大毘盧遮那成佛經疏 16.5

16.5

云復次者，由前已說之事有所不盡，更續明之，故云復次也。諦聽者，以此法轉深，祕旨要故，重戒令諦聽也。此中略說五事，謂印、色、尊位及住并三昧。印，謂手印契印也，改為形相也。色，謂本尊形相分段差別置者，謂方、圓、半月、三角之類也。尊位，謂漫荼羅中所住方位各各處所也（布置聖者位次）。住，謂本尊之像，非直綵畫，而由真言及印等所引故，來至本坐加威而住也，現威驗也。三昧，謂隨上中下分寂、忿、悅等儀相也。請本尊如法，為印及形相，配置尊位，威驗現前，住於三昧所趣（所住處為）。所住處名為趣，謂三昧趣也。要具明此五緣方。所云五趣者，趣是別別之義。由此五緣差別，故云五也。由具此五故，世及出世間所有漫荼羅皆能解了也。然此五事，乃是古昔諸佛成最正覺，先佛成三菩提也（諸佛法也），法界虛空行。法界虛空行者，由體同法界，成如來行故也。如是諸佛謂度無餘界有情本願故，為利樂安樂修真言門諸菩薩，故演說之，故令慇懃諦受也。「金剛手言：如是。世尊！唯然願聞」者，是金剛手等十世界及普賢等十世界大眾，蒙佛告勅，皆同聲白言：「唯然。世尊！願樂欲聞。」故佛更說祕密漫荼羅法也。佛言有正等覺漫荼羅，置祕密中密，無上大悲藏等名，若無量等世出世漫荼羅同者，即是如來最正覺究竟之說也。然此大悲藏生，前已說竟，何故更說？有何差別耶？然前雖說者是為祕密，更有祕中之祕。若不說此法者，即通達前法亦不得成，故為最祕要也。若解此者，一切世間諸漫荼羅悉皆同用之，無所不入也。其作法者，先作四方漫荼羅，其界唯用羯磨金剛智印周匝相連以為其道。唯安一門。其十字中又作十字金剛印，印如前作之，但以十字為異耳。其十字金剛印上作蓮華，仰而半敷，令此十字如花之狀也。其花上又安八葉之花，即如前五佛四菩薩方位也。當以心想而置九點，即是臺及八葉中各想一點也。此點即是大空之證，此成正覺義也。於此八業及中，當作方圓漫荼羅，而畫本尊之像。佛方壇，菩薩圓也。此但是行人自為己作，不令示人。若作法時，自在壇門而坐，自作灌頂等法，然後得作一切法事也。此事尤祕，但心存作之，不可形於翰墨也。又其臺上當想如上十二字真言王，令其字一一分別置於壇上也。更問：連環置耶？以何為次第耶？又云花中安子者，謂畫蓮子，或十或過減無在。

As for the words "Furthermore": because what was explained before was not completely exhausted, it is explained further here in continuation; hence it says "Furthermore." "Listen attentively": because this teaching is exceedingly deep and its secret import is essential, he admonishes them again to listen attentively. Herein are briefly stated five matters, namely: mudrā, color, holy station, abiding, and samādhi. "Mudrā" refers to the hand seals and seal marks, which are represented as shapes and forms. "Color" refers to the distinctive differentiation of the shapes and bodily marks of the principal deities. "Placed" refers to shapes such as square, round, crescent, or triangular. "Holy station" refers to the respective places of the compass directions where they abide within the maṇḍala (the arrangement of the seats of the noble ones). "Abiding" means that the images of the principal deities are not merely colorful paintings, but because they are invoked by mantras, mudrās, and the like, they arrive at their original seats, confer their majesty, and abide there, displaying majestic efficacy. "Samādhi" refers to the bodily postures and expressions—such as tranquil, wrathful, or joyous—according to superior, middling, or inferior divisions. Inviting the principal deity according to ritual, forming the mudrā and bodily shape, assigning the holy station, having the majestic efficacy manifest before one, and abiding in the destination of samādhi (the dwelling place is [the destination]). The dwelling place is called the destination, meaning the destination of samādhi. One must fully clarify these five conditions. What are called the "five destinations": destination has the meaning of distinct and separate. Because of the distinctions among these five conditions, they are called five. Because one possesses these five, one can comprehend all mundane and supramundane maṇḍalas. Moreover, these five matters are those by which the Buddhas of the past accomplished supreme right awakening—the accomplishment of saṃbodhi by former Buddhas (the Dharma of all Buddhas)—practicing throughout the space of the dharmadhātu. "Practicing throughout the space of the dharmadhātu" means that because their substance is identical with the dharmadhātu, they accomplish the conduct of the Tathāgata. Such Buddhas, by reason of their fundamental vow to deliver sentient beings of the entire world, expound this for the benefit, joy, and peace of the bodhisattvas who practice the mantra gateway; therefore, he bids them to receive it diligently and attentively. As for "Vajrapāṇi said: 'So it is, Bhagavat! Truly we wish to hear'": this means that the great assemblies from the ten world-realms of Vajrapāṇi and the ten world-realms of Samantabhadra, having received the Buddha's command, all proclaimed with one voice: "Indeed, Bhagavat! We desire and wish to hear." Therefore the Buddha further expounded the secret maṇḍala ritual. The Buddha said that there is a Samyaksambuddha maṇḍala, set as the secret within the secret, bearing names such as the unsurpassable mahākaruṇāgarbha; if it is the same as the immeasurable mundane and supramundane maṇḍalas, this is the ultimate teaching of the Tathāgata's supreme right awakening. Yet this mahākaruṇāgarbha-samudbhava was already explained earlier; why explain it again? What difference is there? Although what was explained earlier was indeed secret, there is still the secret within the secret. If one does not explain this ritual, then even if one has penetrated the former ritual, it cannot be accomplished; hence it is the most secret and essential. If one understands this, it can be applied universally to all mundane maṇḍalas, with nothing it does not enter. Its method of construction: first construct a square maṇḍala, whose boundary uses only karma-vajra wisdom-mudrās linked continuously around it to serve as its pathway. Install only a single gate. In the center of its cross, further make a crossed-vajra mudrā, the mudrā being made as before, differing only in being crossed. Above that crossed-vajra mudrā, fashion a lotus flower, upturned and half-blossomed, making this cross resemble the shape of a flower. Upon that flower, further place an eight-petaled flower, following the directions of the five Buddhas and four bodhisattvas as before. One should visualize with the mind and place nine dots, which means visualizing one dot each in the dais and in the eight petals. These dots are the realization of the great emptiness; this has the meaning of accomplishing right awakening. In these eight petals and in the center, one should construct square and round maṇḍalas and paint the forms of the principal deities. The Buddha's altar is square, and the bodhisattvas' are round. This is made solely by the practitioner for himself, not to be shown to others. When performing the ritual, he sits at ease at the gate of the altar, performs rituals such as his own abhiṣeka, and only then can he perform all ritual actions. This matter is especially secret; it should only be maintained and practiced in the mind, and must not be committed to brush and ink. Moreover, on that dais, one should visualize the king of twelve-syllable mantras as above, causing its syllables to be placed individually and distinctly upon the altar. (Inquire further: are they placed in a linked ring? What is the order?) It also says "placing seeds in the flower," which means painting lotus seeds, whether ten, more, or fewer, without restriction.