大毘盧遮那成佛經疏 16.5

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.