大毘盧遮那成佛經疏 13.8

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.