therefore both are omitted. Eighth, praising ten buddhas in verse. These ten buddhas precede the ten buddhas of the previous assembly; just as the succession of the ten buddhas clarifies that the stations gradually become higher, the recollection of the past is also more distant; in truth, all buddhas of the three periods of time are identical to this exposition. The rest is as in the previous assembly. The text also has two parts: first clarifying this realm, and second discerning the conclusive extension [to all realms]. In the former, the ten verses also each have four parts: the first line designates the name and praises specific virtues; the next line universally reveals the possession of auspiciousness; the third recalls having previously entered this palace; the fourth concludes the place to establish supreme excellence. Also, the first line varies across the verses: the first two characters are the specific name, the next two characters are the universal title, and the bottom three characters are the specific virtues. In all cases, the lower specific virtues explain the upper specific name: 1. using "heard in the ten directions" to explain and establish "Renown" (Yaśas); 2. using "lamp of the world" to explain the meaning of "Jewel King" (Ratnarāja). A pearl that shines at night and can replace a lamp is the king among jewels; a buddha possesses the light of wisdom illuminating the night of ignorance, hence he is called "Jewel King". The meanings of 3, 4, 5, and 6 can all be known. 7. Using "lamp of the world" to explain "Surpassing Heaven" (Devātiśaya), because the light of his body and wisdom surpasses the heavens. 8. Using "hero of debate" to explain "Non-Departure" (Agata), because endowed with courage, wisdom, and eloquence, he cannot be moved. 9 and 10 can be known. Furthermore, each palace herein mentions a specific name: the first adorns the essence, and those below are all specific virtues of the jewels—meaning this jewel is pure, and being used for adornment, it is excellent and stainless. This jewel emits fragrance, and this fragrance is necessarily wondrous. The jewel capable of adorning leaves nothing unseen, so it can be called "Universal Eye". Such an adornment is a good adornment, and there is no place it does not adorn, hence it is named "Universal Adornment". Furthermore, it is a "good adornment" because it is produced from good causes. Ninth, from "At that time the Bhagavat entered" downward, the Buddha together ascends to the palace. Tenth, from "this palace" downward, the place suddenly becomes vast and accommodating, all as in the previous assembly.

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Chapter Twenty: Verses of Praise in the Yama Palace

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First, as for the intention of its occurrence: it is to assist transformation by praising and extolling, to expound the essence and nature of practice, and because it is that upon which practice relies. However, regarding the verses of praise in the three heavens, the general purport of their intention and central theme is largely the same, differing only in understanding, practice, and vow. The explanation of the name and the central theme also do not differ from the preceding, with only slight distinctions according to place and according to practice.

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Fourth, as for explaining the text: the text also has three parts: 1. the gathering of the assembly; 2. the emission of light; 3. the verses of praise. Within the first there are ten points: 1. clarifying the cause of the gathering, which is also manifesting spiritual powers according to each of their types; 2. from "ten directions" downward, the principal bodhisattvas; 3. from "each and every" downward, the number of the retinues; 4. from "one hundred thousand" downward, the measurement of the places from which they came. However, the revealed numbers increase with the stations: faith has ten, the abodes have a hundred, and pariṇāmanā has ten thousand; here it ought to be a thousand, yet it says a hundred thousand—this is perhaps an error of the translator, or "ten hundred" was corrupted in transcription; 5. from "their names" downward, the names of the bodhisattvas are listed. Sharing the name "Forest" (Vana) signifies the establishment of the ten practices, the vast multiplicity of the types of practice, their gathering and manifestation, their profundity and continuity without interruption, and their flourishing shade and protection. These ten bodhisattvas represent the essence of practice; one can grasp this intuitively. 6. From "these bodhisattvas" downward, the names of the lands from which they came all share the name "Wisdom" (Matī), because the wisdom of the ten understandings is that upon which practice relies. 7. From "these bodhisattvas each, in the presence of" downward, it clarifies the buddhas they serve. Sharing the name "Eye" (Cakṣus) signifies guiding practice with wisdom, clear and distinct, thus completing feet with eyes. These are the fruit-buddhas corresponding to the station of the ten practices; because those manifested in this station are all named "Eye", one should reflect upon and explain them by mutually correlating the buddhas of the respective realms with the bodhisattvas of the respective realms. 8. From "these" downward, having arrived, they pay respect. 9. From "according to where" downward, they intermingle without confusion. 10. From "like this" downward, it conclusively extends universally without end.

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Second, from "At that time" downward, the emission of light. "Above the feet" means the instep, because walking necessarily moves. The instep relying on the wheels and toes is able to have function, signifying that practice relies on faith and understanding to achieve function. The rest is the same as the previous assembly.

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Third, from "At that time Guṇākara" downward, it clarifies the recitation of verses in praise. The expositions by the ten bodhisattvas constitute ten sections. They also begin with the eastern direction and end with the zenith; each has that upon which the exposition of the verses relies, namely receiving the Buddha's spiritual power, etc. Now, as for the first bodhisattva: considering the speaker, he has accumulated practices within his person and his merit is complete, hence he is named Guṇākara (Forest of Merits). If considering what is praised, he praises the Buddha's supreme virtues, hence it is said "Forest of Merits". There are twelve verses; because he is the host of the assembly, he generally recounts the pervasive events of this assembly. Within this are two parts: the first eight recount and praise what is extraordinary, and the latter four cite virtues to explain and establish it. Within the former are four parts: the first verse recounts the emission of light in this chapter; the next two recount the sympathetic resonance of the preceding chapter; the next three recount the gathering of the assembly in this chapter; the last two clarify unfettered universal pervasion. Within the latter four that cite virtues to explain and establish it, there are two parts: the first two cite causes to reveal function, and the latter two discern the depth and vastness of the fruit's function. Therein, first, essence and function are unhindered: the upper half [of the verse states that] without going, [the Buddha] reaches everywhere; the lower half [states that] contracting and expanding mutually exhaust each other. That is to say, one body is precisely many, so the mark of oneness cannot be found; many is precisely one, so the mark of multiplicity cannot be found; therefore, it is ever one and ever many, ever neither one nor many—due to this, there is sovereignty. The body within a single dust mote everywhere fills the ten directions without exception, and the bodies pervading the ten directions are all hidden within a single dust mote; they are all entirely, perfectly pervasive, not partially pervasive, hence inconceivable. The latter verse shows that depth and vastness mutually complete each other: the upper half reiterates vastness to discern depth, while the lower half explains depth to reveal vastness—meaning that because he does not abide, there is nowhere he does not reach; because he does not go, he does not depart from his original station: this explains depth. Entering everywhere into dust motes, hair pores, and so forth, without exception, is vastness without boundary.

21.12

Second, the above clarified merit; this discerns wisdom. Awakening to this wisdom that dispels darkness and is difficult to encounter, he is therefore named Matīkara (Forest of Wisdom). In the verses praising this, the ten stanzas are divided into three parts: the first clarifies that the Buddha is difficult to encounter; the next six specifically explain why he is difficult to encounter, within which are also three: the first two show he is difficult to encounter because the benefit is vast; the next one shows he is difficult to encounter because the cause is complete; the latter three show he is difficult to encounter because the fruit is profound; the third part has three verses that weigh and compare to reveal supremacy, within which the first compares through great practice over a long time, the next compares through making offerings to buddhas over a long time, and the latter compares through making offerings of supreme items to buddhas.

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Third is Forest of Excellence (Jayavana), who realized the profoundly deep teaching of ultimate meaning; therefore, in his verses he praises virtues that are profound, vast, and boundless. The ten verses are divided into two parts: the first three clarify that the Buddha's virtues are vast and extensive, and the latter seven reveal that the essence of the Dharma is profoundly deep—the horizontal and vertical mutually illuminating each other. In the former part, the first two verses use metaphors, and the latter verse applies them to the Dharma. When the metaphor speaks of 'the first month of summer', it is a translation by meaning. The Sanskrit text in direct correspondence translates as 'the latter hot month'. In the holy teachings of the Tathāgata in the Western Regions, one year is established as three seasons, namely hot, rainy, and cold. The *Records of the Western Regions* states: 'From the sixteenth day of the first month to the fifteenth day of the fifth month is the hot season.' Thus the phrase 'latter hot month' also encompasses the latter half of the first month of summer in this land. The remaining two seasons each have four months, as can be known by corresponding explanation. The phrase 'blazing sun' merely takes the great length of the daylight hours, such that its limit is difficult to fathom. In that region there are also four seasons, sharing the same names as here, except that they take the dark fortnight of the first month as their beginning. Not seeing this text, people erroneously offer divergent interpretations. In the latter seven verses, he causes one to cultivate the contemplation of the three non-natures upon the other-dependent nature, because the other two natures are not separate from the other-dependent, and because the other-dependent is established through the two natures. That is, the consummate nature is the essential nature of the other-dependent, the imaginary nature is merely horizontal clinging to the other-dependent, and furthermore, delusion regarding the real appears as a semblance; thus, based on the three natures, the three non-natures are taught. If the three natures are already one, how could there be three non-natures? The three non-existences are merely non-existence identical to existence; the three natures are merely existence identical to non-existence. Existence and non-existence being non-dual is the single true nature; existence and non-existence mutually subverting, nature is also non-nature. Therefore, within a single other-dependent nature, all contemplations are fully cultivated. The text is then divided into three: the first three verses perform the contemplation of the non-nature of production; the next two concurrently cultivate the contemplation of the non-nature of ultimate meaning; the last two cultivate the contemplation of the non-nature of marks. Now, the first is divided into three: the first verse directly contemplates non-production. The first line is emptiness of the fruit, meaning that fruit dharmas arisen from conditions do not previously have an essence coming from prakṛti, paramāṇus, or the future storehouse of conditional mind and consciousness; if they had a place from which they came, they would already exist beforehand, like a bird coming to perch in a tree—how could one speak of production? The next line is emptiness of the cause: since there is no fruit, in contrast to what could one speak of a cause? Furthermore, prakṛti and so forth are also things erroneously conceptualized to exist through conditions. The next line dispels both: that from which it arises is the cause, and that which is produced is the fruit. Furthermore, the first line means not produced from self; the next line means not produced from other; the next line means not produced from both. Furthermore, the first line means not produced having previously existed; the next line means not produced having previously not existed; the next line means not [produced] being half-existent and half-non-existent; each of these three meanings brings delusions to rest and establishes contemplation by the final line. The next verse explains non-cessation through non-production, which briefly has three meanings: first, because there is no production that could be ceased; second, because there is no opposition; third, because, analogously to production, it accords with conditions. The final verse is the benefit of the contemplation's completion: the sūtra states that 'non-production is the Buddha'; hence a treatise says, 'If one sees the dharma of conditions, then one is able to see the Buddha,' because other-dependent conditions are precisely non-production. In the next two verses, which concurrently cultivate the contemplation of the non-nature of ultimate meaning based on the other-dependent nature, the preceding verse dispels the contemplated: the upper half clarifies contemplation, and the lower half clarifies benefit, each containing two meanings, which is why the word 'concurrently' is used. First, it completes the preceding: this means that not only is production as an active mark non-production in itself, but the essence of the produced dharma is without nature due to conditions, and is thus non-existent. This reveals that the non-production of the other-dependent is the benefit of the consummate nature. Calling it 'profound' is because phenomena are identical to the real. Second, it says that the true nature of non-production is also non-existent, which is the benefit of that non-nature of ultimate meaning. Calling it 'profound' is because the true nature is not established. The latter verse dispels the contemplator, which has two meanings: first, completing the preceding contemplated, meaning that because of the absence of nature, there is no one who can comprehend—just as there is no one who can comprehend the length, size, or smallness of a turtle's hair; knowing that there is nothing to be comprehended is the ultimate comprehension. Second, it directly dispels the capable comprehender: since there is nothing to be comprehended, there is also no capable comprehender; the disappearance of both subject and object is ultimate understanding. In the last two verses, which clarify the contemplation of the non-nature of marks, the first verse directly clarifies it, and the latter verse concludes. In the former, the upper half reveals attachment: failing to understand that lands and so forth are other-dependent, considering them to be seen before one's eyes, one falsely conceptualizes them as produced. The Jin sūtra states: 'That which is said to have production—know that it is due to what is produced.' The lower half clarifies contemplation: if one knows the absence of nature, one departs from the imaginary nature. The latter verse concludes: viewing the world and so forth in accord with the reality of phenomena and noumenon, it is therefore well spoken.

21.14

Fourth is Forest of Fearlessness (Abhayavana), named so because through the power of faith and joy, he hears what is profound without fear. The verses praise the virtue of the benefit of having faith and commitment deepening. The ten verses are divided into two parts: the first is the sphere of what is believed in, meaning that the essence of the dharmakāya is identical to the dharmadhātu, and the jñānakāya realizes the limit of the dharmadhātu, causing the bodies of response and application to pervade without moving. The latter nine are the benefits of hearing and believing, divided into five: the first verse is departing from evil through hearing and believing; the next two explain that it is difficult to hear; the next three clarify attaining buddhahood through hearing and believing, using past attainments to verify present and future ones; the fourth is one verse clarifying that hearing must have a cause, encouraging sentient beings to give rise to vows; the fifth consists of two verses revealing the benefits of undertaking practice.

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Fifth is Forest of Conscience (Hrīvana), so named because he rejects delusion and honours the real, rejects confusion and honours wisdom. The verses praise the superior benefits of the Tathāgata's great wisdom. The ten verses are divided into three parts: the first three are the explanation through Dharma of what is difficult to conceive; the next six make definitive determinations through metaphors; the last one concludes the virtues by returning them to the Buddha. In the first part, the first verse clarifies that hearing generates superior benefit, causing sentient beings to aspire to hear. 'Unobstructed dharma' is precisely the Buddha's wisdom. The next verse states that the Buddha exhausts the wisdom of all modes (sarvākārajñatā), so lower stages find it difficult to conceive. The last verse reveals that from which wisdom is born; this text reveals it through negation, having two meanings: first, it completes the preceding, meaning that if one wishes to generate wisdom, one should seek it in the Buddha, because the Buddha is omniscient; one should not seek it in ordinary beings, because ordinary beings are dark and blind. Just as in plucking a lotus, one must do so in deep water—how could one obtain it from the tip of a tree? Second, it completes the following: wisdom arises from perfuming its own seeds, not from defilements and ignorance. Therefore it is said below, 'The two minds are not concurrent, because they pertain to their own foolishness and wisdom'; thus one should be cautious regarding what one perfumes. If so, why does a sūtra say, 'In the mud of defilements there is the Buddhadharma'? This speaks of the tathāgatagarbha within defilement. However, this great wisdom arises from the virtues of the garbha, not from delusion. If so, how does one reconcile 'defilement is precisely bodhi'? In terms of essence and nature, and from the standpoint of that which is deluded, like waves and wetness. Yet the true meaning is reality and delusion, foolishness and wisdom. In terms of mutual completion, the two gates stand side by side; in terms of mutual subversion, both marks are tranquil. Illuminating both gates simultaneously, they are neither identical nor separate. If one speaks of unity, separate them to make them distinct, as in this passage; if one speaks of difference, unite them to make them identical, as in the subsequent passage. One must grasp the meaning well and not get stuck on words. If we follow the Jin sūtra, it states: 'It is not born from wisdom, nor is it born from lack of wisdom; comprehending all dharmas, it eliminates the darkness of the world.' This reveals that the essence of wisdom transcends both foolishness and wisdom; not comprehending in accord with reality is called lack of wisdom. This verse clarifies both nature and marks, while the subsequent metaphors merely reveal the difference between the two marks. In the second part, the definitive determinations through metaphors, there are two sections: first, five verses clarify that the two natures are mutually opposed; then, one verse determines that their functions are unequal. In the former, only three lines of the second verse are metaphor, while each of the other verses has half a verse of metaphor and half of application. First, regarding form and non-form: non-form refers to the mind; cogitation and material obstruction are distinct in essence and nature. In the second, there are two metaphors: mark and markless, which is the mutual opposition of noumenon and phenomena; saṃsāra and nirvāṇa, which is the mutual opposition of real and false. Although of the same essence, in the gates of differentiated meaning they do not validate each other. Third, completion and destruction are distinguished by their marks. Fourth, the initial mind and the subsequent mind differ in time. Fifth, the consciousness-aggregates differ in their functions: because their concourse of conditions differs, the eye lacks the function of the ear. Furthermore, this eye-consciousness does not unite with other faculties; when consciousnesses are alike in being consciousness, they still do not unite—how then could foolishness and wisdom, differing in nature, give birth to each other? As for the second, the inequality of their functions: not only are the two natures distinct, but wisdom can extinguish foolishness while foolishness cannot extinguish wisdom, medicine can remove poison while poison cannot remove medicine, just as light can eliminate darkness while darkness cannot eliminate light. Third, one verse concludes by returning to the Tathāgata, who stands far beyond the world and is therefore difficult to encounter.

21.16

Sixth, because one diligently contemplates that noumenon and phenomena are identically without distinction and is free from the marks of body and mind, it is named "Forest of Diligence (Vīryavana)." The ten verses generally reveal this virtue of the Buddha. The preceding [section] was the distinction within non-distinction, whereas this is the non-distinction within distinction. The two sections connect, showing that they are neither identical nor separate and also mutually complete each other. The ten verses are divided into two: the first generally poses both in terms of phenomena; the subsequent nine explain both with reference to analogies. Now, the first: the first line indicates that the five categories of phenomena that are known are all without distinction; the remaining three lines reveal it with respect to persons; the next line singles it out as not being the realm of others; the latter half [indicates that] only the Buddha fathoms it completely. Among the subsequent nine explanatory [verses], the first five explain the known, and the latter four explain the knower. In the former, the first four are the direct explanation, and the last one dispels doubts. In the former, all the first halves are analogies and the latter halves are the non-distinction of phenomena; the reason lies in the final lines. However, the analogies presented are not apart from phenomena; it merely takes what is easy to illustrate what is difficult. First, the analogy of the non-difference between the substance and color [of gold]: this analogy is general. Although the analogy is one, the application to phenomena has two [aspects], because it encompasses the vertical and the horizontal. Vertically, it concerns the mutual interpenetration of noumenon and phenomena. "Phenomena" are events (shi); "non-phenomena" are noumenon (li), because form is emptiness. Alternatively, "phenomena" may be true phenomena, and "non-phenomena" false phenomena. Although the wording adopted differs, the doctrinal import is identical. This means that just as the yellow color of gold and the weight of the gold's substance have no difference in nature, whichever is taken, they mutually subsume one another. In the application, the gold is the support, illustrating the true Dharma; the color is that which is supported, illustrating the false non-dharma. Because the false has no substance of its own and arises by gathering the true, then the true is entirely hidden and only the false appears; because the substance of the true is real, the false is entirely exhausted and only the true appears. Therefore, the false without substance is not different from the true whose substance is real; thus it says "there is no difference." It is also like the *Ghanavyūha-sūtra*: "Like gold and a finger ring, there is universally no difference between them." Horizontally, it compares different phenomena with one another. "Dharma" means that which can serve as a model; "non-dharma" means that which cannot serve as a model. Furthermore, "dharma" refers to existent dharmas, while "non-dharma" refers to non-existence; hence the *Mūlamadhyamakakārikā*, explaining that dharmas do not give rise to non-dharmas, says that being does not give rise to non-being. That their essence and nature are not different means they are identical in their suchness. However, the former meaning directly accords with the analogy, while the latter meaning accords with the phrase "all dharmas" in the initial proposition. Only by means of the initial meaning of the non-distinction between nature and marks can one reveal the latter meaning of the non-distinction among all phenomena. If one were only to use the latter meaning, without revealing that marks are completely identical with the nature, how could one reveal that all phenomena are identical with the one nature? The second verse is the analogy of conventional names being non-real. By using the ultimate to supplant the conventional, there is therefore no distinction. Gathering conditions forms a sentient being; thus, being empty, it is not a sentient being. Since that which is dispelled does not exist, how could that which dispels exist? Therefore, neither is real. This is used to illustrate that all phenomena are without real meaning, because they all arise from conditions. If one were to take direct retribution as sentient beings and dependent retribution as non-sentient beings, that would entirely be what is illustrated, and the mark of non-reality would still be difficult to make clear. Third is the analogy of the mutual non-existence of the three time periods, which illustrates that because they lack marks, they have no distinction. That is to say, if the future contained the past, it should be called the past; why call it the future? Therefore, we know there are definitely no marks of the past and present. The text raises one corner; one should deduce the other two. All phenomena are without marks just as these are mutually non-existent; this uses distinction to illustrate non-distinction. Fourth is the analogy of the four characteristics being non-real, which illustrates that because they lack self-nature, there is no distinction. The four characteristics of arising and the like have no separate self-nature apart from the dharmas characterized. All phenomena have no separate self-nature apart from the noumenon on which they rely. This uses the absence of marks to illustrate the absence of nature. As for dispelling doubts afterwards: a doubt asks: "If they are completely without distinction, why is it seen that there are differences such as nature and marks?" Therefore, this explanation says: It is also like nirvāṇa, whose substance is free from being and non-being and cuts off the hundred negations, yet names are arbitrarily established, called "with remainder" and "without remainder." All phenomena are also like this: the ultimate and the conventional are both empty, and conceptual discrimination creates distinction. If one is free from discrimination, then there are no marks of any objective realm whatsoever. The second group of four verses illustrating the knower all consecutively dispel doubts. In the first verse, the doubt asks: "Since there is discrimination, there must be a knower." Therefore, the explanation says: Apart from the things counted, there is no number that can count them. Since the known has no self-nature, how could there be a knower? The knowing of non-knowing is the true comprehension of dharmas. Next, a doubt arises again: "If we follow the previous analogy, the ability to count illustrates the knower. Although the knower does not exist, the known still exists." Therefore, he again uses the dharmas that can count to illustrate the known, and the distinctions of wisdom to illustrate the knower. Mutually dispelling each other back and forth, he reveals the principle of non-distinction: adding one to one is called two, up to hundreds of thousands, all of which are just multiple ones, because the wisdom that can count generates the understanding of hundreds of thousands. The third line in the Jin translation says: "All are completely the fundamental number." The present translation clarifies that because the one and the many are mutually dependent, they lack self-nature, illustrating how false thoughts conceptualize existence and non-existence within that which lacks self-nature. Next, another doubt asks: "If both subject and object are completely absent, what is called the Buddha's wisdom?" Therefore, the explanation says: When subject and object are both extinguished, the Buddha's wisdom is thereby manifested. Therefore, the false dharmas that are known are like the formation and decay of the world, while the true wisdom that can know is serene like empty space. It is not even initially formed, so how could it have ruin?—as in the "Chapter on Arising." Furthermore, expedient wisdom illuminating the conventional is identical with the world's formation and decay, and the expedient is precisely the real, just as it is not apart from emptiness. The final verse doubts: "Since the Buddha's wisdom is equal, why do its applications differ?" The explanation says: Falsely grasped according to the mind, the Buddha has no distinct marks. Furthermore, regarding permanence and impermanence, it is like each grasping space; the Buddha's wisdom is free from both, just as space has no distinction.

21.17

Seventh, because wisdom understands the nature and characteristics of the three kinds of worlds and does not move in any extremes, it is named "Forest of Power (Balavana)." The ten verses reveal the Buddha's true wisdom that is free from marks. It is divided into three parts: the first four comprehensively clarify the world; the next five mutually dispel the worldly and the transworldly; the final one concerns the benefit of completing the contemplation. Now, the first: broadly, there are two contemplations: the first two verses present the contemplation of gathering the branch-effects back to the root, revealing the emptiness of the world of sentient beings; the latter two present the contemplation of conditioned arising as being without agency, concurrently revealing the emptiness of the container world. Now, the first: the first two lines investigate conventional sentient beings as not going beyond the three time periods, revealing that they are impermanent; the next two lines investigate the sentient beings of the three time periods as not going beyond the aggregates, revealing that they have no self; the next line shows that the aggregates arise from karma to clarify that results are empty, revealing that they do not arise from heterodox causes; the next line investigates that karma is mind alone, clarifying that there are no dharmas outside the mind; the next line realizes that the mind is like an illusion, not apart from the emptiness of nature and the middle way, because like an illusion it lacks self-nature, and because it is neither existent nor non-existent. The final line uses the root to pattern the branches; thus the above five are unified in suchness, because all consecutively arise from conditions. In the second contemplation on conditioned arising as without agency: the first verse shows that because it is without agency, it is established through conditions; the latter verse shows that being established through conditions is precisely being without agency. Now, the first: saying that it is not made by self or other comprehensively dispels various errors. First, regarding the non-Buddhists: it is not made by self-nature (prakṛti) or the like, nor is it made by another such as Brahmā; it is simply that falsely there is no karma and retribution, as refuted at length in the Sanlun texts. Second, regarding the Hīnayāna: it is not made by itself as a cause of the same kind (sabhāga-hetu), nor is it made by another as a vipāka-hetu, because all are mutually dependent and lack self-nature. Third, regarding the mutual dependence of causes and conditions, it is as clarified in the *Daśabhūmika-vibhāṣā* and the *Abhidharmasamuccaya*. Fourth, regarding causes viewed against results, the *Mūlamadhyamakakārikā* states: "Suffering produced by itself, produced by another, produced by both, or produced without a cause—such are said of all sufferings, but in the case of effects, it is not so." These words "self" and "other" contain two meanings: first, taking the effect as self and the cause as other, because the treatise says, "Dharmas that are effects cannot make their own essence by themselves"; second, taking the cause as self and the conditions as other, this clarifies that it does not come from causes and conditions, because there is no effect to stand in opposition. Since separation is not established, combination is also not established; hence the treatise says, "If they were mutually and jointly established, there would be joint production. If they still have no production mutually, how much less could there be production without a cause!" "Mutually" means self and other. The latter half has two meanings: first, it does not obstruct establishment through conditions, thereby dispelling causelessness; second, not only does it not obstruct illusory existence, but also because there is the meaning of emptiness, causes and effects can be established; thus, without moving from the true limit, it establishes all dharmas. Furthermore, not only is it said that the four meanings regarding suffering are not established, but the four meanings regarding all external myriad things are also not established; the words "formation and decay" show that it encompasses the container world. As for the latter verse showing that establishment through conditions is precisely non-agency: previously, in terms of illusory existence, although formation and decay were spoken of, illusory existence is precisely empty and therefore should not be spoken of; this is not destroying conventional designations while speaking of the true mark. In the second group of five verses mutually dispelling [the worldly and transworldly]: the first half-verse poses a provisional interrogation; the next half indicates the answer; the next verse produces the essence, explaining that the aggregates are the world established through conditions, while quiescence is precisely the transworldly. Hence the *Vimalakīrtinirdeśa-sūtra* says: "The emptiness of the nature of the world is precisely the transworld." The two are spoken of from a single essence; therefore they are called conventional designations. The next two lines investigate the name and essence of the aggregates: The world takes the aggregates as its essence; what do the aggregates take as their essence? The next two lines indicate the answer: the upper line answers regarding the essence; the lower line answers regarding the name, which should be named the unarisen five aggregates. Since it says that the nature cannot be extinguished, it reveals that the preceding was not phenomenal extinction. The next verse explains it: being empty, it is not extinguished, nor does it phenomenally persist. Not being extinguished, one knows it is fundamentally unborn; this is the meaning of non-arising. The final verse uses this to pattern the transworldly, revealing that the world of the wisdom of sambodhi also responds to conditions without self-nature. Furthermore, it takes the realization of the principle of non-self-nature as its own essence. The final verse clarifies the benefit of the contemplation: because the Buddha takes the real Dharma as his essence, one who sees the Dharma constantly sees the Buddha.

21.18

Eighth, because one contemplates the Buddha by illuminating noumenon and thereby gives rise to correct cultivation, it is named "Forest of Practice (Caryāvana)." The ten verses contemplate the virtue of the Buddha's essence and marks being universally pervasive. It is divided into two parts: the first seven reveal cultivation by means of analogies; the latter three concern the benefit of seeing reality. The former also has two parts: the first two are the analogy of the earth-element lacking self-nature yet universally pervading, illustrating the Buddha's virtue of being unborn and universally responding; the latter five are the analogy of karmic marks accomplishing events without any support, illustrating the Buddha's virtue of unfathomable manifestation and function. In this there are two: three verses of analogy and two verses of application. In the former, the first clarifies that karma and fruit are mutually reliant. The next verse clarifies that mutual reliance lacks self-nature: because karma is not apart from birth, the nature of karma is empty; because there is birth due to karma, birth has no place of coming. The final verse jointly concludes that it is unfathomable, revealing the completion of true contemplation. If one traces back its root in reverse, karma again has a cause, which ultimately reaches the non-abiding; because non-abiding has no root, there is nothing seen; only the seeing of non-seeing truly understands the emptiness of karma. In the two verses of application, the first verse's unfathomable universal response applies to the mutual reliance of karma and fruit above. The next two lines, by means of mutual non-identity, apply to the lack of self-nature in mutual reliance: If the body were the Buddha, a cakravartin and the like would be the Tathāgata; if the Buddha were the body, the mind of sambodhi should be identical with material form. The latter two lines conclude by showing that the true essence is solely suchness and solely wisdom, applying to the third verse's unfathomability and reaching the root. In the second part, which has three verses clarifying seeing reality: in the first verse, seeing the Buddha is precisely understanding the Dharma, because seeing the Buddha accords with the nature and does not doubt that they share the same essence. In the next verse, seeing the Dharma is precisely seeing the Buddha, because understanding the Dharma is precisely purity of nature, knowing that the Buddha does not abide in nature or marks. In the final verse, understanding leads to correct cultivation: illuminating the absence of marks, the mind quiets conceptual discrimination; tranquility and illumination flowing simultaneously is therefore called right mindfulness. Then one is born from the Buddha-dharma and is a child of the Dharma. Furthermore, of the above three verses, the first knows that detachment is named the Dharma; the next knows that the Dharma is named the Buddha; the last knows that non-existence is named the Saṅgha—completely seeing the real essence of the Triratna.

21.19

Ninth, illuminating the root and branches of the mind is called Forest of Awakening. Ten verses reveal the complete-aspect mind-only (vijñapti-mātra), which are divided broadly into two parts: the first five reveal phenomena through metaphors, and the last five integrate the phenomena to form contemplation. Within the former part there are two sections: the first two [verses] concern phenomena, and the latter three concern the mind. At first glance, these metaphors seem as though the former illustrates what is created and the latter illustrates what can create; but examining the intention of the metaphors closely, the former metaphor is actually more proximate, so it illustrates the mutual support of the true and the false, whereas the latter metaphor illustrates the mutual support of mind and objects. However, relying upon the eight consciousnesses of arising and ceasing, there is only the mutual support of mind and objects, but because they are identical to the mind of the Tathāgatagarbha, there is the mutual support of the true and the false; for gathering conditions to enter reality, where differentiated marks are exhausted as only the gate of tathatā, is what the former metaphor reveals; while subsuming objects into the mind without destroying marks is the gate of arising and ceasing, which is what the latter metaphor clarifies. Preservation and destruction are non-dual, being a single pratītyasamutpāda; the two gates are unobstructed, being only the one mind. Therefore, in the subsequent correlation, it only clarifies mind-creation; wishing to distinguish the aspects of meaning, the metaphors reveal the two gates—this is called complete-aspect mind-only. Now, the first two verses on the mutual support of the true and the false are the gate of tathatā, which subsumes all dharmas. In the first verse, the first line metaphorically refers to the one mind in general; the second line metaphorically refers to perfuming and transforming in accordance with conditions to become the other-dependent nature (paratantra); the third line refers to failing to understand the other-dependent and thus forming the imagined nature (parikalpita); the fourth line metaphorically refers to the exhaustion of marks of the other-dependent, whose essence is the fully perfected nature (pariniṣpanna). The subsequent verse metaphorically illustrates the meaning of neither-identity-nor-difference between the other-dependent and the fully perfected, and between the true and the false. In the first half, they are not identical because subject and object differ: within the great elements (mahābhūta) there is no visible form (rūpa), as they are what is touched by the body; and within visible form there are no great elements, as it is what is seen by the eye. Furthermore, the creating [elements] have no differentiation, whereas the painted colors differ; this illustrates that the false relies on the true, and subject and object differ, because nature has no differentiation while marks are dissimilar. The latter half conveys the meaning of non-separation: the created blues and so forth have no separate essence apart from the creating earth and so forth; what is provisional necessarily relies on the real, appearing in the same assemblage; this illustrates that the false necessarily relies on the true, nature and marks interpenetrating each other. However, the great elements are necessarily able to create form, while form cannot create the great elements; this illustrates that the false necessarily arises relying on the true, while the true does not arise relying on the false; hence it is not stated so. Yet, not apart from form are the great elements to be found. The latter three [verses] concerning mind illustrate the gate of arising and ceasing of the mind-only mind. Within them, the first [verse] also clarifies the meaning of the neither-identity-nor-difference of mind and objects. The first half is non-identity: in the mind there are no painted colors, as it cannot be seen; in the painted colors there is no mind, as they lack thought and cognition; this illustrates that the transforming and the transformed, seeing-aspect (darśanabhāga) and mark-aspect (nimittabhāga), are distinct. The latter half is non-separation: because they are arranged according to the mind; this illustrates that apart from the mind there are no marks of sensory objects. It must be that the mind transforms into objects, not that objects are able to transform the mind; hence it is called 'mind-only' and not 'object-only'; it merely says that not apart from the mind are painted colors to be found, not that not apart from the painting is a mind to be found. The next verse illustrates the active modes (ākāra) of the transforming and the transformed, clarifying that the painter's skillful thought does not abide and his changing postures are multifaceted. As for 'the painting is not the mind, who knows another?,' this is the doctrinal correlation. 'That mind' is the mind of the harmonisation of the true and the false. 'Constantly' refutes annihilation; 'non-abiding' refutes permanence, like a rushing torrent. Because it contains all seeds (bīja), it is called 'immeasurable marks.' Being extremely profound and subtle, it is called 'inconceivable.' The next line suddenly manifests myriad objects. The lower line illustrates that the transformed objects have no essence apart from the mind. Furthermore, 'constantly non-abiding' is because non-abiding is the root. 'Immeasurable and inconceivable' generally indicates depth and breadth. The lower two lines explain: 'manifesting all' is inconceivable due to breadth; 'not knowing one another' is inconceivable due to depth. The third verse re-illustrates the aforementioned meaning of 'not knowing one another.' It means not only do the painted things themselves not know one another—illustrating that the transformed objects have no self-nature—but the painting mind, arising and ceasing thought by thought, does not know itself, and therefore also cannot know what is painted; this doubly illustrates that both mind and objects lack self-nature, each not knowing the other. Hence it says, 'unable to know its own mind, yet because of the mind it paints.' Furthermore, although not knowing the painting mind, yet because of the mind it can paint; this illustrates that although sentient beings are deluded about the direct perception of the mind, yet the mind transforms into objects. Moreover, because it cannot know what is painted, but only paints in its own mind, it is therefore able to accomplish what is painted; this illustrates that because sentient beings are deluded about objects, only the mind is able to manifest false objects. Furthermore, it illustrates that precisely due to having no nature are the myriad objects accomplished; hence it says, 'the nature of all dharmas is like this.' In the second part, the five verses of correlation are divided into four: First, one verse of correlation. In the first two lines, the first line correlates with the very first line's 'mind,' which is the mind of general characteristics. The lower three lines correlate with the second line's 'all worlds,' which are the various colors; this line is general. The lower [lines] set forth various marks, which are the aggregates (skandha), realms (dhātu), and bases (āyatana); hence it says 'there is no dharma it does not create.' The Jin translation says: 'creates the various five aggregates.' The Saddharmasmṛtyupasthāna-sūtra says: 'The mind is like a painter's hand, painting five colors: black, blue, red, yellow, white, and ultra-white.' Thus the text above says: 'arranging the various colors.' The painting hand is a metaphor for the mind; the six colors respectively illustrate the hells, pretas, animals, asuras, humans, and devas. If one speaks of 'various kinds,' then the ten dharmadhātus, five aggregates, and so forth are all created by the mind. Next, two verses correlate with the latter half of the preceding first verse. Within them are two: First, one cites an example to correlate, thereby establishing the preceding words, meaning that just as the worldly five aggregates are created from the mind, the five aggregates of the Buddhas are also like this. As with the Buddhas' five aggregates, so are those of all other sentient beings: all are created from the mind. Yet the mind is the general characteristic: awakening to it is called a Buddha, forming pure pratītyasamutpāda; delusion about it makes sentient beings, forming defiled pratītyasamutpāda. Although pratītyasamutpāda has defiled and pure, the essence of the mind is not different; the Buddha-fruit tallies with the mind, identical with the true and endless, whereas false dharmas have an end, so it is not spoken of. If one relies on the old translation, it says: 'Mind, Buddha, and sentient beings—these three are without difference.' Then all three are endless, and being endless is precisely the mark of non-difference. It should say: 'Mind, Buddha, and sentient beings—in essence, all are endless.' Because the essence of the false is fundamentally true, it is also endless; thus the Tathāgata does not cut off the evil nature, just as an icchantika does not cut off the good nature. Furthermore, the three above each have two meanings. The two meanings of the general mind are: first, defiled; second, pure. The two meanings of the Buddha are: first, adapting to capacities and according with defilement; second, being equal and opposing defilement. The two meanings of sentient beings are: first, following the flow and turning away from the Buddha; second, when capacities mature, evoking the Buddha. With their respective first meanings, they form non-difference in following the flow; with their respective second meanings, they form non-difference in reversing the flow; thus the word 'non-difference' embraces both the ended and the endless. Furthermore, the two meanings within the three each completely subsume the whole essence; these three without difference form a single pratītyasamutpāda. The above is discussed horizontally. If discussed in terms of a single person: the mind is the general characteristic, the Buddha is original enlightenment (akuśala/bodhi: benjue), and sentient beings are non-enlightenment; it is precisely original enlightenment according with conditions that forms these two, which is the gate of arising and ceasing; in the lower half, the essence of these two is endless, which is the gate of tathatā, because according with conditions it does not lose its own true nature—this precisely matches the earlier text's 'the great elements are without difference.' If one says that the three—mind, Buddha, and sentient beings—are different, that is falsely grasping different colors. The next verse correlates by reversing the position: it means that falsely grasping different colors implies not knowing the operations of the mind; if one knows that the operations of the mind universally create the worlds, then there is no falsehood, and one immediately understands reality. This precisely matches 'the great elements are without difference' and concurrently clarifies the benefit of contemplation. Third, one verse has two meanings: First, it doubly correlates with the earlier meaning of the neither-identity-nor-difference of true and false, mind and objects. The first half correlates with the first half of the preceding second and third verses—that is, the earlier meaning of mutual absence and non-identity—because the mind is the transforming [subject] and the essence of mind, and the body is the transformed [object], meaning the endowed body is the mark-aspect (nimittabhāga) of consciousness and the mark of the nature. The latter half doubly correlates with the meaning of non-separation in the latter half of the preceding two verses: it means that although they do not abide in each other, yet relying on the mind, objects appear, and relying on the essence, function arises to perform all Buddha-works; essence and function do not obstruct each other, which is unprecedented. Second, it is also brought to correlate with the preceding fourth verse: the first half correlates with the earlier meaning of 'constantly non-abiding,' and 'not knowing one another yet able to do Buddha-works' correlates with 'manifesting all colors.' 'Unimpeded and unprecedented' correlates with 'immeasurable and inconceivable.' In order to embrace this meaning, it does not express it in terms of mutual absence but says 'non-abiding,' which is the subtlety of the translation; the Jin sūtra merely says 'the mind is also not the body,' obtaining only the earlier text's meaning of mutual absence. The final verse concludes with an exhortation, which conversely correlates with the earlier metaphor of the painter not knowing the mind. If one does not know the mind, one constantly paints false objects; contemplating that all is created by the mind alone, one then understands the true Buddha. The first half has the capacity, and the latter half shows the contemplation. However, there are two explanations: First, it says: if one wishes to understand the Buddha, one should contemplate the nature of the dharmadhātu. All the differentiations above are created by the mind alone, because seeing phenomena is immediately seeing the Buddha. Second, contemplating the nature of the dharmadhātu is the gate of tathatā, and contemplating mind-only creation is the gate of arising and ceasing—this is a dual conclusion. Furthermore, one is the contemplation of the reality of tathatā, and the other is the contemplation of mind-only consciousness; the essentials of Mahāyāna contemplation do not go beyond these two. Contemplating that these two gates are only the one mind, both universally subsume all dharmas completely; the two truths are doubly harmonised in unobstructed single flavor; the Buddhas of the three periods realise this as essence. One who wishes to know them should contemplate this, which is supreme; therefore, briefly upholding it can shatter the hells.

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大方廣佛華嚴經疏 — Classical Chinese