大毘盧遮那成佛經疏 4.33

4.33

經云「初第一我身」，即毘盧遮那位，以五佛當共置一壇。「第二諸救世」者，即是諸佛菩薩，亦分為二位。「第三彼同等」，即是佛母也。如來名為無等，而般若波羅密與無等等，故云彼同等也。第四蓮華手，第五金剛部主，第六云不動尊，則降三世可知。此即皆是成辨諸事持明，當知舉此六位則攝一切諸尊也。如是作竟，當布列香花供養具，准同供養次第儀式。然後觀作寶蓮花臺寶王宮殿，於中敷座，座上置白蓮花臺，以阿字門轉作大日如來身，如閻浮檀紫磨金色，如菩薩像首戴髮髻猶如冠形，通身放種種色光，被綃穀衣，此是首陀會天成最正覺之摽幟也。彼界諸聖天眾，衣服輕妙乃至無有銖兩，本質嚴淨不復假以外飾，故世尊俯同其像也。若作深祕釋者，如來妙嚴之相，法爾無減，非造作所成，故不以外寶為飾。乃至十住諸菩薩，猶因承佛神力，得見加持身，其於常寂之體如在羅穀，故以為況也。閻浮金，亦是自然性淨，色又最深，明佛金剛智體最為深妙。通身放種種光，即是普門開示大慧明也。次於四方八葉之上觀四方佛，東方觀寶幢如來，如朝日初現赤白相輝之色。寶幢是發菩提心義也。譬如軍將統御大眾，要得幢旗，然後部分齊一，能破敵國成大功名。如來萬行亦復如是，以一切智願為幢旗，於菩提樹下降伏四魔軍眾，故以為名也。色如朝日，亦彼相應義也。南方觀娑羅樹王花開敷佛，身相金色普放光明，如住離垢三昧之標相。始自菩提心種子，長養大悲萬行，今成遍覺萬德開敷，故以為名。離垢，即大空義也。證此大空時，猶如真金百練垢穢都盡故，佛身相亦然。此是世間上妙之金，若比閻浮提金，則色淺而稍濁，不得如彼自然鏡徹清明，以花葉上佛從心量因緣生，故有差降也。次於北方觀不動佛，作離熱清涼住於寂定之相。此是如來涅槃智，是故義云不動，非其本名也。本名當云鼓音如來，如天鼓都無形相亦無住處，而能演說法音警悟眾生。大般涅槃亦復如是，非如二乘永寂都無妙用，故以為喻也。次於西方觀無量壽佛，此是如來方便智，以眾生界無盡故，諸佛大悲方便亦無終盡，故名無量壽。梵音爾爾，名為仁者。又以降四魔故，名為勝者。故偈具翻其義，謂之仁勝者。此二佛亦作真金色，稍閉目下視，作寂滅三昧之形，諸佛例如是也。花臺四維有四菩薩，如下文說之。其一切如來位，但觀一佛在金壇中，即同一切佛身。餘各依經中像位，皆應轉字成身，使一一明了也。凡漫荼羅轉字之法，一一諸尊皆用本種子字，或以諸餘部通用字，如三部阿娑嚩等。若恐淺行阿闍梨不能如是速疾旋轉者，但觀阿字門生無量光，光所至處即現彼尊身也。至法事夜，亦皆倣此。凡修觀行時，先當以五字持身，如供養法中說，即觀自心作八葉蓮花。阿闍梨言：「凡人污栗駄心，狀猶如蓮花含而未敷之像，有筋脈約之以成八分，男子上向、女人下向。」先觀此蓮令其開敷，為八葉白蓮花座。此臺上當觀阿字，作金剛色，首中置百光遍照王，而以無垢眼觀之。以此自加持故，即成毘盧遮那身也。以此方便觀毘盧遮那身，令與我身無二無別。而在二明王中間，名為住於佛室也。至畫漫荼羅竟時，阿闍梨移座位出檀門外，當於此佛室之位，置意所樂尊或置《般若經》，以金寶槃盛，嚴飾供養。或置所持數珠，若金剛杵、金剛鐸等。又凡欲擇治地時，當自觀心蓮花上如意寶珠內外明徹，彼諦觀察時，所有善惡之相悉於中現。阿闍梨即當以慧方便而擇治之，令得堅固平正，觀弟子心亦如是。此中深祕之趣可以意得耳。行者住於佛室，如上誰觀聖尊竟，當轉阿為嚩，金剛薩埵加持自身，奉塗香花等如法供養，皆如次第法中廣說。然後興大悲心至誠慇重，誦請白阿利沙偈，如經文也。

The sūtra says: "First, the primary [seat of] my body"—that is, the station of Vairocana, because the five buddhas are to be placed together in a single altar. "Second, the saviours of the world"—these are the buddhas and bodhisattvas, likewise divided into two stations. "Third, their peer"—this is the Mother of Buddhas. The Tathāgata is termed "unequalled", and the perfection of wisdom (prajñāpāramitā) is equal to the unequalled; hence it says "their peer". Fourth is Padmapāṇi; fifth is the lord of the Vajra section; sixth is the Holy Lord Acala, by which Trailokyavijaya is also understood. These are all the vidyādharas who accomplish all undertakings. One should know that citing these six stations subsumes all the deities. Having completed this, one should set out incense, flowers, and offering implements in accordance with the ceremonial procedure of offerings. Thereafter, one visualises a jewelled lotus dais, a palace of jewel kings, in the midst of which a seat is spread; atop the seat is placed a white lotus dais. From the syllable A gateway, one transforms into the body of Mahāvairocana, colored like purple-sheened Jāmbūnada gold, shaped like a bodhisattva with a topknot on his head resembling a crown, his entire body emitting light of various colors, clad in gossamer silk garments. This is the emblem of attaining supreme complete enlightenment in the Śuddhāvāsa Heaven. The holy celestial assemblies of that realm have light and subtle clothing weighing less than a grain; their intrinsic nature is adorned and pure without recourse to external ornaments, and therefore the Bhagavat condescends to conform to their appearance. If interpreted according to the esoteric meaning: the Tathāgata's sublime adornments are inherently without diminish by their very nature (dharmatā) and are not produced through fabrication; hence he is not adorned with external jewels. Even the bodhisattvas of the ten abodes (daśavihāra) perceive the adhiṣṭhāna body only by receiving the Buddha's divine power; with respect to the eternally quiescent body, it is as if veiled behind gossamer silk, and this serves as a metaphor. Jāmbūnada gold is also naturally pure by nature and of the deepest color, illustrating that the body of the Buddha's vajra-wisdom is supremely profound and sublime. Emitting light of various colors from the entire body is the universal gateway revealing the brilliance of great wisdom. Next, upon the eight petals in the four cardinal directions, one visualises the buddhas of the four directions. In the east, one visualises the Tathāgata Ratnaketu, resembling the color of the morning sun as it first appears, radiating red and white mingled together. "Ratnaketu" (Jewelled Banner) has the meaning of generating the bodhicitta. For example, when a general commands a great army, he must obtain a banner and flag; only then are his divisions unified, capable of defeating enemy nations and accomplishing great renown. The myriads of practices of the Tathāgata are also like this: taking the vows of all-knowledge as his banner and flag, beneath the bodhi tree he subjugated the army of the four māras; hence he is given this name. His color resembling the morning sun also has this corresponding meaning. In the south, one visualises the Buddha Kusumapuspitasuvarṇaprabhāsa (Flower-Blooming King of Sāla Trees), his bodily form being golden and radiating light everywhere, like an emblem of abiding in the stain-free samādhi. Beginning from the seed of the bodhicitta and nurturing the myriads of practices of mahākaruṇā, he now accomplishes universal awakening with all virtues blossoming; hence he is given this name. "Stain-free" is the meaning of great emptiness. When one realizes this great emptiness, it is just like genuine gold refined a hundred times with all defilements entirely eliminated; hence the Buddha's bodily appearance is likewise. This is the sublime gold of the worldly realm; compared to Jāmbūnada gold, its color is lighter and somewhat less clear, unable to equal its natural, mirror-like, transparent clarity, because the buddhas upon the petals are generated through conditions of the mental measure, so there are differences and gradations. Next, in the north, one visualises the Buddha Acala, appearing free of heat, cool, and abiding in quiescent absorption. This is the Tathāgata's nirvāṇa-wisdom; therefore, in meaning, he is called Acala (Immovable), which is not his original name. His original name should be Tathāgata Dundubhisvara (Sound of the Drum), just as a celestial drum is completely without shape and without an abiding place, yet is able to expound the sound of the Dharma to awaken sentient beings. Great parinirvāṇa is also like this: not like the eternal quiescence of the two vehicles devoid of sublime function; hence this serves as an analogy. Next, in the west, one visualises the Buddha Amitāyus. This is the Tathāgata's upāya-wisdom. Because the realm of sentient beings is inexhaustible, the mahākaruṇā and upāya of the buddhas are likewise unending; hence he is named Amitāyus (Immeasurable Life). In Sanskrit, it is spoken thus, meaning "the Benevolent One". Moreover, having conquered the four māras, he is called "the Victor". Therefore, the verse fully translates its meaning, calling him the Benevolent Victor. These two buddhas are also rendered in genuine golden color, with eyes slightly closed and looking down, presenting the form of quiescent samādhi; all buddhas are by rule like this. In the four intermediate corners of the lotus dais are four bodhisattvas, as explained below in the text. For the stations of all tathāgatas, by simply visualising a single buddha in the golden altar, it is identical to the bodies of all buddhas. The others, each relying on their iconic stations in the sūtra, should all transform the syllables into their bodies, making each and every one distinct and clear. As a general rule for the method of transforming syllables in a maṇḍala, each and every deity uses their original bīja syllable, or uses the general syllables common to the other sections, such as A, SA, VA of the three sections. If one fears that an ācārya of shallow practice cannot rotate them so swiftly, he should simply visualise the syllable A gateway generating immeasurable light; wherever the light reaches, the body of that deity instantly appears. On the night of the ritual, it is also modelled on this. When practicing the contemplative practice, one must first sustain the body with the five syllables, as explained in the ritual of offerings; one then visualises one's own mind as an eight-petalled lotus. The ācārya said: "The hṛdaya-heart of ordinary people has an appearance like an unbloomed lotus bud, bound by sinews and veins to form eight divisions; it faces upward in men and downward in women." One first visualises this lotus, causing it to blossom into an eight-petalled white lotus seat. Atop this dais, one should visualise the syllable A in a vajra color, placing within its head the King of a Hundred Lights Universally Illuminating, and view it with the immaculate eye. By this self-adhiṣṭhāna, one instantly becomes the body of Vairocana. Through this upāya, one visualises the body of Vairocana, causing it to be non-dual and without difference from one's own body. Being between the two vidyārājas is called "abiding in the Buddha's chamber". When the drawing of the maṇḍala is completed, the ācārya moves his seat outside the altar's gateway, and in this station of the Buddha's chamber, he places the deity of his preference or places the Prajñāpāramitā Sūtra, contained in a golden or jewelled dish, adorned and worshipped. Or he places the rosary he holds, a vajra pestle, a vajra bell, or the like. Furthermore, whenever one wishes to select and clear the ground, one should visualise the wish-fulfilling jewel atop the lotus of one's own mind as clear and luminous within and without; when examining it attentively, all signs of good and bad will fully manifest within it. The ācārya should then use wisdom and upāya to select and clear it, making it firm, flat, and even; he visualises the disciple's mind in the same way. The profound and esoteric import herein can be grasped through the mind. The practitioner abides in the Buddha's chamber, and having thus visualised the holy deities as above, should transform A into VA, empower his own body with Vajrasattva, and offer smeared incense, flowers, and the like in accordance with the Dharma, all as explained in detail in the manual of procedures. Thereafter, raising a mind of great compassion with utmost sincerity and gravity, he recites the verse for petitioning the ṛṣis, as in the sūtra text.