[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) › 16.32 # 大毘盧遮那成佛經疏 16.32 大毘盧遮那成佛經疏 16.32 - **Language:** Classical Chinese ### [16.32](https://indike.org/pramana/in.bauddha.taisho.1796.16.32) 爾時大毘盧遮那世尊，彼時等至三昧地證，未來眾生觀念從定住者，毘盧遮那義，上已釋之，今更釋，所謂毘盧遮那者日也。如世間之日，能除一切暗冥，而生長一切萬物，成一切眾生事業。今法身如來亦復如是，故以為喻也。然世間之日則有方分，則有照外則不能照內，明在一邊即不及一邊，唯能照於晝日而光不及夜。今如來日則不如是，遍照內外無有方分晝夜之別，圓明常住。一切眾生若得此日出時，則能生長一切如來善根，行如來事。世間之日不可為喻，但得其少分，故加以摩訶之名也。佛所以入此三昧者，佛住畢竟無相寂滅之法，以大悲故住於三昧，令一切大會及無量眾生得見此大悲胎藏漫荼羅莊嚴大會微妙之法，即是於無相中而現有相。雖復有相，而從因緣生即不生義，同於性淨之法。而令眾生各隨本緣，見種種色、聞種種聲、獲種種法，各隨心器如法修行，有如是大因緣故。又為滿足金剛手所問之法，令明白無餘故，而入三昧也。等至者，三昧名也。上云爾時，此復云彼時如來入于三昧者，對前因緣次復有此事，故分別云彼時也（更問）。等至者，猶過去一切諸如來，皆乘此道至成正覺。如過去，未來、現在一切如來亦復如是，皆從此道乘此方便而成正覺，故云等至也。如三世佛至成正覺，我亦如是。如我今乘此道而至道場，一切佛亦如是。佛佛皆等，本末究竟悉等，故云等至也。又復如前所示大漫荼羅方位之相，如佛所入三昧而示現者，若阿闍梨住於定中而度弟子，亦當布此方位之相與彼無異，一一皆是入法界諸尊善知識普門行法。若作此觀以加弟子，亦令得見如是大會也。令內心所觀與外事所布，內外平等無有差別，故名等至三昧也。佛入此三昧故，令金剛手等諸大菩薩皆得滿足所問之疑。佛於三昧中所現之事，即是示其方位法用，故入此三昧也。彼佛入三昧時，彼佛事等如是。等者，等同也，猶如手掌平正。所謂地平者，以三昧而言，即是得見淨國莊嚴其地平正，無有瓦石諸山及沙礫等也。然此即是淨菩提心之義，以信力故平其心地也。除去所有阿賴耶之所，含藏沙礫株杌等類，唯除畢竟平等淨菩提心體性之地。若能平淨此地，即可成就大悲胎藏佛會莊嚴也。五寶間錯者，謂金銀等五寶，五色之寶而間錯其地也。五行者，即是白黃五寶，謂五色也。赤綠黑，次第也。白間錯，是戒也。黃是信，赤是進，綠是定，黑是慧也。上釋云初白次赤次黃，今以此釋為定，前釋非也。從此已下一一莊嚴皆有義釋，今此中未解，別處一一對其法門也。然其處非但五寶間錯其地而莊嚴門標而已，又有門標，即是大悲胎藏之門標，令知所入之門方位之相也。言標者，此標即是如上所圖者。然有畫作者及立作者，畫作如所畫圖。其立作標者，亦依此相而作也。其門有柱，柱上橫木，標知是門也。四方之門即是四念住，標是四梵住也。涅庾呵是門，都囉亦是旗也，即是標。雜色者，非但五方之色，更有種種雜色也。此雜色幡其相廣長，而在門標之上。大寶蓋在上都覆之，如壇法也。然此蓋者，此蓋之量遍覆諸佛剎，故云大也。此標上又懸白拂、寶鐸以為莊嚴。前是綵幡，幡有寶鐸及幡拂之類，並懸寶幡而間錯之也。並種種雜好綵之束，即叚束之，是雜綵也，雜綵名衣懸垂周布。私謂即是如文，著雜色衣之義也。從第一無相之法而出生如是大悲藏生之相，普現色身，種種方便說無量法，是雜色義也。雜色幡以來，皆在門標也。建，謂立幡於標也。八方隅建大摩尼幢，幢以摩尼作也。幢者，謂四方及四隅各建摩尼妙寶如意之幢也。此外復有八功德水淨妙浴池，湛然清淨。復於池中有無量水生禽鳥嬉戲自在，出種種微妙音，悅可一切。又生種種時花，時謂六時之花各適時而現也。非但名花，又有種種寶樹羅列也。八方分分布之，分即方也。五寶瓔珞繩繼也。此八柱之上，周匝寶繩而相連繫。此中云瓔者，梵音，與前所云瓔珞有別狀也。謂垂如仰半月形而垂下，寶瓔周匝相接也。其地細滑如綿纊衣，樂受極觸樂者，如西方有純綿之衣。如此地輪中之類，極柔滑，案之則沒、舉身復平，如舊其平也。極細，最生樂受也。又有無量樂器彌滿空中，在於空中不鼓自鳴，其聲深妙，令人樂聞歡喜快樂也。於此布列莊嚴之地，復生無量隨諸菩薩福德。所感意生之座及宮殿，從如來信解生。其座羅列亦作三重，如上大悲藏生漫荼羅布列次第也。然各隨菩薩淨妙功德，五塵樂具而生有種種差別。舉要言之，則有十世界微塵數等，各各不同而布列其位也。此等皆在八寶幢柱之內，並從如來信解力生。以如來本願力故，於等至三昧中普門示現也。法界標，標即從法界生，即是法界壇標幟也。標者，此中有性義，梵文語含也，標即是性也。法界體性本來常淨第一無相，還用法界而莊嚴之。中有大蓮花王，此花即同法界，遍一切處自性清淨也。當知彼中如來止住者，花既量同法界，當知佛身亦復如是，此即中台八葉之花也。然生大蓮華，如來住彼法界第一，隨意解眾生喜悅。此第一，是第一法界身，隨諸眾生信解令得歡喜。極微細之意，最難見之性，故極微細也。此第一者，義謂當云性也。隨意者，佛本願力為度一切眾生故，普門示現，各各隨彼所喜見身，應其機導利令得歡喜也。彼如來諸支分無礙力，從十力信解生無量色形莊嚴之身者，如來支分有無礙力、無壞力，以一切世間天仙及二乘聲聞菩薩等力尚猶有礙，由有礙故，更有勝上力者即能壞之。今佛力無礙不可壞，由如金剛，故云無礙力也。此無礙力從何生？當知從如來十種智力生也。從佛身支分上中下為分三分，流出種種類形，乃至一一毛孔皆悉出種類，若干形色各異，或方、或圓、三角、半月，或青、黃、赤、白、黑，寂心、歡喜、忿怒等形，其數無量。即是諸本尊等，皆當坐於意生所感之坐也。今此十力復從何生？謂從如來無量阿僧祇劫以來修行六度十度，乃至百千萬不可說阿僧祇諸度萬行，即此諸行功德資長也。以功德所資長，身出現也，從法身而出現也。彼出現已，於諸世界大會之中，諸謂十方也。然此非但現形而已，復出種種妙音，演布不思議常寂祕密之法真言之行，普令一切皆得聞知也。此所生菩薩各說種種有音聲表，作如此說，謂偈也，妙偈而嘆於佛，猶如下方踊出之會讚。大日如來猶住三昧，此是三昧所現花臺中毘盧遮那世尊於身分中示現此耳。從此法界生蓮花中。佛出種種形之時，又從佛身出種種聲而演妙法。經云音聲者，即語表也。此音演偈，略有二偈。初偈云「奇哉一切佛，方便不思議，於無藏性中，以慧令為藏。」此偈歎佛之意，見上示現不思議事故，歎佛之功德甚為奇特也。歎一毘盧遮那，即是歎一切如來，故云一切佛也。是故當知如來所現奇特之相，即是如來大慧及方便中生此不思議業也。云何不思議耶？謂住無藏性而能作有藏也。藏者，梵云阿賴耶，此翻為藏。或云宮室舍宅之義，如世間舍宅，一切眾生各隨己分安住其中。既有此窟宅，即有善惡含藏不能自出。如來已離如是阿賴耶窟宅，故云無藏性也。佛雖無一切藏，然以慧方便而有藏生，謂於無相法中而示種種相，無妄想法中而出種種音說，即以此藏令一切至於無藏也。次偈「若識無得者，法之諸法相，獲無得而獲，得諸佛導師。」此意言法性無得不可識，若有所謂無得是空義，若得此者即佛也，即是有妄無藏，非是如來無師之慧。若可識即是心所行處，非究竟勝義也。所以歎佛不思議者，乃於無得不可得法而能得之。所謂上來境界無相而相，令一切眾生以無所得而得之也。誰得此法？謂諸佛導師也。復次前偈云奇哉者，梵音奇哉，即於初首而有阿聲。此偈已表法竟也。此即是本不生義，能生一切諸法，謂如來身所示種種形聲皆從阿字而生也。時出種種形竟，還入佛身支分，又復還入如來不思議法身之中，各隨所生之處而入。故經云又復入如來祕法身不思議。此不思議，梵音阿真底，亦有阿聲，意明從阿而出又從阿而入也。此兩頭上下指兩阿字，明一切法出入即同法界之體也。 > "At that time the Bhagavat Mahāvairocana, equanimously attaining the state of samādhi at that time, manifested \[it\], and future sentient beings contemplate and abide through concentration:" The meaning of Vairocana was already explained above, and is now explained again: the one called Vairocana is the sun. Just as the worldly sun can dispel all darkness, cause all myriad things to grow, and accomplish the activities of all sentient beings, so too is the dharmakāya Tathāgata; hence it is used as an analogy. However, the worldly sun has spatial divisions: it shines on the outside but cannot shine on the inside; where light is on one side, it does not reach the other side; and it can only shine during the daytime, while its light does not reach the night. Now the Tathāgata-sun is not like this: it shines everywhere inside and outside, without spatial division or the distinction between day and night, being perfectly luminous and permanently abiding. If all sentient beings encounter the rising of this sun, they are able to nurture all the good roots of the Tathāgata and carry out the Tathāgata's deeds. The worldly sun cannot serve as a complete analogy, having only a fraction \[of its qualities\], and therefore the designation "mahā" is added to it. The reason the Buddha entered this samādhi is that the Buddha abides in the dharma of ultimate signlessness and quiescence; out of mahākaruṇā he abides in samādhi to enable the entire great assembly and immeasurable sentient beings to behold this wondrous dharma of the sublime great assembly of the mahākaruṇāgarbha-maṇḍala, which means manifesting signs within the signless. Although there are signs, being born of causes and conditions they are inherently unborn, identical with the dharma of pure nature; and this causes sentient beings, each according to their own conditions, to see diverse forms, hear diverse sounds, and obtain diverse dharmas, practicing in accordance with the Dharma each according to the capacity of their own mind. It is due to such great causes and conditions. Furthermore, in order to fulfill the dharmas inquired about by Vajrapāṇi and make them clear without remainder, he entered samādhi. "Equanimous attainment" (samāpatti) is the name of a samādhi. Above it says "At that time," and here it again says "at that time the Tathāgata entered samādhi"; this follows the preceding causes and conditions, and next there is this event, so it is distinguished as "at that time" (inquire further). "Equanimous attainment" means that just as all the tathāgatas of the past all rode this path to attain true awakening, so too are all the tathāgatas of the future and present: all ride this path and mount this upāya to attain true awakening; hence it is called "equanimous attainment." Just as the buddhas of the three periods of time attained true awakening, so do I; just as I now ride this path to arrive at the bodhimaṇḍa, so do all buddhas. Buddha and buddha are all equal; beginning, middle, and end are all utterly equal; hence it is called "equanimous attainment." Furthermore, like the spatial marks of the great maṇḍala shown before, as manifested by the Buddha entering samādhi, if an ācārya abides in meditative concentration to deliver disciples, they should also lay out these spatial marks without any difference, each being the universal gateway practice of the venerable ones and spiritual friends entering the dharmadhātu. If one performs this visualization to empower the disciple, it also enables them to behold such a great assembly. Making what is visualized in the inner mind and what is laid out in external matters equal and without distinction between internal and external—this is called the samādhi of equanimous attainment. Because the Buddha entered this samādhi, he enabled the great bodhisattvas such as Vajrapāṇi to have all the doubts they inquired about satisfied. The matters manifested by the Buddha within samādhi are precisely the display of their spatial arrangements and ritual applications; therefore he entered this samādhi. When that Buddha entered samādhi, those Buddha-activities were equal as follows. "Equal" means uniform, level like the palm of a hand. The so-called "level ground," speaking in terms of samādhi, means that one sees the adorned ground of the pure land to be level and uniform, free of tiles, stones, mountains, pebbles, and the like. Yet this is precisely the meaning of the pure bodhicitta: by the power of faith, the ground of the mind is leveled, removing all pebbles, stumps, and trees stored within the place of the ālaya\[vijñāna\], leaving only the ground of the essential nature of the ultimately equal and pure bodhicitta. If one can level and purify this ground, one can then accomplish the sublime adornment of the mahākaruṇāgarbha assembly of the Buddha. "Interspersed with the five jewels" means the ground is interspersed with the five jewels, such as gold and silver, gems of five colors. The "five courses" are the five jewels of white and yellow, meaning five colors; red, green, and black follow in sequence. White interspersed is discipline; yellow is faith; red is vigor; green is samādhi; black is wisdom. The previous explanation said first white, next red, next yellow; now this explanation is definitive, and the previous explanation is incorrect. From this point onward, every single adornment has its doctrinal interpretation; they are not explained here, but are matched to their respective Dharma-gateways in separate passages. However, in that place it is not only that the ground is interspersed with the five jewels to adorn the gateposts; there are also gateposts, which are the gateposts of the mahākaruṇāgarbha, making known the spatial marks of the gates to be entered. As for the "posts," these posts are precisely as depicted above. However, there are painted ones and erected ones: the painted ones are as drawn in the diagrams, while those erected as posts are also made according to these marks. The gates have pillars with crossbeams atop the pillars, marking them to be known as gates. The gates of the four directions are the four foundations of mindfulness (smṛtyupasthāna), and the posts are the four brahma-abidings (brahmavihāra). \*Niryūha\* is gate, and \*toraṇa\* is banner, which is to say, post. "Variegated colors" means not only the colors of the five directions, but further various variegated colors. These variegated banners are broad and long in form, and are atop the gateposts. A great jewel canopy covers them completely from above, as in the altar rituals. As for this canopy, the size of this canopy completely covers all buddha realms, hence it is called "great." Suspended on these posts are also white flywhisks and precious bells for adornment. Preceding were the colorful banners; the banners have precious bells, banner-whisks, and the like, and precious banners are hung together and interspersed. Also bundled with various fine colored ribbons, that is, tied in bundles, which are the variegated ribbons; robes of variegated colors are suspended and spread all around. In my personal view, this corresponds to the text's meaning of wearing garments of variegated colors. From the supreme signless dharma, such forms of the mahākaruṇāgarbha are produced, universally manifesting physical bodies, with various upāyas preaching immeasurable dharmas—this is the meaning of variegated colors. From the variegated banners onward, all are on the gateposts. "Erected" means setting up banners upon the posts. At the eight directions and corners great maṇi pillars are erected, the pillars being made of maṇi. "Pillars" refers to erecting wish-fulfilling pillars of wondrous maṇi jewels in each of the four cardinal directions and four corners. Beyond this there are also pure, wondrous bathing ponds of the eight-virtue water, serene and clear. Furthermore, in the ponds are immeasurable aquatic birds sporting freely, producing various wondrous sounds that delight everyone. Also growing are various seasonal flowers, "seasonal" meaning flowers of the six seasons manifesting each in its proper time. Not only famous flowers, but also rows of various jewel trees are arranged. "Distributed in the eight directions": "portions" means directions. Five-jewel garlands and ropes connect them. Above these eight pillars, precious ropes encircle and connect them. What is called a "garland" here is a Sanskrit term (hāra), having a different form from the garlands mentioned before: it hangs down in the shape of an upward-facing crescent moon, with precious garlands joined all around. The ground is delicate and smooth like clothing of raw silk; regarding "pleasurable tactile sensations," it is like garments of pure cotton in the Western region. Within this earth-mandala it is of such kind: extremely soft and smooth, sinking when pressed and returning to its original smoothness when the body is lifted. Being extremely delicate, it produces the highest pleasurable sensation. There are also immeasurable musical instruments filling the sky, which sound naturally without being struck in midair; their sounds are profound and wondrous, causing people to listen with delight and experience joy and happiness. Upon this laid-out and adorned ground, there further arise immeasurable mind-made seats and palaces produced in accordance with the merit of the bodhisattvas, born from the Tathāgata's resolute faith. The seats are also arranged in three tiers, according to the sequence of layout of the Mahākaruṇāgarbha-maṇḍala above. However, each arises with various differences in accordance with the pure and wondrous merits of the bodhisattvas and the five sense-pleasure instruments. To state the essence, their ranks are laid out differently, in numbers equal to the dust motes of ten worlds. These are all within the eight jewel-banner pillars, and all arise from the power of the Tathāgata's resolute faith. By the power of the Tathāgata's original vow, they are universally manifested through the samādhi of equanimous attainment. "Dharmadhātu post": the post is born from the dharmadhātu, which is the banner-mark of the dharmadhātu altar. "Post" here contains the meaning of nature (prakṛti); the Sanskrit word is polysemous, and post means nature. The essential nature of the dharmadhātu is originally and constantly pure, supremely signless, and is again adorned with the dharmadhātu. In the center is a great lotus king; this flower is identical to the dharmadhātu, universally pervasive and pure by its intrinsic nature. One should know that the Tathāgata abides therein: since the flower is equal in measure to the dharmadhātu, one should know the Buddha's body is also like this; this is the central eight-petaled flower. When the great lotus is born, the Tathāgata abides in that supreme dharmadhātu, bringing delight to sentient beings according to their inclinations and understanding. This "supreme" is the supreme dharmadhātu-body, bringing joy to sentient beings according to their resolute faith. It is of extremely subtle meaning, an essential nature most difficult to perceive, hence extremely subtle. This "supreme" means, doctrinally, what should be called nature. "According to inclination": by the power of the Buddha's original vow, for the sake of delivering all sentient beings, he manifests universally, appearing in bodies according to what each delights to see, guiding and benefiting them according to their capacities so as to bring them joy. As for "the unhindered power of that Tathāgata's limbs and parts, producing an adorned body of immeasurable bodily forms from the resolute faith of the ten powers": the Tathāgata's limbs and parts have unhindered power and indestructible power. Because the powers of all worldly gods, ṛṣis, two-vehicle śrāvakas, bodhisattvas, and others still have obstructions, because of having obstructions, whoever has superior power can destroy them. Now the Buddha's power is unhindered and indestructible, like a vajra, hence called "unhindered power." From where is this unhindered power born? One should know it is born from the Tathāgata's ten powers of knowledge. Divided into three portions—upper, middle, and lower—from the limbs and parts of the Buddha's body, diverse types of forms flow forth; even from each and every pore all types emerge, varying in diverse shapes and colors: square, round, triangular, or semicircular; blue, yellow, red, white, or black; peaceful, joyful, or wrathful forms, their numbers being immeasurable. These are precisely the various principal deities, who all sit upon seats produced by mind-made karmic resonance. From where do these ten powers arise again? They are said to arise from the Tathāgata's cultivation of the six pāramitās, ten pāramitās, and up to hundreds of thousands of millions of ineffable asaṃkhyeya pāramitās and myriad practices since immeasurable asaṃkhyeya kalpas, being nurtured by the merits of these practices. Being nurtured by merits, the body appears; it appears from the dharmakāya. Having appeared, within the great assemblies of the various worlds—"various" meaning the ten directions—not only does he manifest forms, but he also emits diverse wondrous voices, proclaiming and spreading the unfathomable, eternally quiescent, secret dharma of mantra practice, universally causing all to hear and know it. The bodhisattvas produced here each utter various vocal signs, speaking thus—that is, in verses—praising the Buddha with wondrous verses, like the praises of the assembly surging up from below. The Mahāvairocana Tathāgata still abides in samādhi; this is the Bhagavat Vairocana in the central lotus platform manifested by samādhi, displaying this from within his bodily parts. When the Buddha emits diverse forms from this lotus born of the dharmadhātu, he also emits diverse sounds from the Buddha's body to expound the wondrous Dharma. When the sūtra says "sounds," it refers to vocal signs. These sounds expound verses, which are briefly two verses. The first verse says: 'Wondrous are all the buddhas, / whose upāyas are unfathomable! / Within the nature devoid of a storehouse, / by wisdom they make it a storehouse.' The intention of this verse in praising the Buddha is: seeing the unfathomable events manifested above, it praises the Buddha's merit as exceedingly wondrous. Praising the single Vairocana is praising all tathāgatas; hence it says 'all buddhas.' Therefore one should know that the wondrous marks manifested by the Tathāgata are precisely this unfathomable activity born from the Tathāgata's great wisdom and upāya. How is it unfathomable? It means abiding in the nature devoid of a storehouse, yet being able to create what has a storehouse. 'Storehouse' in Sanskrit is \*ālaya\*, translated here as 'storehouse.' Some also say it has the meaning of mansion or dwelling: like worldly houses, all sentient beings abide therein according to their own lot; having this lair and dwelling, good and bad are stored away, and they cannot emerge on their own. The Tathāgata has already transcended such an ālaya lair, hence it is called 'nature devoid of a storehouse.' Although the Buddha is free from all storehouses, through wisdom and upāya a storehouse is produced: that is, manifesting various marks within markless dharmas, and emitting various vocal discourses within dharmas free of conceptualization, thereby using this storehouse to bring everyone to the state of having no storehouse. The second verse says: 'If one understands that which is unobtainable, / the marks of all dharmas among dharmas, / obtaining the unobtainable, one obtains it; / one attains the buddhas, the teachers.' This means that dharmatā is unobtainable and cannot be cognized; if there is a so-called 'unobtainable,' it is the meaning of emptiness; if one attains this, that is a buddha. That would be having conceptualization without a storehouse, not the Tathāgata's uninstructed wisdom. If it could be cognized, it would be a sphere of mental activity, not the ultimate paramārtha. The reason the Buddha is praised as unfathomable is that he is able to obtain that which is unobtainable and impossible to obtain. What was described above as signless yet with signs enables all sentient beings to obtain through having nothing obtained. Who obtains this dharma? The buddhas, the teachers. Furthermore, the previous verse says 'Wondrous' (\*āścarya\*); the Sanskrit word for 'wondrous' has the sound \*A\* at the very beginning. This verse has already signified the dharma. This is precisely the meaning of originally unborn (\*anutpāda\*), capable of giving birth to all dharmas, meaning that the various forms and sounds shown by the Tathāgata's body are all born from the syllable \*A\*. When he has finished emitting diverse forms, they return into the Tathāgata's limbs and parts, and again return into the Tathāgata's unfathomable dharmakāya, each entering according to the place from which it was born. Therefore the sūtra says: 'And again enters the secret, unfathomable dharmakāya of the Tathāgata.' This 'unfathomable' in Sanskrit is \*acintya\*, which also has the sound \*A\*, meaning that it emerges from \*A\* and again enters into \*A\*. These two ends, above and below, point to the two \*A\* syllables, clarifying that the arising and entering of all dharmas is identical to the substance of the dharmadhātu." > — English (machine translation) (machine translation) - [Previous: 16.31](https://indike.org/pramana/in.bauddha.taisho.1796.16.31) - [Next: 16.33](https://indike.org/pramana/in.bauddha.taisho.1796.16.33) - [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.16.32) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1796.16.32](https://indike.org/pramana/in.bauddha.taisho.1796.16.32) · Pramāṇa