[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) › 13.7 # 大毘盧遮那成佛經疏 13.7 大毘盧遮那成佛經疏 13.7 - **Language:** Classical Chinese ### [13.7](https://indike.org/pramana/in.bauddha.taisho.1796.13.7) 次調彩色法。佛、般若波羅蜜多作禮，誦此明妃八遍誦之者，謂調彩色將圖彼如來本真之像，先當讀誦《大般若經》、敬恭供養，即是作禮義也。凡調色時須如是作也。又想彼色中字類（謂字作等），誦此字或百遍千遍也。又誦明妃八遍也。師調色已，從定起遶已入中，於弟子想念。大慈悲力，即師自作金剛及字印也。從定起遶漫荼羅發大慈心，即以此大慈悲力加彼弟子已，阿闍梨作成事金剛薩埵加持。嚩字施願金剛等并之者，此阿闍梨以如來加持及阿字故，即是毘盧遮那如來，以如來自作成事所不應故。嚩字并施願吉祥金剛者，是文殊也。次種子是麼字，即空點也，用加嚩字為麼字耳。更以嚩字加持作金剛薩埵身而畫諸像也，當作時，想同己身，如上說之。又誦此嚩字百遍或千遍等也。畫大悲藏生漫荼羅，內漫荼羅安祥者，師如是自加持已，安祥而起入於中台，徐徐運布眾綵而作毘盧遮那之像也。其像本形，坐於白蓮華座上，以髮為冠不加綵飾，用極細絹為下裙，更用極細羅縠輕紗用為上服，令肉色相映內現也。身作閻浮金色，色之深金極光瑩者是也。其佛緣身皆生光焰，相合為鬘連環不斷而遍身也。所以漫荼羅中須造此佛形者，為欲令彼弟子速生勝願，及以加持之力成滿一切智身，故先須造立也。復次造壇有上中下法。若弟子財力豐瞻堪能廣辦者，師即當作畫色像之壇，為示本尊身印之相故。若力不能辦而作字壇，即犯祕法隱覆之罪。若觀弟子心極殷重，乃至不惜身命尚能捨身而奉於師，何況當有所悋，然資力不辦者，聽作字漫荼羅，即於此置佛之處但畫作阿字，即是如來之體也。置阿字竟，中台之外院直東作阿字加大空點。又於東北自在方置於伽字，此伽字即是虛空眼也，是一切佛及菩薩之母也。次火方一切佛菩薩真陀摩尼印，或置於字也（迦也）。北方觀自在及彌勒，賢劫一生補處菩薩以為眷屬，置於娑字。南方金剛手等，或作形或作印（謂三股拔折羅），或作縛字也。又此中置字與前壇方位或不同。問之。復彼分位三棄捨。一切執金剛諸印畫，或彼字者多三棄捨，亦如前釋，不異字印作𤙖字也。次羅剎方（西南方也）毘盧遮那下畫不動尊石上坐，手執刀及羂索，遍身焰鬘，一切作障者期剋。或但作印於上（印謂羂索及刀也），或作字者謂唅。次於風方（西北也）作降三世勝害一切作障者，頭光焰貌，作大忿怒如閻摩羅形，黑色，於恐怖可畏之中又極令之恐怖，當如是作極可畏形也。其手中轉拔折羅（是三股金剛印也，此是定），或但作字謂（長訶字）。次於四方畫作四大結護。東方畫作無畏結護（名也），身金色白衣，面少瞋狀，手持棒。若但置印者（但書棒印也），或但置字（嚩字也）。北方作壞諸怖大護，白色，右手持刀，著白衣并光。若作印者但畫刀形，若字者作博字。西方難降大護，無有能制伏者，故以為名也。身作無憂花色（如此間深紫蜀葵花色也），所著衣亦赤，然少淺於身色。其面微笑，在圓光中。其作觀大會眾之狀，謂四方眾會也。印但作其刀印，作字者謂索字。南方金剛無勝大護，猶若金剛更無有勝，故以為名也。復次金剛是天帝釋別名，然此大護勢力又過於彼相，故為名也。其身黑色，忿形皺眉，衣亦黑，然稍淺於身面之色也。頭上但作髮髻，自身焰光也，手持棒。若但畫印亦但置棒也，字作懺字也。上來四大護，皆須并置眷屬，眷屬即使者也，皆坐白蓮華上。持真言者當如是而敷置之也。 > Next is the method for mixing pigments. Bowing to the Buddha and to the Prajñāpāramitā, reciting this Vidyārājñī eight times: this means that when one is about to mix the pigments to paint the original, authentic image of that Tathāgata, one must first recite the \*Mahāprajñāpāramitā-sūtra\* and respectfully make offerings to it; this is what is meant by bowing. Whenever one mixes pigments, one must act in this way. Moreover, one visualizes the classes of syllables within those pigments (meaning the syllables, actions, and so forth), reciting this syllable a hundred times or a thousand times. One also recites the Vidyārājñī eight times. Having mixed the pigments, the master arises from samādhi, circumambulates \[the ground\], enters the center, and visualizes the disciples. By the power of great compassion, the master himself forms the vajra and syllable seals. Arising from samādhi, circumambulating the maṇḍala, and generating the mind of great compassion, he uses this power of great compassion to consecrate those disciples, and then the ācārya performs the adhiṣṭhāna of Karmavajrasattva. Together with the syllable Va- and the Varadavajra: because of the Tathāgata's adhiṣṭhāna and the syllable A-, this ācārya is himself Vairocana Tathāgata; for it is inappropriate for the Tathāgata himself to act as a karmic \[agent\]. The syllable Va- together with the Auspicious Varadavajra is Mañjuśrī. The next seed-syllable is the syllable Ma-, which is the bindu of emptiness, added to the syllable Va- to make the syllable Maṃ. Furthermore, consecrating with the syllable Va-, one assumes the body of Vajrasattva to paint the various images. When doing so, one visualizes them as identical with one's own body, as stated above. One also recites this syllable Va- a hundred or a thousand times. Painting the Mahākaruṇāgarbha-maṇḍala; serene within the inner maṇḍala: the master, having thus consecrated himself, serenely arises and enters the central terrace, slowly and deliberately applying the various pigments to create the image of Vairocana. The original form of the image sits upon a white lotus seat, wearing a crown made of hair without extra colorful ornamentation, with very fine silk for the lower skirt, and extremely fine gauze and light silk for the upper garment, allowing the flesh color to shine through and show from within. The body is made the color of Jāmbūnada gold—that is, the deep golden color of utmost brilliance and luster. Light flames issue from all around the Buddha's body, joining together as an unbroken garland surrounding the entire body. The reason this Buddha form must be fashioned in the maṇḍala is to cause those disciples quickly to generate supreme vows and, by the power of adhiṣṭhāna, to bring to full fruition the body of all-knowledge; therefore it must first be fashioned. Furthermore, there are superior, middling, and inferior methods for constructing the altar. If the disciple's wealth and resources are abundant and sufficient to provide extensively, the master should create an altar of painted images in order to display the forms of the fundamental deity's body and seals. If their capacity cannot manage it, yet they make a syllable altar, they incur the offense of concealing the secret Dharma. If he observes that the disciple's mind is utmost in sincerity, even to the point of not begrudging their own body and life, being willing to sacrifice their body to serve the master—how much less would they be stingy—yet their material resources are insufficient, he is permitted to make a syllable maṇḍala: in the place where the Buddha is positioned, one simply draws the syllable A-, which is the very body of the Tathāgata. Having positioned the syllable A-, in the outer precinct directly east of the central terrace, one draws the syllable A- with the great bindu of emptiness added. Furthermore, in the northeast Īśāna direction, one positions the syllable Ga-; this syllable Ga- is Gaganatocanā, the mother of all Buddhas and bodhisattvas. Next, in the fire direction (southeast), is the cintāmaṇi seal of all Buddhas and bodhisattvas, or one positions the syllable (Ka-). In the northern direction are Avalokiteśvara and Maitreya, with the bodhisattvas in their final birth of the Fortunate Kalpa as their retinue, positioned with the syllable Sa-. In the southern direction are Vajrapāṇi and others, either depicted in form, or as their seal (meaning the three-pronged vajra), or with the syllable Va-. (Also, the placement of syllables here may differ from the directions of the previous altar. Inquire about this.) Furthermore, in those positions, three casts aside; all Vajradharas' seals are painted, or their syllables: having mostly three casts aside, as explained before; without varying from the seal, one makes the syllable Hūṃ. Next, in the Rākṣasa direction (the southwest), below Vairocana, one paints Acalanātha sitting on a rock, holding a sword and a noose in his hands, surrounded by a garland of flames, threatening all obstacle-makers with the tarjanī gesture. Or one merely depicts the seal above (the seal meaning the noose and sword); or if making the syllable, it is Hāṃ. Next, in the wind direction (the northwest), one depicts Trailokyavijaya, vanquishing all obstacle-makers, with blazing light on his head, manifesting great wrath in the form of Yamarāja, black in color, terrifying within what is fearful and dreadful, making it utterly terrifying; one should make such an exceedingly dreadful form. In his hand he whirls a vajra (which is the three-pronged vajra seal; this is fixed); or one simply makes the syllable, namely (the long Hā-). Next, in the four directions, one paints the four great protectors (sīmābandha). In the east, one paints the Fearless Protector (a name), golden-bodied in white garments, with a slightly angry countenance, holding a staff in hand. If one only places the seal (one merely writes the staff seal); or one only places the syllable (the syllable Va-). In the north, one depicts the Great Protector Destroyer of All Terrors, white in color, holding a sword in the right hand, wearing white garments and accompanied by light. If making the seal, one simply draws the shape of a sword; if the syllable, one makes the syllable Bha-. In the west is the Great Protector Difficult to Subdue, named because none can subjugate him. His body is the color of an aśoka flower (like the deep purple hollyhock flower here), and the garments he wears are also red, though slightly lighter than his body color. His face smiles, within a circular halo. He is depicted as gazing upon the great assembly, meaning the assemblies of the four directions. His seal is merely his sword seal; if making the syllable, it is the syllable Sa-. In the south is the Great Protector Vajrāparājita, named because, like a vajra, nothing can conquer him. Furthermore, vajra is another name for Śakra Devendra, but this great protector's power surpasses his characteristics, hence the name. His body is black, of wrathful form with furrowed brows; his garments are also black, though slightly lighter than the color of his body and face. On his head he has only a topknot of hair, and his body blazes with light; he holds a staff in hand. If one merely paints the seal, one also merely places the staff; the syllable is the syllable Chaṃ. For the four great protectors above, retinues must also be positioned together with them; retinues mean their messengers, all seated on white lotuses. The mantra practitioner should arrange and set them out in this way. > — English (machine translation) (machine translation) - [Previous: 13.6](https://indike.org/pramana/in.bauddha.taisho.1796.13.6) - [Next: 13.8](https://indike.org/pramana/in.bauddha.taisho.1796.13.8) - [Up: 13](https://indike.org/pramana/in.bauddha.taisho.1796.13) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1796~en-mt.13.7) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1796.13.7](https://indike.org/pramana/in.bauddha.taisho.1796.13.7) · Pramāṇa