大毘盧遮那成佛經疏 20.20

20.20

佛言：善哉善哉祕密主！汝能問吾如是之事。是故金剛手！極善作意，我說之，乃至願樂欲聞。以金剛手善能次第問疑，為勸未來真言行諸菩薩故，又復慰喻誡勸也。次佛言：祕密主！本尊形有三事。謂字、印、形也。形即尊形也。彼字二種，聲菩提心者，謂行者最初修行字，略有二種觀於字義：一但觀菩提心，此菩提心即是字也，謂阿迦遮吒多婆等，但舉其首。然諸字皆是也，以為初首，故云菩提心也。或觀字輪，謂以所持真言為輪形入身，如上〈持誦品〉說，或觀種子字皆是也。或不觀字但念於聲，謂上觀此聲如鈴鐸聲等次第不絕，及以此聲調出入息，如上說皆是也。已說字竟。印形亦有二種，謂有形、無形也。形即是青黃赤白等色、方圓三角等形，屈伸坐立及所住處之類也。印謂所執印，即刀、輪、羂索、金剛杵之類也。初心別緣而觀，謂先觀畫尊等。約此而觀，名為有形。後漸淳純，又以加持力故，自然而現與心相應。爾時此本尊，但從心現，不別外緣，故云無形也。私謂或可初得世三昧，見其本尊如是形、如是色、如是住處、如是坐立、如是漫荼羅中持如是印等，猶是有相，故名有形。後轉真言，宛然直見，如鏡像等不想而見，故名無形也。次本尊形有二種，謂清淨、非清淨。謂彼行者初因有相引入無相，先觀圓明佛菩薩印身。初作不見，別畫像等而觀，漸則法力所加漸得明了，尚有所障，閉目即見、開目不見，次漸開目閉目皆得明見，漸漸不加作意亦見，乃至觸身亦復無有礙，猶如目對世人等也。由此有相漸引入於清淨處，以有相故名為非淨。由此三摩呬多所等引故，住清淨處寂然無相，名為淨也。淨者是果，非淨是因，非淨謂形色印像之類也。由此非淨引而成淨，由無常之因而至常果也。私謂此三事各有二種，即行次第也。觀持真言觀於字，次觀聲漸細，次觀尊形又細，次不別緣而觀又細，次就無緣又有淨不淨及純淨也。或可橫說之，此三事各有世出世方便，故皆有二也。

The Buddha said: "Excellent, excellent, Secret Lord! You are well able to ask me about such matters. Therefore, Vajrapāṇi, pay very close attention; I shall explain it."—up to: "they wish and desire to hear." Because Vajrapāṇi was well able to ask sequentially to resolve doubts, for the sake of encouraging future bodhisattvas who practice the mantra path, [the Buddha] again comforted, instructed, and exhorted him. Next, the Buddha said: "Secret Lord, the forms of the tutelary deity comprise three things: namely, the syllable, the mudrā, and the bodily form." Bodily form means the deity's physical form. Regarding "Those syllables are of two kinds: sound and the bodhicitta": when a practitioner first cultivates the syllables, there are briefly two ways to contemplate the meaning of the syllable. First, one simply contemplates the bodhicitta; this bodhicitta is itself the syllable, referring to A, Ka, Ca, Ṭa, Ta, Pa, and so forth, merely citing the first [syllables]. Yet all syllables are [included]; because it is taken as the beginning and foremost, it is called the bodhicitta. Or, one contemplates the wheel of syllables, meaning that one makes the mantra one recites into the form of a wheel and introduces it into the body, as explained above in the "Chapter on Recitation"; or contemplating the seed syllable (bīja)—all these are of this type. Or, without contemplating the syllable, one simply concentrates on the sound, meaning, as above, contemplating this sound continuing unbroken like the sound of bells and chimes, and regulating the inhalation and exhalation of breath with this sound; as explained above, all these are of this kind. The explanation of the syllable is concluded. The forms of mudrās are also of two kinds: with form and formless. "Form" refers to colors such as blue, yellow, red, and white, shapes such as square, round, and triangular, bending, stretching, sitting, standing, and their abodes and the like. "Mudrā" refers to the attributes held, which are of the type of sword, wheel, lasso, vajra, and so forth. Initially, the beginner contemplates by taking a separate object of focus, meaning first contemplating a painted image of the deity and the like. Contemplating based on this is called "with form." Later, as it gradually becomes pure and unified, and moreover by the power of adhiṣṭhāna, it appears spontaneously in resonance with the mind. At that time, this tutelary deity manifests solely from the mind without relying on external objects; therefore it is said to be "formless." In my personal opinion, it may also be that when one first attains worldly samādhi, one sees the tutelary deity with such a form, such a color, such an abode, such a sitting or standing posture, and holding such a mudrā within such a maṇḍala—this still has characteristics, so it is called "with form." Later, as one turns the mantra, one sees it clearly and directly, like an image in a mirror, seen without conceptual thought; hence it is called "formless." Next, the bodily forms of the tutelary deity are of two kinds: pure and impure. This means that initially, through what has characteristics, the practitioner is guided into the formless; first one contemplates the circular, bright mudrā-body of the Buddha or bodhisattva. When first doing so, one does not see it, so one contemplates based on a separate painted icon and the like; gradually, through the adhiṣṭhāna of the power of the Dharma, it gradually becomes clear. Still there are obstacles: closing the eyes one sees it, but opening the eyes one does not see it. Next, gradually, whether opening or closing the eyes, one sees it clearly in both cases. Gradually, without applying intentional effort, one still sees it, to the point that touching the body is likewise without obstruction, just as when facing worldly people with one's eyes. From these characteristics one is gradually led into the pure state. Because it has characteristics, it is called "impure." Being led equally by this samāhita, one abides in the pure state, tranquil and formless; this is called "pure." The pure is the fruit, and the impure is the cause; "impure" refers to the category of physical colors, mudrās, and images. Guided by this impure, the pure is accomplished; from an impermanent cause one arrives at the permanent fruit. In my personal opinion, these three things each have two kinds, which constitutes the sequence of practice. In reciting the mantra, one contemplates the syllable; next, contemplating the sound is subtler; next, contemplating the bodily form of the deity is subtler still; next, contemplating without a separate object of focus is yet subtler; next, within having no object of focus, there are also the pure, the impure, and the completely pure. Or, to explain it broadly, these three things each have worldly and supramundane upāya; hence they all have two kinds.