大毘盧遮那成佛經疏 5.22

5.22

Next, one proceeds to the second court and paints Śākyamuni. The ācārya said: "The word 'second' here is merely an esoteric expression. If counting from the center outward, the retinue of Śākyamuni would be the third court." Now, however, the retinue of Vairocana's Dharma-gateway is regarded as the first, and Śākyamuni's retinue of the physical body is regarded as the second. The bodhisattvas, standing between compassion and wisdom to seek [bodhi] above and transform [beings] below, therefore constitute the second. The reason the text is framed reciprocally in this manner is that this is the Tathāgata's secret treasury; in order to prevent persons negligent of the Dharma who have not received it from a master from corrupting and confusing the textual transmission, it had to be handed down through oral transmission. In the first gate of the eastern direction, one first places Śākyamuni, his body pure gold in colour and fully possessing the thirty-two radiant marks, clad in a kāṣāya of gandha colour, seated upon a white lotus that serves as his preaching throne—that is, grasping the corner of the kāṣāya with his left hand like the contemporary images of King Aśoka, and with his right hand holding up his fingers, holding them together with the space and water cakras; this is his insignia. This white lotus is none other than the central terrace's treasury of the pure dharmadhātu. In order to cause this teaching to spread abroad, the Bhagavat expounds it with the insignia of this physical body. Yet it is not two and not different from the original dharmakāya; hence it says: "Abiding there, he expounds the Dharma." Next, to the north of the Bhagavat, one places Buddhalocanā, who is also the mother of Śākyamuni Buddha, translated in this land as "Mother of the Capable Sage" (Śākyamātṛ). She should be portrayed with a body incomparably dignified and delightful for worldly beings to behold, enveloped completely in a circular halo, smiling joyfully. This is the Tathāgata's samādhi of manifesting bodies in accordance with various classes of beings; this samādhi takes precisely the universal eye of great benevolence as its substance, observing the beings to be saved and guiding them to benefit. The light of the benevolent eye pervades everywhere; hence it says: "His entire body enveloped in a circular, pure halo." Next, to the north of the Mother of the Buddha, one paints the insignia of the Tathāgata's ūrṇā mark, abiding within a lotus, conch-shell white in colour, its body possessing a circular halo, holding a lotus in hand as if half-blossomed, within which is a cintāmaṇi jewel. This has been accumulated through the Tathāgata's boundless karmic merit, as expounded at length in sūtras such as the Guan fo sanmei jing, and is able to fulfill the wishes of all sentient beings. Next, to the south of the Śākya Lion, one places the five Tathāgatoṣṇīṣas: first, Sitātapatroṣṇīṣa; second, Jaya, translated as the Victorious Uṣṇīṣa; third, Vijaya—this is pronounced with a plural inflection—translated as the Most Victorious Uṣṇīṣa; fourth, Tejorāśi, translated as the Heap of Fire Uṣṇīṣa, which the sūtra calls "Possessing Myriad Virtues" (its correct translation would be "Great Share", meaning endowed with great virtues); fifth, Vikiraṇa, translated as the Abandoning Uṣṇīṣa, meaning relinquishing all afflictions, and also meaning smashing to pieces. These are the uṣṇīṣas of Śākyamuni Tathāgata's five wisdoms, possessing great power among all virtues just like a cakravartin; their forms are all made in the appearance of a cakravartin king, that is, having the form of a fleshy uṣṇīṣa upon the crown with a topknot of hair above it, which is a double topknot. Their remaining features are all like those of a bodhisattva, rendered exceedingly dignified and joyous, and the secret seals they hold are as shown in the diagram. Next, in the east, nearest to the northern edge, one arranges the retinue of the five Śuddhāvāsa [heavens]: first, the god Maheśvara; second, the god Samantapuṣpa; third, the god Prabhāmālin; fourth, the god Manomaya; fifth, the god Yaśaprāpta. They should be arranged in proper order, and their seals and marks are fully detailed in the diagram. The ācārya said: "These are merely the devaputras of the five anāgāmin heavens. Above this, there is the station where bodhisattvas receive the office of buddhahood, which is also called the Śuddhāvāsa Heaven; these are mostly bodhisattvas in their final rebirth, who are subsumed under the second court and not what is being clarified here." Next, to the south of these deities and to the right of the ūrṇā mark, one further paints the three Tathāgatoṣṇīṣas: the first is named Mahodgatoṣṇīṣa, the second is named Abhyudgatoṣṇīṣa, and the third is named Anantasvaraghoṣoṣṇīṣa. Their forms are all identical to the five uṣṇīṣas; they are the uṣṇīṣas of the Tathāgata's three families of myriad virtues. The five kinds of Tathāgatoṣṇīṣas have five colours: pure gold, saffron, pale yellow, bright white, and pale white. Among these, the two colours of pure gold and saffron are similar, yet pure gold is brilliant and clear, whereas the saffron colour is slightly deeper. The three uṣṇīṣas have three colours: white, yellow, and red; these combine the colours of pacification, enrichment, and subjugation. These eight uṣṇīṣas all have light surrounding their bodies, the light being extremely broad and thick. Their bodies are adorned with various necklaces, and by virtue of the Tathāgata's fundamental vow-power, they are all able to fulfill all wishes. In the southeast corner to the right, one arranges the retinue of the Agni deities, abiding amid blazing flames, with three ash marks drawn across their foreheads and each of their two arms, just like the image of Brahmins who smear their bodies with ashes using three fingers. All are deep red in colour, with a triangular seal at the heart within a fiery circle, holding a rosary in the left hand and a water jar in the right hand; this is one manifestation of the universal gateway. In order to attract and guide the Veda-observing Brahmins who make fire sacrifices, and by expedient means reveal to them the Buddha's Vedic Dharma, they manifest this insignia of the great wisdom fire altar and the pure practice of brahma-conduct. Next, on the right side directly south of Vairocana, one paints the Dharma King Yama, holding the daṇḍa seal in hand. The appearance of the seal is like a club, topped with a human head of an extremely wrathful countenance. He takes a water buffalo as his seat, and his body is dark black. The ācārya said: "When I was young, due to severe illness, my consciousness expired, and I went to the underworld. I saw this Dharma King speaking together with his queen; his expression was exceedingly benevolent and patient. However, this daṇḍa seal, in a wrathful form, investigated and verified the transgressions committed during my life, emitting great light from its mouth with utmost severity. Yet when it verified the meritorious works done after I left household life, it became completely quiet and spoke no more. King Yama and his queen thereupon descended the steps, praising me with kind words, reverently paying homage, and seeking to receive the refuges and precepts. I was thus released to return. By the time I revived, the places on both my arms bound by ropes still bore scars, which took a month to heal." To the west of Yama, one paints the queen of Yama and the Queen of Death, who is also a queen of Yama. On the east side, one paints the goddess Kālarātri and the seven Mātṛs—translated as the Seven Mothers—all of whom are female spirits, and their forms are all black in colour. Next, in the southwest corner, one paints the spirit king Nirṛti, holding a knife and assuming a terrifying form; he is the rākṣasa king guarding the direction. Varuṇa is the nāga king guarding the western direction, holding a lasso as his seal. To the south of the five uṣṇīṣas in the east, one should paint Indra, lord of the Śakra gods, seated on Mount Sumeru, surrounded by the assembly of gods, wearing a jewelled crown on his head, his body draped with various necklaces, holding a vajra. And his other retinue—namely Queen Śacī, the gods of the six desire realms, and so forth—are fully shown as in the diagram. To the south of Śakra's retinue, one places the assembly of Āditya, within an eight-horse chariot, with two consorts to his left and right, namely Jayā and Vijayā, translated as Victorious and Invincible. The retinue of Āditya is laid out with the planets: Aṅgāraka in the west, Śukra in the east, Budha in the south, Bṛhaspati in the north, Śanaiścara in the southeast, Rāhu in the southwest, Ketu in the northwest, and Dhūmaketana in the northeast. Furthermore, south of the southern latitude one places Ulkā, meaning the celestial dog; north of the northern latitude one places Ulkāpāta, meaning shooting fire. To the north of Śakra's retinue and close to the Śuddhāvāsa Heaven, one places Great Brahmā, wearing a topknot-crown, seated in a chariot drawn by seven swans. He has four faces and four hands: one hand holds a lotus and one hand holds a rosary—these are the right hands; one hand holds a kuṇḍikā jar and one hand makes the seal of the syllable OṂ—these are the left hands. For the seal, one should slightly bend the forefinger, extend the remaining fingers straight, and pressing with the hand sidewise make the gesture of speaking; this is called the auspicious seal of the pure practitioner. The other gods of the four dhyānas are all arranged to his left, and the five Śuddhāvāsa heavens such as Anātapa are arranged to his right. This is what the Vinaya refers to when it mentions observing the etiquette of the robes worn by the Śuddhāvāsa devas to institute the precept of neatly wearing the three robes and inner garments. In the west near the gate, one places the assembly of earth spirits; next to the north, one places Sarasvatī, translated as the Deva of Wonderful Music, or Deva of Eloquence. Next to the north, one also places his consort. Further next, one places Viṣṇu, formerly translated as Piniu; this is the god Nārāyaṇa. One also places the god Śaṅkara; this is Maheśvara, who has great power in a single world system, not the lord of a trichiliocosm. Further below in the sūtra text, there is Rudra, which is the wrathful body of Śaṅkara, named according to his activity. One also places Skanda, who is the Kumāra god. In all cases, consorts are placed beside them. The ācārya said: "These are assemblies of devas and should simply be arranged in order to the left and right of Kings Śakra and Brahmā." In the outermost northwest corner, one places the retinue of Vāyu, who guards the direction. South of the western gate, opposite Āditya, one should place Candra, riding a white swan chariot. To his left and right, one places the twenty-seven nakṣatras, the twelve zodiac deities, and so forth, as his retinue. Next, at the northern gate, one should place the heavenly king Vaiśravaṇa, and to his left and right one places the eight great yakṣa generals: the first is named Maṇibhadra, translated as Jewelled Virtue; the second is named Pūrṇabhadra, translated as Full Virtue; the third is named Pāñcika, formerly called Sanzhi; the fourth is named Śātāgiri; the fifth is named Himavanta, who is the dweller of the snowy mountains; the sixth is named Viśākha; the seventh is named Āṭavaka; the eighth is named Pañcala; along with Mother Hārītī. As for the goddess Lakṣmī, the sūtra text omits her; the ācārya said: "Lakṣmī, following Vaiśravaṇa, should be in the north; or in her original station, she may also be placed in the west." All of these great gods are well known to the world, and worldly beings revere and make offerings to them each according to their dispositions, desires, and karmic connections. Because Vairocana wishes to gather beings through the universal gateway, he manifests bodies identical to them in all places, taking worldly familiar insignia as insignia of supramundane secrets. Just as the image of Śakra Devendra abides on Mount Sumeru, the King of Mountains, the Tathāgata's Indra-samādhi likewise, without moving from this place, opens forth Mount Sumeru, the King of Mountains of the pure bodhicitta. The other Dharma-gateways are all similarly structured and cannot be explained in full detail. The practitioner, achieving accomplishments in each of those vehicles, will naturally attain understanding. Furthermore, beneath the seat of Śākyamuni, one should make wrathful vidyādharas: on the right side named Aparājita, on the left side named the vidyārājñī Aparājitā, both white in colour, holding knife seals, seated between them looking up at the Buddha. As for the earth spirits mentioned, they are the earth spirits at the western gate mentioned earlier; they should reverently kneel holding a jewelled vase, inside of which are placed various water- and land-grown flowers, with the rest as shown in the diagram. Moreover, within the second alcove of the thoroughfare gate, one places two nāga kings: on the right named Nanda and on the left named Upananda, both having seven serpent heads upon their heads, holding a knife in the right hand and a lasso in the left hand, abiding upon clouds. All of these are essentials within the maṇḍala; hence it says that the mantra practitioner should make them in order with an unconfused mind.