大毘盧遮那成佛經疏 13.7

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.