大毘盧遮那成佛經疏 14.44

14.44

然布字之時，當分為四分，即是四重漫荼羅也。頭為初分，是阿字菩提心位。從迦佉俄伽仰等，乃至奢娑訶，凡是第一聲者，皆屬菩提之心也。當從行者眉間白毫相處而觀迦字，從佉以下當右旋逐日而轉，以次一匝布之，令環轉相接。次從咽以下為第二分，屬長阿字門，亦當中與白豪上下相連，右行布之一匝相接，此是菩提之行也。次從心以下為第三分，屬暗字門，從心上布於欠字，以次右旋一匝相接。次從臍以下屬噁字門，是大涅槃，亦從中而置迦（入）字，以次右旋一匝相接。頭為上分，咽心為中分，臍為後分（私謂發菩提心為初，行果為中，大寂為後也）。其第五噁字遍一切處，隨意所作皆得也。此在身外，如佛身光隨意而用，不在身內布字之位也。闇字亦爾，與噁同也。師既如是成身已，其漫荼羅亦如是布之，亦當想弟子，令如是作之，三事皆成，是祕密漫荼羅也。若不了達此中意趣，雖依前事法而作，不名善作，虛費功夫亦無所成也。又此布字之法，是祕密漫荼羅，自非久習真明之行、堪傳授者方以意相傳，不可以文載，故師以口相授，經所不說，但云如毘盧遮那輪轉也。

When placing the syllables, one should divide [the body] into four parts, which are the fourfold maṇḍala. The head is the first part, which is the station of the bodhicitta of the syllable A. From Ka, Kha, Ga, Gha, Ṅa and so forth, up to Śa, Ṣa, Ha, all that have the first sound belong to bodhicitta. One should visualize the syllable Ka starting from the spot between the practitioner's eyebrows where the white ūrṇā is located; from Kha onward, one should rotate clockwise following the sun, placing them sequentially in one circumference so that they link together in a ring. Next, from the throat downward is the second part, belonging to the long Ā syllable gateway; it should also connect above and below with the white ūrṇā in the center, placed clockwise in one circumference linking together; this is the practice of bodhicitta. Next, from the heart downward is the third part, belonging to the syllable Aṃ gateway; one places the syllable Khaṃ above the heart, sequentially rotating clockwise in one circumference to link together. Next, from the navel downward belongs to the syllable Aḥ gateway, which is great nirvāṇa; one also places the syllable Ka (with entering tone) from the center, sequentially rotating clockwise in one circumference to link together. The head is the upper part, the throat and heart are the middle part, and the navel is the concluding part. (Privately I consider that generating bodhicitta is the beginning, practice and fruit are the middle, and great quiescence is the end.) The fifth syllable, Aḥ, is omnipresent everywhere; whatever is performed according to one's wish is accomplished. This is outside the body, utilized at will like the radiance of the Buddha's body, not within the bodily stations for placing syllables. The syllable Aṃ is also like this, being identical with Aḥ. Once the master has constituted the body in this way, the maṇḍala is also laid out like this; one should also visualize the disciple, instructing them to perform it in this way. When the three matters are all completed, this is the secret maṇḍala. If one does not comprehend the purport within this, even if one performs it according to the previous ritual actions, it cannot be called well-performed; it will waste effort in vain and achieve nothing. Furthermore, this method of placing syllables is the secret maṇḍala; unless one has practiced the conduct of true mantras for a long time and is capable of receiving transmission, it is transmitted only through mind-to-mind intention and cannot be recorded in writing. Therefore, the master transmits it orally, and the sūtra does not state it, merely saying that it revolves like Vairocana.