金光明經文句 3.10

3.10

從「諸佛世尊我所依止」下二十一行偈，是第三稱歎。若論次第，前財法供養是身意，身意未洩未備，今更口歎。若作法門者，前是供養法門，今是念佛三昧法門。文為三：初一行標章歎、次十九行正歎、三一行結歎。標諸佛者，橫則十方、竪則三世，事即報應、理即法身。言略而意廣，標章之巧妙也。我所依止者，依止法性一體三佛也。佛海者，四眼入佛眼，十智入如實智，皆失本名字，但名佛眼佛智，如物投石蜜、如流會海，無不甘醎者。法性三佛攝一切法，故名佛海也。就正歎為二：初十六行寄言歎、後三行絕言歎。寄言又二：初一行略歎略況、次十五行廣歎廣況。略歎者，諸相好中略歎金色。《釋論》以即時鐵比即時金，即時金比海金，海金比龍金，龍金比閻浮洲金，閻浮洲金比四天王金，如是轉轉比第六天金，第六天金比佛身金色，第六天金如鐵。又佛金光徹照，壁障無影。佛入城時放光照地，一女人低頭禮拜，金釵墮地，唯見晃晃，不知何者是地？何者是釵？佛過後光歇，方見金釵爾。然金色身是眾相所依處，唯舉金色，故知是總歎眾相好也。金有四義，堅不可毀譬常，得之者富譬樂，體無瑕穢譬淨，色妙晃曜譬我。諸德之中，四德為總。猶如須彌者，須彌為四寶所成，況佛身具足四德，故知總況也。廣歎廣況，文為二：初十二行半廣歎、次二行半廣況。廣歎又四：從「其色無上」下二行，廣歎金色無上。無上者，我德也。從「善淨無垢」下三行，廣歎佛色無垢。無垢者，淨德也。從「功德巍巍」下三行半，廣歎佛色安住。安住者，常德也。從「三有之中」下四行，廣歎佛色能除苦毒，即樂德也。從「如大海水」下二行半，廣況。文為二：初二行廣況、二半行合喻。佛功德海，思所不能知、言所不能盡，心行處滅、言語道斷，即此義也。海水難知，況常德也。地塵難知，況淨德也。山斤難知，況我德也。空邊難知，況樂德也。「諸佛亦爾」下，合喻也。從「一切有心」下三行，絕言歎也。文為二：初一行半正絕言歎、二一行半牒譬帖合。一切有心不能得知，即是絕思。思既已絕，口何所宣？即絕言也。更牒譬帖合，在文可見。從「相好莊嚴」下一行，總結。相者，結一切相。好者，結一切好。莊嚴者，一一相一一好中皆具眾德以為莊嚴也。

From 'The Buddhas, the World-Honoured Ones, are my refuge' downward, twenty-one stanzas constitute the third part: praise. If we discuss the sequence, the preceding material and Dharma offerings pertained to body and mind; since body and mind had not yet fully expressed or completed it, here oral praise is added. If taken as Dharma-doors, the preceding was the Dharma-door of offering, while this is the Dharma-door of the recollection-of-the-Buddha samādhi (buddhānusmṛti-samādhi). The text has three parts: first, one stanza states the theme in praise; next, nineteen stanzas provide the praise proper; third, one stanza concludes the praise. Stating 'the Buddhas': horizontally, across the ten directions; vertically, through the three periods of time; phenomenally, the reward and response bodies; noumenally, the Dharma body. The words are brief yet the meaning is vast—this is the skillfulness of stating the theme. 'Are my refuge' means taking refuge in the one substance of the three Buddha-bodies of the dharmatā. 'The Buddha ocean': when the four eyes enter the Buddha-eye, and the ten wisdoms enter the wisdom of suchness, they all lose their original names and are simply called the Buddha-eye and Buddha-wisdom, just as when substances are thrown into rock sugar or streams join the ocean, none fail to become sweet or salty. The three Buddha-bodies of the dharmatā encompass all phenomena, hence it is called the Buddha ocean. The praise proper has two parts: first, sixteen stanzas praise through words; later, three stanzas praise beyond words. Praising through words also has two parts: first, one stanza briefly praises and briefly illustrates; next, fifteen stanzas extensively praise and extensively illustrate. Brief praise: among all the marks and signs, it briefly praises the golden color. The Mahāprajñāpāramitopadeśa compares common iron to common gold, common gold to ocean gold, ocean gold to nāga gold, nāga gold to Jambūdvīpa gold, Jambūdvīpa gold to the gold of the Four Heavenly Kings, and so on progressively comparing up to the gold of the sixth heaven; comparing the gold of the sixth heaven to the golden color of the Buddha's body, the gold of the sixth heaven is like iron. Furthermore, the Buddha's golden light shines through, so that walls and barriers cast no shadow. When the Buddha entered the city, emitting light that illuminated the ground, a woman bowed her head in worship and her gold hairpin fell to the ground; seeing only bright radiance, she did not know which was the ground and which was the hairpin. Only after the Buddha passed and the light ceased did she see the gold hairpin. Now, the golden-colored body is the locus upon which all marks rely; by mentioning only the golden color, one knows this is a general praise of all marks and signs. Gold has four meanings: firm and indestructible symbolizes permanence; whoever obtains it is wealthy, symbolizing bliss; its substance is free from blemish, symbolizing purity; its color is wondrous and brightly shining, symbolizing the self. Among all virtues, the four virtues are the overarching ones. 'Like Mount Sumeru': Sumeru is formed of the four jewels, illustrating that the Buddha's body is endowed with the four virtues; thus we know it is a general illustration. The extensive praise and extensive illustration has two parts: first, twelve and a half stanzas extensively praise; next, two and a half stanzas extensively illustrate. The extensive praise further has four parts: from 'Its color is unsurpassed' downward, two stanzas extensively praise the unsurpassed golden color—'unsurpassed' is the virtue of the self; from 'Wondrously pure and free from defilement' downward, three stanzas extensively praise the Buddha's form as undefiled—'undefiled' is the virtue of purity; from 'Virtues towering and lofty' downward, three and a half stanzas extensively praise the Buddha's form as abiding—'abiding' is the virtue of permanence; from 'Within the three realms of existence' downward, four stanzas extensively praise the Buddha's form as able to eradicate suffering and poison, which is the virtue of bliss. From 'Like the water of the great ocean' downward, two and a half stanzas provide the extensive illustration. The text has two parts: first, two stanzas provide the extensive illustration; second, half a stanza combines the metaphor. The ocean of the Buddha's virtues cannot be known by thought nor exhausted by speech; 'the path of mental activity is extinguished, and the way of words is cut off'—this is that meaning. Ocean water is hard to fathom, illustrating the virtue of permanence; the dust of the earth is hard to fathom, illustrating the virtue of purity; the weight of mountains is hard to fathom, illustrating the virtue of the self; the boundary of space is hard to fathom, illustrating the virtue of bliss. 'The Buddhas are also thus' downward combines the metaphor. From 'All those endowed with mind' downward, three stanzas are praise beyond words. The text has two parts: first, one and a half stanzas are the praise beyond words proper; second, one and a half stanzas reiterate the metaphor and correlate it. That all who possess mind cannot know it is the transcendence of thought. Since thought is already transcended, what could the mouth proclaim? This is the transcendence of words. Reiterating the metaphor and correlating it can be seen in the text. From 'Adorned with the marks and signs' downward, one stanza concludes generally. 'Marks' concludes all major marks; 'signs' concludes all minor signs; 'adorned' means that within each mark and each sign, all virtues are fully present as adornment.