大方廣佛華嚴經隨疏演義鈔 2.36

2.36

From here below is the second section: taking refuge and paying homage to the Three Jewels, and requesting their awe-inspiring protection. There are sixteen lines, broadly divided into three parts: first, eight lines correctly taking refuge and paying homage to the Three Jewels; next, six lines requesting their awe-inspiring protection; and finally, two lines transferring [merit] to sentient beings. In the first part, there are two divisions: the first line clarifies generally, and the remainder display specifically. Now for the first. The two words “taking refuge” (gui ming) reveal the mark of that which takes refuge. The three actions universally encompass everything, taking refuge in and relying upon the inexhaustible Three Jewels. Stating only “life” (ming) is because among what humans treasure, nothing exceeds bodily life; now one turns to entrust it reverently. From “ten directions” downward indicates the scope of that in which refuge is taken: horizontally pervading the ten directions, vertically exhausting the three periods of time, utterly pervasive horizontally and vertically. Within the specific display, the Three Jewels comprise three distinctions: the first three lines take refuge in the Buddha; the next two lines take refuge in the Dharma; the latter two lines take refuge in the Saṅgha. In the first, there are again two: the first two lines generally take refuge in the various buddhas, and the latter one line specifically takes refuge in the fundamental teacher. In the first, “dust-mote lands” has two meanings: first, the loci of reliance, because within each single dust mote there are lands, and the lands adorned by the buddhas equal the number of dust motes. Furthermore, “dust mote” refers to the subtle, while “land” encompasses both coarse and subtle. Second, it refers to Tathāgatas numerous as dust motes. “Perfect” refers to perfect stillness, and “luminous” refers to cognitive luminosity. That is bodhi and nirvāṇa; also, there is no virtue that is not perfected, and no phenomenon that is not illuminated. The preceding two words are self-benefit. “Tamer” encompasses benefit for both self and others. It is one of the ten epithets, the title for skillfully gathering sentient beings. “Dharmadhātu” also has two meanings: first, it establishes the locus of reliance above. Above, “dust-mote lands” seemed to refer to phenomena; here, “dharmadhātu” combines both principle and phenomena in its meaning, because the Buddha's body fills the dharmadhātu, and also fills the dharmadhātu without exhaustion. Second, it encompasses the title below: the virtues of the dharmadhātu are clouds of great compassion. “Virtues” is also a distinct meaning within “perfect and luminous”, namely the ten powers, fearlessnesses, eighteen unshared [qualities], and one hundred and forty inexhaustible virtues. Great compassion covers universally, soaking without deliberate intention, and is thus likened to clouds. The line “Vairocana” specifically takes refuge in the fundamental teacher because of the weight of the received grace; four characters mark the name, and three characters praise the virtues. Above, “virtues” generally encompassed the inexhaustible. Here, “great wisdom” specifically speaks of the most supreme, in accordance with the meaning of “illuminating everywhere with light”. Great wisdom is deep and vast, and is therefore likened to an ocean. Furthermore, the various buddhas represent compassion, and the fundamental teacher speaks of wisdom, eliding each other to illuminate that compassion and wisdom are deep and vast. Compassion is also called an ocean, because great compassion is deep and vast. Wisdom is also like a cloud, containing moisture as the rain of Dharma. Again, earlier it stated “virtues” and here it states “great wisdom”, completing the two adornments; inexhaustible virtues do not go beyond these two. The two lines from “where they abide” downward take refuge in the Dharma. Saying “where they abide” takes up what precedes to introduce what follows. The reason for taking it up is to reveal their identical essence. Merely taking refuge in distinct characteristics does not accord with principle. Now, the Three Jewels have three characteristics: first, the identical characteristic; second, distinct characteristics; third, the characteristic of maintenance. Here we rely on them generally. First, regarding the identical characteristic, this has three meanings: First, in terms of approaching meaning through phenomena, each of the distinct characteristics possesses the Three Jewels: upon the essence of a buddha, the sense of awakening and illuminating is called the Buddha Jewel, the aspect of regular norm is called the Dharma Jewel, and the complete exhaustion of faults of dispute is called the Saṅgha Jewel; they take the undefiled virtues of the dharmadhātu as their essence. Second, that there are three upon the Dharma: the Dharma possessing the nature of awakening is the Buddha Jewel; its holding as a norm is the Dharma Jewel; and the absence of discord in the essence of Dharma is the Saṅgha Jewel. Third, that there are three upon the Saṅgha: contemplative cognition is awakening, which is the Buddha Jewel; the regular norm is the Dharma Jewel; and being in an assembly without discord, having no discord with sentient beings, is called the Saṅgha. Now, citing where the Buddha abides to clarify the Dharma discusses the identical essence upon the Buddha. Principle is where the Buddha abides, and the teaching flows from the Buddha: these are two layers of mutual reliance. Second, in terms of resolving phenomena into principle: the Three Jewels all rely on the real. Here, citing Buddha and Dharma as both returning to the true nature briefly leaves out the Saṅgha. Third, in terms of fusing the manifest with principle: the mind's nature is fundamentally awakened, which is the Buddha Jewel; the nature-virtues as numerous as the sands of the Ganges can all serve as regular norms, which is the Dharma Jewel. These nature-virtues as numerous as the sands of the Ganges, whose nature and characteristics are non-dual and in harmonious union, are called the Saṅgha Jewel. It is due to this one gate that the Tathāgata is caused to abide in the true dharmatā. If not for this, in what would he abide? Although the three gates differ, they are all called the identical essence; therefore the Vimalakīrtinirdeśa says: “Buddha is precisely Dharma, Dharma is precisely the Saṅgha: these are called the Three Jewels. They all have unconditioned characteristics, equal to empty space.” Therefore, if one approaches it through the meaning of awakening, all are called the Buddha Jewel; speaking in terms of regular norms, there is nothing that is not the Dharma Jewel; and in obscure accord and harmonious union, there is none that is not the Saṅgha. Though explained in terms of three meanings, they cannot be made into one; yet having no separate essence, how could they be different? Hence they are called the identical characteristic. Second, regarding distinct characteristics: this is just as in the previous division. The Buddha horizontally encompasses everything and vertically penetrates the ten bodies. The Dharma applies to four [kinds]; briefly raising principle and teaching, the upper line is principle and the lower line is teaching. Although the Saṅgha encompasses [all], it refers specifically to the Mahāyāna; therefore it only raises Mañjuśrī and Samantabhadra. Third, regarding the Three Jewels of maintenance: among the ten bodies, there is the body of sustained power, which is the Buddha of maintenance. The sūtras are the Dharma of maintenance. The Saṅgha of maintenance is subsumed within the bodhisattvas. However, the three sets of Three Jewels apply across the various vehicles, having their superior and inferior aspects; distinguishing them by meaning, one takes refuge in the superior and not the inferior. Unified by the one principle, the three sets of three are without difference; therefore one takes refuge and pays homage to them all, showing that homage leaves nothing out. Third, the two lines from “every single” downward take refuge in the Saṅgha. The first line clarifies the place. Within every single fine dust mote, there are all the buddhas, surrounded by assemblies of bodhisattvas. How much more so is it inconceivable at the site of each single buddha: Samantabhadra abides in the stage of Samantabhadra, and it is universally so for all. The lower line raises the persons. It specifically raises these two because they are the leaders of the oceanic assembly, and because they symbolize principle and wisdom. The word “various” indicates not just one, leaving nothing unencompassed.