[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) › 5.22 # 大毘盧遮那成佛經疏 5.22 大毘盧遮那成佛經疏 5.22 - **Language:** Classical Chinese ### [5.22](https://indike.org/pramana/in.bauddha.taisho.1796.5.22) 次往第二院畫釋迦牟尼。阿闍梨言：「此中第二是隱密語耳。若從中向外，當以釋迦牟尼眷屬為第三院。」今則以毘盧遮那法門眷屬為第一，釋迦牟尼生身眷屬為第二。諸菩薩在悲智之間上求下化，故為第二。所以如此互文者，此是如來密藏，為防諸慢法人不從師受者變亂經文，故須口傳相付也。於東方初門中，先置釋迦牟尼，身真金色，并具光輝卅二相，所被袈裟作乾陀色，坐白蓮花作說法之床，謂以左手執袈裟角，如今之阿育王像，右手竪指，以空水輪相持，是其摽幟也。此白蓮花，即是中台淨法界藏。世尊為令此教廣流布故，以此生身摽幟而演說之。然與本法界身無二無別，故云「住彼而說法」也。次於世尊北邊，安置佛眼，亦是釋迦牟尼佛母，此方譯為能寂母也。當作世間樂見端嚴無比之身，通身皆有圓光，喜悅微笑。此是如來出生隨類生形三昧，此三昧正以大慈普眼為體，觀察應度眾生而導利之。慈眼之光無所不遍，故云「遍體圓淨光」也。次於佛母之北，畫如來白毫相印，住蓮華中，作商佉色，身有圓光，手執蓮花如半敷之狀，內有如意寶珠。此是如來無邊福業之所集成，如《觀佛三昧》等經廣說，能滿足一切眾生願也。次於釋迦師子之南，置如來五頂，第一白傘佛頂；第二誓耶，譯為勝頂；第三微誓耶，此用多聲呼也，譯為最勝頂；第四諦殊羅施，譯云火聚頂，經云眾德者，正譯當云大分，是具大德義也；第五微吉羅拏，譯云捨除頂，是棄捨一切煩惱義，亦是摧碎義也。此是釋迦如來五智之頂，於一切功德中猶如輪王具大勢力，其狀皆作轉輪聖王形，謂頂有肉髻形，其上復有髮髻，即是重髻也。餘相貌皆如菩薩，令極端嚴歡喜，所持密印如圖也。次於東方最近北邊布列五淨居眾：第一自在天子、第二普花天子、第三光鬘天子、第四意生天子、第五名稱遠聞天子，當次第列之，其印相具如圖說。阿闍梨言：「此是五那含天子耳。過此已上，有菩薩受佛職位處，亦名淨居天，多是一生補處菩薩，是第二院所攝，非此中所明也。」此天次南毫相之右，復畫三佛頂：第一名廣大佛頂、第二名極廣大佛頂、第三名無邊音聲佛頂，其形相皆同五頂，是如來三部眾德之頂也。其五種如來頂，有五種色，所謂真金色、欝金色、淺黃色、極白色、淺白色。是中真金、欝金二色相似，然真金光淨，欝淨色稍重也。三佛頂則有三色，謂白色、黃色、赤色，此是兼具寂災、增益、降伏色。此八佛頂皆周身有光，光極廣厚。以諸瓔珞嚴身，由如來本誓願力故，悉能滿足一切願也。東南隅右列諸火天眾，住火焰中，額及兩臂各有三灰畫，即婆羅門用三指取灰自塗身象也。一切深赤色，當心有三角印在焰火圓中，左手持數珠、右手持澡瓶，此是普門之一身。為引攝火祠韋陀梵志，方便開示佛圍陀法，故示此大慧火壇淨修梵行之摽幟也。次於右方直大日之南，作焰摩法王，手執檀拏印。印相猶如棒形，上有人首作極忿怒之狀。以水牛為座，身作黑玄色。阿闍梨言：「少時當因重病困絕神識，往詣冥司，覩此法王與后同共語言，貌甚慈忍。然此檀拏印，以忿怒形撿効生來所犯，口出大光至為嚴切，及驗出家以後功業，便爾寂然不復有言。焰摩王及后，尋即降階，善言稱歎，慇懃致敬求受歸戒。因放却還。比至蘇後，其兩臂繩所繫持處猶有瘡痕，旬月方愈也。」閻摩之西作閻摩后及死后，亦是閻摩后也。東邊作黑夜神及七摩怛里，譯云七母，皆女鬼也，其形悉皆黑色。次於西南隅，畫涅哩底鬼王，執刀作可怖畏形，是護方羅剎王。嚩嚕拏，是西方護方龍王，持羂索為印也。於東方五頂之南，當畫因陀羅釋天之主，坐須彌山，天眾圍遶，首戴寶冠，身被種種瓔珞，持伐折羅。及餘諸眷屬，謂舍脂夫人及六欲天等，具如圖中所示也。釋天眷屬之南，置日天眾，在八馬車輅中，并二妃在其左右，所謂誓耶微、誓耶，譯云勝、無勝也。日天眷屬布諸執曜，盎伽在西、輸伽在東、勃陀在南、勿落薩鉢底在北、沒儞沒遮在東南、羅睺在西南、劒婆在西北、計都在東北。又於南緯之南置涅伽多，謂天狗也。北緯之北置嗢迦跛多，謂流火也。釋天眷屬之北近淨居天，置大梵王，戴髮髻冠，坐七鵝車中。四面四手，一手持蓮花、一手持數珠，已上是右手；一手執軍持、一手作唵字印，此上是左手也。印當稍屈頭指，直申餘指，側手案之而作語狀，是名淨行者吉祥印。所餘四禪諸天皆列其左，無熱等五淨居天列在其右。毘尼所謂觀淨居天被服儀式，制齊整著三衣內衣戒是也。西方近門置地神眾，次北置薩囉薩伐底，譯云妙音樂天，或曰辨才天。次北并置其妃。又次置微瑟紐，舊譯謂之毘紐，此是那羅延天也。并置商羯羅天，此是摩醯首羅，於一世界中有大勢力，非三千世界主也。經中下文更有嚕捺羅，即是商羯羅忿怒身，從事立名。又置塞健那天，即是童子天也。皆於其側置妃。阿闍梨言：「此是天眾，當於釋梵王左右序列之耳。」最西北隅，置護方風天眷屬。西門之南，與日天相對，應置月天，乘白鵝車。於其左右置廿七宿、十二宮神等，以為眷屬。次於北門，當置毘沙門天王，於其左右置夜叉八大將：一名摩尼跋陀羅，譯曰寶賢；二名布嚕那跋陀羅，譯曰滿賢；三名半只迦，舊曰散支；四名娑多祁哩；五名醯麼嚩多，即是住雪山者；六名毘灑迦；七名阿吒嚩迦；八名半遮羅及訶栗底母。功德天女，經文𨷂之，阿闍梨言：「功德天隨毘沙門合在北方，若本位亦可置在西方也。」凡此等諸大天神，皆是眾所知識，世間眾生各各隨性欲因緣宗奉供養。毘盧遮那為欲普門攝眾生故，遍一切處示同彼身，即以世間共識之摽幟為出世間祕密之摽幟。猶如帝釋之像安住妙高山王，如來因陀羅三昧亦復不移此處開出淨菩提心妙高山王。自餘法門例皆如是，不可詳說。但行者隨彼一一乘中功行成就，自當開解耳。又釋迦牟尼座下，應作忿怒持明，右邊號無能勝、左邊號無能勝明妃，並白色，持刀印，觀佛而坐其間。所云地神者，即前所說西門中地神，當捧持寶瓶虔恭長跪，其瓶中置種種水陸諸花，餘如圖說。并於通門第二重廂曲之中置二龍王，右曰難陀、左曰跋難陀，首上皆有七龍頭，右手持刀、左手持羂索，乘雲而住。此皆漫荼羅中所要，故云真言行者當以不迷惑心依次作之也。 > Next, one proceeds to the second court and paints Śākyamuni. The ācārya said: "The word 'second' here is merely an esoteric expression. If counting from the center outward, the retinue of Śākyamuni would be the third court." Now, however, the retinue of Vairocana's Dharma-gateway is regarded as the first, and Śākyamuni's retinue of the physical body is regarded as the second. The bodhisattvas, standing between compassion and wisdom to seek \[bodhi\] above and transform \[beings\] below, therefore constitute the second. The reason the text is framed reciprocally in this manner is that this is the Tathāgata's secret treasury; in order to prevent persons negligent of the Dharma who have not received it from a master from corrupting and confusing the textual transmission, it had to be handed down through oral transmission. In the first gate of the eastern direction, one first places Śākyamuni, his body pure gold in colour and fully possessing the thirty-two radiant marks, clad in a kāṣāya of gandha colour, seated upon a white lotus that serves as his preaching throne—that is, grasping the corner of the kāṣāya with his left hand like the contemporary images of King Aśoka, and with his right hand holding up his fingers, holding them together with the space and water cakras; this is his insignia. This white lotus is none other than the central terrace's treasury of the pure dharmadhātu. In order to cause this teaching to spread abroad, the Bhagavat expounds it with the insignia of this physical body. Yet it is not two and not different from the original dharmakāya; hence it says: "Abiding there, he expounds the Dharma." Next, to the north of the Bhagavat, one places Buddhalocanā, who is also the mother of Śākyamuni Buddha, translated in this land as "Mother of the Capable Sage" (Śākyamātṛ). She should be portrayed with a body incomparably dignified and delightful for worldly beings to behold, enveloped completely in a circular halo, smiling joyfully. This is the Tathāgata's samādhi of manifesting bodies in accordance with various classes of beings; this samādhi takes precisely the universal eye of great benevolence as its substance, observing the beings to be saved and guiding them to benefit. The light of the benevolent eye pervades everywhere; hence it says: "His entire body enveloped in a circular, pure halo." Next, to the north of the Mother of the Buddha, one paints the insignia of the Tathāgata's ūrṇā mark, abiding within a lotus, conch-shell white in colour, its body possessing a circular halo, holding a lotus in hand as if half-blossomed, within which is a cintāmaṇi jewel. This has been accumulated through the Tathāgata's boundless karmic merit, as expounded at length in sūtras such as the Guan fo sanmei jing, and is able to fulfill the wishes of all sentient beings. Next, to the south of the Śākya Lion, one places the five Tathāgatoṣṇīṣas: first, Sitātapatroṣṇīṣa; second, Jaya, translated as the Victorious Uṣṇīṣa; third, Vijaya—this is pronounced with a plural inflection—translated as the Most Victorious Uṣṇīṣa; fourth, Tejorāśi, translated as the Heap of Fire Uṣṇīṣa, which the sūtra calls "Possessing Myriad Virtues" (its correct translation would be "Great Share", meaning endowed with great virtues); fifth, Vikiraṇa, translated as the Abandoning Uṣṇīṣa, meaning relinquishing all afflictions, and also meaning smashing to pieces. These are the uṣṇīṣas of Śākyamuni Tathāgata's five wisdoms, possessing great power among all virtues just like a cakravartin; their forms are all made in the appearance of a cakravartin king, that is, having the form of a fleshy uṣṇīṣa upon the crown with a topknot of hair above it, which is a double topknot. Their remaining features are all like those of a bodhisattva, rendered exceedingly dignified and joyous, and the secret seals they hold are as shown in the diagram. Next, in the east, nearest to the northern edge, one arranges the retinue of the five Śuddhāvāsa \[heavens\]: first, the god Maheśvara; second, the god Samantapuṣpa; third, the god Prabhāmālin; fourth, the god Manomaya; fifth, the god Yaśaprāpta. They should be arranged in proper order, and their seals and marks are fully detailed in the diagram. The ācārya said: "These are merely the devaputras of the five anāgāmin heavens. Above this, there is the station where bodhisattvas receive the office of buddhahood, which is also called the Śuddhāvāsa Heaven; these are mostly bodhisattvas in their final rebirth, who are subsumed under the second court and not what is being clarified here." Next, to the south of these deities and to the right of the ūrṇā mark, one further paints the three Tathāgatoṣṇīṣas: the first is named Mahodgatoṣṇīṣa, the second is named Abhyudgatoṣṇīṣa, and the third is named Anantasvaraghoṣoṣṇīṣa. Their forms are all identical to the five uṣṇīṣas; they are the uṣṇīṣas of the Tathāgata's three families of myriad virtues. The five kinds of Tathāgatoṣṇīṣas have five colours: pure gold, saffron, pale yellow, bright white, and pale white. Among these, the two colours of pure gold and saffron are similar, yet pure gold is brilliant and clear, whereas the saffron colour is slightly deeper. The three uṣṇīṣas have three colours: white, yellow, and red; these combine the colours of pacification, enrichment, and subjugation. These eight uṣṇīṣas all have light surrounding their bodies, the light being extremely broad and thick. Their bodies are adorned with various necklaces, and by virtue of the Tathāgata's fundamental vow-power, they are all able to fulfill all wishes. In the southeast corner to the right, one arranges the retinue of the Agni deities, abiding amid blazing flames, with three ash marks drawn across their foreheads and each of their two arms, just like the image of Brahmins who smear their bodies with ashes using three fingers. All are deep red in colour, with a triangular seal at the heart within a fiery circle, holding a rosary in the left hand and a water jar in the right hand; this is one manifestation of the universal gateway. In order to attract and guide the Veda-observing Brahmins who make fire sacrifices, and by expedient means reveal to them the Buddha's Vedic Dharma, they manifest this insignia of the great wisdom fire altar and the pure practice of brahma-conduct. Next, on the right side directly south of Vairocana, one paints the Dharma King Yama, holding the daṇḍa seal in hand. The appearance of the seal is like a club, topped with a human head of an extremely wrathful countenance. He takes a water buffalo as his seat, and his body is dark black. The ācārya said: "When I was young, due to severe illness, my consciousness expired, and I went to the underworld. I saw this Dharma King speaking together with his queen; his expression was exceedingly benevolent and patient. However, this daṇḍa seal, in a wrathful form, investigated and verified the transgressions committed during my life, emitting great light from its mouth with utmost severity. Yet when it verified the meritorious works done after I left household life, it became completely quiet and spoke no more. King Yama and his queen thereupon descended the steps, praising me with kind words, reverently paying homage, and seeking to receive the refuges and precepts. I was thus released to return. By the time I revived, the places on both my arms bound by ropes still bore scars, which took a month to heal." To the west of Yama, one paints the queen of Yama and the Queen of Death, who is also a queen of Yama. On the east side, one paints the goddess Kālarātri and the seven Mātṛs—translated as the Seven Mothers—all of whom are female spirits, and their forms are all black in colour. Next, in the southwest corner, one paints the spirit king Nirṛti, holding a knife and assuming a terrifying form; he is the rākṣasa king guarding the direction. Varuṇa is the nāga king guarding the western direction, holding a lasso as his seal. To the south of the five uṣṇīṣas in the east, one should paint Indra, lord of the Śakra gods, seated on Mount Sumeru, surrounded by the assembly of gods, wearing a jewelled crown on his head, his body draped with various necklaces, holding a vajra. And his other retinue—namely Queen Śacī, the gods of the six desire realms, and so forth—are fully shown as in the diagram. To the south of Śakra's retinue, one places the assembly of Āditya, within an eight-horse chariot, with two consorts to his left and right, namely Jayā and Vijayā, translated as Victorious and Invincible. The retinue of Āditya is laid out with the planets: Aṅgāraka in the west, Śukra in the east, Budha in the south, Bṛhaspati in the north, Śanaiścara in the southeast, Rāhu in the southwest, Ketu in the northwest, and Dhūmaketana in the northeast. Furthermore, south of the southern latitude one places Ulkā, meaning the celestial dog; north of the northern latitude one places Ulkāpāta, meaning shooting fire. To the north of Śakra's retinue and close to the Śuddhāvāsa Heaven, one places Great Brahmā, wearing a topknot-crown, seated in a chariot drawn by seven swans. He has four faces and four hands: one hand holds a lotus and one hand holds a rosary—these are the right hands; one hand holds a kuṇḍikā jar and one hand makes the seal of the syllable OṂ—these are the left hands. For the seal, one should slightly bend the forefinger, extend the remaining fingers straight, and pressing with the hand sidewise make the gesture of speaking; this is called the auspicious seal of the pure practitioner. The other gods of the four dhyānas are all arranged to his left, and the five Śuddhāvāsa heavens such as Anātapa are arranged to his right. This is what the Vinaya refers to when it mentions observing the etiquette of the robes worn by the Śuddhāvāsa devas to institute the precept of neatly wearing the three robes and inner garments. In the west near the gate, one places the assembly of earth spirits; next to the north, one places Sarasvatī, translated as the Deva of Wonderful Music, or Deva of Eloquence. Next to the north, one also places his consort. Further next, one places Viṣṇu, formerly translated as Piniu; this is the god Nārāyaṇa. One also places the god Śaṅkara; this is Maheśvara, who has great power in a single world system, not the lord of a trichiliocosm. Further below in the sūtra text, there is Rudra, which is the wrathful body of Śaṅkara, named according to his activity. One also places Skanda, who is the Kumāra god. In all cases, consorts are placed beside them. The ācārya said: "These are assemblies of devas and should simply be arranged in order to the left and right of Kings Śakra and Brahmā." In the outermost northwest corner, one places the retinue of Vāyu, who guards the direction. South of the western gate, opposite Āditya, one should place Candra, riding a white swan chariot. To his left and right, one places the twenty-seven nakṣatras, the twelve zodiac deities, and so forth, as his retinue. Next, at the northern gate, one should place the heavenly king Vaiśravaṇa, and to his left and right one places the eight great yakṣa generals: the first is named Maṇibhadra, translated as Jewelled Virtue; the second is named Pūrṇabhadra, translated as Full Virtue; the third is named Pāñcika, formerly called Sanzhi; the fourth is named Śātāgiri; the fifth is named Himavanta, who is the dweller of the snowy mountains; the sixth is named Viśākha; the seventh is named Āṭavaka; the eighth is named Pañcala; along with Mother Hārītī. As for the goddess Lakṣmī, the sūtra text omits her; the ācārya said: "Lakṣmī, following Vaiśravaṇa, should be in the north; or in her original station, she may also be placed in the west." All of these great gods are well known to the world, and worldly beings revere and make offerings to them each according to their dispositions, desires, and karmic connections. Because Vairocana wishes to gather beings through the universal gateway, he manifests bodies identical to them in all places, taking worldly familiar insignia as insignia of supramundane secrets. Just as the image of Śakra Devendra abides on Mount Sumeru, the King of Mountains, the Tathāgata's Indra-samādhi likewise, without moving from this place, opens forth Mount Sumeru, the King of Mountains of the pure bodhicitta. The other Dharma-gateways are all similarly structured and cannot be explained in full detail. The practitioner, achieving accomplishments in each of those vehicles, will naturally attain understanding. Furthermore, beneath the seat of Śākyamuni, one should make wrathful vidyādharas: on the right side named Aparājita, on the left side named the vidyārājñī Aparājitā, both white in colour, holding knife seals, seated between them looking up at the Buddha. As for the earth spirits mentioned, they are the earth spirits at the western gate mentioned earlier; they should reverently kneel holding a jewelled vase, inside of which are placed various water- and land-grown flowers, with the rest as shown in the diagram. Moreover, within the second alcove of the thoroughfare gate, one places two nāga kings: on the right named Nanda and on the left named Upananda, both having seven serpent heads upon their heads, holding a knife in the right hand and a lasso in the left hand, abiding upon clouds. All of these are essentials within the maṇḍala; hence it says that the mantra practitioner should make them in order with an unconfused mind. > — English (machine translation) (machine translation) - [Previous: 5.21](https://indike.org/pramana/in.bauddha.taisho.1796.5.21) - [Next: 5.23](https://indike.org/pramana/in.bauddha.taisho.1796.5.23) - [Up: 5](https://indike.org/pramana/in.bauddha.taisho.1796.5) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1796~en-mt.5.22) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1796.5.22](https://indike.org/pramana/in.bauddha.taisho.1796.5.22) · Pramāṇa