大毘盧遮那成佛經疏 8.10

8.10

此真言以初阿（去，急呼之）為體，阿是諸法本不生義，即是金剛智火之體，加三昧點是本生行金剛慧火，三昧傍有二點是涅槃義。言入此阿字門，慧行具足故，能焚除一切障蓋，得大寂涅槃也。所以為寂災真言，正在此義。復次作法時，當觀此字周匝光鬘，從火而出具備三色，本體黃白色，其三昧畫作赤色如閻浮金，傍二點黑色如劫災火。以本性白淨故有息災用，兼黃色是增益用，赤色是降伏焚燒用，黑色摧伏大障并攝召用。又此字體是方便門，當知即同大空之色，具種種事業也。復次於下文十二火中，阿字智慧火，三昧畫是行滿火，具攝召義是風燥火，具降伏義是盧醯多火，黃赤和合是沒栗拏火，兼赤黑色是忿怒火，兼備眾色是闍吒羅火。以要言之，悉備十二種用，當廣演之耳。次下諸句皆轉相釋。初句摩訶扇底，是大寂義。蘗多是逝義，言如來以此一字義故，去至本性常寂大涅槃中也。阿字體是本寂，以具三昧畫故善逝，具淨除點故涅槃，不動是處即行即到，同於大空無所不遍，故云大寂。次句扇底羯囉，是作寂義，言此字門方便滿足故，常遍十方三世，遍作普門事業成就眾生，皆令去至大寂之中，故云作寂也。次云鉢囉睒摩達磨涅若多者，鉢囉是最勝義，睒摩是證此寂，重釋前句以作寂故即是寂中之寂。所以者何？以寂畢竟不可得故常作，作畢竟不可得故常寂，一切世間不能思議，故云最勝也。達磨是法，[口*(臼/工)]若多是生。從何而生？謂即從此不思議寂業中生也。以動寂畢竟等故，從本不生句中具生根莖枝葉花菓，成菩提樹王。猶如火界能燒能養，金剛智火亦爾，用淨除點燒，三昧點養也。次云阿婆嚩薩嚩婆嚩，又是轉釋前句，故云無自性。一切自性以本性寂而從緣起，故無自性。從緣起者皆本性寂，是故為一切法自性。以此義故，妄想不生而大空生也。次云達麼三曼多鉢囉鉢多，又轉釋前句。以此義故，如來於一切法平等，謂成無上菩提。鉢囉鉢多是獲得義，以無所得故得此平等句也。餘如上釋。凡護摩時，當有種種相現，或時燒火不燃、燃或速滅、不甚熾盛，或烟起無焰、或烟甚濁，或出聲猶如驢畜等音、人不樂聞，或言不成就等，當知障礙不成之相。或烟焰中作寶瓶寶網、師子車乘等種種妙形，或聲如鍾鈴螺貝等音樂之響，或出吉祥成就之音，當知是無礙悉地之相。乃至善作護摩者，當於是中曲蒙旨授，了了具知通塞之相也。凡護摩各隨所應事業，或以寂靜、或以歡喜、或以威猛之心，所被衣服有白黃赤，當北向東向南向而坐。其漫荼羅亦有圓方三角之異，色亦可知。其護摩薪，息災用樹最上枝；增益用樹中枝；若折伏事應以樹根。若息災事，應以蘇、乳、大麥、密及乳粥，茅草之牙、軍那花、白檀香、無憂木。若增益事，應以乳粥、酪飯、蜜、乳酪粥、胡麻、天木、迴香、天門冬、龍花、諸穀等。若折伏事，應以赤白芥子或芥子油、毒藥、骨髮、諸荊蕀等有刺之木。雖經不具說，當以類推之。又隨焚蘇遍數，胡麻亦然，餘則隨意多少。最初最後皆應滿𪭜蘇護摩，諸餘法事例爾。凡息災護摩，先須作降伏法。若所用真言中有降伏義者，直爾依本而誦。若無其義，則當依法增加。用芥子等降伏相應物，作一七遍或二七遍護摩，次觀增益相應句義及其供物又作一二七遍，方乃具足作寂災法。如作增益護摩，先須作降伏法，方乃具足作增益法。其降伏護摩，一法直成，不須設前方便。當知此漫荼羅具有三種法事也。瞿醯云「灌頂了後，復當依法護摩。先用漫荼羅主真言焚蘇百遍，次當以寂靜真言用蘇密酪和飯百遍，次用胡麻百遍，方乃廣示漫荼羅。」至事畢將散時，師當自灑其身更奉閼伽，次第供養一一諸尊。次以曼荼羅主護摩八百遍，次以寂靜真言百遍，次以部心作廿一遍，次以一一諸尊真言用牛蘇各護摩七遍，然後以本持真言隨意護摩，方作解界發遣等法。或復依前作總相方便亦得。今此經中阿娑嚩三字，如〈字輪品〉所說，即是三部心真言也。若是餘時三種法事，但於檀中持誦畢已，即當出作護摩。或若作成就護摩，則須五處相直，第一本尊、第二火爐、第三所成就物、第四蘇器、第五阿闍梨座位。其所成物，先以淨葉承覆，每一取蘇等，皆以𪭜加於葉上，方迺焚之。若成就有情，當於置物之處圖畫其像，餘如上說。若為人護摩，則一一稱名方投火中。若無漫荼羅但作護摩法者，當遶鑪作一重漫荼羅，置諸尊座位，欲請諸尊供養，廣略隨意耳。蘇悉地云「護摩了已，皆當用本持真言加持淨水，以手巡遶散灑鑪中三度。須復請火天重受餘供，乃至想還本座。所殘穀蘇密酪等，總和一處用火天真言三轉持之而作護摩，重作護身護方等印，乃至解界方可發遣也。」瞿醯云「第六夜作弟子法竟，為除障故先作降伏護摩，次為自增益故以部心真言護摩，然後以寂靜真言作息災護摩。至臨作法事時，若數有不善相者，當以部母真言作息災護摩，焚蘇及薪各百遍。於作法之明日，為滿所闕乏故，更作息災護摩八百遍。」然此火法亦是支分中難事，以將除災障、增益正法威勢，是故諸為難者皆於此中伺求其便，若不一一明了，當自損傷，不可率情妄作也。

This mantra takes the initial [syllable] A (falling tone, pronounced abruptly) as its essence. A signifies that all dharmas are originally unborn, which is the very essence of the fire of vajra wisdom. Adding the samādhi dot constitutes the vajra wisdom fire of original arisen practice. The two dots beside the samādhi [dot] signify nirvāṇa. Entering this syllable A gateway, wisdom practice is complete; hence it can burn away all obstacles and hindrances, attaining great quietude nirvāṇa. The reason it is a disaster-pacifying mantra lies precisely in this meaning. Furthermore, when performing the rite, one should visualize this syllable surrounded by a garland of light emerging from the fire, fully equipped with three colors: its fundamental essence is yellowish white; its samādhi stroke is red like Jāmbūnada gold; and the two dots beside it are black like the fire at the end of the kalpa. Because its original nature is pure white, it has the function of pacifying disasters; being additionally yellow, it has the function of increasing prosperity; being red, it has the function of subjugating and burning; being black, it crushes great obstacles and performs summons. Moreover, this syllable's essence is the upāya gateway; one should know that it is identical with the color of the great emptiness, possessing diverse activities. Furthermore, among the twelve fires [explained] below, the syllable A is the fire of wisdom; the samādhi stroke is the fire of fulfilled practice; having the sense of summons, it is the wind-drying fire; having the sense of subjugation, it is the lohita fire; the blending of yellow and red is the mṛṇa fire; including both red and black, it is the wrathful fire; completely possessing all colors, it is the jaṭhara fire. In brief, it fully possesses the twelve kinds of functions, which should be broadly expounded. The subsequent phrases explain each other in turn. The first phrase, mahā-śānti, means great quietude. Gata means gone. It means that by virtue of the meaning of this single syllable, the Tathāgata has departed and arrived in the fundamentally, eternally tranquil great nirvāṇa. The essence of the syllable A is original quietude; because it possesses the samādhi stroke, he is the Well-Gone (Sugata); possessing the purification dots, he has entered nirvāṇa. Unmoving from this place, he instantly proceeds and instantly arrives, identical with the great emptiness and omnipresent; hence it is called 'great quietude'. The next phrase, śānti-kara, means 'making quietude'. It means that because this syllable gateway's upāya is fully satisfied, it constantly pervades the ten directions and the three times, universally performing the universal gateway's activities to accomplish sentient beings, causing them all to depart and enter into great quietude; thus it is called 'making quietude'. Next, praśama-dharma-nirjāta: pra is the sense of supreme; śama is the realization of this quietude, re-explaining the previous phrase: because it makes quietude, it is the quietude within quietude. Why is that? Because quietude is ultimately unattainable, it constantly acts; because acting is ultimately unattainable, it is constantly quiet. All the worlds cannot conceive of this; hence it is called 'supreme'. Dharma is phenomenon; nirjāta is 'arisen'. From where does it arise? It arises from this very inconceivable activity of quietude. Because motion and quietude are ultimately equal, from within the phrase of original unbornness, roots, stems, branches, leaves, flowers, and fruits fully arise, forming the king of bodhi trees. Just as the fire element can both burn and nourish, the vajra wisdom fire is also like this: using the purification dots to burn, and the samādhi dot to nourish. Next, abhāva-svabhāva: this again re-explains the previous phrase, hence saying 'without self-nature'. All self-natures are originally tranquil yet arise from conditions, and thus have no self-nature. Those arising from conditions are all originally tranquil, and therefore are the self-nature of all dharmas. By this meaning, false conceptualization does not arise, yet the great emptiness arises. Next, dharma-samanta-prāpta: this again re-explains the previous phrase. By this meaning, the Tathāgata is equal in all dharmas, which refers to the attainment of unexcelled bodhi. Prāpta has the meaning of 'obtained': by virtue of having nothing to obtain, he attains this phrase of equality. The rest is explained as above. Whenever performing homa, diverse signs will appear: sometimes when kindling, the fire will not burn, or having ignited, it quickly extinguishes or is not very blazing; or smoke rises without flame, or the smoke is very turbid; or it emits sounds like those of donkeys and beasts that people dislike hearing; or words of non-accomplishment and the like—one should know these are signs of obstacles and non-accomplishment. Or within the smoke and flames there form precious vases, jewel nets, lions, chariots, and various wondrous forms; or the sound is like the resonance of music from bells, handbells, and conches; or it emits sounds of auspicious accomplishment—one should know these are signs of unhindered siddhi. Up to this point, one who skillfully performs homa should, within this, receive subtle instructions and clearly and fully know the signs of success and blockage. In homa, according to each corresponding ritual, one sits facing north, east, or south with a mind of tranquility, joy, or ferocity; the clothing worn is white, yellow, or red. The maṇḍalas also differ in being round, square, or triangular, and the colors can also be known accordingly. For homa firewood, the uppermost branches of trees are used for pacifying disasters; the middle branches of trees are used for increasing prosperity; and for subjugation, tree roots should be used. For pacifying disasters, one should use ghee, milk, barley, honey, milk gruel, shoots of kuśa grass, kunda flowers, white sandalwood, and aśoka wood. For increasing prosperity, one should use milk gruel, curds and rice, honey, curd-and-milk gruel, sesame, deodar wood, fennel, asparagus cochinchinensis, nāgapuṣpa, and various grains. For subjugation, one should use red and white mustard seeds or mustard oil, poison, bones and hair, and thorny woods such as brambles. Although the sūtra does not speak of them exhaustively, one should infer them by analogy. Furthermore, following the number of times ghee is burned, sesame is also done likewise; the rest is at one's discretion in quantity. At the very beginning and the very end, homa should be performed with a ladle full of ghee; all other ritual matters follow this pattern. In all disaster-pacifying homas, one must first perform the rite of subjugation. If the mantra employed contains the sense of subjugation, one simply recites it according to the root [text]. If it lacks that meaning, one should add to it according to the rule. Using items corresponding to subjugation such as mustard seeds, one performs homa seven or fourteen times; next, visualizing the phrase meaning and offerings corresponding to increasing prosperity, one again performs it seven or fourteen times; only then does one fully perform the disaster-pacifying rite. Just as in performing a prosperity-increasing homa, one must first perform the rite of subjugation, and only then fully perform the prosperity-increasing rite. For the subjugation homa, a single rite directly accomplishes it, without needing to set up the preceding upāya. One should know that this maṇḍala fully possesses the three kinds of ritual practices. The Guhyatantra says: 'After the abhiṣeka is completed, one should again perform homa according to the rule. First, using the mantra of the lord of the maṇḍala, burn ghee one hundred times; next, using the tranquil mantra with ghee, honey, curds, and mixed rice, [burn them] one hundred times; next, use sesame one hundred times; only then extensively display the maṇḍala.' When the matter is finished and about to disperse, the master should sprinkle his own body, again offer argha, and make offerings to each of the deities in sequence. Next, perform homa eight hundred times with the lord of the maṇḍala; next, one hundred times with the tranquil mantra; next, twenty-one times with the heart of the family; next, perform homa seven times each for the respective mantras of each deity using cow ghee; thereafter, perform homa at will with the root mantra one upholds; only then perform the rites of releasing the boundary, dismissing [the deities], and so forth. Alternatively, relying on the previous general upāya is also permissible. In this present sūtra, the three syllables A, SA, and VA, as explained in the 'Chapter on the Syllable Wheel', are the heart mantras of the three families. If at other times one performs the three kinds of rituals, upon completing the recitation within the altar, one should immediately go forth to perform homa. Or if performing homa for accomplishment, five places must be aligned: first, the primary deity; second, the fire hearth; third, the object of accomplishment; fourth, the vessel of ghee; fifth, the seat of the ācārya. The object to be accomplished is first covered with clean leaves; each time ghee or the like is taken, it is placed upon the leaves with a ladle and only then burned. If accomplishing sentient beings, one should draw their image in the place where objects are set; the rest is as stated above. If performing homa on behalf of a person, one recites their name each time before casting it into the fire. If there is no maṇḍala and one only performs the homa ritual, one should draw a single-tier maṇḍala circling the hearth, arrange the seats of the deities, and invite the deities to receive offerings, extensively or briefly as one pleases. The Susiddhikara says: 'When the homa is finished, one should always use the root mantra one upholds to empower pure water, circle the hand around, and sprinkle it into the hearth three times. One must invite Agni again to receive the remaining offerings, and visualize him returning to his original seat. The remaining grains, ghee, honey, curds, and so forth are mixed together, empowered three times with the Agni mantra, and offered as homa; one again performs the mudrās of protecting the body and protecting the quarters, and only after releasing the boundary may one dismiss [the deities].' The Guhyatantra says: 'On the sixth night, when the ritual for the disciples is completed, to eliminate obstacles one first performs a subjugation homa; next, for one's own prosperity, one performs homa with the heart mantra of the family; thereafter, with the tranquil mantra one performs a disaster-pacifying homa. When approaching the performance of the ritual, if inauspicious signs occur frequently, one should use the mother mantra of the family to perform a disaster-pacifying homa, burning ghee and firewood one hundred times each. On the day after performing the ritual, to replenish whatever was lacking, one again performs a disaster-pacifying homa eight hundred times.' However, this fire rite is also a difficult matter among the components: because it is about to remove disasters and obstacles and enhance the majestic power of the true Dharma, all those who create difficulties lie in wait here seeking an opportunity. If one is not thoroughly clear on every detail, one will harm oneself; one must not act rashly based on personal whim.