大毘盧遮那成佛經疏 13.3

13.3

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.