大毘盧遮那成佛經疏 13.3

13.3

次下黃色時，當想ka字作真金色，其焰亦然。是金色牟尼佛也（牟尼是佛都號）。迦是作業義，以無作故永離諸過。住此三昧害諸毒，光明一切遍也。當入定依教者（用意諦觀不散亂意也）。次下青色時，當想摩字，彼上思惟麼字，謂於青色上想之也。即是度生死義，釋迦牟尼也。此佛坐於大菩提座，一切佛用此字除眾生恐怖也，而降諸魔軍眾也。其字如虹之外輪，有青蓮之色，西方名虹為帝釋宮也。其光亦爾也。餘方便如前。次下黑色時想訶字，如劫災大火之時，以太極盛故紫黑色之光。此字光亦復如是也。此是阿閦如來，其佛以大慈悲，為護一切伏諸障故，作毘俱胝怒形，兼作印擬於作諸障之者。此毘俱胝皺眉，如前說也。餘方便如前。此一段當在前。此尊名鉢囉底（丁也反）哩荼（凶，山日反）梵字也。此印舉左手，申左脚屈右脚也。此是降伏通用也。作金剛忿怒形，不須作佛形也。此二尊通一切用身印也。次金剛有情金剛執我加持者，彼印或縛字，或於內入中台漫荼羅置之者。欲作，謂師先定線道竟，欲入中台時即自加持作金剛手也。然師以阿作己身，即同毘盧遮那之佛，不應自有所作務。故轉作執金剛菩薩之身，以阿字本不生與縛字不相離故，得轉用也。如是第二漫荼羅亦本寂我加持力故，無二相應形佛空性形者，次復歎嚩字之德。以阿字義入中故，亦復本寂也，即是本不生義也。無二相應者，嚩字即阿字，無二無分理常相應也。以本寂之故，如來之形亦空無自性也。次二分天位，捨外漫荼羅三分，遠界道棄捨，東面線申等者，謂每一院皆有三重，捨第一第二重，於第三院安神位也。次捨第二院，於第三院下色也。以上當在五色之前，義猶未了更問之。

Next, when applying the yellow color, one should visualize the syllable KA as being of genuine gold color, and its blaze is likewise so. This is the golden-colored Muni Buddha (Muni is a general title for Buddhas). KA has the meaning of action (kārya); because of non-action, it is eternally free from all faults. Abiding in this samādhi eliminates all poisons, and its light is all-pervading. "One should enter contemplation according to the teachings" (meaning to contemplate attentively with an undistracted mind). Next, when applying the blue-green color, one should visualize the syllable MA; reflecting upon the syllable MA above it means visualizing it above the blue-green color. This has the meaning of crossing over birth-and-death; it is Śākyamuni. This Buddha sits upon the great Bodhi-seat; all Buddhas use this syllable to remove the terrors of sentient beings and subdue the hordes of māras. The syllable is like the outer rim of a rainbow, having the color of a blue lotus; in the West a rainbow is called the palace of Indra. Its light is likewise so. The remaining upāyas are as before. Next, when applying the black color, visualize the syllable HA. It is like the great conflagration at the destruction of an eon: because of its supreme intensity, it has a dark purple-black light. The light of this syllable is also like this. This is Akṣobhya Tathāgata. Out of great compassion, in order to protect all and subdue all hindrances, this Buddha manifests the wrathful form of Bhṛkuṭī, and additionally makes a mudrā targeting those who create hindrances. This Bhṛkuṭī has a frowning brow, as explained before. The remaining upāyas are as before. (This section should properly precede the former.) This deity is named pratyālīḍha in Sanskrit characters. For this mudrā, raise the left hand, extend the left leg, and bend the right leg. This is generally used for subjugation. One manifests a vajra-wrathful form and does not need to manifest a Buddha form. These two deities are bodily mudrās used universally for everything. Next, "the Vajrasattva, holding the vajra, blesses me": regarding that seal, or the syllable VA, or placing them within the central terrace of the maṇḍala—to draw it, meaning the master first determines the chalk lines, and when he wishes to enter the central terrace, he blesses himself to become Vajrapāṇi. However, since the master has taken the syllable A as his own body, he is already identical to the Buddha Vairocana, and should not perform actions himself. Therefore, he transforms into the body of the Bodhisattva Vajradhara. Because the syllable A, being originally unborn, is not separate from the syllable VA, he is able to transform and apply them. "Thus the second maṇḍala is also originally tranquil; by the power of my adhiṣṭhāna, non-dual, corresponding form, the Buddha's empty-nature form": next, it praises the virtue of the syllable VA. Because the meaning of the syllable A enters within it, it is also originally tranquil, which is the meaning of originally unborn. "Non-dual, corresponding": the syllable VA is itself the syllable A; being non-dual and undivided, the principle is ever in correspondence. Because of original tranquility, the Tathāgata's form is also empty and without intrinsic nature. Next, "dividing into two parts the celestial positions, casting away the three parts of the outer maṇḍala, the boundary lines far cast aside, the eastern lines extended, etc.": this means that each court has three tiers; casting aside the first and second tiers, one establishes the deities' positions in the third court. Next, casting aside the second court, one applies the colors in the third court. The above [text] should precede the five colors; the meaning is not yet completely clear and should be inquired about further.