大毘盧遮那成佛經疏 6
English (machine translation) 6
- Language
- English
6.1
Recorded by the Śramaṇa Ācārya Yixing
6.2
Continuation of Chapter 2: Entering the Maṇḍala and the Requisite Equipment
6.3
The positions of the maṇḍala diagram transmitted by the ācārya are fully listed as follows:
6.4
Above / Right / Left / Below
6.5
○ Tathāgata Cintāmaṇi / △ Deity Bestowing All [Wishes] (fulfills all wishes) / □ Wondrous Vajra / Trailokyavijaya Deity
6.6
○ Tathāgata Armor / □ Female Kāṅkara of the Lotus Section
6.7
○ Tathāgata Noose / □ Kāṅkara of the Lotus Section / □ Nīlavajra
6.8
□ Tathāgata Terrifier of Māra / □ Lotus Three-Pronged Trident / □ Vajra Lotus / □ Vajraghaṇṭā
6.9
○ Tathāgata Navel / □ Lotus Trident
6.10
□ Tathāgata Concealed Sheath / □ Lotus Deity / □ Śāntavajra
6.11
○ Tathāgata Lips / □ Vajra Lotus / □ Mahāśīghravajra / □ Vajrapāśa
6.12
□ Tathāgata Ten Powers / □ Lotus Wheel
6.13
○ Tathāgata-daṃṣṭrā □ Padma-khaḍga □ Vajra-daṃṣṭra □ Vajra-khaḍga
6.14
□ Tathāgata-mahārakṣa □ Padmaguṇa Bodhisattva □ Namiḍa-vajra (named after cause; also called "short")
6.15
△ Abhayapradāna-mahārakṣa □ Mahājala-śrī □ Raktāṅga-vajra
6.16
○ Tathāgatābhaya □ Mahāśrī □ Buddha-kāṅkara
6.17
□ Tathāgata-ghaṇṭā □ Saṅgha-śrī
6.18
○ Tathāgata-śaṅkha □ Buddha-śrī □ Atikrāntāpramāṇākāśa
6.19
□ Tathāgata-samaya-vajra □ Gaurī Bodhisattva △ Candratilaka
6.20
○ Tathāgata-samyakpradhāna □ Yaśomati Bodhisattva
6.21
□ Tathāgata-samaya □ Śvetā Bodhisattva □ Durdharṣa-mahārakṣā (female form)
6.22
○ Tathāgata-jihvā △ Sarvabhayavidhvamsana-mahārakṣa □ Vajrakulodbhava
6.23
□ Tathāgatorṇā □ Mahāsthāmaprāpta Bodhisattva
6.24
○ Sarvatathāgatāsana □ Bhṛkuṭī Bodhisattva □ Vajraśṛṅkhalā □ Anatikramadvarapāla
6.25
□ Tathāgata-mahāvīrya □ Avalokiteśvara Bodhisattva □ Vajradhara
6.26
□ Tathāgata-cakṣus □ Tārā
6.27
○ Tathāgata-hṛdaya □ Avalokiteśvara-mātṛ □ Vajra-mātṛ
6.28
□ Tathāgata-śakti □ Mahāśvetā Bodhisattva
6.29
○ Asahā (Tathāgatāsahā) □ Vibhūtīśvara Bodhisattva □ Vajrasūci
6.30
□ Jaleśvara □ Samantāvalokita Bodhisattva □ Vajrāṅkuśa □ Abhimukhadvarapāla
6.31
□ Tathāgata-smṛtyupasthāna □ Śrīmatī Bodhisattva △ Vajrajita-mahārakṣa △ Tathāgata-dūta
6.32
○ Tathāgata-khaḍga □ Dhṛtastūpaguṇa Bodhisattva
6.33
□ Tathāgata-cakra □ Ratnaguṇa Bodhisattva △ Kuṇḍali-vajra □ Vajramuṣṭi
6.34
□ Tathāgata-padma □ Mṛgājinadhārī
6.35
□ Tathāgatoṣṇīṣa □ Padma-kuṇḍikā △ Mahābala-vajra □ Niṣprapañca-vajra
6.36
○ Tathāgata-sīmābandha □ Padmamālā
6.37
□ Tathāgata-varaprada □ Padma-paraśu □ Gaganāmala-vajra □ Vajra-paraśu
6.38
○ Tathāgata-samatāvāditā □ Padma-pāśa
6.39
□ Tathāgata-mukha □ Padma-ghaṇṭā □ Surata-vajra (Wondrous Abiding)
6.40
○ Tathāgata-kaṭi □ Padma-śaṅkha □ Mahākāya-vajra □ Vajracakra
6.41
□ Tathāgata-jvālā □ Padmakula-dūtī □ Mahājaya-vajra □ Vajradaṇḍa
6.42
□ Tathāgatāṅkuśa (□ Padmakula-dūtī △ Hayagrīva Avalokiteśvara) □ Vipulanetra-vajra
6.43
□ Gaganacakṣus □ Padma-daṇḍa □ Vajra-vajra Ārya-Acala
6.44
The above concludes the first layer.
6.45
□ Vimalaprabha Kumāra □ Bhadrakalpa Bodhisattva ○ Mahāmati Bodhisattva □ Bhadrakalpa Bodhisattva
6.46
□ Jālinīprabha Kumāra □ Śāntimati Bodhisattva □ Suvarṇaprabha Bodhisattva
6.47
□ Male kāṅkara △ Caritamati Bodhisattva △ Vimalamati Bodhisattva ○ Gaurī Bodhisattva
6.48
△ Ratnaguṇa Bodhisattva
6.49
□ Male guardian ○ Jayadevatā Bodhisattva ○ Akṣayamati Bodhisattva □ Bhadraguṇa Bodhisattva
6.50
□ Male messenger ○ Kusuma-dhvaja Bodhisattva
6.51
□ Female messenger □ Ratnavyūha Bodhisattva □ Acintyamati Bodhisattva △ Ketu Bodhisattva
6.52
△ Ṣaṇmukha △ Mahāmaitryabhyudgata Bodhisattva □ Vimalaprabha Bodhisattva
6.53
△ Ratnamudrāhasta Bodhisattva △ Anābhāsa Bodhisattva
6.54
△ Yamāntaka
6.55
○ Trāṇāśayamati Bodhisattva
6.56
□ Kṣitimati Kumāra △ Viśuddhamati Bodhisattva
6.57
○ Ratnapāṇi Bodhisattva
6.58
□ Upakeśinī □ Sarvābhayaprada Bodhisattva □ Gaganamati Bodhisattva
6.59
Mañjuśrī □ Kṣitigarbha Bodhisattva △ Sarvanīvaraṇaviṣkambhin Bodhisattva ○ Ākāśagarbha Bodhisattva
6.60
□ Keśinī □ Gaganāmala Bodhisattva
6.61
□ Citrā ○ Ratnakara Bodhisattva □ Apagatakautūhala Bodhisattva △ Dharmamati Bodhisattva
6.62
□ Ākarṣaṇī ○ Sarvāpāyajaha Bodhisattva ○ Matikrama Bodhisattva
6.63
○ Dharanīṃdhara Bodhisattva
6.64
□ Female messenger △ Karuṇāmṛdita Bodhisattva (also called Mahākaruṇā-saṃyojana) □ Animīṣa Bodhisattva (without wall)
6.65
□ Male messenger □ Bhadramati Bodhisattva △ Nimīṣa Bodhisattva (wall)
6.66
□ Female guardian ○ Ratnamukuṭa Bodhisattva □ Sarvadāhapraśamita Bodhisattva ○ Ratnadhvaja Bodhisattva
6.67
□ Female kāṅkara △ Sahacittotpādadharmacakrapravartin Bodhisattva ○ Sāgaramati Bodhisattva (□ Suvarṇaprabha Bodhisattva △ Prabhākara Bodhisattva)
6.68
□ Ratnamukuṭa Kumāra
6.69
□ Susthitamati Bodhisattva △ Vicitramati Bodhisattva ○ Citradhvaja Bodhisattva
6.70
□ Candraprabha Kumāra □ Anantadhvaja Bodhisattva
6.71
□ Sudhana Kumāra □ Bhadrakalpa Bodhisattva □ Bhadrakalpa Bodhisattva □ Bhadrakalpa Bodhisattva
6.72
The above concludes the second layer.
6.73
△ Agni, Direction-Guarding Deity □ Īśāna, Direction-Guarding Deity △ Nairṛti, Direction-Guarding Deity Vāyu, Direction-Guarding Deity
6.74
△ Agni □ Kumbhāṇḍa assembly retinue △ Rākṣasī Vāyu's Queen
6.75
△ Agni's Queen □ Ajeśvara (Sheep-Ears)
6.76
△ Vasiṣṭha, Great Ṛṣi □ Aśveśvara (Horse-Ears) △ Rākṣasa assembly △ Garuḍī
6.77
△ Garga, Great Ṛṣi □ Śūrpeśvara (Winnowing-Basket-Ears) □ Bodhisattva of the Bhadrakalpa △ Garuḍa
6.78
△ Mārkaṇḍeya, Great Ṛṣi □ Deity of Diverse Treasuries ○ Kumāra Bodhisattva
6.79
△ Gautama, Great Ṛṣi (△ Ḍākinī △ Ḍāka) ○ Bhikṣu assembly (△ Kimnara retinue △ Retinue of all humans)
6.80
△ Kaśyapa, Great Ṛṣi □ Kumāra Bodhisattva ○ Sūryaprabha Bodhisattva
6.81
△ All planet and asterism deities, etc. □ Bhikṣu assembly □ Buddha of the Southwest, Omnipresent Illuminating Solar Disk of Exalted Virtue (□ Kumāra Bodhisattva □ Bhikṣu assembly)
6.82
△ Queen Vijayā □ Bodhisattva Dust-Free Valor
6.83
△ Sūrya, Devaputra □ Buddha of the Northeast, Exalted Virtue of Meditative Attainment and Supreme Hand ○ Bodhisattva assembly □ Ratnavyūha Bodhisattva
6.84
△ Queen Jayā □ Bodhisattva assembly ○ Bhikṣu assembly □ Buddha of the Northwest, Solitary Jeweled Parasol
6.85
□ Nārāyaṇa and retinue □ Bhikṣu assembly ○ Kumārī Bodhisattva □ Bhikṣu assembly
6.86
□ Māra-deva, Paranirmitavaśavartin-deva □ Kumārī Bodhisattva △ Bṛṅgiriṭi □ Kumārī assembly
6.87
□ Nirmāṇarati-deva □ Bhūtī
6.88
□ Tuṣita-deva □ Classes of bhūtas and yakṣas △ All the vināyakas □ Bodhisattva of the Bhadrakalpa
6.89
□ Yāma-deva □ Yakṣa general Residing on the Snow Mountains △ Mahākāla (Black Deity) (○ Two Dragon Kings of Lesser Kṛṣṇa ○ Two Dragon Kings of Kṛṣṇa)
6.90
□ (King Dhṛtarāṣṭra of the East and gandharva assembly) □ Yakṣa general Sātagiri ○ Two Dragon Kings of Uparohita
6.91
□ Lady Śacī □ Yakṣa general Pañcāla △ Ten retinues of Vairocī ○ Two Dragon Kings of Rohita
6.92
□ Śakra's Thirty-Three Gods □ Yakṣa general Viśākha ○ Two Dragon Kings of Upapīta
6.93
□ Kumāra Bodhisattva □ Yakṣa general Āṭavaka △ Ten retinues of Piśācī
6.94
□ Bhikṣu assembly □ Yakṣa general, Son of Vaiśravaṇa ○ Two Dragon Kings of Upaśukla
6.95
□ Pramudita Bodhisattva ○ Two Dragon Kings of Śukla
6.96
□ Bodhisattva Joyous Virtue of the Zenith □ Deity Maṇibhadra ○ Dragon King Sāgara
6.97
□ Bodhisattva assembly □ Queen of the Direction-Guarding Deity △ Cold Hells ○ Dragon King Anavatapta
6.98
□ Kumārī Bodhisattva □ Kubera, Direction-Guarding Deity Vaiśravaṇa △ Hot Hells ○ Dragon King Takṣaka
6.99
□ Śrīmahādevī, Deity of Auspicious Merit ○ Dragon King Makasa
6.100
□ Ānanda □ Yakṣa general Pūrṇabhadra □ King Virūpākṣa ○ Dragon King Kulika
6.101
□ Subhūti □ Mother Hārītī (five sons and five daughters) ○ Dragon King Karkoṭaka
6.102
□ Śāriputra △ Queen Yamamṛtyu ○ Dragon King Vāsuki
6.103
□ Mahāmaudgalyāyana □ Great General Saṃjñeya △ Yama's Queen ○ Dragon King Ananta
6.104
□ Mahākāśyapa □ Kumāra Bodhisattva △ Yama-daṇḍa (○ Dragon King Mahāpadma ○ Dragon King Padma)
6.105
□ Uṣṇīṣa of Immeasurable Sound □ Bhikṣu assembly △ Yama, King of the Law ○ Dragon King Śaṅkha
6.106
□ Vast Uṣṇīṣa □ Jayaprada Bodhisattva △ Citragupta, Prison Inquisitor (○ Varuṇa's Queen ○ Dragon King Varuṇa)
6.107
□ Fire-Cluster Uṣṇīṣa □ Buddha of the North, Exalted Virtue △ Kālarātrī □ King Virūḍhaka, Direction-Guarding Deva
6.108
□ Victorious Uṣṇīṣa □ Bodhisattva assembly □ Sarasvatī
6.109
△ Tathāgata's Khakkhara □ Bhikṣu assembly □ Kumāra Bodhisattva ○ Upasunda, Gatekeeper
6.110
○ Tathāgata's Bowl □ Kumārī Bodhisattva □ Bhikṣu assembly Gateway
6.111
○ Tathāgata's Canine Tooth □ Bodhisattva of the Bhadrakalpa □ Vītaśoka Bodhisattva ○ Sunda, Gatekeeper
6.112
□ Ūrṇā □ Deity Presiding over Agricultural Fields □ Buddha of the South, Virtue Free of Sorrow ○ Earth Deity
6.113
△ Aparājita □ Deity Presiding over Elephant and Horse Stables □ Bodhisattva assembly ○ Dragon King and Retinue of Queens
6.114
□ Śākyamuni Buddha □ Bhikṣu assembly ○ Kumāra Bodhisattva
6.115
△ Aparājitā □ Deity Presiding over the Royal Treasury □ Kumārī Bodhisattva ○ Bhikṣu assembly
6.116
○ Mother of Buddhas □ Deity Presiding over Non-Buddhist Sites of Merit
6.117
□ Distinct Hells ○ Maticaritā Bodhisattva
6.118
○ Tathāgata's Śakti Mudrā △ Deity Presiding over Rocky Caverns □ Bodhisattva of the Bhadrakalpa ○ Buddha of the West, Jeweled Flame
6.119
□ Kumāra Bodhisattva □ Deity Presiding over Hidden Treasures △ Cāmuṇḍā (○ Bodhisattva assembly ○ Bhikṣu assembly)
6.120
□ Bhikṣusaṃgha □ Deity Presiding over Stony Deserts △ Kaumarī ○ Kumārī Bodhisattva
6.121
□ Samantaprabha Bodhisattva / □ Deity Presiding over Charnel Grounds / △ Vaiṣṇavī / ○ Deity Presiding over Mutual Non-infringement
6.122
□ Ratnaketu Buddha of the East / □ Deity Presiding over Waves and Ponds / ○ Deity Presiding over the Solar Calendar
6.123
□ Host of Bodhisattvas / □ Deity Presiding over Dragon Springs / △ Gaurī / ○ Deity Presiding over Time Divisions
6.124
□ Saṅgha of Bhikṣus / □ Deity Presiding over Wells / △ Aindrī / ○ Deity Presiding over the Performance of Deeds
6.125
□ Maiden Bodhisattva / □ Deity Presiding over Palaces and Parks in the Sky / △ Candrī / ○ Deity Presiding over Asterisms
6.126
□ Buddha's Kaṣāya / □ Deity Presiding over Palaces and Chambers / △ Vārāhī / ○ Deity Presiding over Asterism Counterparts
6.127
△ Buddha's Kuṇḍikā / □ Deity Presiding over Oceans / □ Kinnara Consort / ○ Deity Presiding over the Night
6.128
□ Sitātapatroṣṇīṣa / (□ Deity Presiding over Dwellings □ Deity Presiding over Alleys and Lanes) / (□ Kinnara ○ Boy Bodhisattva) / (□ Deity Presiding over the Moon ○ Deity Presiding over the Sun)
6.129
□ Jayyuṣṇīṣa / □ Directional Deities / ○ Host of Bhikṣus / ○ Deities of the Six Times
6.130
□ Vikiraṇoṣṇīṣa / □ Deity Presiding over Streets and Crossroads / ○ Padmapāṇi Bodhisattva / ○ Deity Presiding over Uprightness
6.131
□ Deity Presiding over Rivers / ○ Padmaguṇa Buddha of the Southeast / (○ Deities Presiding over the Twenty-Eight Asterisms ○ Deities Presiding over the Twelve Zodiac Signs)
6.132
□ Tejorāśyuṣṇīṣa / □ Deity Presiding over Roads / ○ Host of Bodhisattvas / ○ Moon Queen named Raktā
6.133
□ Pratyekabuddha / □ Deity Presiding over Wildernesses / ○ Host of Bhikṣus / ○ Moon Queen named Candraśrī
6.134
□ Deity Presiding over Outlying Fields / ○ Maiden Bodhisattva / ○ Moon Deva
6.135
□ Mahābrahmā with Vidyārājñī and Retinue / □ Deity Presiding over Market Stalls / △ Mohanā / ○ Moon Queen named Candralakṣaṇā
6.136
□ Devas of the Four Dhyānas / □ Deity Presiding over Cities / △ [Fire deity whose name is missing] / ○ Boy Bodhisattva
6.137
□ Formless Realm Devas
6.138
□ Śuddhāvāseśvara Deva / □ Deity Presiding over Villages / △ Kāvī / ○ Host of Bhikṣus
6.139
□ Samantakusuma Deva / □ Deity Presiding over Islands / △ Mānasā / ○ Padmavikrama Bodhisattva
6.140
□ Prabhāmāladhara Deva / Deity Presiding over Birds / △ Kṣayā / ○ Padmaguṇa Buddha of the Nadir
6.141
□ Deity Presiding over Mountains / △ Jaṭarā / ○ Host of Bodhisattvas
6.142
□ Manomaya Deva / □ Deity Presiding over Siddhi Substances / △ Krodhanā / ○ Host of Bhikṣus
6.143
□ Yaśoviśruta Deva / □ Deity Presiding over Siddhis / △ Mrṇā / (○ Maiden Bodhisattva ○ Bodhisattvas of the Bhadrakalpa)
6.144
□ Consort of Maheśvara with Retinue / □ Deity Presiding over Rṣi Herbs / △ Rohitā / □ Asura Females and Retinue
6.145
□ Maheśvara with Retinue / □ Deity Presiding over Medicinal Calculations / △ Marutā / □ Asuras and Retinue
6.146
□ Son of Maheśvara and Consort / □ Deity Presiding over Medicines / △ Dārukā
6.147
□ Vidyādhara Queen / □ Siddhi Vidyādhara Queen / △ Samāhendrā / ○ Mahoraga Female
6.148
□ Vidyādhara Ṛṣi / □ Siddhi Vidyādhara Ṛṣis / △ The Fire Ṛṣis and others / ○ Mahoragas
6.149
The above concludes the third layer.
6.150
The ācārya said: 'In the first precinct, from Tathāgata-aṅkuśa in the east up to Tathāgata-kavaca and the others, all are samādhis of Vairocana, each depicted in the form of a celestial maiden. Their colors are distinguished according to whether the maṇḍala is square or circular. They sit on white lotus seats, holding lotuses in their hands, with various objects atop the flowers serving as their insignias, such as hooks, wheels, swords, lances, conches, bells, nooses, armor, and the like, all painted according to their original forms. The uṣṇīṣa, ūrṇā, mouth, tongue, teeth, lips, and so forth, can be understood by analogy. The Tathāgata-nābhi (Navel) is drawn on a lotus in the aspect of interlocking circular perfection; the Tathāgata-kaṭi (Waist) is somewhat curved like a garland of prayer beads; the Tathāgata-garbha is in the hidden form like the horse-gem treasure of a cakravartin. Tathāgata-varaprada should make the boon-bestowing hand gesture. Tathāgata-dharma, Tathāgata-pratibhāna, and the like either hold a scripture or make the teaching gesture. The Smṛtyupasthāna, Daśabala, and so forth are dharmas corresponding to śamatha and vipaśyanā, displaying an aspect of serene samādhi. The Samaya should be made in the form of the uṣṇīṣa of a Buddha. The Tathāgata's uṣṇīṣa completely subsumes all merits. Whenever there is no object in the hands to serve as an insignia, it should always be placed there.' If the maṇḍala does not depict the forms of the deities but only shows secret seals, then a lotus throne is made on a vajra seat, and atop the throne the insignias are drawn as described before. For those making a syllable-maṇḍala, where the sūtra gives a bīja syllable, it should be placed according to the ritual; if the sūtra does not record it, the initial syllable of the Sanskrit name should be taken as the bīja syllable, or the syllable A may be universally used. For the deities of the Lotus family on the northern side, if the sūtra does not state their physical forms, they are universally rendered in the color of a red lotus or in pure white, while deities such as the golden-colored ones are distinguished according to their names. The mudrās they hold are also as explained in the Buddha family, but using lotuses as their insignias. As for the lotus-wheel emblem, four lotus petals should be used in the shape of a cross as the spokes of the wheel, surrounded on the outside by a rim of blades; the lotus-sword should have a sword placed upon a lotus, and the tip of the sword should also use a lotus as its insignia. The vajras, tridents, and so forth are all likewise. The lotus-noose has lotuses as its two tufts; the bell uses a lotus for its cord; the garland strings together lotuses to adorn the body, or they may be placed upon the flowers they hold. Stūpadharī Śrī has a stūpa placed on her topknot, or upon the flower she holds. Padmadevatā has a lotus placed on top of a lotus. Ratnaguṇā has a jewel on top of a lotus. Sarvāśāparipūraka Vidyārāja can fulfill all hopes and wishes; his forms are not just one. Like Avalokiteśvara, who holds a lotus in hand, on which a cintāmaṇi is sometimes placed—depending on the rites of pacification, enrichment, or subjugation—within that corresponding altar, Mahāśrī holds a lotus in each of her two hands. Jalaśrī either has water issuing from a lotus or water flowing from her lowered hand. Ajinadhāriṇī should be adorned with a deer skin, like the form of Brahmā. Its mudrā-maṇḍala follows the previous explanation by analogy, universally using the syllable Sa as the bīja. The deities of the Vajra family on the southern side may also be completely placed according to the names listed at the beginning of the sūtra; following the construction of square, circular, triangular, or semicircular altars, their bodily colors are likewise. They may hold a one-pronged vajra, or a three-pronged or five-pronged one, with upper and lower double points and various other vajra insignias, placed as one wishes according to what is stated in the sūtra. Their swords, axes, hooks, needles, and the like all take the vajra as their insignia. As for the sword, its blade, tip, and hilt decorations are all made in the sharp shape of the end of a vajra; both ends of the noose and chain resemble a three-pronged vajra. The wheel has a crossed vajra as its spokes and rim, surrounded by sharp blades. The bell has a one-pronged vajra on top and a crossed vajra tied as its clapper; the rest can be understood by analogy. In the mudrā-maṇḍala, a white lotus is also placed upon a vajra seat, and atop the flower each object is represented. If making a syllable-maṇḍala, the retinue governed by the Vajradhara universally uses the syllable Va, and the remaining vajras universally use the syllable Hūṃ as their bīja. As for the assembly of bodhisattvas in the second precinct, if the sūtra fully records their forms, each should be painted according to its root teaching. For those without textual description, the cintāmaṇi mudrā is universally used: they should hold a lotus with a cintāmaṇi placed on top, surrounded by a garland of flames. Or, one may represent their forms according to the meaning of their names: for instance, Ratnamukuṭa Bodhisattva has a crown placed upon the flower; Ratnajāla Bodhisattva has a net placed upon the flower; Ratnapāṇi Bodhisattva has a jewel placed in his palm; and the Cittotpādadharmacakrapravartana mudrā holds a treatise in hand. Wherever there are vacant positions, Bhadrakalpa bodhisattvas are placed. The messengers and kāṅkaras all assume humble appearances. The messengers grasp swords and clubs, looking like guards flanking the gates. The kāṅkaras either hold clubs and seals or gaze up at their lords as if receiving instructions and commands. The protectors are like gatekeepers relaying messages and making reports. Each conforms to its category. Yamāntaka is a dependent of Mañjuśrī, possessing great majesty: his body has six faces, six arms, and six legs, seated upon a water buffalo, with three eyes on each face, of a color like a dark cloud, displaying an extremely wrathful aspect. One should consult the Sanskrit text of Mañjuśrī to depict him completely. For all such deities, if other sūtras fully describe their forms, they may also be painted into the maṇḍala according to those texts. For those deities whose mantras and mudrās are not recorded in the *Vairocana Sūtra* but appear in other sūtras, one should impart the mantras and mudrās according to those sūtras, having them practiced according to the order of offering in this sūtra. The Buddhas of the ten directions in the third precinct are each painted according to their ordinary forms. If making mudrās, one should use the uṣṇīṣa of a Tathāgata, and for the bīja, the syllable A. Śrāvakas and pratyekabuddhas follow the same deportment as bhikṣus. The slight difference for pratyekabuddhas among them is that they may possess the marks of a great person, such as an uṣṇīṣa. For mudrās, one should use alms bowls, kāṣāya robes, and khakkharas. Their bīja syllables are as stated in the mantras of the sūtra. In front of Sūrya in the east, the celestial maiden Mārīcī may be placed, as found in the *Dhāraṇīsaṃgraha*. As for the eight yakṣa generals in the north who are missing in the diagram, their forms are generally similar: all wear armor and hold the gadā (club) mudrā, their physical forms being full and upright, because in that rebirth realm whatever they seek is never lacking and they are always joyful and self-indulgent. Those with sheep ears, horse ears, and elephant ears are all retinue members of the kumbhāṇḍas; their forms are unlike the yakṣas, for they all expose their bodies with dangling hair, appearing as non-humans with ears like beasts. Those called 'vidyādhara ṛṣis' in the diagram are accomplished through the power of other medicines and herbs. The 'siddhi-vidyādhara ṛṣis' are all persons who have attained siddhi by relying exclusively on incantations. Those simply called 'ṛṣis' are of the class of Vedic fire-worshippers, who diligently cultivate austerities to become ṛṣis with the five superknowledges. Furthermore, there are yakṣa-vidyādharas, who have the most supreme merit among their kind and are subsumed under the rebirth realm of the gods, differing again from worldly ṛṣis. The deities of mountains, seas, rivers, ponds, forests, trees, grains, medicinal herbs, cities, and roads each take their original names as their insignia. Mountain deities sit on mountains, river deities are in rivers, and tree or herb deities either hold them in hand or rely upon them; this should be inferred according to the class of meaning. In the *Avataṃsaka*, there are further padacāri deities and kāyika deities, who protect crawling creatures and protect the body, and they may also be listed in sequence. As for the western non-human realms, one should know that within Vairocana's universal gateway body, they are purely miscellaneous types of ghosts, spirits, animals, and so forth; those in the diagram without distinct names and forms mostly belong among them, comprising the largest number subsumed. *Rohita* is red, *pīta* is yellow, and *kṛṣṇa* is black, with blue-green also subsumed therein; if explaining their meanings according to this land, they should each be distinguished separately. *Śukla* is white; these are all of a class of nāgarājas, each painted according to its original color. If the word *upa-* is added, the color is slightly lighter. Sunda and Upasunda are also great nāgarājas who guard the gates, both holding a sword in the right hand and a noose in the left. The deities presiding over years, months, and divisions of time are all made in the form of celestial maidens, holding flowering branches as insignias. If presiding over good matters, their flowers should have their colors and forms fully perfected. If presiding over bad matters, they hold withered flowers and fruits. The deities presiding over the six periods of the day may also hold six branches of flowers, showing the appearance of blooming and falling according to the season to represent their function. Those presiding over day and night may also indicate this through opening and closing flowers. Others should all be modeled on this. Bhṛṅgiriṭi in the south is the son of Maheśvara, whose body is extremely emaciated. Because he constantly subdues enemies, desiring victory even if his flesh and bones are entirely consumed, he has this form. I privately suggest that this is what the *Prajñāpāramitopadeśa* refers to when saying: 'Those who constantly cultivate austerities, cutting their flesh to sacrifice to fire, induce rebirth as evil spirits; hence his position is in the south.' The forms of the twelve fire gods are briefly stated in the sūtra. For the one deity whose name is missing, simply follow the general form of the fire gods; the rest are as shown in the diagram.
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When the sūtra says, 'At that time the vajra-holder Lord of Secrets, amidst all the assemblies, gazed intently at Vairocana Tathāgata without blinking,' the Buddha had just manifested the universal gateway maṇḍala and finished expounding the diagram and positions of the deities. The Lord of Secrets, viewing each and every one of these deities with his universal eye, saw neither root nor abiding place; all were the dharmatā-bodies of the lotus womb-treasury, generating various upāyas that can never be exhausted. At that time, deeply rejoicing and giving rise to a rare mind, he regarded this Dharma as doubly difficult to encounter. Wishing to further ask about profound meanings, he spoke verses first. The intent of the first verse is: 'All wise ones appear in the world just like that auspicious marvelous flower, appearing only from time to time.' Although a Buddha or an udumbara flower is difficult to meet, this essential Dharma of mantras is doubly difficult to meet. Why is this? It is the secret treasury of the Tathāgata, guarded through the long night and not given away haphazardly; if one lacks the capacity for sudden awakening, it does not enter one's hands. Even when the Bhagavat was in the world there was still much resentment and jealousy, how much more so in the final age! Furthermore, this sūtra itself explains the reasons why it is difficult to appear: if sentient beings see this maṇḍala even once, their heavy obstacles of evil karma from beginningless time are completely destroyed without remainder, and they will definitely obtain the prediction of great bodhi; hence it cannot be encountered by persons of dull faculties and meager merit. If even a single glance is difficult, how much more so gradual practice? One should know that such a person is all the more rare, constantly praised by the vast assembly of the universal gateway, with their fame resounding throughout the ten directions. Moreover, sharing various titles with Vairocana Tathāgata, they are therefore said to have 'immeasurable renown.'
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When the sūtra says, 'Practicing this supreme phrase,' it means practicing the phrase of supreme bodhi. This syllable A gateway is the king of all mantras, just as the Bhagavat is the king of all dharmas; hence it is called 'the world-saving mantra.' The next two lines clarify the activity of saving the world: because it can cause the practitioner to attain a vajra nature, it 'stops and cuts off all bad destinies, so that no suffering arises.'
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When the sūtra says, "If one cultivates such practice, marvelous wisdom is profoundly immovable," if one strictly preserves the authentic original text, it should say that wisdom is exceedingly profound and immovable, like the heart of the great ocean. Because it is exceedingly deep and vast, and furthermore because it is exceedingly free from the two extremes, even when great winds arise, it cannot be shaken. When the practitioner enters the heart of this great ocean of mantras, it is also just like this: because marvelous wisdom is unfathomably profound and boundless, and furthermore because it is exceedingly free from the two extremes, all phenomena cannot shake it. Just as the dragon king Sāgara sends down rain upon the six heavens, yet at that time his own three karmas remain entirely without movement in his own palace. If one understands this meaning, then one knows that the various upāyas of the maṇḍala all abide in the ultimate reality.
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When the sūtra says, "Then the entire assembly gathered together, as well as all the vajradharas, praised Vajrapāṇi with one voice," those vast assemblies, having heard the Buddha broadly expound the layout of the maṇḍala, wished to ask about the emblems of the dharmadhātu and the vajra actions herein; out of deep reverence for the World-Honoured One, they did not yet dare to speak. Because Vajrapāṇi was able to observe the minds of the assembly and speak verses according to the opportune moment, they surely knew he wished to resolve the net of doubts and universally benefit limitless sentient beings; therefore they praised, confirmed, and encouraged him to make the inquiry. Furthermore, the multitudes numerous as the atoms of ten Buddha-realms, with one mind and one flavor, had one person recite this voice of Dharma; it does not mean that each person spoke separately at the same time. / The verse says, "Excellent, excellent, O Great Diligent One! You have already cultivated the mantra practice and are able to ask the meaning of all mantras; we all share this contemplation." The mantra practice is the gateway to the Dharma of the three equalities. Among those who uphold the three mysteries, you are the foremost leader; therefore, you are able to ask the World-Honoured One about the profound meaning of the universal gateway. What you, virtuous one, wish to ask of the Buddha, we all share in this contemplation; now, being of one mind and wish, you should quickly expound it. / Next, it says, "All will now bear witness for you, relying on the power of the practice of mantras." This means: When we first gave rise to the mind [of awakening], by abiding in this supreme phrase, we were ultimately able to become profoundly immovable in the ocean of vajra wisdom; therefore, we will certainly make the lion's roar and bear witness at present to the verses you have previously spoken. All that we perform is accomplished entirely through abiding in the practice of mantras and relying on the power of mantras. If you make inquiry to the Tathāgata regarding secret upāyas, all those who seek the Great Vehicle will attain mastery in the practices of mantras. By attaining mastery, through diligent practice before long, they will also be no different from us. Seeing such beneficial meaning, they encouraged and aided him with one voice and one mind. / Then, having been encouraged by the great assembly, the Secret Lord immediately spoke gāthās to broadly ask the World-Honoured One. / The first verse asks about the meaning of colors, comprising four lines: The first line asks, "What is the meaning of colors?" The second line asks, "What colors should be used?" The third line asks, "How are these colors arranged? Where first—inside or outside?" The fourth line asks, "When applying colors, which color comes first?" This is one component in the construction of the maṇḍala. / The next verse asks about the distinguishing signs of the gates, consisting of three lines: The first line asks about the shapes and measurements of the gate banners. The second line asks about the shapes and measurements of the gate side-chambers. The third line asks about the rules, shapes, and measurements for establishing the gates. Such various secret emblems must all be well mastered by the ācārya; this is yet another component. / Next, there are two verses, containing eight questions in total: The first line asks how to offer food, flowers, incense, and so forth. The second line asks about the rules for the precious vases; it should be known that all implements for offering are included therein. The ācārya should correspond to matters as appropriate and distinguish their natures and categories; this is also a component. The third line asks how to introduce disciples into the maṇḍala. The fourth line asks how to perform the rite of abhiseka. The fifth line asks how to present offerings to the venerable one. Here, however, there are two types: if a beginner relies on the conventional-truth maṇḍala, how are they introduced, consecrated, and offered to the ācārya? If one has already cultivated yoga and performs the secret abhiseka, how are they introduced, consecrated, and offered to the ācārya? When directly performing the rite, all upāyas of adhiṣṭhāna and instruction are subsumed within this; this is also a component. The sixth line asks about the place for homa, which also has both superficial and secret explanations, as well as various different upāyas such as calming calamities, increasing benefits, and subduing. The seventh line asks about the divisions, letter meanings, and phrase meanings of the mantras. The eighth line asks about the characteristics of superficial and deep distinctions among the samādhi gateways. Whenever an ācārya has not yet thoroughly mastered such dharmas, he should not establish a maṇḍala; these constitute three further components. / After asking in this manner, the King of the Dharma of Great Tranquility addressed the Vajradhara, saying, "Listen attentively with single-minded focus." / Next, speaking in verse, he says, "The supreme path of mantras generates the fruit of the Great Vehicle." The fruit of the Great Vehicle is the Buddha's unsurpassed wisdom; it must be generated through such upāyas. Because of your excellent words in questioning me, I now explain and expound it universally for all the mahāsattvas. / The first verse answers the meaning of colors, saying: "Dyeing that realm of sentient beings with the flavor of the dharmadhātu—what was expounded by the ancient Buddhas is called the meaning of colors." Just as worldly dyeing can dye a clean cloth so that it takes on the same flavor, flavor is used to explain color. For instance, when one speaks of the "kaṣāya flavor," it means dyeing it the kaṣāya color. Now, the meaning of color in this maṇḍala is also like this: dyeing the minds of sentient beings with the inconceivable color of the dharmadhātu so that they share the same single flavor of pure bodhi. Furthermore, just as in worldly fabric-dyeing, one first washes it with lye water so that it readily accepts the dye, now, using the syllable RA gateway, one burns the defilements of the disciple's mind into ashes, and then, using the syllable VA gateway's water of great compassion, washes it so that it is purely white and free from all prapañca; thereafter, one dyes it into the dharmadhātu maṇḍala, causing the various universal-gateway bodies all to share the color of dharmatā. / Next, two verses comprehensively answer three questions. In the question it was asked: "What colors should be used?" Here, the answer fully uses the five colors: blue, yellow, red, white, and black. / The verse says, "First arrange the inner colors; do not arrange the outer colors." This answers how to apply the colors—where to start first and where to end later. / "Pure white is the first, red is the second, yellow and blue likewise are manifested successively. All within is deep and dark: this is called the sequence of colors." This answers which color is the very first. Pure white is the color of Vairocana's pure dharmadhātu, which is the original source of all sentient beings; hence it is the first. Red is the color of the Tathāgata Ratnaketu; having aroused the bodhicitta along the path of illumination, it subdues the demons and enemies and eliminates the coverings and hindrances; hence it is the second. Yellow is the color of the Sālendrarāja; when achieving perfect awakening, the myriad virtues blossom and all reach the vajra ultimate reality; hence it is the third. Blue is the color of Amitāyus; having reached the vajra ultimate reality, then through the upāya of adhiṣṭhāna, he universally manifests the mahākaruṇā maṇḍala, just as the pure open sky contains all images within it; hence it is the fourth. Black is the color of the Tathāgata Divyadundubhimeghanirghoṣa. The reason for leaving traces of the universal gateway is entirely to reveal the fundamental. The fundamental is the ground of the Tathāgata's self-realization, abiding in great nirvāṇa. If one abandons the divine power of adhiṣṭhāna, then all sentient beings with discursive minds cannot take it as their sphere; therefore, its color is profound and dark, and it is placed at the very end. / Furthermore, just as worldly clean silk first receives dye, black is ultimately the culmination of dyeing; being the deepest, nothing further can be added, so it comes last. The meaning of colors in the maṇḍala is also like this: white means transcending the defilements of the one hundred and sixty minds; this is called the color of faith, hence it is the first. Red means great diligence; it is the color of vigor, hence it is the second. Yellow means that when there is correspondence in a single thought-moment, concentration and wisdom are equal and the seven limbs of awakening bloom; this is called the color of mindfulness, hence it is the third. Blue means the samādhi of great emptiness; it is called the color of concentration, hence it is the fourth. Black means great nirvāṇa, which is the ultimate wisdom of the Tathāgata; it is called the color of wisdom, hence it is the fifth. / Or some say: white is the first, yellow is the second, red is the third, blue is the fourth, and black is the fifth; this is based on the meaning of accepting dye from shallow to deep, having capacity and having something above it. Moreover, white means faith, the first. Yellow, being like vajra, cannot be broken or destroyed; this is the meaning of vigor, hence it is the second. Red means that mental hindrances are cleansed away and radiance brightly shines forth; this is the meaning of mindfulness, hence it is the third. The rest are explained as above. What the Dharma gateways symbolize differs in each case. / Furthermore, white is the color of calming calamities, the meaning of the Tathāgata family; hence it is the first. Yellow is the color of increasing benefits, the meaning of the Lotus family; hence it is the second. Red is the color of subduing, the meaning of the Vajra family; hence it is the third. Blue accomplishes all matters and also generates forms according to types; hence it is the fourth. Black has the meaning of summoning, namely the various duties performed by wrathful kāṅkaras and others; hence it is the fifth. / Furthermore, just as worldly painting does not exceed the five colors, yet as they blend with one another there are various differences of depth, and a skillful person arranges them well to generate myriad forms without end—the inconceivable colors of the dharmadhātu are also like this: speaking summarily, they do not exceed the five syllable gateways, yet they also bring each other out to form various distinct wisdom mudrās. Through universal-gateway skillfulness, the Tathāgata paints the compassion-born maṇḍala, up to generating forms according to categories as numerous as the dust motes of worlds, without ever coming to an end. If a yoga practitioner grasps the meaning herein, he should extend it by analogy and operate with sovereignty. In extinguished suchness, what sequence could there be? As spoken in the verses, it merely raises one Dharma gateway to grasp the essential outline.
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Regarding the sūtra's statement, "First arrange and apply the inner colours; do not arrange and apply the outer colours": in the general method of painting, one should first establish the inner mind's secret lotus matrix. Once that is done, next construct the inner retinue of the first tier, [symbolized by] the three dots of the syllable 'i'. Next construct the great retinue of the four bodhisattvas and others of the second tier, and then all the worldly deva retinues of the third tier. Furthermore, regarding the dividing pathways: the centre and the first tier should be fully equipped with the five colours. First draw the perimeter border with white; next, on its outer [side], apply a red border; next, on the outer side of that, apply yellow; next, on the outer side of that, apply blue; and outermost, next apply black. The second tier also follows the sequence above, applying the three colours of white, red, and yellow. For the perimeter border of the third tier, apply only a single pure white colour. All must be made extremely even and straight, applied gradually in a clockwise rotation. For the walkways, the outer borders of the offering places, and so forth, make a border of any single pure colour. The Guhyakā says, "Use only white." As to why one begins with white and proceeds from the centre outward: this clarifies that the five kinds of faculties and powers of this bodhicitta gradually increase and expand, until by abiding in Mahāparinirvāṇa, it pervades all places without being absent anywhere; hence black resides outermost. If one proceeds from the shallow to the deep, returning from the traces to the origin, then the Bhagavat deigns to equal the six destinies to open up the pure bodhicitta for the retinue of the initial gateway. When sentient beings enter this luminously clear gateway and transcend the one hundred and sixty minds, they have already transcended the worldly realm and ascended to the rank of a bodhisattva; hence the third maṇḍala takes only white as its border. In the second maṇḍala, the addition of red and yellow on top of white is because red is vigorous exertion, progressively cultivating myriad practices within bodhicitta. Yellow is the flourishing of the Tathāgata's smṛtyupasthāna and myriad virtues; at that time one enters the gateway of profound mysteries and dwells in the Land of Tranquil Light, such that even those closely dwelling as [bodhisattvas bound to] one last rebirth still do not recognise a single person; thus in the second tier, only three colours serve as the border. In the first tier of the maṇḍala, the addition of blue and black on top of the three colours is because blue is the samādhi of great emptiness, namely the endless adhiṣṭhāna of the Tathāgata's mysteries of body, speech, and mind; hence it is rendered the colour of the great empty sky. Black refers to the Tathāgata's body of eternal lifespan; such a wondrous body is ultimately formless, and is therefore rendered a deep, dark colour. These two clauses represent the Tathāgata's secret treasury; they are not for all sentient beings universally, and are therefore called the "retinue". Furthermore, entering this deep, dark colour is the matrix of the central womb of the Tathāgata's personal realization. At that time, one sees that the colours of the five wisdoms are all the single colour of the dharmadhātu; how could there be any distinction of shallow or deep? Yet, among sentient beings, there are those who enter gradually, those who leap forward, and those who enter頓 suddenly; nonetheless, that towards which they tend ultimately converges in the same destination. Hence it is said: "All the inner [colours] are deeply profound and dark."
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The sūtra says: "Establish the gate insignia, / In measure equal to the central matrix womb; / The side wings are likewise so, / And the flower terrace has sixteen divisions." / The insignia erected at both sides of the gates of the maṇḍala are banners and flags, which are called gate insignia. The measure of distance between the two markers should be made exactly equal to the central matrix. A crossbar is placed above, its width also the same. Atop the banner poles are each placed a crescent moon, and below the moon are placed banner images, made by taking silk and cutting it square. One may cut across diagonally from the corners to make two flags, each attached outside the banner pole, pointed above and drooping below. At the four intermediate points, banner poles with crescent moons are also placed, their insignia facing both ways. Above the crescent moon of the Great Heroic Gate (Mahāvīra Gate), a wish-fulfilling jewel is placed on each; above the crescent moon of the Vajrapāṇi Gate, a vajra is placed on each; above the crescent moon of the Padmapāṇi Gate, a conch is placed on each; and upon the four intermediate corners, jewels are also placed. / The side wings flanking the gates have the shape of the character ya (亞), and the pathway is in the center; at every corner a vajra peg is placed. The head of the peg is shaped like a one-pronged vajra, and sharp below. There are six pegs for each wing, making twelve pegs on both sides [of a gate]; for the four gates and four corners there are twenty-eight pegs in total, and likewise for all three enclosures. Prepare also five-colored cords, all consecrated with the Acala Mantra or Trailokyavijaya Mantra 108 or 1,080 times. / On the night when the ācārya actually performs the rite, after finishing the painting of the maṇḍala, he first visualizes the central matrix and the first court, and knowing nothing is deficient, he then drives in the vajra pegs. Around the vajra pegs, he encircles them with the vajra cord. When reaching the open gate, he stops, not crossing it. All three enclosures are arranged thus. If one cannot do so [for all], the third court must strictly follow this method without any deficiency. When reaching the open gate, one should lift the cord, following the contour of the gate markers upward, so that it does not obstruct the head. Once the boundary is bound, one must enter and exit by the gate and must not randomly step over elsewhere. At each entrance and exit, one must still recite the Acala Mantra. / If one is a yoga ācārya, one may also encircle the perimeter with the cord continuously; when it is necessary to enter or exit, one visualizes lifting this cord and passing beneath it, and after passing, it returns to as before. Or, if one is far from the gate and urgently needs to enter or exit, one should visualize one's own body as Vairocana with an unobstructed body, generate no thought of crossing the cord, and enter or exit at will without fault. / The turns between the six pegs should all be equal in measure; there must still be walkways for circumambulation between the courts. Both sides of the outermost gate wings are also exactly equal to the central matrix; hence it is said, "The side wings are likewise so." / The flower terrace is the place of empowerment (abhiṣeka); the layout of the lotus altar is largely identical to the eight-petaled womb of the central matrix, the smallest being sixteen digits (aṅgula), the remaining meanings of which will be explained below. Only one gate is opened, and that gate should face toward the great altar. / The verse says: "One should know that the first gate / Is equal to the inner altar." / This means that the first enclosure's gate corresponds to a proportion of nine divisions, making its breadth exactly equal, so that the central path of the gate directly faces the center of the flower womb. The remaining second and third [gates] are also apportioned according to this ratio, naturally expanding by degrees, each obtaining its proper place. / In the wing recesses of the second-enclosure gate, the two brother dragon kings are placed: Nanda in the south and Upananda in the north. The rest of the many jewel adornments are largely the same as the positions of the secret maṇḍala. / The ācārya said: "If interpreted according to the deep and secret meaning: the square, straight, even, and equal aspects of the four sides represent the four applications of mindfulness; the four gates are the four dhyānas and also the four means of embracing; the gate markers are the four brahmavihāras; the wing recesses are the four right exertions; the four intermediate points are the four noble truths; the vajra cord is the sūtra. By means of this, the thirty-seven limbs [of awakening] are interconnected, making the bounds of the Dharma gates." / The reason why the length, width, and breadth of the outer gate markers are all exactly equal to the central matrix is to make clear that each and every Dharma gate of the Tathāgata corresponds to the dharmadhātu, without the slightest increase or decrease. Furthermore, the central path walked upon coincides directly with the core of the true reality of the lotus terrace, and the traces of the universal gateway grow ever wider the farther out they extend; hence it is said, "The wise one, in the outer court, / Gradually increases [them]." / The verse says: "Briefly explaining samādhi: / With single mind abiding in the object." / From this point onward, it answers concerning the samādhi component in the maṇḍala. If one has not cultivated yoga, one cannot act as an ācārya, because with a missing component, the ritual action cannot be accomplished. / In the sūtra, it first briefly explains the name and meaning of samādhi, and next explains it deeply and extensively. As for the initial brief explanation, it means that the mind is tied and focused on one object without scattering; this is the meaning of equipoise (samāpatti/samādhi). Therefore the verse says: "Briefly explaining samādhi: / With single mind abiding in the object." / Moreover, regarding yoga with signs, there are three types: superior, intermediate, and inferior. The superior refers to visualizing the bodies of the Tathāgatas such as Vairocana; the intermediate refers to visualizing the bodies of the Bodhisattvas such as Mañjuśrī; the inferior refers to visualizing the bodies corresponding to their classes, such as Indra. Each is as shown in the maṇḍala: physical form, deportment, secret emblems, mudrās, or seed syllables—simply abiding in the object with single mind without scattering further is the samādhi gateway of that deity. To put it succinctly, each and every good friend (kalyāṇamitra) throughout the ocean-like assembly of the maṇḍala, numerous as dust motes in Buddha-lands, is a samādhi gateway for entering the dharmadhātu. If one collectively visualizes such an assembly of the universal gateway, single-mindedly abiding in the object without scattering, that is the Samantacakṣu (Universal Eye) Samādhi gateway, also called the Samantamukha-lokadhātu (Universal Gate World) Samādhi gateway. / As for the "single gateway and all gateways": one may enter solely the samādhi gateway of the Tathāgata division, or enter solely the samādhi gateway of the Padma division, or enter solely the samādhi gateway of the Vajra division, or take the universal gathering of Mañjuśrī's retinue as a single samādhi gateway, and likewise for the other three Bodhisattvas; these vary in diverse ways according to the capacity of the practitioner's mind. / When a practitioner cultivates yoga, whether visualizing the fundamental deity, visualizing the secret mudrā, or visualizing the mantra, various realms may appear before him that do not accord with the fundamental visualization; all of these are false visualizations. For instance, during concentration, one might see the sun, moon, and stars shining brightly, or see a great king of lotuses filling the sky, or see jewel trees and towers wonderfully adorned like celestial palaces and various pure realms, or suddenly no longer have any appearance of body or mind, or see immeasurable assemblies of Buddhas and Bodhisattvas, or hear various strange sounds, or see precipitous cliffs plunging to the Avīci Hell. Because they do not accord with the original object of focus, none of them should be grasped. Simply maintain a single mind as usual; though one attains correspondence with the sphere of concentration, one must deeply cultivate the contemplation of the ten phrases on conditioned arising and must not savor or attach to it. If one sees an unusual sphere, considers it wondrous, and grasps it, this is called concentration of pride, and also concentration of miserly attachment. Only when one corresponds with correct visualization will one naturally see kotis of Buddha-lands—here, "Buddhas" refers to hundreds of thousands of assemblies, and "lands" means pure places. When corresponding in this way, one knows that the various phenomena experienced hitherto were not without causes and conditions: because of such-and-such causes and conditions there are such-and-such phenomena, realizing this without relying on another's awakening and without any hindrance. / Next, as for the deep and secret interpretation: in the true reality of the Dharma-gate body of each and every good friend, the mind abides in the object and does not give rise to false discrimination or conceptual elaboration (prapañca); this is the meaning of equipoise. For instance, entering the syllable A gateway with a single thought of the dharmadhātu is the samādhi of Vairocana. Being undistracted in single mind upon the Dharma Lotus Mudrā is the samādhi of Avalokiteśvara. Being undistracted in single mind upon the Vajra Wisdom Mudrā is the samādhi of the Lord of Secrets. And so on, up to the various deities such as Brahmā and Śakra, each attaining mastery in one dharmadhātu gateway. If one is undistracted upon that single object of their liberation body, it is each of their pure divine eye samādhis. If one is undistracted in single mind within the ocean of clouds of the great compassion womb, it is called the Universal Eye Samādhi, also called the Samādhi of Universally Manifesting Physical Bodies. / If the Tathāgata were to explain the extensive meaning therein for immeasurable asaṃkhyeya kalpas, it still would not be exhausted. Now, wishing to subsume it with two verses so that it is thoroughly complete without remainder, it therefore says: "The extensive meaning is further distinct; / May the great assembly listen attentively." / Herein there are again two parts: first, explaining the Tathāgata's samādhi seal; next, explaining the differentiated seals in the path of samādhi. / The verse says: "The Buddha spoke of all as empty"—this is entering the syllable A gateway. Even to the point where not the slightest dharma can be attained, nor is there any sign of concentration that can be called samādhi; abiding in such a one-mind dharmadhātu is called the "equipoise of correct awakening." Why is this? If outside this nature of mind there were an object to be focused on, it would not be a permanent sphere, being moved by the four characteristics [of conditioned phenomena]; at that time, the mind abiding in the object would also flow along with the object—how could it be called concentration? Therefore, the samādhi of correct awakening realizes that all dharmas are originally unborn; hence it is solely the mind directly realizing the mind, the mind directly knowing the mind, which from long ago has always been like the limit of reality (bhūtakoṭi) without change. Using such a mind to abide of itself in such an object, it is therefore called equipoise. This is precisely the inexhaustible adorned matrix manifested by the fundamental deity Vairocana, and is also not separate from this fundamental deity. Any other visualization is called a false visualization; therefore it next states the seal of certainty, saying: "Samādhi is solely realizing the mind, / Not attained from different objects." If expressed faithfully according to the Sanskrit text, it should say that it has no other attainment, meaning that it is not attained from anywhere else. / Next it says: "Such a realm as that / Is the concentration of all Tathāgatas." As the Mahāparinirvāṇa-sūtra explains that all who possess mind have Buddha-nature, this Buddha-nature is named the Śūraṅgama Samādhi, also named the Vajra Samādhi, and also named the Prajñāpāramitā. The path of all Buddhas is the same, with no other road. If a practitioner, when first generating the mind, can correctly contemplate the nature of mind as spoken, this is also called entering the Tathāgata's concentration—why would one need to laboriously transcend the four stages gradually before reaching the ultimate? / Furthermore, if a yoga practitioner, through receiving the empowerment of the supernatural power of all Buddhas, fully sees in samādhi the immeasurable holy deities—numerous as dust motes in ten Buddha-lands—with their three kinds of secret mudrās unmixed with one another, or with undistracted single mind transforms into their own body: although this is extraordinary and inconceivable, because it still possesses signs and possesses conditions, it is called worldly samādhi. When this samādhi appears before him, if the practitioner contemplates the ten phrases on conditioned arising, purifies all false signs and conceptual elaborations, and corresponds with empty tranquility, he then realizes that such an ocean-like assembly of the maṇḍala is entirely born from conditions—like a mirror image, the moon in water, a gandharva city, and the like—contemplating that they lack own-nature and signs; this is called supramundane samādhi. / Yet because the sickness of emptiness has not yet been emptied, it cannot yet be called the Great Emptiness. When he sits at the site of awakening (bodhimaṇḍa) and directly realizes the nature of mind, he then knows that such spheres of adhiṣṭhāna are all the limit of reality (bhūtakoṭi) of the mind. At that time, the mind does not abide in signs nor rely on emptiness, but clearly observes that emptiness and non-emptiness are ultimately signless yet endowed with all signs; hence it is called the Great Emptiness Samādhi. One who abides in this samādhi abides in the Buddha's unhindered wisdom; the Buddha says that this person's all-inclusive wisdom (sarvajñajñāna) is ultimately perfected. Therefore the sūtra says: "Therefore it is spoken of as Great Emptiness, / Perfecting the sarvajña."
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- 大毘盧遮那成佛經疏 — Classical Chinese