大方廣佛華嚴經疏 25.9

25.9

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.