大毘盧遮那成佛經疏 16.18

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.