大方廣佛華嚴經隨疏演義鈔 55.20

55.20

疏「若將二喻喻所詮」下，第四例釋說默。謂上論文但以風畫喻於能詮，但以空喻所詮佛智。今例論意，唯就所詮自有兩重能所之異，兼上論意則有三重。於中有二：先以能依就所依，則三重皆不可說，一以詮就旨、二以相就智、三以因就果。後「若以果從因」下，例以所依就能，則三重皆可寄言，一以果從因、二以智從相、三以旨就詮。是則風畫喻於三法：一喻教、二喻地相、三喻地智。當知虛空亦喻三法：一喻所詮、二喻地智、三喻果海。總有四法，成三重能所，逆順互望則有六重，可自思之。

Regarding the commentary's words "If one uses the two metaphors to symbolize what is expressed": this is the fourth part, analogously explaining preaching and silence. That is, the above treatise text only uses the wind and drawings to symbolize that which expresses, and only uses empty space to symbolize the expressed Buddha-cognition. Now, drawing an analogy to the treatise's intent, regarding what is expressed alone there naturally are two layers of distinction between the active and passive, and when combined with the treatise's intent above, there are three layers. Within this there are two parts: first, taking the dependent toward the relied-upon, all three layers are inexpressible: 1) taking the expression toward the purport, 2) taking the characteristic toward cognition, and 3) taking the cause toward the fruit. Later, beginning with "If one follows the cause from the fruit", analogously taking the relied-upon toward the dependent, all three layers can be conveyed in words: 1) following the cause from the fruit, 2) following the characteristic from cognition, and 3) taking the purport toward the expression. In this way, the wind and drawings symbolize three phenomena: 1) the teaching, 2) the characteristics of the stages, and 3) the cognition of the stages. One should know that empty space also symbolizes three phenomena: 1) what is expressed, 2) the cognition of the stages, and 3) the fruit-ocean. In total there are four phenomena forming three layers of active and passive; when viewed forward and backward reciprocally, there are six layers, which one may contemplate for oneself.