新華嚴經論 16.32

16.32

三隨文釋義中，義分為三：一長科一品；二明如來身行遍周等印，如下文經云「十方一切諸佛世界中悉亦如是」，明十方一切妙峯山總見如來昇妙峯山頂；三隨文釋義。一長科一品者，於此品中長科為十段。一從「爾時」已下三行經，明佛神力普現十方。二「爾時」已下一行半經，明佛不離菩提樹下而昇帝釋天宮。三「時天帝」已下可七行經，明帝釋遙見佛來，嚴殿敷座。四「曲躬合掌」已下兩行經，明帝釋請佛入殿。五「爾時世尊」已下三句經，是如來受請入殿。六「十方一切世界」已下三句經，是結十方普會同此。七「爾時帝釋」已下可一行半經，明佛神力樂音自息。八「即自憶念」已下四句，明帝釋自念過去善根，說頌歎佛來此。九「如此世界中」已下兩行半經，都結此處以偈歎佛，十方同然。十「爾時」已下可兩行經，明如來處座而坐，其殿廣博寬容，并結十方同此。三隨文釋義者，云不離菩提樹者，明菩提體無去來遠近處所可離可到故。又如來智身無表裏，體遍周故。又法界非大小，毫剎相容故。又心境無二相，無中邊方所故。又諸法無自性，一多恒圓滿故。帝釋遙見佛來者，有二義：一事、二表法。一事者，為如來於無去來性示去來之相，故言遙見。二表法者，明帝釋示同未悟，不見如來智身遍周與心一體故，言遙見佛來故。又信解為遙，見自心入位為佛來。帝釋即以神力莊嚴此殿者，亦有二義：一事、二表法。其事，可知。二表法者，自加行也。安置普光明師子之座者，亦有二義：一約位置座、二約帝釋自德根堪。一約位置座者，約此十住位中法位也。為十住中得一切諸佛智慧光明之藏，於一切法自在無畏故，置此座故。如十行位中，於夜摩宮中化作寶蓮華師子之座，此約行位，在一切生死具大悲行萬行，以理智體得無染故。以是義故，以蓮華為座體。在此十住位中，以得一切諸佛智慧光明普照萬法故，安置普光明藏師子之座。此十住中安置其座，十千層級；十行中化作百萬層級師子之座。為十住位中初始入位，明須彌之上猶連地居，明心有所得，從信創會見法之執。以此義故，師子座須有安置。又方便三昧是安置故。約十住位中理智妙慧功成，即十行位中以妙用而化其座。又約行從空而立，還約位在夜摩空居之天。云座十千層級，又百萬層級，及帝釋天宮、夜摩天宮，總明隨位昇進行相。若也正入法智慧流，不出毫塵遍諸剎海。其座乃至十迴向、十，地高下嚴飾各各隨位不同，准例知之。其座上莊嚴皆十千者，明萬行報得故。如十千金網者，約能以教行之網漉眾生之果報故。十千種帳者，明養育義。以於一切處為佛、為天、為大力士之神，擁護養育眾生行之果報所得故。十千種蓋者，是大悲義，以大悲心覆養一切眾生之果報所得故。十千繒綺者，以一行中行無盡差別行，一言音中具差別教，皆明白可觀之果也。十千珠瓔者，明萬行普周莊嚴智境，化利眾生無休息之果所得故。一一塵中皆有無盡普賢身者是也。十千衣服者，是於一切生死海，柔和善忍覆育含生之果故。十千天子者，明能行萬行之人。十千梵王者，明於行中智慧自在故。十千光明照曜者，明智慧照曜，能破自他迷闇長夜，令大明故。已上皆是舉此位之果德用成莊嚴，令發心入位菩薩識果行因無疑惑故。從曲躬已下，明帝釋於如來致敬，請佛入宮，明行謙行也。如來受請，明從信入住，如文可知。最下明帝釋得宿念力，於過去佛所種善根說頌歎佛者，明以三昧力自見身心體性同古今佛智慧善根故。已下十佛是當位之功用今古也。於說頌中，有二十行頌，兩行一頌。初兩行頌，歎迦葉佛。具云迦葉波，此云飲光，此是其姓。亦以身光殊特，能飲諸天子及日月等光皆悉不現故。次兩行歎拘那牟尼佛，正云迦那牟尼。言拘那者，此云金也。牟尼者，佛也。以金色為號。次兩行歎迦羅鳩馱，具云迦羅鳩村馱佛，此云所應斷已斷。次兩行歎毘舍浮佛，此云遍一切自在。次兩行歎尸棄佛，正云式棄那，此云持髻、或曰有髮。次兩行歎毘婆尸佛，此云淨觀、或曰勝觀、或曰種種觀。次兩行歎弗沙佛，正云勁沙、此云增盛。次兩行歎提舍佛，正云底沙，此云說法度人。次兩行歎波頭摩華佛，正云鉢特忙，此云赤蓮華也。次兩行歎然燈如來。前之三佛是此今賢劫中佛，後之七佛是前劫之中佛。以明創入十住之門，古今法則相會，明古佛今佛法不異故，入此位者會同不別故。言吉祥者，歎此山頂是福善之處故。明昇進者，以三昧力，身心不動如山王，總會古今諸佛同智慧故。第九「如此世界中忉利天」已下有四行經，於中義分為四：一舉此世界歎佛功德、二總舉十方同然、三「爾時」已下明如來入殿昇座而坐。四明其殿忽然廣博，普容諸天住處。此明約如來無自他之德合然，令大眾得見，以明令大眾入位同。此已上釋〈昇須彌頂品〉竟。大約以明以三昧力正入定時，身心蕩然，稱法界性，無表裏，光明朗徹，是忽然廣博義，亦是普光明藏師子之座義。智慧現前，是佛來義。一一如是會理修行，不可但逐名也。

In the third [division], 'Explaining the Meaning Following the Text', the meaning is divided into three parts: first, a general outline of the whole chapter; second, clarifying that the Tathāgata's bodily actions pervade everywhere as a seal of equality—just as the sūtra text below states, 'In all Buddha-worlds throughout the ten directions, it was also entirely like this,' which clarifies that in all the Mount Sugopitas of the ten directions, [beings] universally saw the Tathāgata ascending to the peak of Mount Sugopita; third, explaining the meaning following the text. As for the first, 'a general outline of the whole chapter,' in this chapter there is a general outline into ten sections: 1. From 'At that time' downwards, three lines of the sūtra clarify the Buddha's divine power appearing universally throughout the ten directions. 2. From 'At that time' downwards, a line and a half of the sūtra clarifies that the Buddha ascended to Śakra's heavenly palace without leaving the foot of the Bodhi tree. 3. From 'Then the Heavenly Lord' downwards, about seven lines of the sūtra clarify that Śakra saw the Buddha coming from afar, adorned the palace, and arranged the seat. 4. From 'Bowing and joining palms' downwards, two lines of the sūtra clarify that Śakra invited the Buddha into the palace. 5. From 'At that time, the World-Honoured One' downwards, three phrases of the sūtra are the Tathāgata accepting the invitation and entering the palace. 6. From 'All worlds of the ten directions' downwards, three phrases of the sūtra conclude that the universal assemblies in the ten directions were identical to this. 7. From 'At that time, Śakra' downwards, about a line and a half of the sūtra clarifies that through the Buddha's divine power, the musical sounds ceased of themselves. 8. From 'Then he recollected himself' downwards, four phrases clarify that Śakra recollected his past roots of goodness and uttered verses praising the Buddha's arrival here. 9. From 'In this world' downwards, two and a half lines of the sūtra conclude in general that praising the Buddha with verses here was also the same throughout the ten directions. 10. From 'At that time' downwards, about two lines of the sūtra clarify that the Tathāgata occupied the seat and sat, that the palace was expansive and accommodating, and concludes that the ten directions were identical to this. As for the third, 'explaining the meaning following the text': 'Not leaving the Bodhi tree' clarifies that the essence of bodhi has no going or coming, distance or nearness, place to be departed from or reached; furthermore, the Tathāgata's wisdom-body has neither exterior nor interior, its essence pervasively encompassing everywhere; furthermore, the dharmadhātu is neither large nor small, with fine hairs and world-realms accommodating one another; furthermore, mind and objects have no duality of appearance, lacking middle, boundary, or locality; furthermore, all phenomena lack own-nature, the one and the many being eternally complete. Śakra's 'seeing the Buddha coming from afar' has two meanings: first, phenomenal; second, symbolic of the Dharma. As for the first, phenomenal: because the Tathāgata, within the nature devoid of going and coming, manifested the appearance of going and coming, it says 'saw from afar'. As for the second, symbolic of the Dharma: this clarifies that Śakra manifested similarity to the unawakened, not seeing that the Tathāgata's wisdom-body pervades everywhere as one substance with the mind; hence it says 'saw the Buddha coming from afar'. Furthermore, faith and understanding constitute 'afar', and seeing one's own mind enter the stages constitutes 'the Buddha coming'. Śakra's 'then using his divine power to adorn this palace' also has two meanings: first, phenomenal; second, symbolic of the Dharma. The phenomenal aspect can be understood. As for the second, symbolic of the Dharma: this is one's own preparatory practice. 'Arranging the Lion Seat of Universal Radiance' also has two meanings: first, in terms of setting up the seat according to the stage; second, in terms of Śakra's own capacity based on his virtues and roots. As for the first, setting up the seat according to the stage: this is in terms of the Dharma-stage within these ten abodes. Because within the ten abodes one attains the treasury of wisdom-radiance of all Buddhas and possesses sovereign fearlessness with respect to all phenomena, this seat is set up. Just as in the stage of the ten practices, in the Yāma palace he emanated a jewelled lotus lion seat: this is in terms of the stage of practice, possessing the great compassionate activity of the ten thousand practices in the midst of all saṃsāra, attaining freedom from defilement through the substance of principle and wisdom. For this reason, the lotus is taken as the substance of the seat. Here in the stage of the ten abodes, because one attains the wisdom-radiance of all Buddhas that universally illuminates the myriad phenomena, he arranges the Lion Seat of the Universal Radiance Treasury. In these ten abodes, this seat is arranged with ten thousand tiers; in the ten practices, an emanated lion seat has one million tiers. Because in the stage of the ten abodes one initially enters the stages, this clarifies that above Mount Sumeru it is still connected with terrestrial dwellings, clarifying that the mind has an attainment, the attachment of freshly meeting and seeing the Dharma from faith. For this reason, the lion seat must be 'arranged'. Furthermore, the samādhi of expedient means is 'arranging'. Based on the accomplishment of the wondrous wisdom of principle and wisdom in the stage of the ten abodes, in the stage of the ten practices one then emanates that seat through wondrous function. Furthermore, based on practice, it is established from emptiness; again, based on stage, it is in the heavenly abode of Yāma in empty space. The seat having ten thousand tiers, and then a million tiers, as well as Śakra's heavenly palace and the Yāma heavenly palace, collectively clarify the characteristics of ascending and progressing according to the stage. If one truly enters the flow of the wisdom of the Dharma, without leaving a single speck of dust one pervades all ocean-like realms. As for that seat, up to the ten dedications of merit and the ten grounds, their heights, adornments, and decorations differ according to each stage, which can be known by following this analogy. That the adornments upon the seat are all ten thousand clarifies that they are attained through the retribution of the ten thousand practices. As for the 'ten thousand golden nets', this refers to the retribution of being able to dredge up sentient beings with the net of teaching and practice. The 'ten thousand kinds of canopies' clarifies the meaning of nurturing: because in all places one acts as a Buddha, deva, or mighty spirit, protecting and nurturing sentient beings, it is attained as the fruit of practice. The 'ten thousand kinds of parasols' signifies great compassion: it is the retribution attained through the mind of great compassion sheltering and nurturing all sentient beings. The 'ten thousand patterned silks' are the manifestly visible fruit of performing inexhaustible distinctive practices within a single practice and possessing distinctive teachings within a single spoken sound. The 'ten thousand pearl necklaces' clarify the fruit attained from the ten thousand practices universally adorning the realm of wisdom and converting and benefiting sentient beings without rest: this is where within every single speck of dust there are inexhaustible bodies of Samantabhadra. The 'ten thousand garments' are the fruit of gentle and skilful patience sheltering and nurturing living beings in all the oceans of saṃsāra. The 'ten thousand devaputras' clarify those persons capable of practising the ten thousand practices. The 'ten thousand Brahmā kings' clarify sovereign wisdom in practice. The 'ten thousand illuminating lights' clarify that the radiance of wisdom can destroy the long night of confusion and darkness of oneself and others, bringing about great clarity. All the above cite the fruition-virtues and functions of this stage to form the adornments, so that bodhisattvas who generate the resolve and enter the stages will know the fruit and cultivate the cause without doubt. From 'bowing' downwards, it clarifies that Śakra paid homage to the Tathāgata and invited the Buddha into the palace, which clarifies the practice of humility. The Tathāgata accepting the invitation clarifies proceeding from faith to enter the abodes, as can be known from the text. At the very end, it clarifies that Śakra attained the power of recollecting past lives, so before the past Buddhas he planted roots of goodness and uttered verses praising the Buddha; this clarifies that through the power of samādhi he saw for himself that the essence of his body and mind was identical to the wisdom and roots of goodness of the Buddhas of past and present. The ten Buddhas below are the functions of this stage in the present and past. In uttering the verses, there are twenty lines of verses, two lines per verse. The first two lines praise Kāśyapa Buddha. Fully called Kāśyapa, here translated as 'Light Drinker', this being his clan name; also because his bodily radiance was extraordinary, able to 'drink' the light of the devaputras, sun, and moon so that they all became invisible. The next two lines praise Kanakamuni Buddha, correctly called Kanakamuni. 'Kanaka' is here translated as 'gold'; 'muni' is 'Buddha'; he took golden color as his title. The next two lines praise Krakucchanda, fully called Krakucchanda Buddha, here translated as 'What Should Be Severed Has Been Severed'. The next two lines praise Viśvabhū Buddha, here translated as 'Sovereign Pervading All'. The next two lines praise Śikhin Buddha, correctly called Śikhin, here translated as 'Holding a Topknot' or 'Having Hair'. The next two lines praise Vipaśyin Buddha, here translated as 'Pure Contemplation', 'Superior Contemplation', or 'Diverse Contemplation'. The next two lines praise Puṣya Buddha, correctly called Puṣya, here translated as 'Thriving and Flourishing'. The next two lines praise Tiṣya Buddha, correctly called Tiṣya, here translated as 'Expounding the Dharma to Deliver People'. The next two lines praise Padmapuṣpa Buddha, correctly called Padma, here translated as 'Red Lotus'. The next two lines praise Dīpaṃkara Tathāgata. The former three Buddhas are Buddhas of the present Bhadrakalpa; the latter seven Buddhas are Buddhas of past kalpas. This clarifies that at the initial entry into the gate of the ten abodes, past and present principles converge, clarifying that the Dharma of ancient Buddhas and present Buddhas does not differ, and those who enter this stage converge identically without distinction. The word 'auspicious' praises this mountain peak as a place of blessings and goodness. Clarifying 'ascending and progressing': through the power of samādhi, body and mind are immovable like the king of mountains, collectively convening the identical wisdom of all Buddhas of past and present. In the ninth, from 'In the Trāyastriṃśa heaven of this world' downwards, there are four lines of the sūtra, in which the meaning is divided into four: 1. citing this world to praise the Buddha's virtues; 2. collectively citing that the ten directions were identical; 3. from 'At that time' downwards, clarifying that the Tathāgata entered the palace, ascended the seat, and sat; 4. clarifying that the palace suddenly became vast and broad, universally accommodating the dwelling places of all devas. This clarifies that according to the Tathāgata's virtue devoid of self and other, it was naturally fitting that the great assembly was enabled to see it, in order to clarify enabling the great assembly to enter the stage identically. The above concludes the explanation of the 'Chapter on Ascending to the Peak of Mount Sumeru'. Broadly speaking, it clarifies that when one truly enters concentration through the power of samādhi, body and mind are open and clear, according with the nature of the dharmadhātu, without exterior or interior, its radiance clear and penetrating; this is the meaning of 'suddenly vast and broad', and is also the meaning of the 'Lion Seat of the Universal Radiance Treasury'. Wisdom appearing before one is the meaning of 'the Buddha coming'. One must cultivate by converging with principle in this manner in each case; one must not merely chase after names.