大毘盧遮那成佛經疏 20.34

20.34

時佛受彼請故，即以真言而加持此法，如經中說也（未說句義，更問。）時諸上首菩薩等，聞佛說已，頂戴受持。已廣說摩訶毘盧遮那成菩提加持神變經竟。問前三句：一者菩提心為種子、二者大悲為根、三方便為後。今就大悲藏漫荼羅說之，為以中台為菩提心，次八葉為大悲，外三院為方便也。答云：此有二種，若有修行者因中說之，有如來之果地說之也。且如最外院八部等世天，即是前八心中從初解守齋已去，乃至受用果等也。然有善根開發與正道相應，即是大悲胎藏花臺之因也。如來以方便力而引導之，乃至令成就世間八心以來，即是外院之位。次漸漸向裏，及二乘亦在此內。次又知有勝法無上心，稍進引入第二第三，皆是大悲句也。次成佛果入中胎，即是方便句也。然此八葉及中胎五佛四菩薩，豈異身乎？即一毘盧遮那耳。為欲分別如來內證之德表示于外，故於一法界中作八葉分別說耳。且如四菩薩，東南普賢者何也？普賢者是菩提心也。若無此妙因，終不能至無上大果，故最初得名。次文殊師利者大智慧也。先發淨菩提心，如《普賢觀經》次第，乃至毘盧遮那遍一切處，常樂我淨波羅蜜等之所攝成，皆是淨菩提心也。次即說第一義空。我心自空善惡無主，觀心無心法不住法等，即妙慧也。以此第一義空之妙慧，淨彼遍一切處淨菩提心，平等慧利刃，斷無始無明根，即入菩薩正位。故雖有菩提心而無慧行，即不可成果，故次明文殊也。次西北方彌勒，即是大慈大悲，俱是第二句中之義也。以此大悲藏增長成就妙菩提樹枝條花葉，故次說彌勒也。若慧而無悲，則方便不具，則不得成菩提，不能具六度攝眾生也。次東北觀音，即是證也。證謂行願成滿，得入此花臺三昧也。若就未成果時觀之，此則差次淺深。今以如來平等慧觀，從因至果但是如來一身一智行耳，是故八葉皆是大日如來一體也。若如來但住自證之法，則不能度人。何以故？此處微妙寂絕，出過心量，說何示人耶？故漸次流出，漸入第一院，次至第二院，次至第三院。雖作如此流出，亦不離普門之身，其八部之眾皆是普現色身之境界也。若就情機而說，則三重壇從深令至淺，乃至世天真言義淺，但是應身道，方便未究竟也。若開實性，即世天真言與大日如來何相異耶？從如來，則從深至淺、從內漸外而成三重壇。從眾生，則從淺至深、從外漸內而成三重壇也。又如字義，即是此之次第也。初阿字在東方，如梵音阿字即有動首之義，以順世間法諸方中東為上故，喻菩提心最是萬行之初也，其名曰寶幢佛。次即是阿（平）字是行也。若但有菩提心，而不具修萬行，終不成果，與前四菩薩義不殊。其佛即是花開敷也。次即暗字，三菩提也。以萬行故成正等覺，其佛名阿彌陀，即西方也。次鼓音即是大涅槃，其惡字是正等覺之果，果故次說也。次即入中惡（長聲）字，是方便也。此是毘盧遮那佛本地之身花臺之體，超八葉、絕方所，非有心之境界，唯佛與佛乃能知之。為念本誓開示大悲藏，普引眾生入佛慧故，復以加持神力，普現身口意遍滿生死中，當知此即是方便也。若離方便，如來本地尚不可說，何況以示人耶？不可為諸上首等菩薩說，何況流入生死中耶？以此方便，同於大空而現眾像，當知一切大會漫荼羅皆是一身無別身也，即是普門身，即是法界身，即是金剛界身也。又菩提黃色，是金剛性。次行赤，是火義，即同文殊之義。萬行以妙慧為導，不得離慧而有作也。次成菩提白色，即是圓明究極之義，又是水義。如我昔所願，今已滿足，化一切眾生皆令入佛道，為是事故，是起大悲故也。次即是大涅槃，迹極返本，眾生有緣之薪盡則如來方便之火息，故涅槃也。佛日已隱於涅槃山，故色黑也。中心空，具一切色，即是加持世界漫荼羅普門之會，畢竟清淨無所不有也。其百字輪，所以從外向內，亦是此義。如中台者，一切本尊亦如此說。如金剛手種子va字，嚩即成五事。嚩是菩提心，vā是行，vaṃ是三菩提，vaḥ是涅槃，vāḥ是方便。所以云方便為後，是此義也。如蓮花尊亦有五事，sa娑是菩提心，sā是行，saṃ是成菩提，saḥ是涅槃，sāḥ是方便。如文殊以ma字為種子，亦有五義，ma菩提心，mā行，maṃ成菩提，maḥ涅槃，māḥ方便。餘一切尊種子字，皆亦如是廣說。以是義故，金剛手者即是大日如來，觀世音者亦是大日如來，文殊師利者亦是大日如來，乃至鬼神八部一一亦有此義，亦即是成大日如來。體雖是一，而義各異。所以《瑜伽》中云「毘盧遮那言：我即是文殊、觀音等。我即是天、即是人。即是鬼神、即是龍鳥。如是等無不即是」者，由此義也。又云「此大悲藏本尊位次等及形色各殊，為未深入瑜伽者初學之時，不正觀本尊，故佛以方便示此，令心有所緣耳。及觀成時，以法力所加故，自然恒與佛會相應，設不作念猶自明了，況加觀耶？如是時，自然真見漫荼羅也。此地者，即是淨菩提心是。已上所表，皆是大日如來法身妙莊嚴之相也。又觀音、文殊、普賢、彌勒已在八葉中，即大日如來大法身也。為度人故漸出于外，故次圖中復有文殊、觀音等，以類可解也。」又云「如八葉中，普賢是菩提心，文殊是慧，彌勒是悲，此菩提心即是大日如來，而有菩提心也。大慧即是大日如來，不離此大日如來別有慧也。悲即是大日如來，不離於大日如來別有悲也。」當知准此說之，萬德皆爾。猶如天台法身般若解脫義，若但法身主得名之類，與此相合也。問：百字輪外內，一一作如是次第，即是漫荼羅引入，漸攝至於中之義耶？答：此謂於因果也。若修行者，初發菩提心，次進行，次成正覺，次住涅槃，次起方便，即作如是次第也。若自果地而說者，即以迦字最在內，次kā行，次kaṃ菩提，次kaḥ方便最在外也。其迦字同於a阿體，即為法體之果，不作菩提心因地之說也。從法身起應，次流向外，以度眾生，猶如漫荼羅自中台出，至八部世天之位。又從外引入佛果，猶如漫荼羅從乃至八心之初，直至成菩提方便等也。云仰壤拏那麼等字，亦隨出入義，或在百字內、或在百字外也（更問）。又問就行者心中觀行，作漫荼羅大悲藏義，即以中台為菩提心，漸次向外，乃至世間天位為方便耶？答：凡進行者，有次第也。先依法持誦，作真言手印等觀於圓明，或但觀字、或但觀印，隨作一事成時，三事成也。初觀圓明亦不能見，由手印、真言及念本尊故，三業漸淨。心障淨故，即漸見圓明。若見圓明時，或於其中有本種子字宛然明著，如其形色也。若得如是見時，自心亂想息除，湛寂心常一，不為外緣所動也。既如是見，猶是外緣，次當引外向內，作如是觀察：此圓明者，即從我心而出，當知內亦復如是。夫圓明清淨，即心之體性，無別法也。猶勤方便觀察內心故，即見此圓明字唯是自心，不復外緣也。乃至若外圓中明見本尊等，如上方便。今內觀時，即是自身作毘盧遮那等本尊也。既如是與瑜伽理相應，即是隨分成就也。以瑜伽相應，所觀隨意即成。即觀此心八葉，如上方便，即於此心花臺上為漫荼羅中胎，其外八葉亦隨佛位次列布也（又云：此八葉即是大悲藏第一重也）。爾時行者觀心八葉作中胎，觀其身即是漫荼羅，從心以上為第一院，從心下至臍第二院，從臍以下為第三。世間天院、諸尊形色相好，各各差別宛然，其自身中而現對之，猶如親入佛會也。然未見諦人，猶未能如毘盧遮那作種種神變等，但是觀心成就耳。然有一事真實不虛，所謂我即是也。我即是者，決定諦信我即法界、我即毘盧遮那我即普門諸身，此事不謬。如上真言加持義中我即法界是也。又云：法身而有自在神變加持。此不足疑也。如《瑜伽金剛頂》中引數百喻，大本廣說其意，云如帝釋處在天宮中，其地一切皆瑠璃寶，外內清淨。一一天眾自居其宮室內，而見帝釋常在其宮，宛然相對。何以故？以此地等一切皆妙寶所成，遞相暉映更相引發，彼不來、此不去、亦不相和合，而緣具故如此，而實無生無所有。不可不信也。又如諸天在歡喜園放逸太甚，爾時以其宿業力故，從樹葉於中有法教之音，呵彼令住正行。爾時天等即暫止放逸，心念善行。然實一一樹葉中求不可得，亦不從天身中生、不自不他，而成此事。又如與修羅戰時，天鼓出聲安慰天眾，令發勇健之想，令修羅怖畏退散。而實此鼓無形無住處，但以諸天功德眾緣所成，皆不可思議，況法身耶？又如大梵王在本宮中，一切天眾念欲得見者，無不皆現其前。以諸天等皆知彼清淨行，又端嚴相好第一故，煩惱貪欲等心息，為生無量善願，隨分進修淨行。然梵王於本宮中，不動不搖亦不作意我當普應於彼，而各各皆現其前。皆作是念：「獨為我現，為我說法。」是等世間以少福願尚有如是不思議用，何況如來法身，而不能成就如是自在神力加持神變耶？然常途說法，或云法性、或云法身，寂靜如空無所動作，都不說具足如是力用。以為凡起神變，皆是有為之心三昧之力，而不言法體。如是此其未了也。問：漫荼羅第一院東方，唯有三角虛空眼及如意寶三事，餘空缺云何？答：如真言及手印中，如如來毫相、如來舌、如來牙、如來齒、如來臍、如來甲等，皆在此重也，當次列之。其佛頂在第三院，此中無也。問：寶幢佛是何義？答：此是菩提心也。如世軍中有幢，是眾中之軍首之標幟，咸所瞻望，進止之節莫不隨之。猶如一切萬行，皆為此菩提心也，以之為標為主，故得名也。次寶幢即云華開敷佛，何耶？自此是行義。十度萬行資菩提心，次第敷榮牙莖花葉滋榮可愛，故得名也。次花開敷云阿彌陀，何也？此是受用佛，即是成大果實受用其果，無量不思議現法之樂，皆得名也。次鼓音佛者，方便也。既得大果，是自受用而已，即普為一切眾生演之，種種方便成所作智，猶如天鼓之音無思而成事業，故得名也。又前云北方阿閦者，經誤也，此是瑜伽義，與此不相應，以鼓音佛為定也。

At that time, because the Buddha had accepted their request, he immediately empowered this teaching with mantras, as is stated in the sūtra. (The meaning of the phrases has not yet been explained; investigate further.) At that time, when all the senior bodhisattvas and others heard what the Buddha had said, they bowed their heads, received, and held it. The detailed explanation of the Mahāvairocana-abhisaṃbodhi-vikurvitādhiṣṭhāna-sūtra is completed.

Question: Regarding the previous three phrases—first, "bodhicitta is the cause (bīja)"; second, "great compassion (mahākaruṇā) is the root"; and third, "skilful means (upāya) is the culmination"—if we now explain them in terms of the mahākaruṇāgarbha-maṇḍala, is the central dais bodhicitta, the subsequent eight petals great compassion, and the outer three courts skilful means?

Answer: There are two kinds of explanation: one in terms of the practitioner's causal stage, and one in terms of the Tathāgata's fruition stage. Taking the eight classes and other worldly devas in the outermost court as an example, these correspond to the previous eight minds, from the initial understanding of observing the precepts onward, up to the mind of experiencing fruitions. When their roots of goodness unfold and harmonize with the correct path, that is the cause of the floral dais of the mahākaruṇā-garbha. The Tathāgata, by the power of skilful means, guides them until they accomplish the eight worldly minds—this constitutes the level of the outer court. Next, one gradually moves inward, and the two vehicles are also included within this. Next, knowing that there is a superior Dharma and an unsurpassed mind, one advances slightly and is guided into the second and third [courts]—these are all the phrase of great compassion. Next, accomplishing the fruit of buddhahood and entering the central womb, this is the phrase of skilful means.

Yet do these eight petals and the five buddhas and four bodhisattvas of the central womb possess different bodies? They are simply the single Vairocana! Desiring to differentiate the virtues of the Tathāgata's internal realization and express them externally, they are differentiated and spoken of as eight petals within the single dharmadhātu. For instance, regarding the four bodhisattvas, why is Samantabhadra in the southeast? Samantabhadra represents bodhicitta. Without this wondrous cause, one can never reach the unsurpassed great fruit; hence he receives his name first. Next, Mañjuśrī represents great wisdom (mahāprajñā). First, one arouses the pure bodhicitta, according to the sequence in the Samantabhadra Contemplation Sūtra, up to Vairocana's omnipresence and that which is subsumed and accomplished by the pāramitās of constancy, bliss, self, and purity—all of which are pure bodhicitta. Next, ultimate-truth emptiness (paramārthaśūnyatā) is explained: "My mind is inherently empty, good and evil have no owner; contemplating the mind, there is no mind; dharmas do not abide in dharmas," and so forth—this is wondrous wisdom. Using this wondrous wisdom of ultimate-truth emptiness to purify that omnipresent pure bodhicitta, the sharp blade of equal wisdom severs the beginningless root of ignorance (avidyā), whereupon one enters the correct stage of a bodhisattva. Therefore, though there is bodhicitta, without the practice of wisdom, one cannot accomplish the fruit; hence Mañjuśrī is clarified next. Next, Maitreya in the northwest represents great loving-kindness and great compassion (mahāmaitrī and mahākaruṇā), both being meanings within the second phrase. Because this mahākaruṇāgarbha nurtures and accomplishes the branches, leaves, and flowers of the wondrous bodhi tree, Maitreya is spoken of next. If there is wisdom without compassion, then skilful means will be lacking, one will not accomplish bodhi, and one will be unable to complete the six pāramitās and gather in sentient beings. Next, Avalokiteśvara in the northeast represents realization. Realization means that practice and vows are perfected and fulfilled, and one gains entry into this floral dais samādhi. If one views this from the perspective of when the fruit has not yet been accomplished, there is a graded sequence of shallow and deep. But if one views it now through the Tathāgata's equal wisdom, from cause to fruition it is solely the Tathāgata's single body and single wisdom-practice; therefore the eight petals are all of one identical essence with Mahāvairocana Tathāgata.

If the Tathāgata were merely to abide in the dharma of his own realization, he could not liberate people. Why? This place is wondrous, subtle, utterly tranquil, and transcends the reach of the mind; how could it be spoken of to show to people? Therefore, it gradually emanates forth, gradually entering the first court, next reaching the second court, and next reaching the third court. Although such emanation occurs, it is never separate from the body of universal gateways (samantamukha); the assemblies of the eight classes are all the realm of the body that manifests forms everywhere. If spoken in terms of beings' mental dispositions, the triple altars proceed from deep to shallow, up to the mantras of the worldly devas whose meaning is shallow, being merely the way of the transformation body, whose skilful means are not yet ultimate. But if their true nature is revealed, how do the mantras of the worldly devas differ from Mahāvairocana? From the Tathāgata's perspective, the triple altars proceed from deep to shallow and from inside gradually outward. From the perspective of sentient beings, the triple altars proceed from shallow to deep and from outside gradually inward.

Furthermore, the meanings of the syllables follow this very sequence. First, the syllable A is in the east. In Sanskrit, the syllable A carries the sense of initiating or leading; in accordance with worldly conventions, east is regarded as supreme among the directions, so it illustrates that bodhicitta is the very foremost of the myriad practices; that buddha is named Ratnaketu. Next is the syllable Ā (level tone), which represents practice. If one has only bodhicitta without fully cultivating the myriad practices, one will never accomplish the fruit; this does not differ from the meaning of the four bodhisattvas above. That buddha is Saṃpuṣpitatanu. Next is the syllable Aṃ, which is saṃbodhi. Through the myriad practices, one accomplishes equal and perfect awakening; that buddha is named Amitāyus, who is in the west. Next, Dundubhisvararāja is the great nirvāṇa; the syllable Aḥ is the fruit of equal and perfect awakening, and being the fruit, it is spoken of next. Next, one enters the center with the syllable Āḥ (long sound), which is skilful means. This is the fundamental ground body of Vairocana Buddha, the substance of the floral dais; it transcends the eight petals and surpasses all spatial locations, not being an object of the thinking mind, known only by a buddha and a buddha. Out of mindfulness of his fundamental vow to reveal the mahākaruṇāgarbha and universally guide sentient beings into the Buddha's wisdom, he again, through the power of adhiṣṭhāna, universally manifests body, speech, and mind pervading birth-and-death; know that this is precisely skilful means. Without skilful means, the Tathāgata's fundamental ground cannot even be spoken of, much less shown to people! It could not be spoken to the senior bodhisattvas and others, much less flow into birth-and-death! Through this skilful means, conforming to great emptiness, he manifests numerous images; know that the entire great assembly maṇḍala is a single body and no other body—it is the body of universal gateways, it is the dharmadhātu body, it is the vajradhātu body.

Furthermore, bodhi is yellow, which is the nature of vajra. Next, practice is red, which has the meaning of fire, corresponding to the meaning of Mañjuśrī: myriad practices take wondrous wisdom as their guide, and there can be no action separated from wisdom. Next, accomplishing bodhi is white, which carries the meaning of complete, bright perfection, and is also the meaning of water: "As I formerly vowed, it is now fulfilled, transforming all sentient beings and causing them to enter the Buddha Path; it is for this sake that great compassion arises." Next is great nirvāṇa: when traces reach their end they return to the origin; when the fuel of sentient beings' karmic conditions is exhausted, the fire of the Tathāgata's skilful means is extinguished, hence it is nirvāṇa. The Buddha-sun having sunk behind the mountain of nirvāṇa, its color is black. The center is empty and endowed with all colors; this is the adhiṣṭhāna-world maṇḍala assembly of universal gateways, completely pure, lacking nothing. The reason the hundred-syllable wheel proceeds from the outside toward the inside is also of this meaning.

As with the central dais, so it is spoken of for all deities. For instance, with the bīja syllable *va* of Vajrapāṇi, *va* generates five matters: *va* is bodhicitta, *vā* is practice, *vaṃ* is saṃbodhi, *vaḥ* is nirvāṇa, and *vāḥ* is skilful means. This is why it is said that skilful means is the culmination. Likewise, the lotus deity also has five matters: *sa* is bodhicitta, *sā* is practice, *saṃ* is accomplishing bodhi, *saḥ* is nirvāṇa, and *sāḥ* is skilful means. Likewise, Mañjuśrī takes the syllable *ma* as his bīja, which also has five meanings: *ma* is bodhicitta, *mā* is practice, *maṃ* is accomplishing bodhi, *maḥ* is nirvāṇa, and *māḥ* is skilful means. The bīja syllables of all other deities are also explained in detail in this manner. For this reason, Vajrapāṇi is Mahāvairocana, Avalokiteśvara is also Mahāvairocana, Mañjuśrī is also Mahāvairocana, and even each of the ghosts, spirits, and eight classes also possesses this meaning, and also becomes Mahāvairocana. Although their essence is one, their meanings are distinct. Therefore, the Yoga [texts] state: "Vairocana said: 'I am Mañjuśrī, Avalokiteśvara, and the like. I am the devas, I am humans. I am ghosts and spirits, I am nāgas and garuḍas. There are none among these that I am not'"—this is because of this meaning.

It is also said: "The positions, forms, and colors of the deities of this mahākaruṇāgarbha are distinct from one another because, for beginners who have not yet deeply entered yoga and do not correctly visualize the deity, the Buddha shows these through skilful means so that their minds will have an object of focus. When the visualization is accomplished, by the empowerment of the power of the Dharma, they are naturally and constantly in accord with the assembly of buddhas; even without generating a thought, it is still vivid and clear, how much more so when visualization is applied! At such a time, one naturally truly sees the maṇḍala. This stage is pure bodhicitta itself. What is symbolized above are all the wondrously adorned aspects of Mahāvairocana's dharmakāya. Furthermore, Avalokiteśvara, Mañjuśrī, Samantabhadra, and Maitreya are already present in the eight petals, which are Mahāvairocana's great dharmakāya. In order to liberate people, they gradually emerge outward; hence in the subsequent diagrams there are again Mañjuśrī, Avalokiteśvara, and others, which can be understood by analogy."

It is also said: "As in the eight petals, Samantabhadra is bodhicitta, Mañjuśrī is wisdom, and Maitreya is compassion; this bodhicitta is Mahāvairocana having bodhicitta. Great wisdom is Mahāvairocana; apart from this Mahāvairocana there is no separate wisdom. Compassion is Mahāvairocana; apart from Mahāvairocana there is no separate compassion." Know that, explained accordingly, all the myriad virtues are like this. This accords with the Tiantai teaching on the meanings of dharmakāya, prajñā, and vimokṣa, where if only the dharmakāya lord is designated by name, it matches this.

Question: The syllables of the hundred-syllable wheel follow such a sequence both outside and inside; does this mean that in the maṇḍala, one is guided and gradually gathered inward to the center?

Answer: This refers to cause and effect. If it is a practitioner: first generating bodhicitta, next advancing in practice, next accomplishing right awakening, next abiding in nirvāṇa, and next giving rise to skilful means—this follows such a sequence. If explained from the fruition stage: the syllable *ka* is at the innermost, next *kā* is practice, next *kaṃ* is bodhi, and *kaḥ* as skilful means is at the outermost. The syllable *ka* is identical in essence with *a*, constituting the fruit of the dharma-essence; it is not explained as the causal stage of bodhicitta. Manifesting transformations from the dharmakāya, it then flows outward to liberate sentient beings, just as the maṇḍala issues from the central dais and reaches the ranks of the eight classes and worldly devas. Again, guided inward from the outside to the fruit of buddhahood, it is like the maṇḍala progressing from the beginning of the eight minds straight through to the skilful means of accomplishing bodhi. The syllables *ṅa*, *ña*, *ṇa*, *na*, *ma*, and so forth also follow the meaning of egress and ingress, being either inside the hundred syllables or outside the hundred syllables. (Investigate further.)

Question: Regarding the practitioner's contemplation within their own mind on the meaning of the mahākaruṇāgarbha-maṇḍala: does one take the central dais as bodhicitta and proceed gradually outward, up to the positions of the worldly devas as skilful means?

Answer: For any advancing practitioner, there is a sequence. First, reciting in accordance with the Dharma, performing the mantras and mudrās, one visualizes the circular radiance, or simply visualizes the syllables, or simply visualizes the mudrās; whenever one of these is accomplished, all three are accomplished. At first, when visualizing the circular radiance, one cannot see it; but through the mudrās, mantras, and mindfulness of the deity, the three karmas are gradually purified. Because mental hindrances are purified, one gradually sees the circular radiance. When one sees the circular radiance, sometimes the original bīja syllable appears distinctly and vividly within it, according to its form and color. When one attains such a vision, distracted thoughts in one's mind subside, the mind is clear, calm, and constantly unified, unmoved by external conditions. Having seen this, it is still an external condition; next, one should guide the external inward, contemplating thus: "This circular radiance arises from my own mind; know that the internal is also like this." The purity of the circular radiance is the very essence of the mind, with no separate dharma. Through continuing diligent skilful means in contemplating the internal mind, one sees that this circular radiance and syllables are solely one's own mind, no longer an external condition. Furthermore, if within the external circle one clearly sees the deity and the like, through the skilful means described above, now in internal contemplation, one's own body is made into the deity, such as Vairocana. Having thus harmonized with the principle of yoga, this is a partial attainment. Because one is in harmony with yoga, whatever is visualized is accomplished at will. One then visualizes this mind as eight petals through the skilful means described above; upon this floral dais of the mind, it serves as the central womb of the maṇḍala, and its outer eight petals are also arranged according to the ranks of the buddhas. (It is also said: these eight petals are the first tier of the mahākaruṇāgarbha.)

At that time, the practitioner contemplates the eight petals of the mind as the central womb, and contemplates his own body as the maṇḍala: from the heart upward is the first court; from below the heart to the navel is the second court; from below the navel downward is the third, the court of worldly devas. The forms, features, and marks of all the deities are distinct and clear, manifesting directly within his own body, as if personally entering the buddha assembly. Yet one who has not seen the truth is not yet able to produce various supernatural transformations like Vairocana; this is merely the accomplishment of mind contemplation. However, there is one matter that is true and not false: namely, "I am precisely this." "I am precisely this" means firmly and decisively believing that I am the dharmadhātu, I am Vairocana, I am all the bodies of universal gateways; this matter is without error. This is what was referred to above in the meaning of mantra empowerment: "I am the dharmadhātu."

It is also said: that the dharmakāya possesses unimpeded supernatural transformations and empowerment (adhiṣṭhāna) is not something to doubt. As hundreds of similes cited in the Yoga-Vajraśekhara and the broad explanation of their meaning in the Great Text state: For instance, when Śakra resides in his heavenly palace, its ground is made entirely of vaidūrya gems, pure inside and out. Each of the devas, dwelling in their own palaces, sees Śakra constantly in their palace, facing them clearly. Why? Because these grounds and so forth are all composed of wondrous jewels that mutually illumine and evoke one another; he does not come, they do not go, nor do they blend together, yet because the conditions are complete, it is like this, while in reality there is no arising and nothing exists. This must not be disbelieved.

Again, it is like when the devas are excessively indulgent in the Nandana grove: at that time, by the power of their past karma, the sound of the teaching of the Dharma comes from the midst of the leaves of the trees, reproaching them to abide in correct conduct. At that time, the devas temporarily cease their indulgence and turn their minds to good conduct. Yet in reality, searching within each leaf, [the sound] cannot be found; nor does it arise from the bodies of the devas; it is neither from self nor from other, yet this matter is accomplished. Again, it is like when battling the asuras, the heavenly drum emits a sound comforting the hosts of devas, causing them to generate courageous thoughts, and causing the asuras to flee in fear. Yet in reality, this drum has no form and no dwelling place; it is simply produced by the devas' merits and numerous conditions, all being inconceivable; how much more so the dharmakāya?

Again, it is like the Great Brahmā King residing in his own palace: whenever any of the devas think of wanting to see him, he manifests before them without exception. Because all the devas know his pure conduct and his supreme, upright, and adorned marks, their defiled and lustful minds subside, generating immeasurable good vows, and they cultivate pure conduct according to their capacity. Yet the Brahmā King remains in his own palace, unmoving, unshaken, and without forming the thought, "I shall universally respond to them," yet he manifests before each of them. Each thinks: "He has manifested solely for me, preaching the Dharma for me." If worldly beings with meager merit and vows still have such inconceivable functions, how could the Tathāgata's dharmakāya not accomplish such unimpeded supernatural power, adhiṣṭhāna, and supernatural transformations (vikurvita)? Yet ordinary explanations of the Dharma either speak of the dharma-nature (dharmatā) or the dharmakāya as quiet and still like empty space, without movement or action, completely failing to speak of its possessing such power and function. They assume that whenever supernatural transformations arise, they are all the conditioned mind's power of samādhi, and do not speak of the essence of reality. This is because they have not fully understood.

Question: In the first court of the maṇḍala in the east, there are only the triangle, the space-eye (ākāśacakṣus), and the wish-fulfilling jewel (cintāmaṇi), these three items; why are the rest missing?

Answer: As in the mantras and mudrās, items such as the Tathāgata's ūrṇā, the Tathāgata's tongue, the Tathāgata's canine teeth, the Tathāgata's teeth, the Tathāgata's navel, and the Tathāgata's nails are all in this tier, and should be arranged in sequence. The uṣṇīṣas are in the third court and are not present here.

Question: What is the meaning of Ratnaketu Buddha?

Answer: This is bodhicitta. Just as in a worldly army there is a banner, which is the emblem of the vanguard of the army looked up to by all, and none fail to follow its signals of advance and retreat; similarly, all the myriad practices are for the sake of this bodhicitta, taking it as their banner and lord, hence he receives this name.

Next to Ratnaketu, why is he called Saṃpuṣpitatanu Buddha?

This represents practice. The ten pāramitās and myriad practices nourish bodhicitta, blossoming in sequence—shoots, stems, flowers, and leaves flourishing and lovely—hence he receives this name.

Next to Saṃpuṣpitatanu, why is he called Amitāyus?

This is the enjoyment (saṃbhoga) buddha, which is accomplishing the great fruit and enjoying its fruit; all immeasurable, inconceivable present dharmas of bliss receive this name.

Next, Dundubhisvararāja Buddha represents skilful means. Having attained the great fruit, this is merely self-enjoyment; he then expounds it universally for all sentient beings, with various skilful means of the kṛtyānuṣṭhānajñāna, like the sound of the heavenly drum accomplishing deeds without thought; hence he receives this name. Furthermore, the previous mention of Akṣobhya in the north was an error in the sūtra; that is a yoga meaning and does not accord with this; Dundubhisvararāja Buddha is settled as definitive.