大毘盧遮那成佛經疏 6.150

6.150

阿闍梨言：「第一院東方如來鉤，乃至如來甲等，皆是毘盧遮那三昧，一一作天女形，如漫荼羅方圓以辨其色。坐白蓮臺上，手中復持蓮花，花上各以物像用為摽幟，如鉤、輪、刀、槊、商佉、鈴鐸、羂索、甲冑等，皆依本相畫之。頂相豪相、口舌牙脣等，准例推可解。如來臍於蓮上圖作連環圓好之相，如來腰亦頗旋曲如數珠鬘形，如來藏如輪王馬寶藏相不現之形。如來施願當作與願手，如來法及辨說等或持經藏或作說法手。念處十力等皆是止觀相應法，作寂然三昧之容。三昧耶當作佛頂相。如來頂相具攝一切功德。凡手中無物可為幖幟者，皆應置之。」若漫荼羅不作尊形但示祕密印者，於金剛座上作蓮華臺，臺上如前畫作幖幟。其作字漫荼羅者，經中有種子字，當如法置之；如經不載，當取梵名中最初字為種子字，或可通用阿字也。北面蓮花部諸尊，若經中不說形相者，通作紅蓮花色或淨白色如金色尊等，則依名辨之。所持印相亦如佛部中說，然用蓮花為幖幟。如蓮花輪像，當以四蓮花葉如十字之形用為輪輻，輻外作刃環圍之，蓮花刀當於蓮上置刀，刀鋒上又用蓮花以為摽幟相。金剛杵戟等皆亦如是。蓮花羂索以蓮華為兩茸，鐸則以蓮花為繫，鬘則貫穿蓮花以莊嚴身。或於所持花上置之。戴塔吉祥於頂髻上置窣堵波，或在所持花上。蓮花尊則於花上重置蓮花，寶德尊蓮花上有寶，能授一切願明王能滿一切希願，其狀非一。如觀世音手持蓮花，花上或置如意寶，隨息災、增益、降伏事，在彼相應壇中，大吉祥二手各持蓮花，水吉祥或蓮中出水或手垂出水。被鹿皮尊當以鹿皮嚴身，如梵天像。其契印漫荼羅，例同前說，通用娑字為種子也。南面金剛部諸尊，亦可依經初所列名者皆具置之，隨作方圓三角半月等壇，身色亦爾。或持一股拔折羅，或持三股五股、上下二鋒等種種金剛標相，如經中所說隨意置之。其刀斧鉤針等，皆以金剛為摽幟。刀則刃鋒柄飾皆作金剛杵端銛銳之形，羂索連鏁兩端皆如三股拔折羅像。輪以十字金剛為輻輞，利刃環遶圍之。鐸以一股金剛為上，繫十字金剛為舌，餘皆例推可解。契印漫荼羅，亦於金剛座上置白蓮花，花上各表其物。若作字漫荼羅，執金剛所統眷屬通用縛字，餘金剛通用𤙖字為種子也。第二院諸菩薩眾，若經中具載形相者，一一如其本教畫之。無文者，通用真陀摩尼印。當持蓮花，花上置如意寶，周匝焰鬘圍之。或隨彼名中義趣以表其相，如寶冠菩薩即於花上置冠，寶網菩薩則於花上置網，寶掌菩薩掌中置寶，發心轉法輪印手中持論。所有諸闕位處，皆置賢劫菩薩。其使者奉教等，皆作卑下之容。其使者操持刀捧，狀如夾門守禦。奉教者或執持於捧印或瞻仰所尊，若受指麾教勅。守護者則如守門通信有所諮白。各隨其類也。降閻摩尊是文殊眷屬，具大威勢，其身六面六臂六足，水牛為座，面有三目，色如玄雲，作極忿怒之狀。當撿文殊梵本具足圖之。凡此等諸尊，若餘經中具說形相者，亦可依彼圖畫入曼荼羅中。此諸尊，《毘盧遮那經》不載真言手印，即別出餘經者，當依彼經授與真言手印，令依此經供養次第法行之也。第三院十方佛等，各依常相圖之。若作契印，當以如來頂相，種子則以阿字。聲聞緣覺一同比丘儀式。是中緣覺小差別者，謂或有肉髻等大人之相。若契印，當用鉢袈裟錫杖等。其種子字，如經中真言所說。東方日天之前或置摩利支天女，如陀羅尼集出之。北方夜叉八將圖中𨷂少者，其形大抵相似，皆被甲冑持伽馱印，身相圓滿端正，以彼趣所求無乏常快樂自恣故也。羊耳馬耳象耳等，皆是鳩槃荼眷屬，其形不同夜叉，皆露身垂毛作非人之像，耳同畜獸。圖云持明仙者，是餘藥力等所成。悉地持明仙者，皆是專依呪術得悉地人。直言諸仙者，皆圍陀事火之類，勤修苦行成五通神仙。又有夜叉持明，是彼類中福德最勝，天趣之所攝者，與世仙又殊也。其山海河池林樹穀藥城邑道路等神，各以本名為摽幟相。山神坐山、河神在河，其樹藥等或手執持或依其上，當以義類推之。《花嚴》中更有足行神身眾神，是護諸跂行之類及護身神，亦可依次列之。西方非人趣者，當知毘盧遮那普門身中，純是雜類鬼神傍生等，圖中無別名相者多在其中，所攝最多也。路係多是赤色，辟多是黃色，訖嘌瑟拏是黑色，其青色亦是中攝，若依此方中明義，則當各別出之。訖勞是白色，皆是一類龍王，各依本色畫之。若加鄔波字者，其色稍淺。遜那鄔波遜那亦是護門大龍王，皆右手持刀、左持羂索。主年月時分神等皆作天女形，執持花枝等以為標相。若主善事者，其花亦令色相圓備。若主惡事者，則持萎萃花果等。其主六時神，亦可持六枝之花，作隨時榮落之像以表其事。主晝夜者，亦可以花敷花合明之。他皆倣此。南方苾陵吃嘌知，是摩醯首羅子，身極枯瘦。以常降伏怨敵，假使骨肉消盡要令得勝，故為此形。私謂即是《智度》所云「常修苦行割肉祀火，感生諸惡神者，所以位在南方。」其十二火天，經中略說形像。有一神闕名者，但依諸火天總相形，餘如圖中所示也。

The ācārya said: 'In the first precinct, from Tathāgata-aṅkuśa in the east up to Tathāgata-kavaca and the others, all are samādhis of Vairocana, each depicted in the form of a celestial maiden. Their colors are distinguished according to whether the maṇḍala is square or circular. They sit on white lotus seats, holding lotuses in their hands, with various objects atop the flowers serving as their insignias, such as hooks, wheels, swords, lances, conches, bells, nooses, armor, and the like, all painted according to their original forms. The uṣṇīṣa, ūrṇā, mouth, tongue, teeth, lips, and so forth, can be understood by analogy. The Tathāgata-nābhi (Navel) is drawn on a lotus in the aspect of interlocking circular perfection; the Tathāgata-kaṭi (Waist) is somewhat curved like a garland of prayer beads; the Tathāgata-garbha is in the hidden form like the horse-gem treasure of a cakravartin. Tathāgata-varaprada should make the boon-bestowing hand gesture. Tathāgata-dharma, Tathāgata-pratibhāna, and the like either hold a scripture or make the teaching gesture. The Smṛtyupasthāna, Daśabala, and so forth are dharmas corresponding to śamatha and vipaśyanā, displaying an aspect of serene samādhi. The Samaya should be made in the form of the uṣṇīṣa of a Buddha. The Tathāgata's uṣṇīṣa completely subsumes all merits. Whenever there is no object in the hands to serve as an insignia, it should always be placed there.' If the maṇḍala does not depict the forms of the deities but only shows secret seals, then a lotus throne is made on a vajra seat, and atop the throne the insignias are drawn as described before. For those making a syllable-maṇḍala, where the sūtra gives a bīja syllable, it should be placed according to the ritual; if the sūtra does not record it, the initial syllable of the Sanskrit name should be taken as the bīja syllable, or the syllable A may be universally used. For the deities of the Lotus family on the northern side, if the sūtra does not state their physical forms, they are universally rendered in the color of a red lotus or in pure white, while deities such as the golden-colored ones are distinguished according to their names. The mudrās they hold are also as explained in the Buddha family, but using lotuses as their insignias. As for the lotus-wheel emblem, four lotus petals should be used in the shape of a cross as the spokes of the wheel, surrounded on the outside by a rim of blades; the lotus-sword should have a sword placed upon a lotus, and the tip of the sword should also use a lotus as its insignia. The vajras, tridents, and so forth are all likewise. The lotus-noose has lotuses as its two tufts; the bell uses a lotus for its cord; the garland strings together lotuses to adorn the body, or they may be placed upon the flowers they hold. Stūpadharī Śrī has a stūpa placed on her topknot, or upon the flower she holds. Padmadevatā has a lotus placed on top of a lotus. Ratnaguṇā has a jewel on top of a lotus. Sarvāśāparipūraka Vidyārāja can fulfill all hopes and wishes; his forms are not just one. Like Avalokiteśvara, who holds a lotus in hand, on which a cintāmaṇi is sometimes placed—depending on the rites of pacification, enrichment, or subjugation—within that corresponding altar, Mahāśrī holds a lotus in each of her two hands. Jalaśrī either has water issuing from a lotus or water flowing from her lowered hand. Ajinadhāriṇī should be adorned with a deer skin, like the form of Brahmā. Its mudrā-maṇḍala follows the previous explanation by analogy, universally using the syllable Sa as the bīja. The deities of the Vajra family on the southern side may also be completely placed according to the names listed at the beginning of the sūtra; following the construction of square, circular, triangular, or semicircular altars, their bodily colors are likewise. They may hold a one-pronged vajra, or a three-pronged or five-pronged one, with upper and lower double points and various other vajra insignias, placed as one wishes according to what is stated in the sūtra. Their swords, axes, hooks, needles, and the like all take the vajra as their insignia. As for the sword, its blade, tip, and hilt decorations are all made in the sharp shape of the end of a vajra; both ends of the noose and chain resemble a three-pronged vajra. The wheel has a crossed vajra as its spokes and rim, surrounded by sharp blades. The bell has a one-pronged vajra on top and a crossed vajra tied as its clapper; the rest can be understood by analogy. In the mudrā-maṇḍala, a white lotus is also placed upon a vajra seat, and atop the flower each object is represented. If making a syllable-maṇḍala, the retinue governed by the Vajradhara universally uses the syllable Va, and the remaining vajras universally use the syllable Hūṃ as their bīja. As for the assembly of bodhisattvas in the second precinct, if the sūtra fully records their forms, each should be painted according to its root teaching. For those without textual description, the cintāmaṇi mudrā is universally used: they should hold a lotus with a cintāmaṇi placed on top, surrounded by a garland of flames. Or, one may represent their forms according to the meaning of their names: for instance, Ratnamukuṭa Bodhisattva has a crown placed upon the flower; Ratnajāla Bodhisattva has a net placed upon the flower; Ratnapāṇi Bodhisattva has a jewel placed in his palm; and the Cittotpādadharmacakrapravartana mudrā holds a treatise in hand. Wherever there are vacant positions, Bhadrakalpa bodhisattvas are placed. The messengers and kāṅkaras all assume humble appearances. The messengers grasp swords and clubs, looking like guards flanking the gates. The kāṅkaras either hold clubs and seals or gaze up at their lords as if receiving instructions and commands. The protectors are like gatekeepers relaying messages and making reports. Each conforms to its category. Yamāntaka is a dependent of Mañjuśrī, possessing great majesty: his body has six faces, six arms, and six legs, seated upon a water buffalo, with three eyes on each face, of a color like a dark cloud, displaying an extremely wrathful aspect. One should consult the Sanskrit text of Mañjuśrī to depict him completely. For all such deities, if other sūtras fully describe their forms, they may also be painted into the maṇḍala according to those texts. For those deities whose mantras and mudrās are not recorded in the *Vairocana Sūtra* but appear in other sūtras, one should impart the mantras and mudrās according to those sūtras, having them practiced according to the order of offering in this sūtra. The Buddhas of the ten directions in the third precinct are each painted according to their ordinary forms. If making mudrās, one should use the uṣṇīṣa of a Tathāgata, and for the bīja, the syllable A. Śrāvakas and pratyekabuddhas follow the same deportment as bhikṣus. The slight difference for pratyekabuddhas among them is that they may possess the marks of a great person, such as an uṣṇīṣa. For mudrās, one should use alms bowls, kāṣāya robes, and khakkharas. Their bīja syllables are as stated in the mantras of the sūtra. In front of Sūrya in the east, the celestial maiden Mārīcī may be placed, as found in the *Dhāraṇīsaṃgraha*. As for the eight yakṣa generals in the north who are missing in the diagram, their forms are generally similar: all wear armor and hold the gadā (club) mudrā, their physical forms being full and upright, because in that rebirth realm whatever they seek is never lacking and they are always joyful and self-indulgent. Those with sheep ears, horse ears, and elephant ears are all retinue members of the kumbhāṇḍas; their forms are unlike the yakṣas, for they all expose their bodies with dangling hair, appearing as non-humans with ears like beasts. Those called 'vidyādhara ṛṣis' in the diagram are accomplished through the power of other medicines and herbs. The 'siddhi-vidyādhara ṛṣis' are all persons who have attained siddhi by relying exclusively on incantations. Those simply called 'ṛṣis' are of the class of Vedic fire-worshippers, who diligently cultivate austerities to become ṛṣis with the five superknowledges. Furthermore, there are yakṣa-vidyādharas, who have the most supreme merit among their kind and are subsumed under the rebirth realm of the gods, differing again from worldly ṛṣis. The deities of mountains, seas, rivers, ponds, forests, trees, grains, medicinal herbs, cities, and roads each take their original names as their insignia. Mountain deities sit on mountains, river deities are in rivers, and tree or herb deities either hold them in hand or rely upon them; this should be inferred according to the class of meaning. In the *Avataṃsaka*, there are further padacāri deities and kāyika deities, who protect crawling creatures and protect the body, and they may also be listed in sequence. As for the western non-human realms, one should know that within Vairocana's universal gateway body, they are purely miscellaneous types of ghosts, spirits, animals, and so forth; those in the diagram without distinct names and forms mostly belong among them, comprising the largest number subsumed. *Rohita* is red, *pīta* is yellow, and *kṛṣṇa* is black, with blue-green also subsumed therein; if explaining their meanings according to this land, they should each be distinguished separately. *Śukla* is white; these are all of a class of nāgarājas, each painted according to its original color. If the word *upa-* is added, the color is slightly lighter. Sunda and Upasunda are also great nāgarājas who guard the gates, both holding a sword in the right hand and a noose in the left. The deities presiding over years, months, and divisions of time are all made in the form of celestial maidens, holding flowering branches as insignias. If presiding over good matters, their flowers should have their colors and forms fully perfected. If presiding over bad matters, they hold withered flowers and fruits. The deities presiding over the six periods of the day may also hold six branches of flowers, showing the appearance of blooming and falling according to the season to represent their function. Those presiding over day and night may also indicate this through opening and closing flowers. Others should all be modeled on this. Bhṛṅgiriṭi in the south is the son of Maheśvara, whose body is extremely emaciated. Because he constantly subdues enemies, desiring victory even if his flesh and bones are entirely consumed, he has this form. I privately suggest that this is what the *Prajñāpāramitopadeśa* refers to when saying: 'Those who constantly cultivate austerities, cutting their flesh to sacrifice to fire, induce rebirth as evil spirits; hence his position is in the south.' The forms of the twelve fire gods are briefly stated in the sūtra. For the one deity whose name is missing, simply follow the general form of the fire gods; the rest are as shown in the diagram.