大毘盧遮那成佛經疏 8.3

8.3

經云「或以心供養，一切皆作之」者，如世尊說諸供養中心最為上，如前一一供物，皆當運心遍及法界，以真言祕印持之，如供養次第中廣說。或觀大寶樹王遍覆一切世界，如《花嚴》菩提樹王之相具足莊嚴，隨一一所須受用之具，悉於中出無有窮盡，遍至一切賢聖前，廣大供養并普濟一切眾生。如是運心已，當用虛空藏轉明妃加持，自然隨意成就也。次說吉祥瓶法，當用金銀等寶。乃至無者，應以瓷或淨瓦為之，極令圓滿端正又不洩漏。如《毘尼》中方便觀漉淨水盛滿其中。內五寶五穀五藥，於瞿醯中說之。然此五藥，夫皆出五天，此方不能遍有也。取如前所說諸塗香末和水，兼置龍腦、牛黃。於瓶口捽以寶花，或隨方土所有名花，取其花果條葉茷好圓具者，使間錯垂布令極端嚴。以彩繒纏頸，并繫花鬘，塗以眾香。結護作淨方便，亦如供養次第中說。中胎藏當安五瓶，最中大日瓶安在花臺，餘置外花蘃中。凡獻中胎食時，四佛四菩薩各隨本座在花臺內。奉毘盧遮那者，置花臺前也。若有力者，於一一尊所皆置一瓶。如不能爾，隨內外方於上首諸尊處置之。其四門處各置二瓶，四角各置一瓶，通門外別有一瓶，用降三世真言印加持之。擬出入時灑身自護，及召弟子入時亦用灑之。護摩處又別置一瓶，大略可百餘瓶者也。經云六瓶者，是最少之限。當於中胎四方各置其一，其門外一瓶必定不得闕之。若用十八瓶者，中胎置一瓶，第二院大勤勇處、蓮花、金剛類主及門凡四瓶，第二院四大菩薩，謂文殊等各置一。瓶外院四門四角及門外。者用之適足。所欲受灌頂者若多，各隨人數令造一瓶，不得闕少也。如香水瓶者，諸閼伽器亦然，當用金銀白瑠璃等為垸，乃至商佉熟銅石木，或以樹葉新瓦，盛眾香水置諸名花，如前所置瓶處亦一一置之。又當於諸尊處各奉淨衣，如前所說，上首諸尊亦准獻食法倍增已，故云各奉兼服。若不能辦者，但於上首諸尊處置之。或以箱篋隨其所有，置在中胎院內，運心供養一切諸尊。凡獻中胎供具，當置胎外一重空界中。若獻無名諸尊，當置三重界緣之內。又供養時，先當奉閼伽水，次獻塗香，次獻花燒香飲食，後獻燈明，經文先後不次也。復次若深祕釋者，塗香是淨義，如世間塗香，能淨垢穢息除熱惱。今行者以等虛空閼伽洗滌菩提心中百六十種戲論之垢，以住無為戒塗之，生死熱惱除滅得清涼性，故曰塗香。所謂花者，是從慈悲生義。即此淨心種子於大悲胎藏中萬行開敷，莊嚴佛菩提樹，故說為花。燒香是遍至法界義。如天樹王開敷時，香氣逆風順風自然遍布。菩提香亦爾，隨一一功德，即為慧火所焚、解脫風所吹，隨悲願力自在而轉普熏一切，故曰燒香。飲食是無上甘露，不生不死之味，若服此果德成熟，更無過上味，時即名入證，故說為食。所謂燈者，是如來光明破暗之義，言至果地時心障都盡，轉無盡慧遍照眾生，故說為燈，若竪說者，一一地中皆具如是五義；若橫說者，一一門中皆具如是五義。例如上文所明諸食，雖適口則一然，隨調膳人身手，有種種滋味不同。餘香花等當知例爾。若行者善能以五字門作金剛舞戲普應眾生，譬如和五味、布五綵、韻五音、調五藥，雖性分不過五種，而千變萬化巧轉不窮。當知是人則解塗香三昧義，亦解花三昧、燒香三昧、飲食燈明三昧義，亦解此五種陀羅尼義。以如是種種法門供具供養心王如來，能令諸尊歡喜，所求必獲。若以此中意趣反觀世諦香花等，自然知彼色香性分所應用處，無量方便觸物而生也。

Regarding what the sūtra says, 'Or make all [offerings] by mental visualisation': as the bhagavat taught, among all offerings, mental visualisation is supreme. As with each and every offering object mentioned before, one should exercise the mind so that it pervades the dharmadhātu, maintaining it with mantras and secret mudrās, as explained at length in the ritual sequence for offerings. Or, one visualises the great jewel tree-king pervading and covering all worlds, endowed with the adornments of the Bodhi tree-king as in the Gaṇḍavyūha, from which whatever objects for use and enjoyment are needed all issue forth inexhaustibly, reaching everywhere before all the worthy and noble ones, making vast offerings and universally aiding all sentient beings. Having exercised the mind in this way, one should apply the Ākāśagarbha-vidyārājñī for adhiṣṭhāna, and accomplishments will naturally be achieved at will. Next, the method of the auspicious vases is explained: one should use treasures such as gold and silver. If these are lacking, one should make them of porcelain or pure earthenware, ensuring they are perfectly round, upright, and not leaking. In accordance with the upāya of inspecting and straining pure water in the Vinaya, fill them to the brim. Place inside the five treasures, the five grains, and the five medicines, as taught in the Guhyatantra. However, these five medicines all originate from the five regions of India and are not completely available in this land. Take the various powdered unguents mentioned before, mix them with water, and also add camphor and bezoar (gorocanā). Insert precious flowers into the mouth of the vase, or famed flowers found locally according to the region, taking those whose flowers, fruits, branches, and leaves are luxuriant, fine, complete, and intact, and arrange them hanging down in an orderly, interspersed manner so that they are exceedingly graceful and majestic. Wrap the neck with coloured silk, tie flower garlands around it, and smear it with various incenses. The upāya of sīmābandha and purification is also as explained in the ritual sequence for offerings. Five vases should be placed in the central garbha: the central Mahāvairocana vase is placed on the flower platform, and the rest are placed among the outer flower stamens. Whenever offering food in the central garbha, the four Buddhas and four bodhisattvas are each upon their own seat inside the flower platform; that offered to Vairocana is placed before the flower platform. If one has sufficient means, one vase is placed before each and every venerable one. If one cannot do so, place them before the principal venerable ones in accordance with the inner and outer directions. Place two vases at each of the four gates, one vase at each of the four corners, and another separate vase outside the shared gateway, consecrated with the Trailokyavijaya mantra and mudrā; this is intended for sprinkling on oneself for protection when entering and leaving, and is also used to sprinkle upon disciples when summoning them inside. At the homa site, another vase is placed separately, making roughly a hundred or more vases. When the sūtra speaks of six vases, this is the minimum limit: one should place one in each of the four cardinal directions of the central garbha, and the one outside the gate must certainly not be omitted. If using eighteen vases: place one vase in the central garbha; in the second enclosure, at the place of the Great Diligent One (Mahāvīra), the Lotus and Vajra lineage masters, and the gate, there are four vases in total; for the four great bodhisattvas of the second enclosure—namely Mañjuśrī and the others—place one vase each; [and for the rest,] the four gates, four corners, and outside the gate of the outer enclosure: using them in this way is sufficient. If there are many who wish to receive abhiseka, have one vase made for each person according to the number, and let none be lacking. As with the scented-water vases, so too are the various arghya vessels: one should use gold, silver, crystal, and so forth to make the bowls, or even conch shell (śaṅkha), refined copper, stone, and wood; or one may use tree leaves or new earthenware to hold various scented waters with assorted famous flowers placed in them, setting them out one by one wherever vases were placed before. Moreover, one should offer clean garments before each of the venerable ones. As explained earlier, the principal venerable ones also follow the method of food offerings by doubling [the quantities]; thus it is said: 'Each is also offered a second garment.' If one cannot manage this, simply place them before the principal venerable ones. Or, according to what is available, put them in chests and place them inside the central garbha enclosure, exercising the mind to offer them to all venerable ones. Whenever making offerings to the central garbha, they should be placed in the single-layer empty space outside the garbha; if making offerings to the nameless venerable ones, they should be placed within the boundaries of the triple enclosure. Furthermore, when making offerings, one should first present the arghya water, next offer powdered unguent, next offer flowers, burning incense, and food and drink, and finally offer lamps; the order in the sūtra text is not chronological. Furthermore, from the perspective of the profound, secret explanation: powdered unguent signifies purification; just as worldly powdered unguent can cleanse dirt and impurities and dispel burning fever, so now the practitioner uses the arghya that is like space to wash away the defilements of the one hundred and sixty kinds of prapañca within the bodhicitta, and smears it with the unguent of abiding in unconditioned morality, so that the burning fever of saṃsāra is extinguished and a cooling nature is attained; therefore it is called 'powdered unguent'. What is called 'flowers' signifies birth from loving-kindness and compassion; this very seed of the pure mind blooms forth into myriad practices within the womb of mahākaruṇā, adorning the tree of the Buddha's awakening; therefore it is called 'flowers'. Burning incense signifies reaching universally throughout the dharmadhātu; just as when the heavenly tree-king blossoms, its fragrance naturally spreads both against and with the wind, so too is the fragrance of awakening: corresponding to each and every merit, it is burned by the fire of wisdom and wafted by the wind of liberation, turning unimpeded according to the power of compassionate vows to universally perfume everything; therefore it is called 'burning incense'. Food and drink are the unexcelled amṛta, the flavour of neither birth nor death; if one partakes of this ripe fruit of merit, there is no higher flavour, and at that moment it is called entering realisation; therefore it is spoken of as 'food'. What is called 'lamps' signifies the Tathāgata's radiance dispelling darkness; this means that upon reaching the stage of fruition, the obstacles of the mind are completely exhausted, and inexhaustible wisdom revolves to illuminate sentient beings everywhere; therefore it is spoken of as 'lamps'. If explained vertically, each and every bhūmi possesses these five meanings; if explained horizontally, each and every gateway possesses these five meanings. For example, regarding the various foods explained above, although their suitability to the palate is one, there are different flavours according to the skill of the chef's hands; one should know that it is the same with the remaining incenses and flowers. If a practitioner is able to perform the vajra dance and play with the five-syllable gateway to respond universally to sentient beings, it is like blending the five flavours, laying out the five colours, harmonising the five notes, or compounding the five medicines: though their intrinsic portions do not exceed five kinds, their myriad changes and transformations turn skillfully without end. One should know that this person understands the meaning of the unguent samādhi, understands the meaning of the flower samādhi, the burning incense samādhi, and the food and lamp samādhi, and also understands the meaning of these five kinds of dhāraṇī. Offering such various Dharma gateways and offering implements to the Tathāgata who is the king of mind can cause all the venerable ones to rejoice, and whatever is sought will certainly be obtained. If, with the principle therein, one looks back upon worldly flowers, incenses, and so on, one will naturally know the proper applications of their forms, fragrances, and intrinsic portions, and innumerable upāyas will arise from encountering things.