大毘盧遮那成佛經疏 16

English (machine translation) 16

Language: English

16.1

Recorded by the Śramaṇa, the Ācārya Yixing

16.2

Remainder of Chapter 11: The Secret Maṇḍala

Next, in answering how many kalpas the fruit numbers and the lifespan last: the power of all mantras of worldly deities does not exceed one kalpa at most. Those spoken by the Buddha exceed the measure of a kalpa, meaning exceeding one kalpa, and exceeding another kalpa, thus immeasurably up until attaining buddhahood. Therefore, the lifespan and fruits of the siddhi maintained by worldly people have a numerical limit not exceeding one kalpa. Now, [the Buddha's] is not lost, its lifespan is inexhaustible, exceeding the measure of the count of kalpas. If explained in terms of phenomenal practice, merely according to one's capacity one can exceed a certain number of kalpas, or exceed immeasurable kalpas with an inexhaustible lifespan, also surpassing those worldly devas. Therefore, saying "transcending kalpas" is a comprehensive and indefinite phrasing. To speak strictly of the reality of the lifespan: it surpasses the count of kalpas, and the retribution received is also without limit.

16.4

Next, in answering about samādhi, briefly there are several kinds. As for the samādhis of the Buddhas, the Buddha's sons, the great rṣis of the Buddhas, and the assemblies of the Buddha's sons, they are pure and free from all conceptual thoughts. That with conceptual thought is worldly; that of the two vehicles is called free from conceptual thought. If samādhi is worldly yoga, it is called samādhi with signs. Here, "samā-" means equality, and "-dhi" means wisdom. Through contemplative illumination with wisdom, just as before, the three matters are all empty; through the essential emptiness of the three matters, they unite equally into one: this is called the samādhibhūmi. Now the samādhi of the Buddhas and bodhisattvas is pure and free from conceptual thought. Through this samādhi, they correctly contemplate that the three matters are all equal, having no further discrimination; because they are free from all conceptual thoughts, their fundamental nature is purely white and free from all defilements, hence it is called pure. As for that with conceptual thought, it refers to all worldly samādhis: cultivating in pursuit of their fruit, cultivating the cause with expectation of the fruit, having something to hope for, at most reaching the four dhyānas and eight attainments beyond which they cannot pass; therefore they are not pure. Although śrāvakas and pratyekabuddhas attain purity, they have not yet attained universal purity: because they have not yet completely understood the two hindrances of defilement and knowable objects, they are not yet purely refined. Worldly samādhis also have two kinds: first, the view of annihilation; second, the view of permanence. If it is the view of annihilation, it is without discrimination; that of permanence has a little discrimination. Regarding "attaining fruits from karma", there is the time of maturation. If one attains siddhi, one gains sovereignty over karma and can turn it around: if it must be received, one can receive it; if not received, one can also avoid receiving it. Because the mind has no intrinsic nature, the mind-nature is free from cause and effect. The word "not" means non-existence. In the characteristic of liberation, karma, birth, existence, and all that are like space; upon accomplishment and at the time of maturation, karma obtains its fruit. If siddhi is attained, karma should be turned around by the mind's lack of intrinsic nature; hence cause and fruit are also transcended, and birth through karma is liberated. "Arising like empty space" means that in worldly samādhi with signs there is still karma, cultivated with expectation of retribution, hence called accomplishment. Obtaining this maturation is called siddhi. If by means of this worldly emptiness one dedicates toward this mind's lack of intrinsic nature, since its essence is signless and equal to boundless empty space, the merit obtained is also vast. As for "turning around this mind's lack of intrinsic nature": mind is called citta. Citta is like the adornment and accumulation of manifold colours, hence called citta. Since it is constituted of manifold colours, it has no intrinsic nature; this is the cause. Since the fundamental cause lacks intrinsic nature, one should know that the fruit produced also lacks intrinsic nature. Why is this? If the cause has arising, the fruit may have arising. Now, since the cause still depends on conditions to be formed, being unproduced and without nature, one should know that arising cannot be apprehended. Because cause and fruit are both like this, one attains liberation from all karmas. Some may say: "If it is like this, then there is neither cause nor fruit, falling into the view of annihilation." This is also not so. It merely transcends the nature of karmic birth; having transcended karmic birth, there is the arising of dharmatā, which is equal to empty space. Because empty space is boundless, one should know that the accomplished merit and the activities benefiting sentient beings are also boundless and inexhaustible; hence it is not annihilation. Above, the verses briefly answering Vajrapāṇi's questions are finished; they will now be further explained in prose.

16.5

As for the words "Furthermore": because what was explained before was not completely exhausted, it is explained further here in continuation; hence it says "Furthermore." "Listen attentively": because this teaching is exceedingly deep and its secret import is essential, he admonishes them again to listen attentively. Herein are briefly stated five matters, namely: mudrā, color, holy station, abiding, and samādhi. "Mudrā" refers to the hand seals and seal marks, which are represented as shapes and forms. "Color" refers to the distinctive differentiation of the shapes and bodily marks of the principal deities. "Placed" refers to shapes such as square, round, crescent, or triangular. "Holy station" refers to the respective places of the compass directions where they abide within the maṇḍala (the arrangement of the seats of the noble ones). "Abiding" means that the images of the principal deities are not merely colorful paintings, but because they are invoked by mantras, mudrās, and the like, they arrive at their original seats, confer their majesty, and abide there, displaying majestic efficacy. "Samādhi" refers to the bodily postures and expressions—such as tranquil, wrathful, or joyous—according to superior, middling, or inferior divisions. Inviting the principal deity according to ritual, forming the mudrā and bodily shape, assigning the holy station, having the majestic efficacy manifest before one, and abiding in the destination of samādhi (the dwelling place is [the destination]). The dwelling place is called the destination, meaning the destination of samādhi. One must fully clarify these five conditions. What are called the "five destinations": destination has the meaning of distinct and separate. Because of the distinctions among these five conditions, they are called five. Because one possesses these five, one can comprehend all mundane and supramundane maṇḍalas. Moreover, these five matters are those by which the Buddhas of the past accomplished supreme right awakening—the accomplishment of saṃbodhi by former Buddhas (the Dharma of all Buddhas)—practicing throughout the space of the dharmadhātu. "Practicing throughout the space of the dharmadhātu" means that because their substance is identical with the dharmadhātu, they accomplish the conduct of the Tathāgata. Such Buddhas, by reason of their fundamental vow to deliver sentient beings of the entire world, expound this for the benefit, joy, and peace of the bodhisattvas who practice the mantra gateway; therefore, he bids them to receive it diligently and attentively. As for "Vajrapāṇi said: 'So it is, Bhagavat! Truly we wish to hear'": this means that the great assemblies from the ten world-realms of Vajrapāṇi and the ten world-realms of Samantabhadra, having received the Buddha's command, all proclaimed with one voice: "Indeed, Bhagavat! We desire and wish to hear." Therefore the Buddha further expounded the secret maṇḍala ritual. The Buddha said that there is a Samyaksambuddha maṇḍala, set as the secret within the secret, bearing names such as the unsurpassable mahākaruṇāgarbha; if it is the same as the immeasurable mundane and supramundane maṇḍalas, this is the ultimate teaching of the Tathāgata's supreme right awakening. Yet this mahākaruṇāgarbha-samudbhava was already explained earlier; why explain it again? What difference is there? Although what was explained earlier was indeed secret, there is still the secret within the secret. If one does not explain this ritual, then even if one has penetrated the former ritual, it cannot be accomplished; hence it is the most secret and essential. If one understands this, it can be applied universally to all mundane maṇḍalas, with nothing it does not enter. Its method of construction: first construct a square maṇḍala, whose boundary uses only karma-vajra wisdom-mudrās linked continuously around it to serve as its pathway. Install only a single gate. In the center of its cross, further make a crossed-vajra mudrā, the mudrā being made as before, differing only in being crossed. Above that crossed-vajra mudrā, fashion a lotus flower, upturned and half-blossomed, making this cross resemble the shape of a flower. Upon that flower, further place an eight-petaled flower, following the directions of the five Buddhas and four bodhisattvas as before. One should visualize with the mind and place nine dots, which means visualizing one dot each in the dais and in the eight petals. These dots are the realization of the great emptiness; this has the meaning of accomplishing right awakening. In these eight petals and in the center, one should construct square and round maṇḍalas and paint the forms of the principal deities. The Buddha's altar is square, and the bodhisattvas' are round. This is made solely by the practitioner for himself, not to be shown to others. When performing the ritual, he sits at ease at the gate of the altar, performs rituals such as his own abhiṣeka, and only then can he perform all ritual actions. This matter is especially secret; it should only be maintained and practiced in the mind, and must not be committed to brush and ink. Moreover, on that dais, one should visualize the king of twelve-syllable mantras as above, causing its syllables to be placed individually and distinctly upon the altar. (Inquire further: are they placed in a linked ring? What is the order?) It also says "placing seeds in the flower," which means painting lotus seeds, whether ten, more, or fewer, without restriction.

16.6

When the sūtra says "emanate," it means that when a person thoroughly understands this secret teaching, all mundane and supramundane altars emanate from within it, and can be understood in accordance with their respective meanings. There are briefly four kinds of methods for creating the secret, namely: ritual actions (which are the various ritual actions from beginning to end that should be performed in connection with the altar), form (meaning the shapes, marks, and bodily divisions of the principal deities and others), siddhi (meaning the results accomplished), and placement of stations (meaning the placement of the compass directions of the principal deities). If one thoroughly understands these four methods, one penetrates all methods of emanation (inquire further). The various altars that emanate from this are all based on what is taught in the fundamental teaching. "Sons of the Buddha" addresses them, meaning Vajrapāṇi and the others. Moreover, regarding the four bodhisattvas: Samantabhadra is in the southeast, Mañjuśrī in the southwest, Maitreya in the northwest, and Avalokiteśvara in the northeast; these are their stations. In the earlier listing of the assembly at the arising of the conditions, Ākāśagarbha sometimes replaced Avalokiteśvara, or Sarvadurgatipariśodhana replaced Mañjuśrī; their meanings differ respectively, and it is also permissible to employ them as needed for a particular purpose; here, using Avalokiteśvara is orthodox.

16.7

The above concludes the Vairocana maṇḍala.

16.8

Next is the Initial Right Awakening, which is what was spoken first. It clarifies the maṇḍala of the Buddhas, which is the Buddha family.

16.9

In constructing this Buddha-family maṇḍala, make a circular maṇḍala; its circle is like the moon, white inside like the color of a conch shell. Within this circle, first make a white lotus flower. Upon the flower is a complete triangle; inside this triangle, make it red, and paint a Buddha image within it (as to which Buddha is made, inquire further). Surround the triangle with vajras, as in the diagram. Around the triangle, place dots; the dots are markers (inquire further). On the outer wheel, make rays of light, shaped like parapets. Outside the circle, place dots all around (it is suspected that each of these dots is the station of a principal deity; inquire further; or perhaps syllables may be placed). "Light emanates everywhere" means visualizing light emanating from the Buddha's body and gradually spreading outside the triangle. The "Lord of Mantras" refers to the principal deity, with light emanating from his entire body. In the previous great altar there was also a triangular mudrā, but its application differs from this one. The former was merely a mudrā, whereas here a Buddha or a mudrā is installed, and the ritual procedure is fully provided there.

16.10

Next is the Lotus family.

16.11

[Diagram] These words belong to the item above. "Mundane and supramundane painted alike": this "alike"

16.12

can also be called "existent." Saying that the mundane and supramundane have

16.13

[Diagram] immeasurable maṇḍalas is intended to make them listen well. [Note:] [This text] should be moved

16.14

[Diagram] above; one should know that this is the initial Karuṇāgarbha altar.

16.15

[Diagram]

16.16

Make a square maṇḍala. Inside, paint a conch shell (śaṅkha); atop the conch shell is a lotus; atop the lotus is a vajra; atop the vajra is yet another lotus; and atop the lotus place Avalokiteśvara Bodhisattva. One may also set [his] mudrā or set [his bīja] syllable. On all the mudrās one sets bīja syllables—that is to say, upon the conch shell, the vajra, and the lotus. In its next court, set Mahāsthāmaprāpta and the others, generating light all around; do not give rise to doubts or hesitation. By means of their fundamental bījas, skillfully arrange them to make their bījas. In the vacant spaces one should set the Seven White Auspicious Ones, each having two messengers. This sūtra speaks of them only in brief; they are fully recorded in a separate ritual text of the Lotus (Avalokiteśvara) family, which should be investigated separately in detail (inquire further). The Vidyārājñī Master of Wealth is able to bestow freely upon seekers. Together with Mahāsthāmaprāpta and the others, they are to be made according to ritual. Fashion the lords who have attained mastery, holding their emblem mudrās. They should be exquisitely fashioned—this is what is meant by 'made according to ritual'. Hayagrīva, residing within a triangle, should be in an appropriate place and painted within the altar. The remaining deities also each have distinctions in form, color, and so forth, as well as square, round, semicircular, triangular, and so forth, and what is suitable to be used, all according to the expanded version. What was said before about having to master the five matters—namely form, color, seal-mudrā, main deity, and position—refers precisely to this matter. As for painting the main deity, what color and bodily form, and so on, it should have, each has its own mudrā. The previous Mahākaruṇāgarbha-samudbhava was the Great Assembly Altar; here, [altars] exist separately according to each of the three families. Thus, in the Lotus Family altar here, the central womb is the auspicious altar, with Avalokiteśvara as the principal deity. Outside the womb, vacant ground is left; outside the vacant ground is the second tier of seats, where all the deities of the Lotus family are set, the rest entirely following the method for making the great altar. In its vacant spaces, the Buddhas of the ten directions are also set. In its third tier of seats, the classes of the eightfold assembly and so forth are also set, which can be understood by analogy with the preceding. In the triangle it is like the brilliance of the rising sun, meaning the reddish-yellow color when the sun first emerges. That which is 'beside the Vidyārāja' means beside Mahāsthāmaprāpta. Next, furthermore, if one makes the Hayagrīva maṇḍala, one should set him within a triangle; outside in the three tiers, the maṇḍala should also be made triangular following him. When making this, Hayagrīva is in the center, and Avalokiteśvara is moved to take the place of Mahāsthāmaprāpta, with the rest of the retinue surrounding them. The rest are mutually transposed, which can be understood conceptually. Next, to 'make the second maṇḍala' means that counting from the Lotus Family, the Lotus is the first, so the Vajra is the second family. 'I shall now proclaim it' means speaking it well, explaining in proper order without being before or after, for the second family. Its maṇḍala is made four-sided, encircled universally with vajras. Connect and encircle it with three-pronged [vajras] as boundary lines. Within the enclosure it is yellow; in the center set a lotus, atop the lotus is a vase, and the vase is white like the color of the moon. Or encircle it with vajras, or encircle it with other objects (meaning that according to the mudrā of that deity, taking it successively as the center, one also encircles it like its mudrā). Atop that vase there is a great wind, meaning a semicircular shape. Here it is like the appearance of black clouds (like the dark gloominess when clouds hang low at the time of rain); underneath it is like the shape of a banner, billowing as though blown by a great wind. Within that semicircle, like a fierce blaze of fire, make a triangular shape; that triangle is also encircled with vajras. Inside the triangle it is red, like the color of the rising sun. In its center set a lotus; the lotus is extremely red, like the color of the great conflagration at the destruction of a kalpa (meaning deep crimson, or it may be reddish-black). Atop the lotus, paint a vajra (meaning either painting the bodily form of the main deity, or painting a five-pronged mudrā, or the syllable); that vajra emits various radiant flames. If one paints the bodily form, set a bīja syllable upon the heart, namely the syllable HŪṂ. If one paints the mudrā, visualize the syllable HŪṂ, recite it, and empower it, placing the syllable atop the mudrā. 'This is your maṇḍala': the Buddha personally addressed Vajrapāṇi, and therefore told him, 'This is your maṇḍala.' 'All the Buddhas of old proclaimed it; I too proclaim it likewise.' 'The various vidyārājas each according to the class, form, and color of their own seats' means, for instance, Vajramātṛ, Vajrasūci, Vajrasphoṭa, and the like—the numerous vajra retinues each following the distinction of their main deity's form and color, either painting the form, or making the mudrā, or setting the bīja syllable. Each conforms to the sequence of its ritual method, which means for the sake of accomplishing wondrous siddhis. Setting this Vajrapāṇi as the central terrace, the various classes form the second court. These all describe the central terrace; by transformation countless altars are made. Those stated earlier are placed on the right, and those stated later are placed on the left, distinguishing right and left according to the gate that is opened. Furthermore, I previously stated the separate names of the numerous vajras. 'Sovereignty' (vaśitā) means attaining sovereignty in regard to vajras. Furthermore, this mention of 'my vajra-holding sovereigns' refers to how, in the previous great assembly of the Mahākaruṇāgarbha, the various vajras painted below Vairocana and between Acala and Trailokyavijaya were not listed by name; now they are listed, hence it says 'furthermore.' Namely: Gagananirmalavajra, Vajracakra, Vajradaṃṣṭra, Surabhavajra (Wondrous Abiding, meaning abiding together in peace and security), Yaśovajramahābhāga (meaning the share of the great, which is the bodily portion of sentient beings of great mind), Vajratīkṣṇa (meaning the title of being extremely swift and sharp); this altar is made entirely with mudrās. Śāntavajra (the meaning of tranquility, like the meaning of nirvāṇa), Mahāvajra (a name), Nīlavajra, Padmavajra, Vipulanetravajra, Citravajra, Vajravajra (the single word 'vajra' taken as a name for wisdom), Apratiṣṭhita-prapañcavajra, and Gagana-anantavikramavajra (the above are listed by name; they are placed in their respective locations in the great altar). Such altars, square or round and so forth, follow the preceding; conforming to their color and form is also like this. They are arranged in order according to their names, in a continuous cycle. White, yellow, red, black, and so forth follow the sequence of the text: the foremost is white, next yellow, next red, next black, and the next is white again, in such a sequence. And those not mentioned should be understood by analogy with this, made according to the form and color of their own class. These vajras are as numerous as the dust motes of ten buddha-kṣetras; between the assembly listed previously and that herein, they appear and disappear alternately, or are present here and absent there, as can be known. Moreover, regarding the mudrās held by these vajras, they have either three prongs or one prong (that is, the needle); this follows the preceding sequence: first make three prongs, in a continuous cycle. Or 'two-headed'—this 'two-headed' is five-pronged. This mudrā is made around with four sharp ridges like four vajras, and in the middle there is one shaped like five prongs that do not open. Or 'garlands' means holding a vajra garland. These vajras each take their own fundamental name as their mantra, and the uppermost syllable of this name serves as their bīja syllable. Next, following their distinct syllables as well as in common, each has HŪṂ placed upon the heart. Their hand-mudrā commonly employs the above five-pronged vajra mudrā. The maṇḍala of Lord Acala has both wind and fire: wind means a semicircle, and fire means a triangle, meaning that within the semicircular altar one paints a triangle, and inside the painted triangle one makes Lord Acala. As for 'in the direction of Nairṛti', it is made in the southwest direction of Vairocana. As for 'Trailokyavijaya differs', it means being in the direction of the wind (Vāyu), taking this as its distinction, while the rest is the same as Acala. 'Encircled in three places with vajras' (referring to the mudrā held)—'three places' means either making the form, or the mudrā, or the syllable. However, if this maṇḍala of Lord Acala is made separately, Acala is in the center, Vairocana is in the east of the central court, and the remaining vajra retinue encircles them all around.

16.17

Next, the Mother of Buddhas maṇḍala is explained. Previously, in arranging the shape of the maṇḍala, one should first know that this is said to be golden in color; but only the names were listed without distinguishing the deities' forms and mudrās; now they are listed. First, it is taught that the maṇḍala is made golden in color, four-sided, encircled by vajras as boundaries. This 'supreme' [maṇḍala], 'the bodily form of the deity self-surpassing', means that from here on it shall be explained; that is to say, this Mother of Buddhas maṇḍala is the most superior among all the altars. Next, in the center of the maṇḍala, make a lotus, yellow in color and with flames; atop the lotus, make the Uṣṇīṣa mudrā. Its mudrā is shaped like the Buddha's uṣṇīṣa, making the crown high and prominent, with the shapes of two eyes painted on the sides. If making the bodily form of the Mother of Buddhas, it should be like an image of a goddess, with the bīja syllable set at the heart. Or one may merely paint the mudrā (that is, the uṣṇīṣa), or merely make the syllable. If the Uṣṇīṣa is the central womb, Locanā and the others surround it as the retinue. 'The Buddha constantly resides within the flames of his own body; distribute the bījas' means that this mudrā resides within flames, and setting the bīja in the center is precisely this. 'Leaving aside the three-part seats' means leaving aside the three thrones and setting Buddhalocanā. Previously it was taught that within the Bodhisattva family one 'distributes bījas everywhere', meaning distributing them all throughout the altar. What has not yet been taught is now explained further. For all bodhisattvas, whenever an altar is to be made, one should make a round, bright image, causing it to be extremely white and pure. In its center, make a cross-shaped dais; atop the dais is a great cintāmaṇi, each set with an emblem like an emblem bearing a jewel, with a wish-fulfilling jewel placed at its top, exceptionally luminous and blazing. The principal bodhisattva is set in the center of the cross; the other bodhisattvas are distributed in order in the next court; and further outside, the eightfold assembly is set. Pure white is the color of tranquility; it should be made extremely bright, pure, and abiding in tranquility. These bodhisattvas are all able to grant all wishes.

16.18

Next, make the Śākyasiṃha maṇḍala (that is, Śākyamuni; listen attentively, O son of the Buddha). It should be made square, universally of vajras (this vajra refers to the square altar of the vajra wheel among the five wheels spoken of above; "universally" is a term for a perfect square), and this altar should be yellow, exceedingly fresh and fine. Draw a vajra pestle (three-pronged) in the center; upon the pestle place a lotus, the lotus being yellow; upon the flower place an alms bowl, with blazing light all around the four sides of the bowl. If depicted in the form of a Buddha, one should draw Śākyamuni Buddha holding the alms bowl, also surrounded by vajras, with a kāṣāya (that is, a saṃghāṭī) placed on the right side and a tin staff on the left side. Next, for the Five Uṣṇīṣas: the Sitātapatroṣṇīṣa is placed upon a seat, and upon the seat is placed the mudrā. Provisionally follow its own section, as with all quarters of the Buddha section; or follow the ritual activity, such as circular for pacification, etc. The parasol is used as the mudrā (and drawn). For Jayoṣṇīṣa, surround it universally with swords; if there is a spoken description, follow the text. Light flows out everywhere, like the blaze of burning iron (meaning red blazing light). Vijayoṣṇīṣa uses the wheel as its mudrā; Tejorāśyuṣṇīṣa uses the hook as its mudrā (pulverizing); Hutāśanoṣṇīṣa is drawn in the shape of a Buddha's uṣṇīṣa topknot (the Great Being is named Vajra); in overall synthesis, the Mahoṣṇīṣa uses the vajra as its mudrā. Abhyudgatoṣṇīṣa is the arising uṣṇīṣa. Gatadhara-uṣṇīṣa (meaning the supreme honored one, transcending all, uses the lotus as its mudrā); Anantasvaroṣṇīṣa uses a conch shell (meaning the śaṅkha); their forms and colors should be contemplated and understood (meaning as explained before). The Buddha's ūrṇā uses the cintāmaṇi wish-fulfilling jewel as its mudrā. This is called the Mudrā-maṇḍala. These mudrā methods and the like are used for the substances of consecration (abhiṣeka) and siddhi. As for pacification and the like, they change according to form and color and are not what is used here. In siddhis, one always contemplates the forms and colors with the central deity in the middle, meaning white, yellow, red, and so on. Locanā should be made in the shape of a Buddha's uṣṇīṣa topknot, with eyes placed on both sides. The Buddha's uṣṇīṣa is yellow, surrounded by vajras. The Vidyārājñī Aparājitā holds a lotus mudrā (meaning pinching a flower with the space and wind fingers, extending the remaining fingers, holding the flower-pinching fingers before the heart). If the deities have mudrās, place them according to the text; if there is no text, take the mudrā of the lord of their own family and place it, solely within the bīja syllable. Aparājitavidyārāja makes the mouth mudrā above a black lotus, meaning drawn as a wrathful mouth with a pair of fangs protruding upward. In all these positions, if Śākyamuni is the center, the Uṣṇīṣas and others are arrayed in the second tier. If one chooses any single principal deity among them to be the lord of the maṇḍala, then move Śākyamuni outside; the rest can be understood by analogy.

16.19

Next, the mudrās of the Śuddhāvāsa devas will be explained. The sūtra says, "Practitioners of pure spheres," meaning taking dhyāna as their nourishment and purity as their practice. Their mudrās are now listed in order. The contemplating hand (meaning slightly bending the earth and water fingers toward the palm, the remaining three fingers loosely extended, the three-crooked staff slightly leaning its head, bending the hand inward, pointing the forefinger at the cheek); the auspicious hand (meaning the hand) bestowing fearlessness—either left or right hand may be used, meaning wonderful and fine; the smiling hand (meaning turning the contemplating hand before the heart, directing the three fingers upward); the flower hand (pinching a flower with wind and space while extending the three fingers, which may either lie palms-up or extended vertically); the open space palm (meaning tilting the right hand, with fingers loosely spread in open space). Their drawing rules mean drawing them according to these methods. These devas may be depicted as smiling, contemplating, or wish-granting—any of these is acceptable.

16.20

Next, the Earth Deity's mudrā: make a treasure vase, within a round, white [space]; the vase is adorned with various precious grains, flowers, fruits, and the like inserted in it, surrounded by vajras. For the mudrā of invoking Agni, sideways extend the right hand, slightly bend the third joint of the wind finger, and bend the upper joint of the space finger toward the palm. If first straightened and then bent, it is invocation; if first bent and then extended, it is dismissal. He should be surrounded by great ṛṣis, meaning Kaśyapa, Gautama ṛṣi, and others drawn in succession, all residing within the fire tier. The fire tier is a triangular altar; its interior is red, called the red tier. Its mudrās are as previously described for the ṛṣis of the five superknowledges when explaining the four Veda mudrās. These are the secret records of the brahmacārins; if reciters of the Vedas see these hand mudrās, they know what treatise and what section they belong to. Gautama ṛṣi (who practiced desire in the open sky, two drops soiled the earth below, which produced sugarcane; scorched by the sun, it produced two sons who became the Śākya kings); Mārkaṇḍeya (who sat in dhyāna, and ants made nests covering his body, and fearing to hurt the ants, he re-entered samādhi); Garga ṛṣi (named after a mountain, taking his name from the place); Vasiṣṭha ṛṣi (the one formerly called the Vasu ṛṣi); and Śvetaraśmi (which means the sweat and secretions of the body; this ṛṣi was not born from a womb, but born from bodily sweat, hence obtaining this name). In the south, King Yama should be given a wind altar, within which the daṇḍa mudrā is drawn (for this mudrā and others, one corner of this altar faces the body and one corner faces outward, or it may be placed according to convenience). To the right of the king, draw Queen Mṛtyu, with a bell as her mudrā; if her body is drawn, she holds it. To the left, draw Queen Kālarātri, with a banner as her mudrā; this is a dhvaja (in Sanskrit, ketu, which is also a flag). Wrathful Maheśvara makes the śūla mudrā; this is a trident. The consort of the son of Maheśvara makes the śakti mudrā; this is a spear. The Vidyārājñī of Mahābrahmā makes the lotus mudrā, meaning an unblossomed lotus. Nārāyaṇa makes the wheel mudrā. The Seven Mātṛs together use the mudgara mudrā; this is a club. Kauverī makes the cranial bone mudrā in the direction of Vaiśravaṇa. This skull bone is held in the manner of the smiling hand (meaning bending the water and earth fingers in the palm, loosely extending the remaining three fingers in the manner of a smiling hand to hold the cranial bone, like holding an alms bowl). The retinue of the Seven Mātṛs and others means vultures, foxes, and the vāsa bird (resembling an osprey, somewhat yellow-ochre in color, with a yellow beak, of the falcon family; this bird possesses the method of concealing the body), and these are all within the wind wheel, surrounding the Seven Mātṛs and the others (in general, the retinue of King Yama are all within the wind wheel). If holding flowers, one also acquires these birds and the like, and also upholds the mantras of the Seven Mātṛs. Each of these individually has its own recitation ritual; now they enter this maṇḍala assembly, and thus they all serve as adornments. In the Nairṛti direction, one should make the great sword mudrā. Nārāyaṇa-deva makes the wheel mudrā (as above). Kumāra makes the śakti mudrā (he is the son of Maheśvara). The Nanda Nāga brothers make the cloud mudrā (clouds with lightning and the shape of water, both beside the altar gate). Śaṅkara makes the trident mudrā. Śaṅkara's consort makes the paṭṭi mudrā. Candra makes a white vase together with a lotus. Sūrya makes a chariot mudrā within a golden wheel (which is a square altar). Jaya and Vijaya make the bow mudrā (also within the vajra wheel; beside the bow there must be arrows). Vāyu makes the wind banner mudrā. Sarasvatī makes the vīṇā mudrā. Varuṇa Nāga makes the pāśa noose mudrā. According to the heads, make a circular maṇḍala, surrounded by their respective bīja syllables. The Great Self speaks to the Vajradhara. The above briefly indicates the mudrā marks; if performed extensively, it is fully as in the ritual manuals, meaning the separate ritual methods of the respective independent mantras of those classes. The above is the ritual method for the retinue of Śākyamuni.

16.21

Below explains the Bodhisattva Maṇḍalas (these are the positions of the bodhisattvas in the second tier of the great altar). The Mañjuśrī maṇḍala is square and surrounded by vajras as before (where fire emanates); within this, make a triangle, and within the triangle make the blue lotus mudrā with its bīja syllable. Reciting it, visualize it pervading the interior. The mantra syllables are placed within it (not only placed within it, but also placed around the four edges). Within the triangle, along the bordering edges, make small blue lotuses all around, encircling the large blue lotus mudrā. The reason for making mudrās is to recognize the doctrinal intent and meaning of these deities' teachings. Contemplating each according to form and color, one recognizes the secret significance. Taking the bīja syllable according to rule and using it as a seed means this (placing this syllable as the bīja). Making this mudrā therein, proceed in sequence to make these: the Diligent One is Mañjuśrī. This means making the blue lotus, the bīja, and so on sequentially according to rule. Contemplating them according to form and color, recognize the secret significance. Jālinīprabha Kumāra makes the hook mudrā (if depicted as a body, he holds a hook). Ratnamakuṭa Kumāra (holds a jewel as his mudrā), and Vimalaprabha Kumāra (holds an unblossomed blue lotus). As for the messengers spoken of, these are the messengers spoken of in the Mañjuśrī family; the practitioner recognizes their mudrās according to what corresponds. Those made in correspondence with the Dharma refer to the maidens below. The Wise One is Mañjuśrī himself, and may also be named the Possessor of Virtue. Keśinī (uses the great sword as her mudrā), Upakeśinī (uses the śūla as her mudrā), Citrā messenger (uses the staff as her mudrā), Vasumatī (uses the banner as her mudrā), and the Invoking messenger (uses the hook as her mudrā; all the above are like young maidens); the kāṅkara messengers all universally make the small knife mudrā (as in the sūtras and diagrams). This knife is shaped like saw-teeth; calling it a small knife is not an exact translation. All the above are made as mudrās within a square altar, surrounded by blue lotuses. The above are the retinue of the Mañjuśrī family in the east. If Mañjuśrī is the central womb, the remaining bodhisattvas form the second tier, and the eight classes form the third tier; the others follow this pattern.

16.22

In the south is Sarvanīvaraṇaviṣkambhin Bodhisattva, who uses the cintāmaṇi jewel as his mudrā, also made as a square vajra wheel, inside which is also made a triangular altar (namely called the fire wheel), and what is spoken of as the sign is the wish-fulfilling jewel. For the Exhaustion of Great Vigour, the bīja is the so-called wish-fulfilling jewel. One should draw the cintāmaṇi jewel within the triangle, surrounded by his retinue. The bodhisattvas below should all be surrounded by their retinue; their mudrā signs should be known. Now the retinue is explained in detail. The retinue here should have their mudrās drawn within it, in sequence, which is according to rule. That text has these words, pointing to them as follows: Sarvaśokāpagata Bodhisattva (namely Kaukośa), whose mudrā is the vajra mudrā. Said to be within an utkuṭaka vase, a one-pronged vajra is inserted upon the vase, half inside the vase. Abhayaprada Bodhisattva makes the fearlessness-granting hand (like the Śākyamuni mudrā in the Yoga [tantras]). Sarvāpāyajaha Bodhisattva is drawn making the raising hand (meaning extending the hand with palm facing upward and raising it from below). Paritrāṇāśayamati Bodhisattva makes the compassion hand placed on the heart (meaning the water and space fingers pinching each other before the heart, the remaining fingers extended and spread, with the pinched fingers facing the heart). Mahāmaitrīsamudgata Bodhisattva makes the flower-holding mudrā (space and wind pinching each other like holding a flower, the remaining fingers extended, spread, and upright). Karuṇāmṛdita Bodhisattva (bends the fire finger before the heart, with the remaining fingers all extended and spread); the Knower speaks this bodhisattva's name. Sarvadāhapraśamita Bodhisattva makes the boon-granting hand (extending the fingers with palm facing downward, pouring forth ambrosial water; "fingers and the like" refers to all the fingers). Acintyamatidatta Bodhisattva makes the contemplating hand (the same as the hand of Cintāmaṇicakra Bodhisattva, and also like the mudrā of the Śuddhāvāsa devas previously), possessing inconceivable wisdom.

16.23

All the above are made in square maṇḍalas, placed upon lotus flowers (meaning the painting of these mudrās and so on). These are all the retinue of Sarvanīvaraṇaviṣkambhin; the remaining meanings are as explained under Mañjuśrī.

16.24

The seal of Kṣitigarbha Bodhisattva in the north is upon the great Indra-maṇḍala. Within the vajra-maṇḍala a jewel is made—that is, first a seat is placed in the center. Adorn the ground: upon the ground paint a lotus possessing manifold colors, and above the flower make a banner, with a jewel placed atop the banner. One does not paint the bodily form, but only paints the banner. If one makes this seal of the highest color, this is its form. That it is called 'the supreme form' is in praise of it, being the most excellent and wondrous among all seals. This Bodhisattva has an immeasurable retinue; now I speak briefly of their leaders. To the left, make the Bodhisattva's seal with a jewel; inside paint the seal, making it with diligence: a three-pronged vajra atop a precious jewel, making the seal simply upon the ground of jewels. If painting the bodily form, he also sits upon a lotus, according to the rite of Kṣitigarbha. For Ratnapāṇi Bodhisattva, make a single-pronged vajra, placing this vajra upon a jewel. For Dharaṇīṃdhara Bodhisattva, make a double-headed vajra placed upon a jewel (in the single prong there are five prongs, shaped like the previous seal). For Ratnamudrāhasta Bodhisattva, the seal is made as a five-pronged vajra placed upon a jewel (that is, the five-buddha vajra). For Dṛḍhādhyāśaya Bodhisattva, make a cross-vajra (that is, a karmavajra). All the above are arranged within that maṇḍala, each making a ground of jewels within a square circle, placing a jewel on the ground, and above the jewel is the seal.

16.25

Next, Ākāśagarbha Bodhisattva in the west is the western family lord in the assembly of Mañjuśrī. Make a circular maṇḍala and make it luminous, pure, and bright white; he sits upon a white lotus, holding a sword in hand. If not painting the Bodhisattva's bodily form, simply place a sword, whose blade is exceedingly sharp like frost. 'Moreover, like this' means like this in hardness and sharpness. It is also solid, surrounded by bīja syllables. The wise person seeds it with its own bīja, which means placing its original bīja. Next, array the chief Bodhisattvas of the retinue; that is, paint their seal forms according to the teaching, meaning that all are made according to the teaching and proper rite.

16.26

Gaganāmala Bodhisattva is likewise surrounded by its origin, being encircled again by a wheel. Here 'origin' means self. The seal is made as a wheel (that is, a four-spoke sword wheel); in placing the wheel, it also surrounds itself. Inside the wind maṇḍala, the seal of Gaganamati Bodhisattva places a conch (śaṅkha) within the wind maṇḍala (that is, a crescent-moon maṇḍala). For Viśuddhamati Bodhisattva, paint a white lotus seal, placed within the wind maṇḍala. Next, for the seal of Caritamati Bodhisattva, place a conch within the wind-maṇḍala, and insert a blue lotus into the conch. For the seal of Sthiramati Bodhisattva, paint a flower within the wind-maṇḍala, and place a vajra atop the flower. In general, regarding these within the great maṇḍala of the Great Compassion Matrix: in the single assembly of Mañjuśrī there are four Bodhisattvas in all; whichever one Bodhisattva is taken as the lord is placed in the central maṇḍala, while the others are arrayed according to their directions in the second court, and the eight classes are placed in the third court. Furthermore, if it is the second court in the Great Compassion [Maṇḍala], supposing Avalokiteśvara is made the family lord, then the Vajra family, the Uṣṇīṣas, and so forth are all arrayed according to their directions as the second court, and next one should know that the eight classes are placed in the third court, without needing to place the Bodhisattvas of the Mañjuśrī assembly. If it is the Śākyamuni assembly, it is as stated above (inquire further); this explanation is the definitive teaching. Let this matter be inquired into further to be certain.

16.27

Chapter on the Secret Maṇḍala ends.

16.28

Chapter 12: Entering the Secret Maṇḍala

16.29

Regarding the Chapter on Entering the Secret Maṇḍala: the secret repository of the body, speech, and mind of all buddhas is secret only to the Vajradharas. At that time, the Bhagavat again taught the method for entering the secret altar; only the Lord of Secrets can understand this, and therefore the Buddha again addressed him. Now, this Vajradhara is precisely a manifested body of Vairocana, [manifested] because he wishes to elucidate this profound and secret Dharma. In this Dharma, none is able to raise questions; only a buddha and a buddha inquiring of each other can know it. As in the Chapter on the Distinction of Aggregates of the *Vajraśekhara Sūtra*, after the Buddha entered samādhi, from the Buddha's body emerged the forms of syllables, the forms of mudrās, and the bodies of the tutelary deities, each emerging from different directions to perform buddha-work, namely, the great causal condition of opening the vision and knowledge of the buddhas. Having done so, they re-entered the Tathāgata's body. At that time, from space came the sound of inquiring about the Dharma, asking the Buddha about the one hundred and eight titles—why he is called 'Buddha,' why he is called 'Samyaksaṃbuddha,' and so forth—down to asking about the sixteen great bodhisattvas, mantras, and mudrās, as explained at length therein. At that time, the Buddha himself praised: 'Well said! Well said! That you can inquire into such matters,' and answered in accordance with the questions. At that time, the great assembly obtained something unprecedented and thought: 'Now one inquires of the Buddha from the Buddha's body, just as an illusion, without action or arising, accomplishes buddha-work.' Now this Vajradhara is also like this: born from the Buddha's vajra-wisdom mudrā, he also upholds the Tathāgata's vajra-wisdom mudrā and is able to make inquiries, and the Buddha answers him. Fearing that people would not believe, if one asked oneself and spoke oneself it would not be sufficiently revered; therefore, using the Buddha's body, he inquired of the Buddha's body. Furthermore, the reason he is titled Vajradhara is because he can uphold the Tathāgata's body mystery, speech mystery, and mind mystery; thus he is called upholder of the vajra-wisdom mudrā. Regarding 'At that time the Bhagavat again proclaimed the method for entering the secret maṇḍala': above, Vajrapāṇi's secret maṇḍala was already taught, but the method for entering the secret [maṇḍala] was not yet made clear; therefore it is proclaimed next. The practitioner should thoroughly learn the secret maṇḍala; the mantrin should thoroughly learn (meaning in all places one must understand) the ancient secret altar—that is, the wise one completely penetrates it. Being without doubt or impediment, he is called a 'wise one.' Regarding 'The wise one burns away all sins; the disciple's ritual is thus': the practitioner is the accomplished person, meaning the ācārya. Regarding 'should thoroughly learn': only a buddha and a buddha can completely know and thoroughly learn all dharmas; one who can possess such virtue may serve as a teacher. In these degenerate times such a person is hard to find; how can there be an ācārya transmitting the Dharma? However, although an ācārya has not yet attained equality with a buddha, he must thoroughly understand the main tenets of this sūtra, clearly understand the ritual procedures one by one, and well know all the dharmas conforming to this sūtra and the essentials regarding the maṇḍala. He must practice the yogic path, comprehend the sharp and dull faculties of sentient beings, what is prohibited and unprohibited, and the mantras, physical forms, and mudrās of the tutelary deities; only then can he transmit the Dharma and perform the ritual of entering the secret maṇḍala for the disciples. Why is this so? Now, these essentials of the Buddhadharma are extremely profound and difficult to understand, guarded in common and not rashly proclaimed, kept silent for a long time and not casually spoken. If a teacher of degenerate times cannot understand the works of Māra and the stages of the upāyas for entering the path, yet rashly teaches others, he will make no distinction, err in matching faculties, and mislead others; thus he must learn thoroughly. The so-called 'wise one' is precisely seen in this thoroughly learned person. Being able to know what should be given and what should not be given, who should enter and who should not enter, and so forth—thus he is called 'wise.' If one is unversed in upāya, speaking in vain and unable to cause others to establish supreme wholesome roots and quickly enter the state of all tathāgatas, he will further invite great hindrances to the Dharma, harming himself and others; how could he be called a wise person? Regarding 'burning the disciple's sins': from beginningless time, they possess immeasurable and boundless sinful hindrances. 'The disciple's ritual is thus' means entering the altar and performing the rituals according to the Dharma. If deep and thick hindrances are not removed for him, the vessel of his body is impure and the hindrances still exist; it is improper to expound the complete path of all tathāgatas for him. It is just as with the Śrāvakas: when there are the thirteen disqualifications, it is improper to confer the precepts upon them. Regarding 'burning his lifespan so it will not arise again, burning it away to ashes': could it be that with worldly fire one burns his body, terminating the life-faculty into ashes? Now there is by itself the fire of wonderful upāya and great wisdom, which burns his body of karma and defilements so that it does not arise again. All sentient beings, through the accumulation and continuity of karma and defilements, grow and transmigrate without end; thus it is called 'lifespan.' Now it is burned, making it exhausted without remainder. Karma and defilements are the firewood, and wisdom of upāya is the fire; through this causal condition, [destruction] without remainder is attained. When this firewood is exhausted, that which cures is also relinquished. The so-called 'burning' is the meaning of the syllable: one should take the syllable A as the disciple's body, making the syllable A pervade his entire body. Next, with this syllable of wisdom-fire, one burns that ore of the true gold of the nature of bodhi, leaving no defilement or impurity; therefore, with the syllable RA one burns the syllable A. Yet, having burned it, how could it be like the annihilation into ashes of the two vehicles, never to arise again? It is not like that. The firewood of all defilements being exhausted, there is further a wonderful arising, namely, pure bodhi. This is the real arising; this arising is the pure nature, the seed of the tathāgatas. By what upāya does the master cause these ashes to be burned away completely like dust, and then cause them to arise anew? Regarding 'burning syllable with syllable': one visualizes the syllable A like a square altar, the disciple being inside it, and burns it with the syllable RA; because of the burning, they become one single body. The body is identical to the syllable A, and with the syllable RA one burns oneself so that all defilements and sins are removed, down to the body also being removed, its substance being identical to a gold disk. Regarding 'sprouting a wondrous shoot': this means producing the gateway of the syllable VA. One should visualize a full, bright moon upon the heart, place the syllable VA within the disk, and from this syllable VA generate a water disk, pouring it down like white milk. Through this upāya, the pure bodhicitta, the buddha-seed, arises again. Generating this pure body, unstained internally and externally like gold refined a hundred times and further polished and adorned, it becomes a vessel according to its use. One should know that when the fire stirs, it is accompanied by wind; the wind disk is the meaning of the syllables HA and KHA. Furthermore, a bindu is added atop the syllable VA; this bindu is the gateway of the syllable KHA of the great emptiness. The wondrous Dharma-water pours down from emptiness to purify his mind-vessel; one should know that this embodies the meanings of the five syllables: earth, water, fire, wind, and emptiness. These are all secret meanings of the Tathāgatas, not merely the literal text; one should contemplate them well. The practitioner having obtained such a completely pure, unstained body, his lifespan is revived, completely unstained. It is mind-born. Furthermore, wishing to make this mind-born body firm, there is another upāya: placing the twelve syllables, one further obtains the twelve conditions, namely, the twelve limbs. This refers to the King of Twelve-Syllable Mantras spoken of before, which should be used to completely arrange throughout his body. First, four syllables are arranged on the upper part, namely from the crown to the forehead. One syllable is the emptiness syllable; on the crown there are two syllables at the ears, and one syllable on the forehead. Next, corresponding to the original nature they arise, suitably starting from the eyes. Four syllables are on the middle part, namely on the two shoulders, on the heart, and on the throat. Next, four syllables are on the lower part, namely on the navel and waist, one syllable on the thigh, and one syllable under the foot. Although both single feet have it, here it is placed on only one foot, which governs both feet. One should know that these twelve places subsume the remaining body parts one by one, just as the syllables on the two ears subsume the two eyes and so forth. As for the syllables spoken of above, one should take the above King of Mantras and arrange them in order starting from the first syllable. However, there are three types of performing this upāya: first, the master arranges it on himself; second, it is used to make a maṇḍala (further inquire into how the arrangement of syllables begins); third, it is applied to the disciple's body. This is the secret yogic adhiṣṭhāna. Having performed this, he can become a Dharma vessel; thus it says 'making him a vessel.' Having done this, it is the accomplishment of the samaya. The so-called samaya means equality: I am equal to the Buddha, and the Buddha is equal to me, non-dual and without duality, ultimately equal. The ācārya is equal to the Buddha, and the Buddha is equal to the disciple; this disciple is not only equal to all tathāgatas of the ten directions and the three times, but also equal to all bodhisattvas, equal to all śrāvakas and pratyekabuddhas, and equal to the multitude of all worldly devas and ṛṣis. If he is thus equal to everything, this is the body of Vairocana; hence it says 'equal to all worldly realms, completely equal and compliant.' It is also like the *Lotus Sūtra*: 'all accord with the true reality without contradiction.' One should understand it thus: equal to all buddhas, without the meaning of contradiction. In this samaya secret maṇḍala, entering into all teachings, one is sovereign over all maṇḍalas, equal to me like this. If one accords with this samaya secret maṇḍala and enters into all teachings, one attains sovereignty over all altars (even without entering, one attains sovereignty to gather them in), equal to me. The practitioner (meaning that between me and that practitioner there is no difference, uniting as one, which is called samaya) is also thus. The practitioner is not different; regarding 'samaya is spoken of': 'understanding' means the sense of comprehending, the sense of knowing; if one understands this upāya of entering the secret maṇḍala, that is completely entering all maṇḍalas. Because this disciple equally and completely enters all maṇḍalas, his activity is sovereign, and practicing all Dharma gateways is without impediment. The Buddha explains the name samaya through the ultimate equality of all dharmas; hence it says 'samaya is spoken of.' Just as the beginning of the sūtra fully contained entering the mahākaruṇāgarbha-maṇḍala and other dharmas, this method is taken as the essential method; it was not spoken earlier, but is spoken here. If one does not understand this, the maṇḍalas constructed heretofore will ultimately not be accomplished. As for their switching back and forth, not following sequentially: could the Buddha have been stingy? It is only because he wished that those who enter the true Dharma must study relying on a master, just as the Buddha in the Śrāvaka sūtras rebuked those who dwell as thieves. He said that having obtained a fully qualified upādhyāya and ācārya, receiving the precepts according to Dharma and resolving to practice the brahmacarya, why dwell like a thief? The practitioners of these degenerate times are also like this: they do not draw close to good spiritual friends to receive the Dharma essentials, but rely on their own minds, hoping to accomplish the Tathāgata's sovereign deeds, directly opening the text and wishing to practice it, expecting accomplishment; there is no principle by which this can be attained. Not only do they harm themselves, but seeking fame and profit, they rashly act as teachers of men; having violated the Dharma themselves, they yet wish to establish others' supreme wholesome roots—how could there be such a principle? Because there is no efficacy from this, they further invite conditions for slandering the Dharma and destroying the Dharma, bringing about ānantarya karma. How could a person with ānantarya karma benefit himself and benefit others, both accomplishing the wondrous fruit? Therefore, one who practices this Dharma must seek an illuminated master, inquire and receive the subtle meanings one by one so that they are clear and distinct, first establishing oneself so that one is able to establish others' supreme wholesome roots. Just as in the Śrāvaka Dharma, when the five dharmas are accomplished, one accomplishes the fivefold dharmakāya in oneself and can also accomplish the fivefold dharmakāya in others, being able to leave dependence and abide in the station of a master; only then can one transmit the Dharma and benefit others. If this is not the case, beware of rashly wielding a sharp weapon and injuring your own hand. Thus the sūtra says: 'Expounding the Dharma mismatched to the capacity makes one an enemy of the teacher of men.' Nowadays, one who has not thoroughly learned the repository of the Vidyādhara Yoga yet wishes to confer the Dharma according to another's original disposition is also like this. For entering the maṇḍala, there are samaya verses—about fourteen or fifteen verses—which are the conferral of the complete bodhisattva precepts upon the disciple, along with the words of instruction, admonition, and essential vows, which have not yet been transmitted to this land (inquire in detail).

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大毘盧遮那成佛經疏 — Classical Chinese