大毘盧遮那成佛經疏 14

English (machine translation) 14

Language: English

14.1

Recorded by the Śramaṇa, the Ācārya Yixing

14.2

The Remainder of Chapter 9: Secret Mudrās

14.3

Next, extend the fingers of the right hand so they resemble a bell, letting them hang downward; this is the mudrā of the Queen of Yama.

Next, with the left hand, clasp the earth and water fingers into the palm, extend the fire and wind fingers side by side, and let the space finger form a fist as usual; this is the Kālarātri Devī mudrā, the queen of King Yama.

14.5

Next, the seal is as before, but bend the forefinger and pinch the second joint of the forefinger with the tip of the thumb; this is the Rudrāṇī mudrā, the mudrā of Maheśvarī (inquire further).

14.6

Next, with the left hand shaped as if holding a lotus, is the Brahmāṇī mudrā (that is, extend the palm, pinch the space and wind fingers together, and bend the middle finger inside the palm; in drawings it is extended straight). Brahmā is free of desire and appears in the form of a human male, so why say 'queen'? This is the mudrā form of the Vidyārājñī of King Brahmā; conceptually she is called a queen.

14.7

Next, extend the palm of the left hand, bend the two fingers earth and water into the palm, turn the wind finger to pinch the back of the fire finger, and slightly hook and bend the space finger; this is the Kaumārī Śakti mudrā (śakti is an implement mudrā; the drawings illustrate it). This is the son of Maheśvara named Kārttikeya, and this Kaumārī is his consort's name.

14.8

Next, with the left hand, extend the three fingers earth, water, and fire, spreading each of them out, and pinch the space finger with the wind finger; this is the Nārāyaṇī mudrā (a holding-a-flower mudrā shielding the chest; here this mudrā is held outward).

14.9

Next, make a fist with the left hand and extend the space finger straight upward; this is the mudrā of the Seven Mothers of King Yama and others (because it is universally used for all Seven Mothers).

14.10

Next, extend the left hand and curve it as though holding a skull-cup, turning the palm upward before the chest; this is the Cāmuṇḍā mudrā. With the left hand, pinch the nails of earth and water with space, and extend fire and wind erect side by side; this is the Nirṛti Sword mudrā.

14.11

Next, spread and extend the left hand alone, like the previously described wheel-turning mudrā, but done with a single hand without hooking or intertwining—this makes the difference; this is the Nārāyaṇa Deva mudrā.

14.12

Next, spread all ten fingers face downward and intertwine the two space fingers; this is the mudrā of all nāgas. Thereupon, placing the right on top of the left is the Nanda Nāga; turning the left to place it over the right is Upananda. As with the previous nine-headed nāga mudrā, extending four fingers straight out to form wings is the Garuda mudrā. Generally, those dwelling on earth are mostly performed with a single hand.

14.13

Next, extend and erect the left hand, keeping the fingertips from touching one another, and pinch space and earth together, pressing the nail of the little finger; this is the Śaṅkara mudrā (he is the Bone-Chain Deva). As with the previous mudrā, join the three fingers side by side: that is the Umā mudrā, who is the queen of Śaṅkara. The two mudrās are similar; previously the forefinger was slightly bent, but here it is straight, erect, and separated. Form a half-lotus mudrā with the left hand, just as in the method of forming the Avalokiteśvara mudrā; here it is different only in being performed with one hand. This is the Brahmā Deva mudrā.

14.14

Next, make an open añjali, bend the tips of the two wind fingers to press upon the backs of the third joints of the fire fingers, causing them to meet the tips of the two water fingers. The two water fingers are also on the backs of the third joints of the middle fingers. The Candra Deva mudrā is no different from that of King Brahmā, differing only in visualizing a white color.

14.15

Next, join the palms, bending wind and earth into the palms to gather together. Bend the fire and water fingers in a circular curve like a bow; this is the mudrā of Jayā, Queen of the Sun. For the Wind mudrā, as before, extend the left hand with the palm turned sidewise and bend the earth and water fingers; this is the wind-banner mudrā. First hold the left hand palm upward before the navel, as if holding a vīṇā, pinch wind and space with the right hand while extending the rest spread out, and move it toward the body as though plucking strings; this is the Sarasvatī mudrā. This subsumes the gandharvas and others; she is a devī, and is also called of the gandharva class.

14.16

Next, as with the previous pāśa mudrā (meaning, make an inward-interlocking fist, extend the wind fingers hooked and curved to pinch each other), perform it with the left hand alone, and that is the Varuṇa Nāgarāja mudrā.

14.17

Next, hold the left hand as in the mudrā of the Goddess of Music. In the drawing, the right hand bends the wind finger onto the thumbnail, while the others are all spread and extended, palm downward, poised over the left hand. This is the mudrā of the asuras. Its mantra is:

14.19

"Ga" means practice (gamana), because practice is unobtainable. "Ra" means stainless. "La" means free from characteristics. "Yaṃ" means having nothing to attain. The dot above indicates great emptiness.

14.20

For the Gandharvas, make an inner palm fist, and extend both water fingers side by side so their tips meet; this is their family's samaya mudrā. For their action mudrā, perform it with one hand: place the thumb onto the nails of three fingers and extend the water finger straight; this is the Gandharva mudrā. The mantra is:

14.22

Next, make a fist with the left hand, bend the wind finger like a hook so it slightly does not touch the tip of the space finger; this is the mudrā of all yakṣas (it may also be formed with both hands joined). The mantra is:

14.24

Next, with the left hand, press the tip of the earth fingernail with the space finger, extend the water and fire fingers, and touch the joint of the thumb with the wind finger; this is the mudrā of all yakṣiṇīs (it may also be formed with both hands joined). The mantra is:

14.26

Next, with the left hand, press the nails of three fingers with the space finger and extend only the middle finger; this is the mudrā of all piśācas (it may also simply be formed as a fist with the middle finger extended). The mantra is:

14.28

Next, also follow the preceding, but slightly bend the middle finger; this is the mudrā of piśācīs. The mantra is:

14.30

Next, join both hands in añjali, place both space fingers side by side and spread them apart to the extreme, making them separate from the other fingers; this is the mudrā of the grahas (these form a distinct destiny, neither humans nor ghosts; they are those that terrify people, being possessed by non-humans. Here it does not mean these, but refers to the planetary deities). If one is near the asterisms (nakṣatras), one must take the nine grahas as the standard. The mantra is:

14.32

Next, first form the saṃpuṭa; cross both fire fingers and both space fingers, right pressing over left; this is the mudrā of all asterisms (nakṣatras). The mantra is:

14.34

"Na" signifies emptiness. "Kṣaye" signifies exhaustion, meaning that everything is removed and exhausted. "Tārā", as before, signifies stain and the like. Interpreted according to the word, it means consuming all obstacles and stains, thereby causing a pure voice to spread everywhere, which is the so-called unstained sound. All mantras spoken as above praise their real virtues with meaningful words, awakening them and bringing them joy.

14.35

Next, form the saṃpuṭa, bend both water fingers into the palms, and keep the rest as usual; this mudrā of all asterisms is also the mudrā of the rākṣasas. All the mudrās of the terrestrial devas mentioned above may be performed with either both hands or one hand. If, due to chanting, manual tasks, and other causes, there is no time to bind them with both hands, forming them with only the left hand will suffice (where the sūtra above said the left hand while the drawings showed both hands, this principle should be applied). The mantra is:

14.37

Next, extend the left hand to cover the mouth and touch the palm with the tongue; this is the mudrā of the ḍākinīs. The syllable "hrīḥ" means free from cause and stainless; above it is samādhi, and the side visarga indicates wrath. "Ha" signifies cause; the dot above also signifies wrath. As for those having these as their heads: the various mudrās described above down to the ḍākinīs are at the end; if one were to extensively exhaust the classes and retinue, the varieties would be limitless, as distinguished in the great root text of one hundred thousand gāthās. What is spoken now in this chapter merely brings forward the leaders, just as when one lifts the main cord of a net, all the meshes are raised.

14.38

Lord of Mysteries! As for "such emblems of the bodhisattvas born of faith and understanding in the Buddha": The Tathāgata has already realized the equal dharmadhātu, and by the power of his original vow and great compassion, he manifests this gateway of the body mystery of upāya through the adhiṣṭhāna of supernatural power, in order to enable all sentient beings to attain faith and understanding and enter the ground of all-knowledge together. Therefore, one should know that such mudrās are born of faith and understanding in the Buddha. One should know that such mudrās are the emblems of the bodhisattvas. That is, using this upāya to reveal the Tathāgata's innerly realized virtues is why they are called "emblems." As for mudrās being manifold, even to the extent that bodily movements and postures are all mudrās: if the ācārya clearly understands yoga, deeply penetrates the esoteric purport, and can purify the bodhicitta—because through pure mind he thoroughly comprehends the esoteric Dharma—whatever he does is for the benefit and pacification of sentient beings, and whatever he carries out accords without exception with the Buddha's deportment. Therefore, of all bodily movements and actions, there is none that is not a mudrā. How could it be merely the karma of the body? Even all speech is likewise entirely mantra.

14.39

"Therefore, Lord of Mysteries! A bodhisattva practicing in the mantra gateway, having already generated the bodhicitta, should abide in the Buddha-stage and construct the maṇḍala." If one says that in this degenerate age, bodhisattvas practicing mantras alike commit the sin of transgressing the samaya and will definitely fall into evil destinies, it means that in this degenerate age, bodhisattvas practicing mantras who have already generated the great mind should abide in the Buddha-stage and only then construct the maṇḍala. If one does not do so and acts arbitrarily, that is slandering the Buddha. Therefore, regarding what has been explained above, the ācārya must understand those methods of mudrās, mantras, and the like, and thoroughly master each and every rule. Furthermore, he must long cultivate yogic practices, purify the karma of body, speech, and mind, and personally realize the practice of the Dharma-gateway of the equal three karmas. Because of being empowered by such yoga, mantras, and bodily mudrās, he is identical in body with the Buddhas and bodhisattvas, and identical with the Buddha-stage. Through this, corresponding in samādhi where phenomena and principle do not contradict each other, he erects the round altar down to the directions, colors, and images, each according with principle without error, knowing well the proper sequence; one should know that he will definitely obtain great benefit, not in vain. If he does not do so, he incurs the sin of transgressing the samaya. "Samaya" is one's own vow. All Tathāgatas originally established their vows to universally open the Buddha's knowledge and vision for all sentient beings, wishing them all to be like myself, and established this Dharma through upāya. Therefore, it is like the edict of a great worldly king that must not be transgressed; whoever transgresses it will surely incur severe punishment. Therefore, one must correspond with the bodhicitta, abide in the Buddha-stage, and construct it. Those who do not comply with the teaching waste their efforts and squander their time in vain, accomplishing nothing in the end and merely bringing upon themselves guilt without any benefit. Therefore, practitioners should carefully investigate the sūtra teachings and seek out clear masters for instruction, so as not to mislead themselves. Chapter on Explaining Mudrās in Detail has now ended.

14.40

Next, Chapter 10: Explaining the Wheel of Syllables

14.41

Regarding "The Buddha again addressed Vajrapāṇi": as for what Vajrapāṇi had previously asked, the Buddha had already answered in due order. Since there was that in the preceding text which was not yet exhaustive, he now explains it further, and therefore addresses him, bidding him listen attentively. Regarding "There is a Dharma gateway called 'Omnipresent'; when that bodhisattva abides in the stage of the syllable, whatever is done is entirely accomplished": this very syllable-wheel Dharma gateway is the Omnipresent Dharma gateway. If a bodhisattva abides in this syllable-wheel Dharma gateway, starting from the generation of the wondrous bodhicitta up to the attainment of buddhahood, all the various undertakings of self-benefit and benefiting others in between are completely accomplished without hindrance through entering this Dharma gateway. Furthermore, regarding what was stated above, that the ācārya "abides in the buddha-bhūmi", the meaning was not yet fully clarified; it refers to the syllable gateways herein. The initial syllable A is none other than the mind of bodhi; if one contemplates this syllable and corresponds with it, one is identical with the essence of Vairocana's dharmakāya. That is, contemplating this wheel of the syllable A as surrounded by radiant light like the eye of a peacock's feather, the practitioner abiding within it abides in the buddha-rank (to be queried further). This syllable-wheel should be made threefold, with the syllable A placed in the center, and the remaining retinue of syllables on the outside (to be queried further). Moreover, this A has five forms: A, Ā (long), Aṃ, Aḥ, and Āḥ (long). Furthermore, at the beginning of each syllable-wheel, there is first the three-tiered heart mantra of taking refuge in the Three Jewels, namely the syllables A, Sa, and Va; these three syllables manifest the meanings of the three families. The syllable A is the Tathāgata family, the syllable Sa is the Lotus family, and the syllable Va is the Vajra family. Each of the three families revolves according to the five syllable-wheels, with marks corresponding to their meanings. What was earlier called a maṇḍala is now called a wheel; it is the very meaning of maṇḍala. In the previous altar ritual, the center was Mahāvairocana Tathāgata, which is identical to the syllable A here. On the north side was placed the Lotus and its retinue, all in one place, which is the syllable Sa here. On the south side were placed the Vajradhara and his retinue, which is the syllable Va here. Now, four more syllables are generated from the syllable A, which are the petals of the Mahākaruṇāgarbha. From the single syllable Va, multiple syllables are turned and generated; hence it is called a "wheel". The first syllable, A, is the essence of the bodhicitta. Next are the five sounds of ka, kha, ga, gha, etc., each taking four syllables (each excluding the fifth sound); next one takes ya, ra, up to kṣa, which are all masculine sounds and all enter the wheel of the syllable A. The practitioner, having already generated the mind of bodhi, should advance and cultivate the practice of the tathāgatas; therefore, the wheel of the syllable Ā (long) is explained next. This is practice, and its three families are the three syllables A, Sa, and Va. Next, from the syllable ka up to kṣa, a dot is also added to the side corner to serve as the wheel of long-vowel syllables. Having fulfilled the practice of the tathāgatas, one realizes bodhi; therefore, the wheels of the syllables Aṃ, Saṃ, and Vaṃ are explained next. These are the three families. The dot above this A has the meaning of great emptiness; just as this mind of bodhi is devoid of all marks, it is called the buddhas, which is the realization of bodhi. Next, from the syllable ka up to kṣa, a dot is added above each to make the wheel of Aṃ syllables. Having realized bodhi, where should one arrive? It refers to great nirvāṇa; therefore, next herein are explained the syllable-wheels of Aḥ, Saḥ, Vaḥ, and so forth. These are the three families. Just as with ka up to kṣa, two dots are added to the side of each, which is the wheel of nirvāṇa. That single syllable Āḥ (long sound) is the wheel of upāya, which is why there is none in the center. This is the wheel of Śākyamuni Buddha (the karma family pervades and enters all wheels, so there is no separate altar; thus it is said in the yoga). In general, the syllable-wheel is divided into three parts: the initial syllable A constitutes the first part; next, the twenty syllables from ka onward constitute the second part; next, from the syllable ya up to the syllable ha constitutes the third part. The syllable kṣa is excluded because this syllable is already a conjunct (meaning it is composite because it has both ka and sa sounds). The above are all syllables of wisdom. Next there are the eight syllables i (short), ī, u (short), ū, e, ai, o, au. Adding these eight syllables accomplishes samādhi; they are all the sounds of samādhi. They also constantly revolve following the five wheels, and their meaning can be understood. Next there are ṅa, ña, ṇa, na (short), ma; these syllables are omnipresent, meaning they pervade both samādhi and wisdom. Yet these five syllables also revolve following the five wheels, meaning by adding a side dot, or adding a circle dot above, or adding two side dots, etc., these five all become five syllables. The so-called "syllable-wheel" means that from this rotation the various syllables are generated. "Wheel" has the meaning of generating: just as from the single syllable A four syllables are generated—meaning A is bodhicitta, Ā (long) is practice, Aṃ is the realization of bodhi, Aḥ is the great calm of nirvāṇa, and Āḥ (long) is upāya. As with the syllable A, one should know that the syllable ka also has five syllables, and up to kha and so on, all twenty syllables should likewise be understood in this way. Next there are twelve syllables, namely the twelve syllables i (short), ī, u, ū, ṛ, ṝ, ḷ, ḹ, e, ai, o, au, which are identical to the dot above the syllable, meaning samādhi. Ṅa, ña, ṇa, na, ma also have five syllables, which are identical to the dot at the top. The eight syllables ya, ra, and so forth are identical to the two dots beside the syllable, which have the meaning of elimination. One should know that this syllable-wheel pervades all mantras. If one sees the syllable A, one should know the meaning of bodhicitta. If one sees the long syllable Ā, one should know the cultivation of tathāgata-practice. If one sees the syllable Aṃ, one should know the realization of saṃbodhi. If one sees the syllable Aḥ, one should know the realization of great nirvāṇa. If one sees the long syllable Āḥ, one should know the power of upāya. If one sees the twenty syllables such as ka, one should also expound them according to their categories of meaning. One should know that all these syllables are wisdom. If one sees the eight syllables such as ra, one should know that they are identical to the side dot, also corresponding according to their categories (meaning ra is stainlessness, etc.). If one sees i and the rest, they manifest samādhi. If one sees the five syllables such as ṅa, one should know they are the dot of great emptiness. Great emptiness is devoid of all marks, which is the meaning of achieving buddhahood. If the practitioner understands thus, he can enter the meanings of all dhāraṇīs, rotating without obstruction; hence it is called the syllable-wheel.

14.42

Regarding "Thus, Secret Lord! The wholesome dharma mantra-path of the syllable-course gateway abides in sequence, empowered by the supernatural powers of all buddhas, the samyaksaṃbuddha-path, the dancing of the bodhisattva practices": when the sūtra says "Thus", it points to the syllable-wheel above. As explained above, samādhi, wisdom, emptiness, and the like are the gateway to the buddha-path, the path capable of achieving true enlightenment. If one fully understands the meanings of the syllables, one can abide in the path of mantras, fully knowing its sequential rules, the marks of realization and entry, and the distinctions of stages, lucidly penetrating what is unobstructed and obstructed without doubt or hesitation. However, these Siddhaṃ vowels and consonants are practiced even by worldly children; how could they abruptly accomplish such matters? These syllables all flow forth from the tathāgata's nature of inner realization through the tathāgata's empowered supernatural power; therefore they can have such inconceivable operations. If a person clearly understands the intent and upāya herein, that is penetrating the path of saṃbodhi. "Skilled in penetrating" means penetrating the capacities, natures, and desires of all sentient beings, thoroughly knowing by what dharma they can enter the path, and through what gateway they can attain realization, understanding immeasurable and boundless such matters. Conforming to sentient beings, one bestows the wondrous Dharma upon them, causing them all to reach the tathāgata-stage. "Dancing": like a worldly person dancing, who moves with various bodily karmas of bending, extending, bowing, and looking upward in the midst of a great assembly, and utters various subtle, skillful melodies and songs, adapting to the inclinations and pleasures of sentient beings. He makes that great assembly feel joy, or sorrowful reflection, or terror; through the upāya produced by a single body and mouth, he causes the benefits of sentient beings to be diverse, because he is skilled in comportment and able to accord with the minds of sentient beings. The bodhisattva is also like this: manifesting various deportments, none of which fail to become mudrās; uttering various wondrous Dharma sounds, all of which are mantras; responding completely and without bounds, all attaining great benefit; hence it is called the bodhisattva dance.

14.43

"The tathāgatas of the three times all make this statement; they have spoken it, speak it now, and will speak it": regarding such pure paths of mantras through the syllable gateways, the path of all buddhas of the ten directions and the three times is identical. All universally manifest bodily forms in this way, disclosing the path to buddhahood through various gateways, just as dancing performers accommodate human feelings through their melodies. "There is neither other nor self": with the buddha-eye I comprehensively observe that all buddha-realms of the three times identically explain this gateway; all buddhas are no different from me. All buddhas and those tathāgatas likewise have no differing teachings; hence it says "there is neither other nor self." This is the teaching of all buddhas; one ought to practice it in this way. If one diverges from this, the upāyas are incomplete. "For this reason": the Tathāgata concludes that meaning and addresses Vajrapāṇi. When he addresses Vajrapāṇi, one should know that he addresses the entire great assembly. That is to say, if a bodhisattva of mantra practice wishes to quickly attain the Dharma of ancient buddhas, they should study and practice this gateway that is omnipresent everywhere, diligently listening to, contemplating, and cultivating it. Because of this, they can perhaps, within a single lifetime, attain all the tathāgatas' various dances, plays, and songs to delight sentient beings. "The beginning, middle, and end are combined with one another": the five syllables beginning with A are the beginning; the twenty syllables beginning with Ka are the middle; the eight syllables beginning with Ra are all side-dots. Since these syllables all assist in completing the meanings of the syllables, they are the concluding part. In general, Ka, Cha, Ṭa, Ta, Pa, and so forth all belong to the syllable A gateway. The syllable A is the bodhicitta. In this context, "the beginning, middle, and end are combined with one another" means: just as the syllable A alone is the bodhicitta, if a stroke is added to the side corner, it is practice; this is bodhicitta combined with practice. If a dot is added on top, it is bodhicitta combined with great emptiness, abandoning all marks to achieve awakening. If two dots are added to the side of the syllable A, it is bodhicitta combined with the removal of all hindrances to attain nirvāṇa. The others follow this pattern by combining sequentially; whether they signify one, two, or three meanings may be known accordingly. Or there are cases where, although there is no dot atop the syllable A, the subsequent syllable is a conjunct consonant with nasal sounds such as ṅa, ña, ṇa, na, ma; when connected with what precedes it, this forms the syllable Aṃ. Why is this? These nasals like ṅa are dots; when applied to the preceding, the syllable A becomes the sound aṃ. Or the syllable A has no dot, and the subsequent conjunct has [a nasal]; for instance, when the four syllables ka, kha, ga, gha are doubled, the syllable ṅa is used as the dot. For the syllables ca, cha, ja, jha, the syllable ña is used as the dot. Others follow this pattern. When sounds like ra are paired with the preceding, they form the syllable Aḥ. Why is this? Sounds like ra are both two side-dots; now by connecting them with the preceding, A becomes the sound aḥ (inquire further). Now, the reality-body is without words, free from all conceptual prapañca, yet all tathāgatas, by the power of sovereign adhiṣṭhāna, can establish this wheel of syllables, and thus are able to perform the Buddha's work to benefit all beings. Ka, Cha, Ṭa, Ta, Pa: realizing bodhicitta in the samādhi chapter, the practice of the Buddha's bestowing, together with nirvāṇa; explaining these syllables and the like as mutually combined, the mantra teachings are endowed with beginning, middle, and end. (This is the scripture text; the text has already been explained.) "Knowing thus, reciting according to one's wish, with resolved mind using them phrase by phrase with conscious awareness, one shall be bestowed the unsurpassed, supreme phrase": "knowing thus" is a synonym for sarvajñajñāna. If the practitioner understands the meaning of the wheel of syllables in this way, whatever they desire will all be accomplished. In brief, so-called "all being accomplished according to one's wish" means accomplishing all the deeds of a tathāgata. If one accomplishes this, one is identical to the Dharma King and can be sovereign among all phenomena. One also attains the power, in accordance with one's original vow, to open pure vision for all sentient beings and enable them to attain the Buddha's wisdom. What kind of person attains this benefit? It refers to a practitioner who, in accord with principle and endowed with the necessary conditions, recites well; hence it next says "the reciter." Who attains this resolved mind? It refers to a person of wisdom. Because they properly comprehend and recognize the meaning of the wheel of syllables, whichever syllable gateway among A and the others they practice in accordance with, they are certain to achieve the fruit of awakening. Do not give rise to doubts. What Dharma is comprehended here? It means: just as the syllable A is the bodhicitta, adding a dot is the practice of awakening, and adding great emptiness is becoming a buddha. If the bodhicitta is purified and removes all hindrances, that is mahāparinirvāṇa; there is no other meaning. Thoroughly penetrating and understanding each of these is to receive the unsurpassed, supreme phrase; the unsurpassed phrase is becoming awakened. This unsurpassed bodhicitta is the spontaneous wisdom of all buddhas; truly there is none who can bestow it. But when the practitioner is fully equipped with upāyas and properly understands the meaning of the wheel of syllables, they attain it spontaneously; this is the bestowing of unsurpassed awakening. "In this way, rotating the wheel of syllables wheel by wheel, the practitioner who knows how to recite constantly illuminates the world, like the Bhagavat Vairocana": "rotating" is like a worldly wheel, which, when spinning, reveals no boundary between end and beginning, without limit and inexhaustible. One should know that each of these wheels of syllables is also like this: spinning out from the syllable A, all the syllables are born. This wheel of syllables is omnipresent within all mantra names, revolving and encompassing without limits, inexhaustible at its source, and omnipresent everywhere; it is indeed hundreds of thousands of koṭis of revolving dhāraṇīs. If the practitioner can understand the meaning of the wheel of syllables in this way, they can use this constant illumination to shine upon the world. The constantly abiding illumination is the body of Mahāvairocana Tathāgata, turning the Dharma wheel just like that Vairocana. The constant illumination here is the great sun of wisdom; this sun is the bodhicitta, the essence of the syllable A, unborn, uncreated, and immutable, not made through conditioned production. Because it is wisdom of such constantly abiding dharmatā, it is named "constant illumination." If the practitioner exerts diligent effort and cultivates for a long time without slacking or retreating, they are certain to attain it. However, the previously described maṇḍala methods, procedures, casting flowers for abhiseka, even presenting a bright mirror, just as using a golden lancet to clear the film from the eyes—all these are, for those who are initial aspirers to bodhicitta, gradual procedures through upāya and adhiṣṭhāna to strengthen their resolute mind, serving as steps for entering the Buddha's Dharma. Yet the secret purport herein lies in the wheel of syllables. Why is this? If a practitioner acts as an ācārya for others and wishes to construct a maṇḍala, they must first abide in the station of the Bhagavat; that is, by assembling these syllable gateways into their body, their body becomes identical to the Buddha. When the yoga ācārya completes the visualization practice, whatever they perform according to their mind is spontaneously accomplished. Visualizing this wheel of syllables spread across the body as if seeing it clearly, they are identical to the Buddha and share the Buddha's station.

14.44

When placing the syllables, one should divide [the body] into four parts, which are the fourfold maṇḍala. The head is the first part, which is the station of the bodhicitta of the syllable A. From Ka, Kha, Ga, Gha, Ṅa and so forth, up to Śa, Ṣa, Ha, all that have the first sound belong to bodhicitta. One should visualize the syllable Ka starting from the spot between the practitioner's eyebrows where the white ūrṇā is located; from Kha onward, one should rotate clockwise following the sun, placing them sequentially in one circumference so that they link together in a ring. Next, from the throat downward is the second part, belonging to the long Ā syllable gateway; it should also connect above and below with the white ūrṇā in the center, placed clockwise in one circumference linking together; this is the practice of bodhicitta. Next, from the heart downward is the third part, belonging to the syllable Aṃ gateway; one places the syllable Khaṃ above the heart, sequentially rotating clockwise in one circumference to link together. Next, from the navel downward belongs to the syllable Aḥ gateway, which is great nirvāṇa; one also places the syllable Ka (with entering tone) from the center, sequentially rotating clockwise in one circumference to link together. The head is the upper part, the throat and heart are the middle part, and the navel is the concluding part. (Privately I consider that generating bodhicitta is the beginning, practice and fruit are the middle, and great quiescence is the end.) The fifth syllable, Aḥ, is omnipresent everywhere; whatever is performed according to one's wish is accomplished. This is outside the body, utilized at will like the radiance of the Buddha's body, not within the bodily stations for placing syllables. The syllable Aṃ is also like this, being identical with Aḥ. Once the master has constituted the body in this way, the maṇḍala is also laid out like this; one should also visualize the disciple, instructing them to perform it in this way. When the three matters are all completed, this is the secret maṇḍala. If one does not comprehend the purport within this, even if one performs it according to the previous ritual actions, it cannot be called well-performed; it will waste effort in vain and achieve nothing. Furthermore, this method of placing syllables is the secret maṇḍala; unless one has practiced the conduct of true mantras for a long time and is capable of receiving transmission, it is transmitted only through mind-to-mind intention and cannot be recorded in writing. Therefore, the master transmits it orally, and the sūtra does not state it, merely saying that it revolves like Vairocana.

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Furthermore, the practitioner must know the colors of the syllables. The initial syllable A, the twenty-five syllables beginning with Ka, and the syllables from Ya and Ra up to Ha all belong to A and are made yellow, which is the color of the vajra. The second syllable Ā is turned into yellow-white, which is the color of quiescence. The essence of the syllable A is yellow, and samādhi is white; because the two colors combine, it is yellow-white. The third, with a dot added to the head, is also made yellow-white, which is Aṃ. The syllable A is yellow and great emptiness is white; therefore it is yellow-white. Next, the fourth syllable Aḥ is turned into yellow-black. The syllable A is yellow and the two dots are the color of nirvāṇa, which is black; therefore it is yellow-black. It may also be that the two dots mean subjugation: just as nirvāṇa destroys and smashes all obstructive dharmas, this is also like that; hence the two dots are made black. As for the fifth syllable, Aḥ: the essence of the syllable A is yellow, the dot above is white, and the sides are black; one should know that it is of various variegated colors.

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In general, arranging the maṇḍala also involves three tiers. In the first tier, the syllables from ka to ha encircle the inner tier, which is called the vajra wheel. This vajra wheel supports all dharmas, just as the world's vajra wheel supports the world; it is precisely the practitioner's initial bodhicitta wheel. That is to say, because one wishes to solidify the bodhicitta, one first creates the inner tier. Next, the second wheel refers to ā and aṃ; these two wheels of long ā and aṃ belong together to the middle division. If one uses ka for the wheel, then there is no need to use the wheel of the syllable kha (my personal note: ka is the practitioner's cause; kha is the realization, the fruit). Next, the third wheel uses the wheel of the syllable aḥ; this is also arranged along the center as described above, making the circle close. Its twelve syllables such as i are dispersed outside like blazing rays of light. This is the meaning of the three turnings of the wheel of the Dharma. Having arranged it thus, the practitioner reciting [the mantras] is the embodiment of the vidyādhara, equal and without distinction, just like the supernatural adhiṣṭhāna of Mahāvairocana Tathāgata. This wheel is also named the wheel of causes and conditions. The master, the disciple, and the maṇḍala all make such secret wheels. Moreover, these syllables are the wheel of mantras, and therefore there are four kinds of wheels altogether. Furthermore, regarding the 'wheel of syllables', the Sanskrit pronunciation is akṣara-cakra. Akṣara has the meaning of unmoving; what is unmoving is the syllable A, bodhicitta. Just as Vairocana abides in the nature of bodhicitta, manifesting diverse universal-gate benefits and transforming into countless, boundless [forms]—although he thus displays traces without end, his real nature constantly abides unmoving, having no marks of arising or ceasing. Just as a carriage wheel, though turning without end, never shakes at its center, and because it is unmoving it can govern all movements without limit, this syllable A is also like this: because it is unborn, it is unmoving and non-regressing, yet it generates all syllables, revolving without end; therefore, it is called the unmoving wheel. If a practitioner can thoroughly understand such an unmoving wheel and arrange the vidyās, then by their nature, spontaneously, whatever the body expresses is nothing other than a secret mudrā, and whatever the mouth speaks is entirely mantra. All those who see, hear, touch, or perceive it will certainly attain the supreme bodhicitta; the merits and benefits accomplished are truly not in vain. If one can be like this, one acts to perform the Buddha's deeds together with Vairocana, constantly illuminating the world.

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In general, when the practitioner recites, they should visualize the wheel of syllables or the wheel of phrases. As for the wheel of phrases, one visualizes a round brightness upon the heart of the primary deity, and arranges the syllables of the mantra revolving in continuous connection, making them clearly present before oneself. While reciting, one visualizes these syllables like white milk, consecutively flowing and pouring into the practitioner's mouth or pouring upon their crown, uninterruptedly filling their body and even pervading their limbs. The syllables within the round brightness are always clear, like constantly flowing water without exhaustion. When one has recited like this and becomes exhausted, one simply abides in a tranquil mind, which means visualizing the bīja syllable. The method of this visualization has already been fully explained above. Once one attains sight of the bīja syllable, one sees the primary deity emerge from within the bīja syllable. When this is accomplished, one can fully distribute the wheel of syllables to form the body of a vidyādhara; only then is one fit to perform all ritual activities. In this way, the syllable A has the meaning of unmoving and is the vajra essence. Whenever one wishes to make an activity solid and unmoving, or make the resolve for the Path unmoving in oneself or others, one applies the syllable A to it. All the remaining syllables are also applied according to corresponding matters.

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Secret Maṇḍala, Chapter 11

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At that time, the Bhagavat Vairocana entered the realization of the samādhi "Gazing upon the Realm of the Tathāgatas' Eyes Throughout the Entire Dharmadhātu, the Dharmadhātu-Garbha Lion-Roaring-Tathāgata Equal Adornment-Garbha" (namely, manifest realization), because the dharmadhātu's inexhaustible adornments manifested, and because the fundamental vow of delivering the realm of all sentient beings without remainder through this mantra practice-gateway was fulfilled. The preceding portion has concluded the explanation of the "Chapter on the Syllable-Wheel"; next, the "Chapter on the Secret Maṇḍala" is clarified. Because it is secret, whatever is expounded is the supernatural power of the Tathāgata's adhiṣṭhāna and cannot be outwardly indicated; thus it is named the "Chapter on the Supernatural Power of Adhiṣṭhāna and the Syllable-Wheel" (all other chapters are also explained in this way). Having finished expounding the "Chapter on the Syllable-Wheel", he then wished to accomplish this syllable-wheel, and so entered samādhi once again. What the sūtra states here is setting forth the name of the samādhi. "The entire dharmadhātu" refers to the markless dharmadhātu. Since it is already the markless dharmadhātu, it is because he equally contemplates such a dharmadhātu with the Buddha-eye. Furthermore, as an esoteric interpretation: the aforementioned syllable-wheel is itself the dharmadhātu of all buddhas, and he contemplates this dharmadhātu with the Buddha-eye. One should know that this contemplation of the Buddha-eye is the power of the Tathāgata's adhiṣṭhāna; apart from adhiṣṭhāna, it cannot be expounded. Regarding "dharmadhātu-garbha", the Sanskrit term for this garbha is kośa, which has the meaning of a sheath. Just as a sword in the mundane world is within its sheath, so too is this garbha; hence it is translated according to its meaning. Therefore, what is here called the dharmadhātu-garbha is the place from which the Tathāgatas emerge—namely, that all Tathāgatas dwell within it. "Lion-roaring" (vijṛmbhita) has the meaning of flowing forth, the meaning of overflowing. Just as a lion king dwells motionless in a deep cave, and sometimes emerges from the den, stretching and stirring vigorously—this means that while his body was originally motionless, he now moves away from his habitual place. The Buddha is also like this: he dwells within such a profound, secret garbha; were it not for the Tathāgata's supernatural power of adhiṣṭhāna, being subtle and completely tranquil, it could not be manifested. Now, he manifests inexhaustible bodies, speeches, and minds in various forms and sounds that pervade the dharmadhātu; this is the vigorous stirring of all buddhas. "Manifesting the Tathāgatas' Equal Adornment-Garbha": this is the garbha of the garbha-dhātu. When entering this Dharma gateway, the bodies, speeches, and minds of all Tathāgatas of the ten directions and the three times are all completely equal and identical, the Path of all buddhas being the same; therefore it is called "equal". "Adornment" means adorning his body; that is, using immeasurable gateways of the Buddha Path to adorn the dharmakāya so as to deliver sentient beings. That is, adorning the dharmakāya with the equal dharmadhātu; hence it is called "adornment". Just as in the mundane world a great banner-emblem stands in the midst of an army and is called an adornment, so too is this samādhi: because this samādhi can represent the secret affairs of the Tathāgata, it is named after it. The "garbha" here has the Sanskrit name guha; that is, inexhaustible adornments flow forth, manifesting in vigorous stirring without ever being exhausted, just like a great treasury of jewels. This equal dharmadhātu-garbha is the meaning of the tathāgatagarbha. Because the adornments of the dharmadhātu are inexhaustible, just like the turning of the syllable-wheel is inexhaustible, it is called an "inexhaustible garbha". Why does the Tathāgata dwell in this samādhi? Yet it is not without causes and conditions; it is precisely to reveal the Tathāgata's profound, secret essentials. Thus the sūtra next states: "Because through this mantra gateway he delivers the realm of sentient beings without remainder and fulfills his fundamental vow." When the Buddha originally practiced the bodhisattva path, he made a great vow that he would cause all sentient beings to enter alike into the garbha of the Tathāgata's dharmadhātu. Now that his vow is fulfilled, out of great compassion he vigorously manifests and delivers sentient beings. Just as the adornment-garbha of the dharmadhātu cannot be exhausted, so too the realm of sentient beings cannot be exhausted. Now, wishing universally to benefit them equally through the mantra practice-gateway and make them all open and purify their knowledge and vision completely without remainder, this is the fulfillment of what was vowed; hence it says "fulfilling his fundamental vow". Furthermore, because the ritual procedures have not yet been accomplished, practitioners of the mantra conduct cannot swiftly accomplish the unexcelled Path. Now, to analyze further and cause all to be manifested, he enters this concentration. Next, "being in concentration" means that the Buddha abides in samādhi and manifests rare matters to benefit all living beings universally. What rare matters does he manifest in this concentration? It means that throughout the realm of all sentient beings without remainder, in gateways of sound and so forth, in accordance with the karmic accomplishments generated by their mental karma, receiving sounds of colors and forms as various fruitions, following their minds he expounds various dharmas, causing all sentient beings to rejoice. As for "emerging from all pore-equivalent dharmadhātu augmented bodies": the Sanskrit term for this sound is also a roar (garjita), just like when a great dragon appears, the thunderous sound rumbles and roars so that everyone hears it, leaving nowhere unpervaded. The roar of the Tathāgata is also like this: pervading the realm of sentient beings without remainder, the immeasurable sounds of this realm are also universally heard, not limited like a mundane dragon. Among the upper, middle, and lower grades in the realm of sentient beings, they receive fruitions in accordance with whatever karma they performed; hence it says "accomplished by karmically generated fruition". It is just as when a person in the world receives food but has not yet eaten it, it is not yet termed "received"; only after taking and eating it is it termed "receiving that offering of food". Receiving retribution as vipāka is also like this now: each matches their prior causes and receives that fruit; with myriad differences in shapes, visible colors, and so forth, their voices and utterances differ, and their inclinations, faiths, and understandings are also distinct. With a single, equal, wondrous sound, the Buddha corresponds to each of their minds according to their aspirations, and reveals awakening in accordance with their languages; stimulating their thoughts and consciousness, he skillfully guides them so that all attain joy. This is the unprecedented auspicious sign within the samādhi. What is described here as "various" is like the meaning in the science of grammar (śabdavidyā): suppose three phonemes combine to express a single meaning; if the meaning is incomplete, one more syllable is added to make it complete. If four phonemes jointly express a single meaning, but using three phonemes the meaning is already sufficient, then one syllable is omitted. In this way, additions and subtractions are made as appropriate. Here it is also like this: merely with the single syllable-A gateway, all meanings are complete, and in every matter there is nothing that is not rounded out; therefore it is called "expounding"—it is not the same as the "expounding" of preaching the Dharma. The Sanskrit sounds differ; we shall inquire further. As for "emerging from dharmadhātu augmented bodies": the equal dharmadhātu is ultimately tranquil and extinguished, having no marks of emerging or entering. Yet through the adhiṣṭhāna of the Tathāgata's supernatural power, inexhaustible physical bodies emerge. That is, from each and every pore of the Buddha, corresponding to the roar described before, various forms also emerge; hence it says "dharmadhātu augmented bodies". In truth, arising from conditions, they have no nature of arising; such dharmatā is identical with the substance of the dharmadhātu—how could there be any increase, decrease, arising, or ceasing? Although they are dependently originated dharmas, their substance is eternally like its true mark. Nevertheless, by the power of the Tathāgata's adhiṣṭhāna, from each and every pore a roar manifests, either with gentle words or harsh words, profound or shallow, responding to their mental faculties, just as the ocean tide does not exceed its usual bounds. His bodies are also like this: large or small, or in wrathful forms, or practicing the six pāramitās, or subduing through majesty, differing in myriad ways, without any error regarding the sentient beings to be delivered. Previously the syllable-wheel was shown; now forms and sounds manifest from within the dharmadhātu wheel. "Having emerged, in worlds equal to space, he expounds with a single sound the dharmadhātu-indicating tathāgata-generating gāthā": just as space has no boundaries, this sound is also like this, equal to space. "Indicating" means revealing; that is, the Tathāgata's karma of speech-indication. That is, manifesting to all sentient beings so that all match and awaken to the equal dharmadhātu. Using this wondrous sound to indicate the dharmadhātu, it therefore says the dharmadhātu is the mind. The "single sound" is the syllable-A gateway turning without end, equaling space and filling the dharmadhātu. All buddhas of the three times are born from such wondrous gāthās; hence it is called "generating Tathāgatas". Now the Buddha expounds wondrous gāthās from this gateway of a single sound, causing worlds without remainder to hear and know equally, understanding in accordance with their kind; hence it is so named. The syllable-wheel expounded above was intended to indicate the Tathāgata's virtues. Therefore the Buddha emits wondrous sounds from each and every pore pervading this realm, expounding the profound meaning of this syllable-wheel—namely, the gāthās that can generate all buddhas. If there are sentient beings who understand the meaning of this syllable-wheel, they will accomplish bodhi; hence it says "all buddhas are born from this". However, the dharmakāya of all buddhas is free from arising and ceasing; if a Tathāgata had an arising, that would be clinging to marks, and one who clings to marks cannot even leave birth and death, let alone accomplish great bodhi! When "arising" is spoken of now, it is an arising that is truly free from marks. Because the pure dharmakāya is free from all marks, the Buddha, by the power of adhiṣṭhāna, uses this syllable-wheel to reveal the Tathāgata's secret virtues of internal realization. Being sustained by the adhiṣṭhāna of the Buddha's sovereign supernatural power, through this marked upāya, the mark of marklessness can be generated. Just as when someone has not yet awakened, by relying on this syllable-wheel as an upāya, they gradually become able to comprehend and contemplate the gateway of the syllable A. By entering the syllable-A gateway, they are able to realize the ultimate, sovereign dharmakāya.

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Linked texts (1)

大毘盧遮那成佛經疏 — Classical Chinese