大方廣佛華嚴經疏 3.10

3.10

Second, revealing the specific central theme: all sūtras have their respective central themes; now I will specifically clarify the central theme and orientation of this sūtra. However, when the Laṅkāvatāra states, "all dharmas are unarisen, one should not establish a central theme," these words discard clinging. If it is a central theme that is without central theme, then both theme and discourse are thoroughly unhindered. I will distinguish this briefly through two gates: first relating the differing interpretations, and next setting forth the present meaning. In the former, ten accounts are briefly cited: First, Dharma Master Yan took the unobstructed dharmadhātu as the central theme. Second, Dharma Master Yu took the mind and object of the profound dharmadhātu as the central theme. This means that within the gate of the dharmadhātu, it is divided in meaning into the objective realm, which the Buddhas realize to form the pure land. The dharmadhātu is just the one mind, which the Buddhas realize to form the dharmakāya; therefore, the first chapter states, "The inexhaustible, equal, and wondrous dharmadhātu completely fills the Tathāgata's body." And the final [chapter] explains the "Chapter on Entering the Dharmadhātu"; thus we know it takes solely the dharmadhātu as its central theme. Third, some say it takes pratītyasamutpāda as its central theme, because the pratītyasamutpāda of the dharmadhātu is mutually identical and mutually penetrating. Fourth, some say it takes consciousness-only as its central theme, because the sūtra states, "The triple realm is manifested only by the one mind, mind is like a skilled painter." Fifth, the two masters Min and Yin both take cause and effect as the central theme, stating that this sūtra extensively clarifies the causes in the stages of bodhisattva practice and reveals the fruits and virtues that are accomplished, and the subsequent text does not deviate from this. Sixth, Dharma Master Yuan took the Avataṃsaka-samādhi as the central theme, stating that the flowers of causal practice are able to adorn the Buddha-fruit. Seventh, Tripiṭaka Master Gupta took the contemplative practice of the forty-two sages and worthies as the central theme, saying that it expounds their practices and stages to cause contemplation to be accomplished. Eighth, some say it takes the ocean-seal samādhi as the central theme, because the direct and reverse, noumenon and phenomena, and even Indra's net appear simultaneously like the sea when its waves are stilled. Ninth, Vinaya Master Guangtong took cause and effect and the true reality of noumenon as the central theme, because cause and effect are the practices and stages that are accomplished, and the true reality of noumenon is the dharmadhātu relied upon. Tenth, Xianshou, because each of the former was mutually lacking, took cause and effect, pratītyasamutpāda, and the dharmadhātu of true reality collectively as the central theme and orientation. This means that the first two masters only grasped the dharmadhātu relied upon; the third and fourth masters only clarified pratītyasamutpāda; the fifth and sixth only clarified cause and effect; the seventh was only causal cultivation; the eighth was only fruition-function—and thus all were mutually lacking. Therefore, Xianshou's intention adopted Guangtong's while adding the terms "pratītyasamutpāda" and "dharmadhātu." Because Master Guangtong considered cause and effect to be pratītyasamutpāda and the true reality of noumenon to be the dharmadhātu, he did not divide them. Xianshou considered cause and effect to be specific meanings within pratītyasamutpāda, and the true reality of noumenon to be a specific meaning within the dharmadhātu, and therefore added the collective names; because the dharmadhātu has phenomena, noumenon, and non-obstruction, and pratītyasamutpāda is the function upon the essence, he added them. Second, explaining the present understanding: following the latter two masters, I have slightly modified it. If one seeks brevity of words to completely encompass it, one should say that the inconceivable pratītyasamutpāda of the dharmadhātu is the central theme; if one seeks completeness of words, one adds "inconceivable" to the tenth master's [formulation]. This then subsumes the single overall title: the true reality of noumenon is "great and square" (mahāvaipulya), pratītyasamutpāda is "broad" (vaipulya), the dharmadhātu generally covers the former two, and cause and effect is "Buddha-Avataṃsaka" (the Buddha's flower adornment); looking at the overall title, one already knows the specific meanings. Furthermore, words like "dharmadhātu" may occur in various sūtras and do not yet reveal what is uniquely distinct. Pervading them with "inconceivable," then the dharmadhātu and so forth are all inconceivable, and hence it is the central theme of the sūtra. Therefore, Nāgārjuna referred to this as the Great Inconceivable Sūtra, which is excellent proof. The Vimalakīrti only clarifies the inconceivable liberation of action and function, which is merely a partial meaning, not yet revealing the inconceivability of the dharmadhātu's interpenetration and fusion, and therefore it is not the same. If, regarding the title, one distinguishes essence, theme, and function, it takes the true reality of noumenon as essence, pratītyasamutpāda as function, and cause and effect as central theme; tracing the central theme causes one to tend toward the essence of true reality of noumenon, and therefore the dharmadhātu collectively encompasses the above three. Now, in interpreting the former meaning, I divide it briefly into two: first, explaining the name; second, revealing the meaning. As for the first: the name and essence of the dharmadhātu are extensive, as in the chapter itself. Now I briefly state two of them: first, the dharmadhātu of phenomena; second, the dharmadhātu of noumenon. Both dharmas contain the two realms of holding [own-mark] and rule-giving; thus their nature and divisions differ, yet their mutual applications are both unhindered. In the second, revealing the meaning, there are four detailed gates: First, separately opening the dharmadhātu to constitute cause and effect: that is, the Samantabhadra dharmadhātu is the cause, and the Vairocana dharmadhātu is the fruit; therefore, cause and effect are not separate from the dharmadhātu of true reality. Within this there are ten items and five pairs, which are the five cycles of cause and effect: first, the cause and effect to be believed; second, the differentiated cause and effect; third, the equal cause and effect; fourth, the cause and effect of accomplishing practice; fifth, the cause and effect of realization and entry—these will be pointed out in the text below. And these causes and effects are mutually central theme and orientation, because the beginning and end of the single sūtra do not deviate from cause and effect. Yet taking cause and effect as the central theme does not contradict the dharmadhātu relied upon. Second, integrating and harmonizing cause and effect to be identical with the dharmadhātu: within the gate of the dharmadhātu there are also ten items and five pairs that are mutually central theme and orientation: first, the opposition of teaching and meaning: setting forth the teaching as the central theme has revealing the meaning as its orientation, or taking the meaning as the central theme has revealing the teaching as its orientation, because distinguishing the profundity of the meaning causes the teaching to be superior. Second, the opposition of person and dharma: setting forth the person as the central theme causes knowledge of the dharma as its orientation; setting forth the dharma as the central theme causes attainment of the person as its orientation. Third, the opposition of noumenon and phenomena: setting forth phenomena is intended to cause tending toward noumenon; setting forth noumenon is intended to harmonize phenomena. Fourth, the opposition of object and wisdom: setting forth the contemplated object is to cause the contemplative wisdom to be accomplished; setting forth the cultivated wisdom is to cause realization identical to the true object. Fifth, the opposition of cause and effect: setting forth that cultivated cause is to cause realization of the fruit; setting forth that superior fruit encourages the cultivation of the cause. Distinctly clarifying the five pairs is the orientation of the theme; the mutual identity of the five pairs is the theme as orientation. The above five cycles of cause and effect do not deviate from the dharmas of these five pairs, which are the dharmadhātus of phenomena and noumenon. Furthermore, since cause and effect are without intrinsic nature and are intrinsically identical to the real, merely using the dharmadhātu as the central theme also does not contradict cause and effect. Third, clearly displaying the dharmadhātu and cause and effect: there are also ten meanings and five pairs: First, peerless object, which has two stages: 1. the naturally pure dharmadhātu within defilements, as the object to be believed; 2. the utmost pure dharmadhātu freed from defilements, as the object to be realized. Second, peerless mind, which also has two meanings: 1. the great bodhicitta, as the root of Samantabhadra's practice; 2. faith, compassion, wisdom, and so forth, arising in accord with practice. Third, peerless practice, which also has two meanings: 1. differentiated practice, cultivated individually; 2. Samantabhadra's practice, where one is identical to all. Fourth, peerless stage, which also has two meanings: 1. the graded stages, where inferential and direct realization differ; 2. the stage of perfect interpenetration, where one realization is all realization. Fifth, peerless fruit, which also has two meanings: 1. the fruit produced by cultivation, newly accomplished now; 2. the fruit revealed by cultivation, originally complete in itself. In the above five pairs, each first phrase is the central theme and the latter phrase is the orientation. Furthermore, among the five above, the first is the true dharmadhātu; the second is pratītyasamutpāda; the second, third, and fourth are all causal pratītyasamutpāda; and the last is the fruit of pratītyasamutpāda. Guangtong completely used both meanings as the central theme, which is without contradiction. Fourth, the complete harmonization of the dharmadhātu and cause and effect, where both are freed from nature and mark, seamlessly unobstructed and sovereign: there are also ten meanings: 1. Because marks are transcended, cause and effect are not different from the dharmadhātu, which means cause and effect are non-cause-and-effect. Here, marks are the central theme and transcending marks is the orientation, or transcending marks is the central theme and eradicating cause and effect is the orientation. The nine below are to be inferred accordingly. 2. Because nature is transcended, the dharmadhātu is not different from cause and effect, which means the dharmadhātu is non-dharmadhātu. 3. Because transcending nature does not obliterate nature, when the dharmadhātu is identical with cause and effect, the dharmadhātu is vividly evident, which takes non-dharmadhātu as the dharmadhātu. 4. Because transcending marks does not destroy marks, when cause and effect are identical with the dharmadhātu, cause and effect are clearly distinct, which takes non-cause-and-effect as cause and effect. 5. Because transcending marks is not different from transcending nature, cause and effect and the dharmadhātu are both obliterated and harmonized, far transcending words and thoughts. 6. Because not destroying, not differing, and not obliterating are maintained, cause and effect and the dharmadhātu both persist, brilliantly visible before one. 7. Because the persistence and obliteration of the fifth and sixth are again not different, the wondrous dharma that transcends seeing and hearing constantly communicates with seeing and hearing; the profound meaning that cuts off thought and deliberation never obstructs words and thoughts. 8. Because the nature of the dharmadhātu is harmonized and indivisible, the cause and effect that are identical to the dharmadhātu simultaneously and completely subsume the dharmadhātu without remainder. 9. When cause and effect each completely subsume the dharmadhātu, cause and effect follow the dharmadhātu, mutually appearing within cause and effect; therefore, within the Buddha there are bodhisattvas, and within Samantabhadra there is the Buddha. 10. Because the two stages of cause and effect each follow their differentiated dharmas, subsuming the dharmadhātu without omission, every single dharma, every single practice, every single stage, and every single virtue collectively subsumes the ocean of endless, inexhaustible dharmas of Indra's net layer upon layer; this is called the inexhaustible central theme and orientation of the Avataṃsaka. Of the four gates above: the first is the function of the essence; the next is the essence of the function; the third displays both essence and function; the fourth melts and harmonizes essence and function. Furthermore, the first is cause, effect, and pratītyasamutpāda; the next is the dharmadhātu of true reality; the third clarifies both; the last is the inconceivable. Since the fourth harmonizes the preceding, the four gates are of a single accord; therefore, being illuminating while negating, and negating while illuminating, both illuminating and both negating, perfectly bright in a single contemplation, one accords with this central theme and orientation.