[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) › 16.18 # 大毘盧遮那成佛經疏 16.18 大毘盧遮那成佛經疏 16.18 - **Language:** Classical Chinese ### [16.18](https://indike.org/pramana/in.bauddha.taisho.1796.16.18) 次作釋師子漫荼羅（即釋迦也，諦聽佛子也）當作金剛四方令普（此金剛即是如上所說五輪中金剛輪方壇也，普者正四方之稱也），其壇黃色，極令鮮好。於中畫金剛杵（三股），杵上安蓮花，蓮花黃色，花上置鉢，鉢四邊通有炎光。若作佛形者，當畫釋迦佛持鉢，又以金剛圍之，右邊置袈裟（即僧袈梨），左邊置錫杖也。次五佛頂，其白繖佛頂置座，座上置印。且依本部，如佛部一切方；或依事，息災圓等也。以繖為印（畫之）。勝佛頂以刀圍普，若有說處即依文也。光皆流出，猶如燒鐵火炎也（謂赤炎光）。最勝佛頂以輪為印，除障佛頂以鉤為印（摧碎），火聚佛頂畫佛頂髻形（大士者號金剛也），會通大佛頂以金剛為印也。阿毘發生佛頂也。揭多佛頂（是最勝尊義，一切超，以蓮為印），無量音佛頂以珂貝（謂商佉也），色類應觀知（謂如前說）。佛豪相用如意珠為印，此名印漫荼羅。此印法等，灌頂成就物等用也。其息災等，則隨形色轉變，非此所用也。成就，皆以本尊在中觀色類，謂白黃赤等也。佛眼當作佛頂髻形，兩邊置眼。其佛頂黃色，以金剛圍之。無能勝明妃持蓮印（謂空風指捻花，餘指申之，捻花指向心前持也）。若諸尊有印者，依文置之；若無文，取本部主印置之，唯種子字中也。無能勝王作口印在黑蓮之上，謂畫作忿怒口，其口雙牙上出者是也。此等諸位，若以釋迦為中，則佛頂等列之居次院。若隨一一本尊中取一為漫荼羅主，即移釋迦在外，餘皆可例解耳。 > Next, make the Śākyasiṃha maṇḍala (that is, Śākyamuni; listen attentively, O son of the Buddha). It should be made square, universally of vajras (this vajra refers to the square altar of the vajra wheel among the five wheels spoken of above; "universally" is a term for a perfect square), and this altar should be yellow, exceedingly fresh and fine. Draw a vajra pestle (three-pronged) in the center; upon the pestle place a lotus, the lotus being yellow; upon the flower place an alms bowl, with blazing light all around the four sides of the bowl. If depicted in the form of a Buddha, one should draw Śākyamuni Buddha holding the alms bowl, also surrounded by vajras, with a kāṣāya (that is, a saṃghāṭī) placed on the right side and a tin staff on the left side. Next, for the Five Uṣṇīṣas: the Sitātapatroṣṇīṣa is placed upon a seat, and upon the seat is placed the mudrā. Provisionally follow its own section, as with all quarters of the Buddha section; or follow the ritual activity, such as circular for pacification, etc. The parasol is used as the mudrā (and drawn). For Jayoṣṇīṣa, surround it universally with swords; if there is a spoken description, follow the text. Light flows out everywhere, like the blaze of burning iron (meaning red blazing light). Vijayoṣṇīṣa uses the wheel as its mudrā; Tejorāśyuṣṇīṣa uses the hook as its mudrā (pulverizing); Hutāśanoṣṇīṣa is drawn in the shape of a Buddha's uṣṇīṣa topknot (the Great Being is named Vajra); in overall synthesis, the Mahoṣṇīṣa uses the vajra as its mudrā. Abhyudgatoṣṇīṣa is the arising uṣṇīṣa. Gatadhara-uṣṇīṣa (meaning the supreme honored one, transcending all, uses the lotus as its mudrā); Anantasvaroṣṇīṣa uses a conch shell (meaning the śaṅkha); their forms and colors should be contemplated and understood (meaning as explained before). The Buddha's ūrṇā uses the cintāmaṇi wish-fulfilling jewel as its mudrā. This is called the Mudrā-maṇḍala. These mudrā methods and the like are used for the substances of consecration (abhiṣeka) and siddhi. As for pacification and the like, they change according to form and color and are not what is used here. In siddhis, one always contemplates the forms and colors with the central deity in the middle, meaning white, yellow, red, and so on. Locanā should be made in the shape of a Buddha's uṣṇīṣa topknot, with eyes placed on both sides. The Buddha's uṣṇīṣa is yellow, surrounded by vajras. The Vidyārājñī Aparājitā holds a lotus mudrā (meaning pinching a flower with the space and wind fingers, extending the remaining fingers, holding the flower-pinching fingers before the heart). If the deities have mudrās, place them according to the text; if there is no text, take the mudrā of the lord of their own family and place it, solely within the bīja syllable. Aparājitavidyārāja makes the mouth mudrā above a black lotus, meaning drawn as a wrathful mouth with a pair of fangs protruding upward. In all these positions, if Śākyamuni is the center, the Uṣṇīṣas and others are arrayed in the second tier. If one chooses any single principal deity among them to be the lord of the maṇḍala, then move Śākyamuni outside; the rest can be understood by analogy. > — English (machine translation) (machine translation) - [Previous: 16.17](https://indike.org/pramana/in.bauddha.taisho.1796.16.17) - [Next: 16.19](https://indike.org/pramana/in.bauddha.taisho.1796.16.19) - [Up: 16](https://indike.org/pramana/in.bauddha.taisho.1796.16) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1796~en-mt.16.18) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1796.16.18](https://indike.org/pramana/in.bauddha.taisho.1796.16.18) · Pramāṇa