大毘盧遮那成佛經疏 5.24

5.24

經中次說第三院菩薩眷屬，當釋迦之內正東門中，畫文殊師利，身欝金色，頂有五髻，作童子形。左持泥盧鉢羅，是細葉青蓮花，花上有金剛印。極熙怡微笑，坐白蓮花臺。此其祕密摽幟也。阿闍梨言：欝金即是閻浮金色，用表金剛深慧。首有五髻者，為表如來五智久已成就，以本願因緣故，示作童真法王子形。青蓮是不染著諸法三昧，以心無所住故，即見實相金剛智印能以常寂之光遍照法界。所以坐白蓮者，意明不異中胎藏也。文殊北邊，當畫光網童子菩薩，身真金色，執持寶網，以種種瓔珞莊嚴，坐寶蓮花中。文殊持無相之妙慧，而光網持萬德莊嚴，如《智度》所說，以鹽調和諸食，倍增其味而不可空噉。故行人失般若方便，單修空慧則墮斷滅中；純修福德，則墮有所得中。所以觀佛長子者，意在此也。次作文殊五使者：一名髻設尼、二名優波髻設尼、三名質多羅、四名地慧、五名請召，於妙吉祥左右次第列之，蓋各持文殊一智也。髻設尼，是髮端嚴義。鄔波，是其亞者。文殊以五髻徵表五智，故此使者亦以美髮為名。質多羅，是雜色義。其五使者下，各作一奉教者，皆跪向使者，如承受音告之形。悉是文殊三昧，故經云「侍衛無勝智」也。次於第二重，大日如來左方，畫除蓋障菩薩。西方俗法，東向而治故，以東為初方、南為右方、西為後方、北為勝方。今此漫荼羅壇門向西故，當大日左方也。圖中除蓋障菩薩，左手持蓮華，華上置摩尼寶珠，右作施無畏手。此菩薩及諸眷屬，皆是大慈悲拔苦除障門。正以此菩提心中如意寶珠，施一切眾生無畏，滿其所願也。經云「捨於二分位，當畫八菩薩」者，謂除蓋障之側當作二使者，然後如其次第置八菩薩。凡列諸眷屬，皆令最初者在右、第二者在左、第三復在右、第四復在左，如是一左一右次第置之。今於此八菩薩中，先以除疑怪在除蓋障之右，施一切無畏在左。次復以除一切惡趣在除疑怪之右，以救意慧在施無畏之左。次復以悲念菩薩在除惡趣之右，以慈起菩薩在救意慧之左。次復以除一切熱惱在悲念之右，不可思議慧在慈起之左。諸餘位布，例。皆效此也。次於北方畫地藏菩薩，於種種間飾雜寶莊嚴地上，以金銀、頗胝、水精、四寶為蓮花座，亦令窮極巧麗。其菩薩在花座上，光焰周遍其身，如在胎藏，故云處於焰胎也。此聖者，主持寶王心地中性起功德無邊寶藏，故其摽幟以一切珍奇雜寶綺錯莊嚴也。其餘眷屬菩薩，義亦同之。當於地藏之右置寶處菩薩，地藏之左置寶掌菩薩，次於寶處之右置持地菩薩，寶掌之左置寶印手菩薩，持地之右又置堅固意菩薩。如是上首諸尊，又各各於其左右畫諸眷屬以自圍遶也。次於西方畫虛空藏菩薩，被鮮白衣，左手持蓮花，花上有大刀印，刀印上遍生焰光，及諸眷屬皆坐正蓮花上。此菩薩持如來等虛空慧，所以持大刀者，利慧之摽幟也。被服白衣，明白淨無垢，是其教門外飾也。譬如虛空，無所分別亦無積集，而世間萬像依之以生。今此法門亦爾，於畢竟空中出生不思議自在之用無有窮盡，如《大集虛空藏經》中廣明，故名虛空藏也。此中法門眷屬，所謂虛空無垢菩薩、虛空慧菩薩、清淨慧菩薩、行慧菩薩、安慧菩薩，亦如前次第左右列之。所以皆云等者，明此上首諸尊復各有無邊眷屬也。其形相皆如圖說。此偈末云「略說大悲藏，漫荼羅位」竟，此二句是傳度者以義結之，非經中本文也。如上所說，菩提心為因、大悲為根、方便為究竟者，即是心實相花臺大悲胎藏開敷，以大悲方便現作三重普門眷屬，以是義故名為大悲胎藏漫荼羅也。如於一世界中普現六趣隨類之身，於一切世界中亦復如是，於彼彼眾同分中最為上首，其所說法亦於彼法之中微妙第一。復由此義，普能攝受無盡眾生，故毘盧遮那名為法界王也。今此上首諸尊，同共集會印持如是法，故彼一切同類眾生各各生希有心言：「我之所尊，無與等者。」亦復在此眾中，當知此法甚為希有。以生希有心故，隨於一切法界門而種善根，乃至長夜興不善根欲破壞正法者，既至道場，見彼所宗奉大天，又蒙不思議法食之施，惡心即滅棄捨魔事，或生一念隨喜之心，以生一念淨心故，便可於中開出大悲胎藏漫荼羅也。復次此漫荼羅種種法門雖同一法界，然其功用淺深各有差別。如一地所生一雨所潤，然諸藥草性分不同。若醫王觀之，則知如是藥草，於某病中非對治所宜，然於某病則勢力珠勝。若於此等普門方便中一一分別不謬，乃堪作大阿闍梨也。十萬偈大本中，彼諸聖尊各自宣說自所通達法界門、種種異方便法。今此略本，但舉其普通趣道之要法耳。若行者如法修行不虧法則，蒙不思議加被時，自當曲示方便，無所不通也。阿闍梨言：「凡行者不住瑜伽，不合為人建立漫荼羅也。」初欲畫時，先用字門轉作諸尊，座位形色性類一一相應，即觀如是大悲藏即是我身，方起手畫之。如是深行阿闍梨，必則於一切時常不離如是佛會也。畫了作法事時，如法次第起金剛地，觀此寶王宮殿在須彌山頂，所有一一莊嚴皆如下品中說。如是明了已，方可請召也。

The sūtra next speaks of the retinue of bodhisattvas of the third precinct. In the eastern gate directly within that of Śākya, paint Mañjuśrī, his body of saffron-gold color, with five topknots on his head, in the form of a youth. In his left hand he holds a nīlotpala, which is a fine-petaled blue lotus, upon which is a vajra seal. He has an exceedingly gentle and delightful smile, seated upon a white lotus pedestal. These are his secret symbolic emblems. The ācārya said: Saffron is Jambū-gold, used to represent profound vajra wisdom. That his head has five topknots signifies that he has long since perfected the five wisdoms of the Tathāgata, and due to the conditions of his fundamental vow, he manifests in the form of a youthful Kumārabhūta Prince of the Dharma. The blue lotus is the samādhi of non-attachment to phenomena; because the mind has no abode, he immediately perceives the vajra wisdom seal of dharmatā, able to illuminate the dharmadhātu with constant tranquil light. That he sits upon a white lotus signifies that he is not distinct from the central womb-garbha. To the north of Mañjuśrī, one should paint the bodhisattva Jālinīprabha Kumāra, his body of true gold color, holding a jeweled net, adorned with various necklaces, seated within a jeweled lotus. Mañjuśrī holds markless wondrous wisdom, while Jālinīprabha holds the adornment of myriad virtues. As explained in the Da zhidu lun, when salt is used to season various foods, it multiplies their flavor, yet it cannot be eaten alone. Therefore, if a practitioner loses the upāya of prajñā and practices empty wisdom alone, he falls into annihilationism; if he exclusively cultivates meritorious virtues, he falls into [the clinging to] attainment. Therefore, visualizing the Buddha's eldest son carries this meaning. Next, paint the five messengers of Mañjuśrī: the first is named Keśinī, the second Upakeśinī, the third Citrā, the fourth Vasumatī, and the fifth Ākarṣaṇī. Array them in order to the right and left of Mañjuśrī; they each maintain one of Mañjuśrī's wisdoms. Keśinī means ‘hair of fine adornment.’ Upa means ‘secondary to it.’ Mañjuśrī uses the five topknots to symbolize the five wisdoms, hence this messenger is also named after beautiful hair. Citrā means ‘variegated color.’ Below these five messengers, paint one kāṅkara beneath each, all kneeling facing the messengers in the posture of receiving their verbal commands. All of these are samādhis of Mañjuśrī; hence the sūtra says: “Surrounding and guarding the Invincible Wisdom.” Next, in the second tier, to the left of Mahāvairocana Tathāgata, paint Sarvanīvaraṇaviṣkambhin Bodhisattva. In western worldly customs, governance is conducted facing east; therefore, east is the primary direction, south is the right, west is the rear, and north is the superior direction. Now, since the gate of this maṇḍala altar faces west, it corresponds to the left of Mahāvairocana. In the diagram, Sarvanīvaraṇaviṣkambhin Bodhisattva holds a lotus in his left hand, upon which is placed a cintāmaṇi jewel, while his right hand forms the gesture of granting fearlessness. This bodhisattva and his entire retinue are the gateway of great compassion that uproots suffering and eliminates hindrances. It is precisely by means of this wish-fulfilling jewel of bodhicitta that he bestows fearlessness upon all sentient beings and fulfills their wishes. Regarding the sūtra's statement: “Setting aside two positions, / One should paint eight bodhisattvas”: this means that beside Sarvanīvaraṇaviṣkambhin one should paint two messengers, and then arrange the eight bodhisattvas in proper sequence. Whenever arraying the various retinues, always place the first on the right, the second on the left, the third on the right again, and the fourth on the left again, placing them in this alternation of left and right. Now, among these eight bodhisattvas, first place Sarvaśokāpagata to the right of Sarvanīvaraṇaviṣkambhin, and place Sarvābhayaprada to his left. Next, place Sarvāpāyajaha to the right of Sarvaśokāpagata, and place Trāṇāśayamati to the left of Sarvābhayaprada. Next, place Karuṇāmṛdita Bodhisattva to the right of Sarvāpāyajaha, and Maitryabhyudgata Bodhisattva to the left of Trāṇāśayamati. Next, place Sarvadāhapraśamita to the right of Karuṇāmṛdita, and Acintyamati to the left of Maitryabhyudgata. The arrangement of the remaining positions follows this example in all cases. Next, in the north, paint Kṣitigarbha Bodhisattva upon ground adorned with varied ornamentation and mixed jewels, with a lotus seat fashioned from the four treasures of gold, silver, sphatika, and crystal, also making it exquisitely beautiful. This bodhisattva is upon the flower seat, with blazing light fully encompassing his body as if within a womb; hence it says: “dwelling in an embryo of flames.” This holy one presides over the boundless treasure-store of virtue arising from the essential nature within the mind-ground of the jewel king; hence his symbolic emblem is richly adorned with all precious and wondrous gems. The remaining bodhisattvas of his retinue share the same meaning. To the right of Kṣitigarbha, place Ratnākara Bodhisattva; to the left of Kṣitigarbha, place Ratnapāṇi Bodhisattva; next, to the right of Ratnākara, place Dharaṇīṃdhara Bodhisattva; to the left of Ratnapāṇi, place Ratnamudrāhasta Bodhisattva; to the right of Dharaṇīṃdhara, place Dṛḍhadhyāśaya Bodhisattva. In this way, each of these foremost deities also has various attendants painted to their left and right to encircle them. Next, in the west, paint Ākāśagarbha Bodhisattva wearing pure white garments, his left hand holding a lotus upon which is the seal of a great sword, from which blazing rays of light emanate everywhere, he and all his retinue seated upon upright lotuses. This bodhisattva maintains the Tathāgata's space-like wisdom; that he holds a great sword is the symbolic emblem of sharp wisdom. Wearing white robes signifies pure, clean, and stainless [nature], which is the outer adornment of his teaching gateway. Just as empty space neither discriminates nor accumulates, yet the myriad phenomena of the world arise in reliance upon it, so too is this Dharma gateway: within ultimate emptiness, it gives rise to inconceivable and unobstructed functions without end, as extensively explained in the Gaganagañja Sūtra; hence he is named Ākāśagarbha. His retinue of the Dharma gateway includes the bodhisattvas Gaganāmala, Gaganamati, Viśuddhamati, Cāritramati, and Sthiramati, who are also arrayed in order to the right and left as before. The reason they all say “and so forth” is to show that these foremost deities each have boundless retinues as well. Their physical forms are all as explained in the diagrams. At the end of these verses it says: “This completes the brief explanation / Of the layout of the Mahākaruṇāgarbha-maṇḍala”; these two lines were concluded conceptually by the transmitter, and are not the root text of the sūtra. As stated above, with bodhicitta as the cause, mahākaruṇā as the root, and upāya as the culmination, the flower pedestal of the mind's dharmatā—the mahākaruṇāgarbha—blossoms forth, manifesting through the upāya of mahākaruṇā as the threefold universal retinue; for this reason it is named the Mahākaruṇāgarbha-maṇḍala. Just as in a single world he universally manifests bodies corresponding to each category among the six destinies, so too does he do so throughout all worlds, being the foremost among each of those species, and the Dharma he preaches is likewise the most subtle and supreme among those teachings. Furthermore, by this principle, he is universally able to gather in endless sentient beings; therefore Vairocana is called the King of the Dharmadhātu. Now these foremost deities assemble together to seal and uphold this Dharma, causing all sentient beings of corresponding kinds each to give rise to a sense of wonder, saying: “The one whom I revere has no equal.” Seeing that they are also present within this assembly, one should know that this Dharma is extremely rare. Because they give rise to this sense of wonder, they plant good roots in accordance with every dharmadhātu gateway. Even those who have fostered bad roots throughout the long night wishing to destroy the true Dharma, once they arrive at the bodhimaṇḍa and behold the great devas they revere, and receive the gift of inconceivable Dharma food, their evil minds will immediately perish, they will abandon demonic activities, or give rise to a single thought of joyful approval; because they give rise to a single pure thought, the Mahākaruṇāgarbha-maṇḍala can be unfolded within them. Furthermore, although the various Dharma gateways of this maṇḍala share the same dharmadhātu, their functions differ in depth and shallowness. Just as they grow from one ground and are nourished by one rain, yet the properties of medicinal herbs differ: when a king of physicians observes them, he knows that such a medicinal herb is unsuitable as an antidote for a certain illness, yet possesses extraordinary power for another. If one can distinguish among these universal upāyas one by one without error, only then is one qualified to be a great ācārya. In the great hundred-thousand-verse text, those holy deities each expound the dharmadhātu gateways they have realized and their various distinct methods of upāya. This present abbreviated version merely raises the essential methods of universally advancing toward the path. If the practitioner practices according to the Dharma without violating the regulations, when receiving inconceivable adhiṣṭhāna, [the deities] will naturally reveal upāya in all details, leaving nothing uncomprehended. The ācārya said: “Whenever a practitioner does not abide in yoga, he is not permitted to establish a maṇḍala for others.” When first wishing to paint it, one first transforms the syllables into the deities, each corresponding in seat, form, color, and disposition, visualizing: “This Mahākaruṇāgarbha is my very body”; only then does one set one's hand to painting it. An ācārya of such profound practice will certainly never be separated from this assembly of Buddhas at all times. When the painting is completed and the rituals are performed, one establishes the vajra ground in accordance with the Dharma and sequence, visualizing this jewel king's palace upon the summit of Mount Sumeru, with every single adornment being as explained in the lower chapter. Having clearly realized this, only then may one summon [the deities].