大毘盧遮那成佛經疏 13

English (machine translation) 13

Language: English

13.2

Chapter 8 (Continued): The Practice of Turning the Syllable-Wheel Maṇḍala

Next, when applying the yellow color, one should visualize the syllable KA as being of genuine gold color, and its blaze is likewise so. This is the golden-colored Muni Buddha (Muni is a general title for Buddhas). KA has the meaning of action (kārya); because of non-action, it is eternally free from all faults. Abiding in this samādhi eliminates all poisons, and its light is all-pervading. "One should enter contemplation according to the teachings" (meaning to contemplate attentively with an undistracted mind). Next, when applying the blue-green color, one should visualize the syllable MA; reflecting upon the syllable MA above it means visualizing it above the blue-green color. This has the meaning of crossing over birth-and-death; it is Śākyamuni. This Buddha sits upon the great Bodhi-seat; all Buddhas use this syllable to remove the terrors of sentient beings and subdue the hordes of māras. The syllable is like the outer rim of a rainbow, having the color of a blue lotus; in the West a rainbow is called the palace of Indra. Its light is likewise so. The remaining upāyas are as before. Next, when applying the black color, visualize the syllable HA. It is like the great conflagration at the destruction of an eon: because of its supreme intensity, it has a dark purple-black light. The light of this syllable is also like this. This is Akṣobhya Tathāgata. Out of great compassion, in order to protect all and subdue all hindrances, this Buddha manifests the wrathful form of Bhṛkuṭī, and additionally makes a mudrā targeting those who create hindrances. This Bhṛkuṭī has a frowning brow, as explained before. The remaining upāyas are as before. (This section should properly precede the former.) This deity is named pratyālīḍha in Sanskrit characters. For this mudrā, raise the left hand, extend the left leg, and bend the right leg. This is generally used for subjugation. One manifests a vajra-wrathful form and does not need to manifest a Buddha form. These two deities are bodily mudrās used universally for everything. Next, "the Vajrasattva, holding the vajra, blesses me": regarding that seal, or the syllable VA, or placing them within the central terrace of the maṇḍala—to draw it, meaning the master first determines the chalk lines, and when he wishes to enter the central terrace, he blesses himself to become Vajrapāṇi. However, since the master has taken the syllable A as his own body, he is already identical to the Buddha Vairocana, and should not perform actions himself. Therefore, he transforms into the body of the Bodhisattva Vajradhara. Because the syllable A, being originally unborn, is not separate from the syllable VA, he is able to transform and apply them. "Thus the second maṇḍala is also originally tranquil; by the power of my adhiṣṭhāna, non-dual, corresponding form, the Buddha's empty-nature form": next, it praises the virtue of the syllable VA. Because the meaning of the syllable A enters within it, it is also originally tranquil, which is the meaning of originally unborn. "Non-dual, corresponding": the syllable VA is itself the syllable A; being non-dual and undivided, the principle is ever in correspondence. Because of original tranquility, the Tathāgata's form is also empty and without intrinsic nature. Next, "dividing into two parts the celestial positions, casting away the three parts of the outer maṇḍala, the boundary lines far cast aside, the eastern lines extended, etc.": this means that each court has three tiers; casting aside the first and second tiers, one establishes the deities' positions in the third court. Next, casting aside the second court, one applies the colors in the third court. The above [text] should precede the five colors; the meaning is not yet completely clear and should be inquired about further.

13.4

At that time, Vairocana Buddha arose from samādhi and abided in the Immeasurably Victorious Samādhi. When it states that within contemplation he spoke the All-Pervading Invincible Power Vidyārājñī Arisen from the Domain of All Tathāgatas: previously, the Tathāgata abided in the Nectar-Arisen Samādhi and, having finished expounding the above dharmas, wished to bring the various upāyas of the bodhisattvas who practice mantra to fulfillment; therefore, he arose again from contemplation and further entered the Immeasurably Victorious Samādhi. As for the Immeasurably Victorious Samādhi: "immeasurably victorious" has the meaning of "invincible." By abiding in the Immeasurably Victorious Samādhi, he evoked and brought forth this vidyārājñī. This vidyārājñī is named "Arisen from the Domain of All Tathāgatas," which is the domain of the Buddha. Through this vidyā, the bodhisattvas practicing mantra become identical to the Tathāgata's domain, and also bring forth such an inconceivable domain. Because of entering the Buddha's domain, the merits they perform are also identical to those of the Tathāgata. "All-pervading invincible power": "invincible" means unobstructed. It does not merely pervade the Tathāgata's domain, but also pervades the domains of all śrāvakas and pratyekabuddhas; even those who have just generated the mind for the first time, if only they can cultivate the practice of this vidyārājñī, will also enter the Tathāgata's domain. "Namo sarva-tathāgatebhyaḥ" means taking refuge in all the Tathāgatas and so forth. Since the Tathāgatas arise, they are not one; because they are not one, it says "and so forth." "Sarva-mukhebhyaḥ" means having all Buddhas as their head and aim (to be inquired about further). "Asame" means peerless. Because it arises from the domain of all Tathāgatas, it is peerless. Furthermore, as an esoteric interpretation: here the syllable A is the Buddha's original body; SAME means equal. Being equal to all Buddhas means being equal to the essence of the syllable A. "PARAME" (translated as "supreme"; because it is peerless, it is supreme, having nothing higher above it). As an esoteric interpretation: this syllable PA is the ultimate truth (paramārtha-satya). Because the preceding syllable A is identical to the essence of all Tathāgatas, it is the ultimate truth, equal to the Tathāgatas.

13.6

It alerts the Buddhas to recall their fundamental vows. In the past, the Tathāgatas established such definitive great vows: those who cultivate this mantra practice should all be upheld and established as [vowed], causing their wishes to be quickly fulfilled. Because I now practice in this way, I alert and awaken the Buddhas to remember the fundamental vows they established.

13.7

Next is the method for mixing pigments. Bowing to the Buddha and to the Prajñāpāramitā, reciting this Vidyārājñī eight times: this means that when one is about to mix the pigments to paint the original, authentic image of that Tathāgata, one must first recite the *Mahāprajñāpāramitā-sūtra* and respectfully make offerings to it; this is what is meant by bowing. Whenever one mixes pigments, one must act in this way. Moreover, one visualizes the classes of syllables within those pigments (meaning the syllables, actions, and so forth), reciting this syllable a hundred times or a thousand times. One also recites the Vidyārājñī eight times. Having mixed the pigments, the master arises from samādhi, circumambulates [the ground], enters the center, and visualizes the disciples. By the power of great compassion, the master himself forms the vajra and syllable seals. Arising from samādhi, circumambulating the maṇḍala, and generating the mind of great compassion, he uses this power of great compassion to consecrate those disciples, and then the ācārya performs the adhiṣṭhāna of Karmavajrasattva. Together with the syllable Va- and the Varadavajra: because of the Tathāgata's adhiṣṭhāna and the syllable A-, this ācārya is himself Vairocana Tathāgata; for it is inappropriate for the Tathāgata himself to act as a karmic [agent]. The syllable Va- together with the Auspicious Varadavajra is Mañjuśrī. The next seed-syllable is the syllable Ma-, which is the bindu of emptiness, added to the syllable Va- to make the syllable Maṃ. Furthermore, consecrating with the syllable Va-, one assumes the body of Vajrasattva to paint the various images. When doing so, one visualizes them as identical with one's own body, as stated above. One also recites this syllable Va- a hundred or a thousand times. Painting the Mahākaruṇāgarbha-maṇḍala; serene within the inner maṇḍala: the master, having thus consecrated himself, serenely arises and enters the central terrace, slowly and deliberately applying the various pigments to create the image of Vairocana. The original form of the image sits upon a white lotus seat, wearing a crown made of hair without extra colorful ornamentation, with very fine silk for the lower skirt, and extremely fine gauze and light silk for the upper garment, allowing the flesh color to shine through and show from within. The body is made the color of Jāmbūnada gold—that is, the deep golden color of utmost brilliance and luster. Light flames issue from all around the Buddha's body, joining together as an unbroken garland surrounding the entire body. The reason this Buddha form must be fashioned in the maṇḍala is to cause those disciples quickly to generate supreme vows and, by the power of adhiṣṭhāna, to bring to full fruition the body of all-knowledge; therefore it must first be fashioned. Furthermore, there are superior, middling, and inferior methods for constructing the altar. If the disciple's wealth and resources are abundant and sufficient to provide extensively, the master should create an altar of painted images in order to display the forms of the fundamental deity's body and seals. If their capacity cannot manage it, yet they make a syllable altar, they incur the offense of concealing the secret Dharma. If he observes that the disciple's mind is utmost in sincerity, even to the point of not begrudging their own body and life, being willing to sacrifice their body to serve the master—how much less would they be stingy—yet their material resources are insufficient, he is permitted to make a syllable maṇḍala: in the place where the Buddha is positioned, one simply draws the syllable A-, which is the very body of the Tathāgata. Having positioned the syllable A-, in the outer precinct directly east of the central terrace, one draws the syllable A- with the great bindu of emptiness added. Furthermore, in the northeast Īśāna direction, one positions the syllable Ga-; this syllable Ga- is Gaganatocanā, the mother of all Buddhas and bodhisattvas. Next, in the fire direction (southeast), is the cintāmaṇi seal of all Buddhas and bodhisattvas, or one positions the syllable (Ka-). In the northern direction are Avalokiteśvara and Maitreya, with the bodhisattvas in their final birth of the Fortunate Kalpa as their retinue, positioned with the syllable Sa-. In the southern direction are Vajrapāṇi and others, either depicted in form, or as their seal (meaning the three-pronged vajra), or with the syllable Va-. (Also, the placement of syllables here may differ from the directions of the previous altar. Inquire about this.) Furthermore, in those positions, three casts aside; all Vajradharas' seals are painted, or their syllables: having mostly three casts aside, as explained before; without varying from the seal, one makes the syllable Hūṃ. Next, in the Rākṣasa direction (the southwest), below Vairocana, one paints Acalanātha sitting on a rock, holding a sword and a noose in his hands, surrounded by a garland of flames, threatening all obstacle-makers with the tarjanī gesture. Or one merely depicts the seal above (the seal meaning the noose and sword); or if making the syllable, it is Hāṃ. Next, in the wind direction (the northwest), one depicts Trailokyavijaya, vanquishing all obstacle-makers, with blazing light on his head, manifesting great wrath in the form of Yamarāja, black in color, terrifying within what is fearful and dreadful, making it utterly terrifying; one should make such an exceedingly dreadful form. In his hand he whirls a vajra (which is the three-pronged vajra seal; this is fixed); or one simply makes the syllable, namely (the long Hā-). Next, in the four directions, one paints the four great protectors (sīmābandha). In the east, one paints the Fearless Protector (a name), golden-bodied in white garments, with a slightly angry countenance, holding a staff in hand. If one only places the seal (one merely writes the staff seal); or one only places the syllable (the syllable Va-). In the north, one depicts the Great Protector Destroyer of All Terrors, white in color, holding a sword in the right hand, wearing white garments and accompanied by light. If making the seal, one simply draws the shape of a sword; if the syllable, one makes the syllable Bha-. In the west is the Great Protector Difficult to Subdue, named because none can subjugate him. His body is the color of an aśoka flower (like the deep purple hollyhock flower here), and the garments he wears are also red, though slightly lighter than his body color. His face smiles, within a circular halo. He is depicted as gazing upon the great assembly, meaning the assemblies of the four directions. His seal is merely his sword seal; if making the syllable, it is the syllable Sa-. In the south is the Great Protector Vajrāparājita, named because, like a vajra, nothing can conquer him. Furthermore, vajra is another name for Śakra Devendra, but this great protector's power surpasses his characteristics, hence the name. His body is black, of wrathful form with furrowed brows; his garments are also black, though slightly lighter than the color of his body and face. On his head he has only a topknot of hair, and his body blazes with light; he holds a staff in hand. If one merely paints the seal, one also merely places the staff; the syllable is the syllable Chaṃ. For the four great protectors above, retinues must also be positioned together with them; retinues mean their messengers, all seated on white lotuses. The mantra practitioner should arrange and set them out in this way.

13.8

Next, going outside toward the third precinct, one paints the Sage King of the Śākya clan, wearing monastic robes, endowed with the thirty-two marks, the bestower of fearlessness to all sentient beings (because by means of the Dharma teachings he benefits all, causing them to attain fearlessness). His seal should be placed as the bowl, monastic robes, and so forth (and so forth meaning khakkhara staves and the like); if as a syllable, one makes the syllable Bha-. 'This is the most supreme' means the secret, supreme sense. Next, in the outer maṇḍala, the adhiṣṭhāna of the dharmadhātu's own-nature and the setting forth of the bodhicitta: one performs the contemplation of the dharmadhātu's own-nature. The dharmadhātu is the body of the Tathāgata; one contemplates one's own body as identical with the dharmadhātu-body of all Buddhas. By means of this adhiṣṭhāna, one abides in the bodhicitta. (This 'setting forth' has the meanings of directing toward, arriving at, and practicing; inquire further about this passage.) In those three positions, casting aside, three times bowing to the Buddha Vairocana, recollecting, as before when mixing pigments: this means that having placed Śākya, next in the second precinct one should bow to Vairocana, and as before, paint with upāya among the pigments (inquire further). In the east one paints Varadavajra in the form of a youth (which is another name for Mañjuśrī), holding a blue lotus in his left hand with a vajra placed upon it. Adorning his body with all kinds of necklaces, he has fine silk of the highest quality for his lower skirt and extremely fine gauze for his upper garment, which is also made finer than the lower skirt so that the body color shows through. His body is the color of saffron, and he has five topknots on his head. His seal is simply drawn as a blue lotus with a vajra pestle placed upon the blossom. If making the syllable, it is the syllable Vaṃ. To the right of Mañjuśrī (the northern side), one places the Bodhisattva Jālinīprabha, all parts of his body perfectly complete, holding a jeweled net in his left hand and a hook in his right hand. If merely placing the seal, one draws either the net seal or the hook. As for the syllable, it is the syllable Raṃ (merely placing this seal is also fine). In the south, one paints the Bodhisattva Sarvanīvaraṇaviṣkambhin, with a golden hair-crown (said to have no necklaces), holding a cintāmaṇi jewel on a lotus in his left hand. If merely making the seal, one places a lotus with a maṇi jewel upon it. Or if merely making the syllable, it is the syllable Aḥ. In the north, one depicts the Bodhisattva Kṣitigarbha, colored like a priyaṅgu flower; this flower grows in the west, resembling the color of millet grains here, its flower calyx also resembling an ear of grain, extremely fragrant. This bodhisattva holds a lotus in hand and adorns his body with various necklaces. If merely making the seal, one merely places a lotus. If placing the syllable, one makes the syllable I-. In the west is the Bodhisattva Ākāśagarbha, also adorning his body with various necklaces, white-bodied and wearing white garments (the white garments showing the body through as fleshy red, slightly different from the body color). His body has blazing light, and he holds a great sword. If making his seal, one merely draws a great sword. If merely placing the syllable, one makes the long syllable Ī-. However, there are still many missing positions in this altar; saying that it is finished is also a matter of mutual indication between above and below. When it is completed, the ācārya first sits outside the gate, abiding in the dharmadhātu together with the bodhicitta. The Sanskrit text says: 'Next, the practitioner abides in the dharmadhātu: I am the nature of the dharmadhātu. Abiding in the bodhicitta, this bodhicitta is the nature of the dharmadhātu.' Facing eastward, he forms the vajra seal (the altar gate opens to the west, hence the master faces east). When the construction of the altar is finished, he sits facing east toward the altar, visualizing himself as identical with the Buddha; the Buddha is the essence of the dharmadhātu. Having become identical with all Buddhas, he then carries out the work of liberating beings. 'Action vajra' refers to the vajra of all actions, which is the three-pronged vajra seal. Wherever it is said to make a vajra, one makes its syllable, body, and seal; making a Buddha is also like this. Fearing it would be tedious, I do not describe each one in detail.

13.9

Next, regarding diligently making offerings: the practitioner is further admonished to perform them with prudence and care, not forgetting the sequence. The Sanskrit text states: "One should bind the vajra mudrā, then perform vajra actions, diligently making offerings. Display the samaya of all buddhas, the saviours of the world, and further display the mudrā samaya, etc." Since the samaya mudrās are manifold, it says "etc." Both making offerings and visualizing the buddhas are performed with the samaya [mudrā] and recited three times; because it has many applications in ritual actions, [the text] says "etc." Through performing this rite, by means of this intention accompanying whatever is done, one is able to pervade all directions and alert all tathāgatas. Because of the buddhas' primal vows, they are thereupon alerted and grant adhiṣṭhāna. First, contemplating pervasion across all locations means that one mentally projects pervasion according to every quarter and all deities within the maṇḍala. If one is a practitioner of profound practice, this is displaying the samaya upon the siddhi-ground for all the deities of the maṇḍala. Next, calling the disciple from outside to have them purify themselves: the disciple is initially outside the portal; one calls them. For the ritual of invoking all deities, using the two kinds of messenger mantras for accomplishing all tasks will suffice. If one has the swiftest wisdom, it is also permissible to invoke each deity individually using their respective fundamental mantra and mudrā. Have [the disciple] stand near the door facing the altar. Furthermore, one should first instruct them to cleanse themselves according to the ritual. This is simply the invocation of the deities. Next, [everything] from binding the boundary up to dismissal is contained in the offering rituals; one may simply apply them accordingly. Having completed the boundary protection, one confers the three refuges; these three refuges refer to mudrā rites. The first mudrā protects the body; next, the dharmacakra mudrā protects all the limbs; next, there is a mudrā endowed [with all virtues], which will be explained below. The first mudrā seals the crown of the head; the next mudrā seals the limbs; above, this is referred to as the vajrasattva. By virtue of these three mudrās, one abides in bodhicitta. When forming the dharmadhātu dharmacakra mudrā, that [practitioner] should single-mindedly make it their own essence: this means that when the practitioner mentally projects this dharmadhātu, they visualize their own body as identical to the dharmadhātu. When binding the mudrā, they become identical to the essence of that mudrā. Above, one binds the dharmadhātu-svabhāva mudrā, and next binds that dharmacakra mudrā. First, visualize that there is the syllable A in the disciple's topknot, and then seal it with the dharmadhātu-svabhāva mudrā; pressing with the mudrā, personally recite the mantra three or seven times. Next, one should cover their face with silk cloth. The master should arouse a mind of great compassion and gaze upon them with pity, so as to enable them to cross beyond birth and death forever and open the knowledge and vision of the buddhas. At that time, that disciple should also personally arouse a supreme, unsurpassed vow. Because one does not bring about the perfection of bodhi empty-handed: this means that because that disciple wishes swiftly to perfect unsurpassed bodhi, according to their capacity—superior, middling, or inferior—they procure whatever offerings they have to present to all buddhas and fundamental deities, or hold precious flowers and the like to offer them. At that time, wishing to have the disciple effect boundary protection, the master whispers to instruct them, which is to say, causing them to abide in the mind of bodhi. This is explained elsewhere. Once they have aroused bodhicitta and abide with single-minded sincere reverence, the master personally forms a mudrā and places it upon their crown (further inquiry needed as to which mudrā), and then has them cast the flower. One should note upon which deity's place it falls. Even within the body of a single fundamental deity, there are distinctions of superior, middling, inferior, left, and right; according to where it falls, one confers upon them the corresponding mudrā and mantra. Since the disciple's ritual instruction is to make the samaya in this way, all are granted (further inquiry needed).

13.10

At that time, the virtuous Vajradhara again asked about this buddha-abhiṣeka ritual, wishing that the Buddha would personally expound it: this requests the Buddha to speak it himself. Then the Buddha, abiding in the nature of the dharmadhātu, addressed Vajrapāṇi: "Listen attentively with a single mind. I shall expound this ritual so that practitioners within this Dharma may attain mastery, which means causing them to attain the supreme teaching." This "mastery" also has the sense of swift attainment, and also the sense of sovereignty. This meaning is different from the sense mentioned above where having great wealth is called sovereignty. When I expound all dharmas and teachings, being gathered under the supreme mastery means that whatever wish the mind has, one can gather it all and fulfill wishes at will. Just as being sovereign in a state guarantees that whatever one undertakes will surely succeed. The ācārya's adhiṣṭhāna with the tathāgata's fundamental form and mind, forming that mudrā: according to the superior, middling, or inferior ritual, whether acting as a tathāgata, or from the lotus or vajra family, etc., one assumes that form according to the maṇḍala over which they preside, and confers the abhiṣeka. Adhiṣṭhāna with the tathāgata's fundamental form means that the ācārya uses the tathāgata nature to empower his own body; the tathāgata nature is the fundamental essence. Or using that mudrā means empowering with the mudrā, visualizing one's own body as pervaded in all limbs by the syllable A; this syllable A is the essence of the dharmadhātu. Because of this adornment, one is identical to a buddha's body, and only then calls the disciple. If it is an ācārya who has attained samādhi or who has already obtained ritual verification of the Dharma, whatever he undertakes is spontaneously accomplished. If he cannot do so, he should perform it using mudrās and visualizations. Next, he leads the disciple toward the great flower-king maṇḍala (referring to the place outside the altar where the abhiṣeka altar was previously prepared). The great flask empowered by the four jewels and the great bodhisattvas is the flask empowered by the four great bodhisattvas of the central terrace, adorned with bodhisattva jewels. Next, one should form the mudrā that generates all limbs and pour [the water] upon the disciple's crown. Whenever conferring abhiṣeka, one forms this mudrā, and having bound it, takes the flask to perform the consecration. If one does not use this mudrā, the ritual form is incomplete, causing that disciple to be unable to abide in bodhicitta, whereupon there is regression, which is no different from splashing fragrant water in vain. Furthermore, prior to the abhiṣeka, one visualizes the syllable ĀṂ upon the crosswise suture of the disciple's crown, intensely visualizes the syllable A within their heart, and also visualizes the syllable A upon their chest; one may also simply visualize the syllable A pervading all places for application. Golden-radiant hair-crown sitting upon a white lotus: this means visualizing that within the disciple's heart, a white lotus blossoms fully, and Vairocana Tathāgata sits atop it; only then does one confer abhiṣeka. When the sūtra says "benevolent one," it refers to Vairocana Tathāgata. If one confers abhiṣeka through this method, it is identical to being consecrated with the Dharma-water by all buddhas of the ten directions and being conferred the station of a Dharma King. If not, it is merely pouring in vain, powerless to effect anything.

13.11

Chapter 9: Secret Mudrās

13.12

"At that time, Vairocana Buddha surveyed the great assemblies": the Buddha had already briefly expounded the abhiṣeka ritual, and wishing to expound further, he surveyed the great assembly [as numerous as] dust motes in ten buddha-lands, not without cause. This means he was about to expound the mudrās of the Tathāgata's body mystery. Next he addressed Vajrapāṇi, stating that there is a mudrā named identical to the Tathāgata's ornaments and identical to the banner of entry into the dharmadhātu: this means that because all buddhas use this as their adornment, they attain the Tathāgata's dharmadhātu body. If there are sentient beings who practice this method, through the adhiṣṭhāna of the mudrā, they also become identical to the Tathāgata's dharmadhātu body. This mudrā is the banner of the dharmadhātu; because this mudrā indicates the essence of the dharmadhātu, it is named the dharmadhātu banner. Because all buddhas adorn their bodies with it, they erect this banner of unsurpassed great bodhi in all great assemblies, which is able to cause the eight classes [of beings] and all who are evil and heterodox to flee far away, and cause those of virtuous faculties to draw near, receive instruction, and practice. You should listen attentively and pay close attention; I shall now proclaim it. "World-Honoured One, now is precisely the time; Buddha, now is precisely the time": these two phrases have meaning. First, regarding the kāla time, the intention is to say that this fourfold assembly now has no ancillary branches, but is purely authentic and capable of receiving the Great Dharma; the Tathāgata speaks in response to their capacity, and it is precisely the time. Next, the samaya time is the time of the temporal period. Now is precisely the time, the time for expounding the Dharma.

13.13

"At that time, the World-Honoured One dwelt in the samādhi of the unassailable bodily power": in order to fulfill this wish, the Buddha again entered samādhi. This is the sovereign power of the Tathāgata's immeasurable body, and therefore none can harm it. Dwelling in this samādhi, he uttered the three-vidyā mantra; its vidyā is named unhindered, unassailable, and unequalled power. By virtue of this samaya, all learners are able to hear and enter the true Dharma. If one does not perform it, one is not qualified to enter the altar, nor qualified to hear the secret teaching. If one cultivates this vidyā, one can attain purity of body and purity of speech, have one's wishes fulfilled, and unite with the three bodies; hence it is called the three vidyās. The three powers refer to the power of the three times or the power of the three equalities. The unequalled power is these very three powers. Its vidyā will be explained next.

13.15

Asame: this vidyā takes the syllable A as its head, which is identical to the buddhas' dharmakāya being markless and free from marks; one should know that this dharmakāya has nothing equal or comparable to it. Same: this refers to the three bodies of the buddha—namely the dharma, reward, and transformation bodies—uniting as one body to teach and transform sentient beings. Its essence is also identical to the syllable A gateway, markless and free from marks; hence it is called equal. Samaye: this has the sense of being inviolable. It is the unequalled and the three equalities, expounded in common by all tathāgatas. The Buddha dwelt in samādhi and expounded this vidyā of unassailable and unequalled power; through this vidyā, one is able to enter the samaya. This samaya is a vow, like an edict; it is the fundamental solemn pledge of the buddhas of the three times. This Dharma gateway is difficult to believe, difficult to enter, and difficult to get to hear, because the Dharma is impossible to encounter [lightly]. For this reason, the buddhas of the three times expounded this mantra in common; empowered by this samaya mantra, one is able to enter, hear, and practice this Dharma. Just as the Honoured One's instruction cannot be transgressed, if one has not heard it, one can neither enter nor hear [the Dharma]. Svāhā has the sense of alerting and arousing; with this mantra, one alerts and arouses all buddhas. When this vidyā is spoken, all buddhas are alerted, arise, and grant adhiṣṭhāna to the practitioner. Through the power of this vidyā, one can fulfill all bhūmis and cause the practitioner to manifest the three dharmas. That is, accomplishment has three dharmas: the power of the fundamental deity, the mantra, and the mudrā; these three dharmadhātus are thereupon accomplished.

13.16

Next, the marks of the hand mudrās are explained. Regarding "does not transcend the boundary of the path of the three dharmas," this boundary is the fruit of bounding the great boundary; it is not a dhātu. Because one acts precisely in the middle of the boundary path, it is termed "does not transcend." Now, herein, the names and characteristics of the twelve kinds of añjali are explained first. Among all mudrā practices, these twelve are exceedingly essential and ought to be clearly memorized. First: joining the palms so that the center of the palms are firmly attached to each other, with the ten fingertips slightly separated and opened a little; this is named the *niviḍa-añjali* (this is termed the firm-and-solid-mind añjali). Second: next, aligning the ten fingernails evenly with each other and joining the fingertips together, with the center of the palms slightly not touching; this is named the *sampuṭa-añjali* (this is termed the hollow-mind añjali). Third: next again, joining the ten fingertips together, with the fingers also being even, but making the interior of the palms hollow and slightly arched; this is named the *kudmala-añjali* (this is said to be like an unblossomed lotus). Fourth: next, touching the two earth fingers and the two space fingers together, allowing the remaining fingers to slightly blossom open; this is named the *bhugna-añjali* (this is termed the initially opened lotus). Fifth: next again, placing both palms face up and side by side, making them both face upward and spread out directly adjacent; this is named the *uttānaja-añjali* (this is said to be exposed). Sixth: next again, placing both palms face up side by side, similar to the preceding, but bringing all the fingers close together and slightly curling and joining them, like the posture of a person scooping water (do not bend them greatly); this is named the *ādhāra-añjali* (this is said to be holding water). Seventh: next again, interlocking the ten fingertips, in all cases placing the right fingers over the left fingers, like the vajrāñjali (this is said to be the refuge-taking añjali); its Sanskrit name is *praṇāma-añjali*. Eighth: next again, placing the right hand over the left with inverted palms, intertwining the ten fingertips, also placing the right fingers over the left fingers; this is named the *viparīta-añjali* (this is said to be the reverse-interlaced añjali). Ninth: next again, placing the right hand palm-up on top of the left hand, and placing the left hand palm-down beneath the right hand, slightly resembling the form of hands superimposed by a meditator; this is named the *viparyasta-añjali* (this is said to be the inverted-backs touching-each-other añjali). Tenth: next, turning both palms face up, causing the tips of the two middle fingers to meet while facing up; this is named the *tiryak-añjali* (this is termed the horizontally-propped-fingers añjali). Eleventh: next again, turning both palms face down, likewise causing the two middle fingers to meet; this is named the *adhara-añjali* (this is said to be the hands-turned-downward añjali). Twelfth: next again, turning both hands face down together, placing the two thumbs side by side touching each other, with the ten fingertips pointing outward; it also shares the same name (also termed the hands-turned-over añjali).

13.17

Now, for this samaya mudrā: first form the *sampuṭa* palms (first hold the hands apart, gradually bring them close together to touch, with the inside of the palms slightly hollow—this is it). Erect the two space fingers straight up side by side; do not let them be too low or too tilted to the side; make the two space fingers point straight upward. (Among the five fingers, the little finger is termed earth, the ring finger is water, the middle finger is fire, the index finger is wind, and the thumb is space. The left hand is concentration, and the right hand is wisdom). Alternatively, the little finger of the left hand may be the dāna pāramitā, counting upwards in sequence, with the index finger being concentration; the little finger of the right hand is the prajñā pāramitā, counting upwards in sequence, with the index finger being the jñāna pāramitā. As for this samaya mudrā, when beginning practice to cultivate the various wholesome qualities, if one does not perform this first, one is not fit to perform the various rituals. Not only should one perform this, but one must also recite the preceding mantra. As for the procedure: first place the samaya mudrā atop the crown of the head, recite the preceding mantra once, place the mudrā on the right shoulder, next place it on the left shoulder, next place it over the heart, next place it over the throat—each time it is placed, recite the vidyā once, reciting it a total of five times to seal the five locations. However, what merit does this mantra possess? By means of this mantra, one can eliminate past karmic hindrances to purify one's own body; because the body is purified, external hindrances are also purified; because external hindrances are purified, no hindrances can enter at all—this constitutes the great protection. Due to this inconceivable capacity to protect, merits spontaneously increase, transgressions are naturally eliminated, the buddhas are alerted, and one's wishes are fulfilled. Next is the Dharmadhātusamudbhava Mantra:

13.19

*Dharmadhātu* is the realm of phenomena; the realm of phenomena is the body of the Buddha. The lower phrase says "I," meaning "I am precisely the dharmadhātu." Moreover, although this practitioner has not yet realized the true nature in substance, merely by forming this mudrā and reciting the mantra, his substance also becomes identical to the dharmadhātu. As for its mudrā: bend the two space fingers inside the palms, press them with the earth, water, and fire fingers of both left and right hands to form fists, and erect the two wind [fingers] straight (each hand separately forms a fist and erects the wind finger). First erect the two fingers together in front of the chest, then rotate them inward, causing the two fingers from both sides of the crown to approach the left and right cheeks and neck respectively, and draw them inward, pulling them slightly downward. That is to say, when first erecting the fingers, make the fingertips point slightly downward with the backs of the fingers inward; bringing them close to the head and cheeks, gradually lower the fingertips, and upon reaching the heart, release the hands. Whenever reciting mantras and forming mudrās, it is like two plowing oxen advancing together: neither may be ahead or behind.

13.20

Next, form another mudrā: first form the reverse-back-of-hands añjali, cross-hook the two earth fingers (making the right be placed over the left), and next cross-hook the remaining three fingers—water, fire, and wind—in succession; finally, twist the two space fingers to reach inside the palms and prop against each other. This is the Turning-of-the-Dharma-Wheel Mudrā. By forming this mudrā, one's body and mind are purified, and one can visibly see the buddhas of the ten directions turning the wheel of the Dharma. The mantra is:

13.22

This mantra has already been explained above (verify further).

13.23

Next, regarding the formation of the sword mudrā: the sword symbolizes sharp wisdom, taking the capacity to sever and eliminate as its meaning; that is, eliminating the mountain peaks of evil views. Just as the peaks of a great mountain are exceedingly numerous and disordered, afflictions are also like this. Now, one forms this sword mudrā; by means of this mudrā (it is as explained above). Bend the two wind fingers so their tips face each other, and press and twist them together with the two space fingers side by side, making it take the shape of a great sword—this is it. Its mantra is: *namaḥ samanta-buddhānām* (as above). The great sword, immaculate dharma, manifests; innate personality view is cut off; the tathāgata's conviction arises; the dharma of non-greed arises. Recite this mantra in Sanskrit pronunciation. In the sūtra, its meaning has already been annotated, as explained above. This mantra takes the initial syllable *ma* as its heart, which means "self." Furthermore, it is a syllable with five void-dots, which means "all-pervading." Here, the intention is precisely to destroy this view of self. One should know that this sword mudrā is the great wisdom of the buddhas, because it can sever all views. By cutting off and casting away the root of afflictions with the sword, the immaculate dharma is manifested. Categories such as innate personality view are impurities. Now, after cutting off these impurities, one rests. If error has not yet ceased, there is a superior dharma; that is, having eliminated these impurities, conviction in the Tathāgata shall arise (this meaning is as explained at the very beginning). What dharma is conviction in the Tathāgata? It refers to wholesome roots such as non-greed; therefore, the syllable *ha* arises next. Therein, the syllable *ha* is the cause; in order to eliminate this cause, there is a long *ā* dot at its side, which signifies that all dharmas are originally unborn. Below it is *u*, representing samādhi; above is a dot, which is the great emptiness. Reciting this enables the practitioner to fulfill the three kinds of bodies; because there are three meanings within this syllable, the dharmakāya manifests. The Tripiṭaka Master said: "In the Western regions, the mudrā rituals are especially secret. When performing them, one must also be extremely reverent. It must be inside a venerable room and in an empty, quiet, and clean place. One should bathe and adorn one's body. If one cannot bathe every single time, one must wash one's hands clean, rinse the mouth, and smear the hands with incense paste before one may perform them. Furthermore, when performing them, one must maintain proper deportment, sitting in full lotus posture, and so forth. Otherwise, one incurs sin, causing the practice not to be swiftly accomplished."

13.24

Next, form the auspicious śaṅkha mudrā. First form the hollow añjali (as before), bend the two space fingers, and press them with the two wind fingers to form the shape of a śaṅkha. Having formed the mudrā, bring it close to the mouth and blow into it, like the method of blowing a conch. This is the auspicious Dharma-conch mudrā that fulfills all wishes. By forming this mudrā, all wholesome wishes are fulfilled, and the proclamation of the great Dharma causes the ten directions to hear and know it universally. This is precisely the mudrā of tranquil nirvāṇa. Its mantra's homage is the same as before.

13.26

This is the heart of the mantra: all dharmas are originally unborn. Above, there is also a dot, which is the great emptiness pervading all places. This is the essential nature of the great, tranquil nirvāṇa: myriad virtues are serene and pervade all places.

13.27

Next is the vajra indestructible seat. As for the mudrā ritual: first place the two space fingers and the two earth fingers side by side, with the rest spread open like an opened lotus; the sūtra says to make it like the shape of a bell. Next, alter it by pinching the earth and space fingers together; the six fingers in between are spread open as before, among which the fire and wind fingers are joined together, and the water fingers stand alone—this is it. This is the lotus seat, also called the vajrāsana. Because of sitting upon this seat, one can give birth to all buddhas. All buddhas arise from this seat, so it is named the auspicious seat; hence it is called the vajra indestructible seat. The mantra's homage is as before.

13.29

This is the heart of the mantra. This long syllable *ā* is practice; the two dots at the side are samādhi. In order to make this dharma firm and stable, there is a dot behind. Now, there are four kinds of fist-making methods: First, making a fist as usual with the thumb erect—this is the first. Next, keeping the space finger inside the palm and forming a fist; this is called the vajra fist—the second. Interlocking both hands and joining them to make a fist, letting the ten fingers appear on the outside; this is named the fingers-on-the-outside fist—the third (with the right fingers placed over the left). Next, interlocking the ten fingers, causing all ten fingertips to be inside the palms; this is named the two-hands fist—the fourth (also with the right fingers placed over the left).

13.30

Next, form the vajra mudrā. With both hands, bend the water fingers into the palms, touch the backs of the fire fingers with the two wind fingers without joining them—this is the vajra mudrā (the two space fingers are side by side and erect). By means of this vajra mudrā, one can destroy the citadel of ignorance, and nothing can destroy it. Its mantra's homage is as before; the body of the dhāraṇī consists only of the syllable *hūṃ* (drawn out) (its meaning is explained following the above).

13.31

Next is the uṣṇīṣa mudrā. First make the fingers-inward fist, then extend the two middle fingers so they are side by side; next, place the two wind fingers on the backs of the middle fingers, and bend the two space fingers so they are side by side—this is it (the fingers-inward fist means that the fingertips point inward). This great mudrā is called the uṣṇīṣa; when forming this ritual mudrā, one is identical to the Benevolent One. The Benevolent One refers to the Tathāgata; that is, forming this mudrā is identical to the body of the buddhas. This is the mantra, and it also embodies the meaning of samādhi and liberation. The beginning is the cause, and the end is the fruit. The cause is the Tathāgata's practice, and the fruit is the Buddha (it should be placed over the crown of the head; inquire further).

13.32

Next is the Tathāgata's ūrṇā mudrā. Form a fist with the thumb protruding using the wisdom hand and place it between the eyebrows—this is it. Forming this mudrā is identical to being endowed with the Tathāgata's ūrṇā. Its mantra's homage is as before.

13.34

By means of this unborn practice, all causes are purified. *Ja* means that arising is unattainable.

13.35

Next is the Tathāgata's Bowl seal. The left hand holds the two corners of the robe (the method is: take the pointed corner of the kāṣāya near the hand and the corner draped over the shoulder, wrap them around the arm, bring them back into the hand, and make the two corners like a pair of ears); then overlap the two hands, placing the right above the left as in the meditation hand [posture]; bring them up to be level with the navel, slightly bent in the shape of overlapped hands supporting a bowl, and that is it. Making this is identical to the Tathāgata holding this kāṣāya, the deportment of the insignia of all buddhas; it can also cause all beings who are not vessels to become capable of being Dharma vessels. The homage of the mantra is as before. 'Bha' has the meaning of existence (bhava), namely the three realms of existence. Because it is originally unborn, one is free from the three realms of existence, for the three realms of existence are originally unattainable. Ridding oneself of these three realms of existence, one attains the Tathāgata's true existence, which refers to the dharmakāya of all buddhas.

13.36

Next is the Gesture Seal of Bestowing Fearlessness (Abhayapradāna). The left hand holds the two corners of the robe as before, extended level with the navel; the fingers of the right hand point upward and extend outward, in the manner of supporting an object (it is identical to the Śākyamuni seal in yoga texts). If one makes this seal, it can remove all the various terrors of all sentient beings; attachment and wrath are stilled at once, and it also removes the various greatly terrifying things in their future. Its homage mantra is as before.

13.38

'Pervasive' has the meaning of universal; that is, pervading all places. Among the upāyas of all places, it is the most supreme, able to surpass all of them. First it departs from the defilements of ordinary beings and the like, and next it departs from the defilements of the two vehicles; therefore it is spoken of repeatedly, which is being supreme among the supreme. Because of this, the Tathāgata can pervade all places and universally eliminate all fear and affliction.

13.39

Next is the Tathāgata's Wish-Fulfilling Hand Seal (Varada-mudrā). The left hand also holds the corners of the robe, extended as before; the right hand extends outward and hangs down, like the seal of Ratnasaṃbhava Buddha in yoga texts. When making this seal, through the power of the Tathāgata, all buddhas fulfill whatever is wished and all is accomplished. The homage of the mantra is as before.

13.41

The meaning is: 'May all buddhas grant me the vajra-body, and also grant me the body of great vows.' This is fulfilling their wishes.

13.42

Next is the Seal That Terrifies All Obstacle-Makers. Form a fist with the right hand (with the thumb extended) and extend the wind finger (index finger) erect, placing it level with the space between the eyebrows, touching the space between the eyebrows with the fingertip. What is called 'equipoise' means assuming the form of Bhṛkuṭī: the face appears wrathful, while the mind abides unmoved in one realm. This great seal of all buddhas can manifest the Tathāgata's awe-inspiring and tremendously powerful strength, terrifying and subduing all obstacle-makers and causers of difficulties, and can also fulfill all the wishes of all sentient beings. When the practitioner forms this seal, none of the obstacle-makers fail to scatter and flee in the four directions, and even the armadas of the devas and māras of great strength naturally retreat and disperse. When the Tathāgata realized the path to bodhi, it was with this seal that he was able to subdue the various māras. The homage of the mantra is as before.

13.44

This mantra is the great strength of all buddhas. What kind of strength is this great strength? It is the Tathāgata's ten powers, the greatest mastery among all powers. How does the Tathāgata obtain these ten powers? It means that through great benevolence he obtains these ten powers; therefore it is said that this power is born from great benevolence.

13.45

Next is the Buddha-Eye Seal. First form a fist, and then press the wind and earth fingers with the space finger (thumb) (bending those fingers, the space finger presses on their nails), and extend the water and fire fingers, forming it with the right hand. Having formed it, use these two fingers to touch the eyes, first applying them to the right eye and next to the left eye. By means of this secret upāya, one can purify the eye faculty, accomplish the buddha-eye, and come to behold the Tathāgata's profound and secret realm. The homage of the mantra is as before.

13.47

Now, although empty space has no characteristics and is unobstructed, it cannot accomplish great affairs. Now, although this emptiness of the Tathāgata has nothing to rely upon, it can accomplish all supreme affairs; surpassing that empty space, it cannot be rivaled. The essence of great compassion is the Tathāgata's eye. This eye is born from great compassion and can generate great compassion (inquire further into this).

First 36 of 146 passages. Read on

Linked texts (1)

大毘盧遮那成佛經疏 — Classical Chinese