大毘盧遮那成佛經疏 16.16

16.16

作方漫荼羅，內畫商佉，商佉上有蓮花，蓮花上有金剛，金剛上又有蓮花，蓮花上置觀音菩薩。或可安印或安字也。諸印上皆安種子字，謂商佉、金剛及花上也。其次院安大勢等，周遍作光，勿生疑慮也。以本種子巧安置之而作種子也。空處當置七白吉祥，一一皆有二使。此經但略說言之，自別有觀音部法中具載，當別詳撿也（更問）。明妃資財主，是能自在施與求者也。及大勢至等，如法作之也。作得自在之尊，持標相印也。當殊妙作之，曰如法作之。住三角中馬頭，合在可處，用壇中畫之。其餘諸尊亦各有形色等別，及方、圓、半月、三角等，合可用等，皆如廣本也。前所云須通五事，謂形、色、契印、本尊及位，即此事也。如畫本尊，合作何色及形像等，各各有印。前者大悲藏生是嘉會壇，今此中隨三部各各別有也。如此中蓮花部壇，中胎是吉祥壇，以觀音為主。胎外留空地，空地外即是第二坐位，悉置觀音部諸尊等，餘盡如作大壇中法，其空處亦置十方佛。其第三坐位，亦置八部眾等，准前可解也。三角中猶如日出之暉，謂日初出赤黃色也。在明王側者，在大勢至側也。次復若作馬頭漫荼羅者，當在三角中置之，在外三重，其漫荼羅亦皆隨之作三角也。作此時，訶耶在中，即移觀音替居勢至之處，餘眷屬皆圍遶之。餘皆迴互，可以意得耳。次作第二漫荼羅者，謂從蓮花部數之，蓮花為初即金剛為第二部也。我正宣說之，謂善說也，非前非後依次而說也，為第二部也。其漫荼羅四方作，普以金剛。以三股者作界緣相接圍之。圍中黃色，中安蓮花，花上有瓶，瓶白如月色。或用金剛圍之，或用餘物圍之（謂隨彼尊之印展轉為中心，亦如其印圍之）。彼瓶上有大風，謂半月形也。此中如黑雲狀（如雨時雲靉靆垂黑也），其下狀如幡形，如大風吹形勢流動。彼半月中如大猛火炎作三角形，其三角亦以金剛圍之。三角中赤，如日初出色。其中置蓮，蓮極赤，如劫災大火災色（謂殷深赤，或可赤黑）。蓮上畫金剛（謂或畫本尊形，或畫五股印或字也），其金剛流出種種焰光。若畫形者，心上安種子字，謂吽字也。若畫印者，想𤙖字誦而加持之也，印上置字也。此是汝漫荼羅者，佛親對金剛手說之，故告之是汝漫荼羅也。古昔諸佛皆說，我亦如是說也。諸明王各依本坐類形色者，謂或金剛母及金剛針鏁之類，眾多金剛眷屬各依本尊形色差別，或畫形、或作印、或置種子字也。各依其法次第相應，謂成就妙悉地故。安此金剛手為中台，諸部類為第二院也。此皆說中台也，轉作無量壇也，先道者安右，後道者安左，隨所開門以辦左右也。復次我前說眾多金剛之別名也。自在，謂於金剛得自在。復次此說我金剛執自在者，如前大悲藏大會中，毘盧之下、不動降三世中間畫諸金剛者，皆未列名，今方列之，故云復次也。謂虛空無垢金剛、金剛輪、金剛牙、蘇喇多金剛（妙住也，謂共住安隱也）、名稱金剛大分（謂大者之分，即是大心眾生之體分也）金剛利（謂極迅銳之稱），此壇總以印為之。寂然金剛（寂靜義，如涅槃義也）、大金剛（名也）、青金剛、蓮華金剛、廣眼金剛、執妙金剛、金剛金剛（慧以金剛單為名）、無住戲論金剛、虛空無邊遊步金剛（以上列名也。各在處在大壇中安之也）。如是等壇方圓等依前，順其色形亦如此也。依名作次也，周而復始也。白黃赤黑等，隨文次第，最在前者白，次黃、次赤、次黑，次者又白，如是次第也。及諸所不說者，准此例解，隨其本類形色而作之也。此金剛有十佛剎塵數，前列眾與此中互有出沒，或此有彼中無，可知。又此等金剛所持之印，或三古或一古（即針也），此准前次第。初作三股，周而復始。或兩頭，此兩頭即五股也。此印周匝作四廉狀，如四金剛，其中有一狀如五股而不開也。或鬘者，或持金剛鬘也。此等金剛，各以其本名為真言，即此名最上字為種字也。次隨別字及通用，各於心上置吽也。其手印，通用上五股金剛印也。不動尊漫荼羅風火俱者，風謂半月，火謂三角，謂於半月壇中畫三角，畫三角中作不動尊也。在泥哩底方者，故毘盧遮那之西南方作也。或三世勝異者，謂在於風方，以此為殊，餘同不動也。三處以金剛圍之（謂所執印），三處者，謂或作形或印或字也。然此不動尊漫荼羅若別作者，不動在中，毘盧在中院東方，餘金剛眷屬周通圍遶也。

Make a square maṇḍala. Inside, paint a conch shell (śaṅkha); atop the conch shell is a lotus; atop the lotus is a vajra; atop the vajra is yet another lotus; and atop the lotus place Avalokiteśvara Bodhisattva. One may also set [his] mudrā or set [his bīja] syllable. On all the mudrās one sets bīja syllables—that is to say, upon the conch shell, the vajra, and the lotus. In its next court, set Mahāsthāmaprāpta and the others, generating light all around; do not give rise to doubts or hesitation. By means of their fundamental bījas, skillfully arrange them to make their bījas. In the vacant spaces one should set the Seven White Auspicious Ones, each having two messengers. This sūtra speaks of them only in brief; they are fully recorded in a separate ritual text of the Lotus (Avalokiteśvara) family, which should be investigated separately in detail (inquire further). The Vidyārājñī Master of Wealth is able to bestow freely upon seekers. Together with Mahāsthāmaprāpta and the others, they are to be made according to ritual. Fashion the lords who have attained mastery, holding their emblem mudrās. They should be exquisitely fashioned—this is what is meant by 'made according to ritual'. Hayagrīva, residing within a triangle, should be in an appropriate place and painted within the altar. The remaining deities also each have distinctions in form, color, and so forth, as well as square, round, semicircular, triangular, and so forth, and what is suitable to be used, all according to the expanded version. What was said before about having to master the five matters—namely form, color, seal-mudrā, main deity, and position—refers precisely to this matter. As for painting the main deity, what color and bodily form, and so on, it should have, each has its own mudrā. The previous Mahākaruṇāgarbha-samudbhava was the Great Assembly Altar; here, [altars] exist separately according to each of the three families. Thus, in the Lotus Family altar here, the central womb is the auspicious altar, with Avalokiteśvara as the principal deity. Outside the womb, vacant ground is left; outside the vacant ground is the second tier of seats, where all the deities of the Lotus family are set, the rest entirely following the method for making the great altar. In its vacant spaces, the Buddhas of the ten directions are also set. In its third tier of seats, the classes of the eightfold assembly and so forth are also set, which can be understood by analogy with the preceding. In the triangle it is like the brilliance of the rising sun, meaning the reddish-yellow color when the sun first emerges. That which is 'beside the Vidyārāja' means beside Mahāsthāmaprāpta. Next, furthermore, if one makes the Hayagrīva maṇḍala, one should set him within a triangle; outside in the three tiers, the maṇḍala should also be made triangular following him. When making this, Hayagrīva is in the center, and Avalokiteśvara is moved to take the place of Mahāsthāmaprāpta, with the rest of the retinue surrounding them. The rest are mutually transposed, which can be understood conceptually. Next, to 'make the second maṇḍala' means that counting from the Lotus Family, the Lotus is the first, so the Vajra is the second family. 'I shall now proclaim it' means speaking it well, explaining in proper order without being before or after, for the second family. Its maṇḍala is made four-sided, encircled universally with vajras. Connect and encircle it with three-pronged [vajras] as boundary lines. Within the enclosure it is yellow; in the center set a lotus, atop the lotus is a vase, and the vase is white like the color of the moon. Or encircle it with vajras, or encircle it with other objects (meaning that according to the mudrā of that deity, taking it successively as the center, one also encircles it like its mudrā). Atop that vase there is a great wind, meaning a semicircular shape. Here it is like the appearance of black clouds (like the dark gloominess when clouds hang low at the time of rain); underneath it is like the shape of a banner, billowing as though blown by a great wind. Within that semicircle, like a fierce blaze of fire, make a triangular shape; that triangle is also encircled with vajras. Inside the triangle it is red, like the color of the rising sun. In its center set a lotus; the lotus is extremely red, like the color of the great conflagration at the destruction of a kalpa (meaning deep crimson, or it may be reddish-black). Atop the lotus, paint a vajra (meaning either painting the bodily form of the main deity, or painting a five-pronged mudrā, or the syllable); that vajra emits various radiant flames. If one paints the bodily form, set a bīja syllable upon the heart, namely the syllable HŪṂ. If one paints the mudrā, visualize the syllable HŪṂ, recite it, and empower it, placing the syllable atop the mudrā. 'This is your maṇḍala': the Buddha personally addressed Vajrapāṇi, and therefore told him, 'This is your maṇḍala.' 'All the Buddhas of old proclaimed it; I too proclaim it likewise.' 'The various vidyārājas each according to the class, form, and color of their own seats' means, for instance, Vajramātṛ, Vajrasūci, Vajrasphoṭa, and the like—the numerous vajra retinues each following the distinction of their main deity's form and color, either painting the form, or making the mudrā, or setting the bīja syllable. Each conforms to the sequence of its ritual method, which means for the sake of accomplishing wondrous siddhis. Setting this Vajrapāṇi as the central terrace, the various classes form the second court. These all describe the central terrace; by transformation countless altars are made. Those stated earlier are placed on the right, and those stated later are placed on the left, distinguishing right and left according to the gate that is opened. Furthermore, I previously stated the separate names of the numerous vajras. 'Sovereignty' (vaśitā) means attaining sovereignty in regard to vajras. Furthermore, this mention of 'my vajra-holding sovereigns' refers to how, in the previous great assembly of the Mahākaruṇāgarbha, the various vajras painted below Vairocana and between Acala and Trailokyavijaya were not listed by name; now they are listed, hence it says 'furthermore.' Namely: Gagananirmalavajra, Vajracakra, Vajradaṃṣṭra, Surabhavajra (Wondrous Abiding, meaning abiding together in peace and security), Yaśovajramahābhāga (meaning the share of the great, which is the bodily portion of sentient beings of great mind), Vajratīkṣṇa (meaning the title of being extremely swift and sharp); this altar is made entirely with mudrās. Śāntavajra (the meaning of tranquility, like the meaning of nirvāṇa), Mahāvajra (a name), Nīlavajra, Padmavajra, Vipulanetravajra, Citravajra, Vajravajra (the single word 'vajra' taken as a name for wisdom), Apratiṣṭhita-prapañcavajra, and Gagana-anantavikramavajra (the above are listed by name; they are placed in their respective locations in the great altar). Such altars, square or round and so forth, follow the preceding; conforming to their color and form is also like this. They are arranged in order according to their names, in a continuous cycle. White, yellow, red, black, and so forth follow the sequence of the text: the foremost is white, next yellow, next red, next black, and the next is white again, in such a sequence. And those not mentioned should be understood by analogy with this, made according to the form and color of their own class. These vajras are as numerous as the dust motes of ten buddha-kṣetras; between the assembly listed previously and that herein, they appear and disappear alternately, or are present here and absent there, as can be known. Moreover, regarding the mudrās held by these vajras, they have either three prongs or one prong (that is, the needle); this follows the preceding sequence: first make three prongs, in a continuous cycle. Or 'two-headed'—this 'two-headed' is five-pronged. This mudrā is made around with four sharp ridges like four vajras, and in the middle there is one shaped like five prongs that do not open. Or 'garlands' means holding a vajra garland. These vajras each take their own fundamental name as their mantra, and the uppermost syllable of this name serves as their bīja syllable. Next, following their distinct syllables as well as in common, each has HŪṂ placed upon the heart. Their hand-mudrā commonly employs the above five-pronged vajra mudrā. The maṇḍala of Lord Acala has both wind and fire: wind means a semicircle, and fire means a triangle, meaning that within the semicircular altar one paints a triangle, and inside the painted triangle one makes Lord Acala. As for 'in the direction of Nairṛti', it is made in the southwest direction of Vairocana. As for 'Trailokyavijaya differs', it means being in the direction of the wind (Vāyu), taking this as its distinction, while the rest is the same as Acala. 'Encircled in three places with vajras' (referring to the mudrā held)—'three places' means either making the form, or the mudrā, or the syllable. However, if this maṇḍala of Lord Acala is made separately, Acala is in the center, Vairocana is in the east of the central court, and the remaining vajra retinue encircles them all around.