[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [大毘盧遮那成佛經疏](https://indike.org/pramana/in.bauddha.taisho.1796) › 1.9 # 大毘盧遮那成佛經疏 1.9 大毘盧遮那成佛經疏 1.9 - **Language:** Classical Chinese ### [1.9](https://indike.org/pramana/in.bauddha.taisho.1796.1.9) 「如來信解遊戲神變生大樓閣寶王，高無中邊，諸大妙寶王種種間飾，菩薩之身為師子座」者，大眾已集，應有說法處，故次明所住樓閣及師子座也。信解者，始從真正發心乃至成佛，於是中間通名信解地。梵云微吃哩抳多，是踴躍義、遊戲義、神變義，謂從初發心以來，深種善根、起種種願行，莊嚴佛土、成就眾生，恒殊勝進不休息故，即是超昇騰躍義。如人掉動鼓舞，能以善巧三業普悅眾心，故此騰躍即名遊戲。如是遊戲，即是菩薩自在神通。言毘盧遮那本行菩薩道時，以一體速疾力三昧，供養無量善知識、遍行無量諸度門，自利利他法皆具足，能得如是如來智寶之所集成祕密莊嚴法界樓觀，於一切實報所生最為第一，猶如真陀摩尼為諸寶之王，故曰遊戲神變生大樓閣寶王也。其高無窮，當知廣亦無際，以邊不可得故。亦復無中，此是遍一切處身之所住處，當知如是樓觀亦遍一切處也。次明樓觀莊嚴之相，猶如有人以種種雜色金剛嚴飾金剛，然其體性無有差別。今亦如是，還以如來種種功德寶王間飾樓閣寶王。何以故？更無有法出如是寶性故。然此第一寂滅之相，以如來加持神力，令應度者隨諸法門表像，若可見聞觸知，即以此為門而入法界，如善財童子入彌勒宮殿因緣。此中應廣明菩薩之身為師子座者，上說金剛法界宮，即是如來身。次云大樓閣寶王，亦即是如來身。今云師子座，當知亦爾。所以云菩薩身者，謂本行菩薩道時，次第修行地波羅蜜，乃至第十一地。當知後地即以前地為基，故云如來以菩薩身為師子座。《釋論》云「譬如師子於眾獸中，獨步以無畏。佛亦如是，於九十六種外道中，一切降伏無畏，故名人中師子。其所坐處，若床若地，皆名師子座。」今此宗明義，言師子者，即是勇健菩提心。從初發意以來，得精進大勢，無有怯弱，猶如師子隨所執縛必獲無遺，即是自在度人無空過義也。若淺略釋者，言諸菩薩深心敬法，乃至以身荷戴佛師子座，故曰菩薩之身為師子座也。 > Regarding 'A sovereign king of great pavilions produced through the tathāgata's play of spiritual transformations in resolute faith, lofty without middle or edge, variously adorned with kings of great exquisite jewels, with the bodies of bodhisattvas serving as lion thrones': the great assembly having gathered, there must be a place for preaching the Dharma; hence it next explains the pavilion where he dwells and the lion throne. 'Resolute faith' refers to the stage generally called the ground of resolute faith, from the initial true arousal of the mind up to attaining buddhahood. In Sanskrit it is vikrīḍita, which means leaping, sporting, and spiritual transformation; it means that from the initial arousal of the mind onward, having deeply planted good roots and raised diverse vows and practices, adorning buddha-lands and bringing sentient beings to maturity, constantly advancing with supreme progress without resting, this is the sense of ascending and leaping up. Just as a person dances and gestures vigorously, able with skillful three karmas to bring universal joy to the minds of the multitude, so this leaping is called 'play'. Such play is precisely the bodhisattva's sovereign spiritual powers. This means that when Vairocana originally practiced the bodhisattva path, through the samādhi of the single-essence swift power, he made offerings to immeasurable good spiritual friends and universally practiced immeasurable pāramitā gateways; the phenomena of benefiting oneself and benefiting others were fully complete, enabling him to attain this pavilion of the dharmadhātu, esoterically adorned and assembled from the jewels of tathāgata-wisdom. Among everything produced by true retributive reward, it is foremost, just as the cintāmaṇi is the king among all jewels; hence it is called 'a sovereign king of great pavilions produced through the play of spiritual transformations'. Its height is endless, and one should know its breadth is also boundless, because its edges cannot be found. Nor is there a middle; as this is the dwelling place of the body that pervades all places, one should know that such a pavilion likewise pervades all places. Next it clarifies the marks of the pavilion's adornment: just as someone adorns vajra with various multi-colored vajras, yet their nature has no distinction. Now it is also like this: it still adorns the sovereign king of pavilions with the sovereign kings of the tathāgata's diverse jewels of merits. Why? Because there is no other phenomenon that exceeds such jewel-nature. Yet these foremost marks of quiescence, through the tathāgata's power of adhiṣṭhāna, cause those who should be saved to follow the symbolic images of various Dharma-gateways: if they can be seen, heard, touched, or known, they use this as a gateway to enter the dharmadhātu, like the story of the youth Sudhana entering Maitreya's palace. Here it should be explained at length that 'the bodies of bodhisattvas serve as lion thrones': as stated above, the Vajradharmadhātu Palace is precisely the tathāgata's body. Next, the sovereign king of great pavilions is also the tathāgata's body. Now, the lion throne should be known to be likewise. The reason it says 'bodhisattvas' bodies' is that when originally practicing the bodhisattva path, one successively practiced the bhūmi-pāramitās up to the eleventh bhūmi. One should know that each subsequent bhūmi takes the preceding bhūmi as its foundation; hence it is said that the tathāgata takes bodhisattvas' bodies as his lion throne. The Śāstra states: 'Just as a lion walks alone among the beasts without fear, so too the Buddha completely subdues the ninety-six kinds of non-Buddhists without fear; hence he is called the lion among men. The place where he sits, whether a couch or the ground, is called a lion throne.' Now in this tradition, expounding the meaning: 'lion' refers to the courageous bodhicitta. From the initial resolve onward, having obtained the great power of vigor without cowardice, just as whatever a lion seizes it captures without fail, so it is the sovereign saving of people without running in vain. If explained in a shallow and brief manner, it means that the bodhisattvas revere the Dharma with a profound mind, even carrying the Buddha's lion throne upon their bodies; hence it is said that 'the bodies of bodhisattvas serve as lion thrones'. > — English (machine translation) (machine translation) - [Previous: 1.8](https://indike.org/pramana/in.bauddha.taisho.1796.1.8) - [Next: 1.10](https://indike.org/pramana/in.bauddha.taisho.1796.1.10) - [Up: 1](https://indike.org/pramana/in.bauddha.taisho.1796.1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1796~en-mt.1.9) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1796.1.9](https://indike.org/pramana/in.bauddha.taisho.1796.1.9) · Pramāṇa