大毘盧遮那成佛經疏 8

English (machine translation) 8

Language: English

8.2

The Remainder of Chapter Two: Entering the Maṇḍala and the Requisite Conditions

Regarding what the sūtra says, 'Or make all [offerings] by mental visualisation': as the bhagavat taught, among all offerings, mental visualisation is supreme. As with each and every offering object mentioned before, one should exercise the mind so that it pervades the dharmadhātu, maintaining it with mantras and secret mudrās, as explained at length in the ritual sequence for offerings. Or, one visualises the great jewel tree-king pervading and covering all worlds, endowed with the adornments of the Bodhi tree-king as in the Gaṇḍavyūha, from which whatever objects for use and enjoyment are needed all issue forth inexhaustibly, reaching everywhere before all the worthy and noble ones, making vast offerings and universally aiding all sentient beings. Having exercised the mind in this way, one should apply the Ākāśagarbha-vidyārājñī for adhiṣṭhāna, and accomplishments will naturally be achieved at will. Next, the method of the auspicious vases is explained: one should use treasures such as gold and silver. If these are lacking, one should make them of porcelain or pure earthenware, ensuring they are perfectly round, upright, and not leaking. In accordance with the upāya of inspecting and straining pure water in the Vinaya, fill them to the brim. Place inside the five treasures, the five grains, and the five medicines, as taught in the Guhyatantra. However, these five medicines all originate from the five regions of India and are not completely available in this land. Take the various powdered unguents mentioned before, mix them with water, and also add camphor and bezoar (gorocanā). Insert precious flowers into the mouth of the vase, or famed flowers found locally according to the region, taking those whose flowers, fruits, branches, and leaves are luxuriant, fine, complete, and intact, and arrange them hanging down in an orderly, interspersed manner so that they are exceedingly graceful and majestic. Wrap the neck with coloured silk, tie flower garlands around it, and smear it with various incenses. The upāya of sīmābandha and purification is also as explained in the ritual sequence for offerings. Five vases should be placed in the central garbha: the central Mahāvairocana vase is placed on the flower platform, and the rest are placed among the outer flower stamens. Whenever offering food in the central garbha, the four Buddhas and four bodhisattvas are each upon their own seat inside the flower platform; that offered to Vairocana is placed before the flower platform. If one has sufficient means, one vase is placed before each and every venerable one. If one cannot do so, place them before the principal venerable ones in accordance with the inner and outer directions. Place two vases at each of the four gates, one vase at each of the four corners, and another separate vase outside the shared gateway, consecrated with the Trailokyavijaya mantra and mudrā; this is intended for sprinkling on oneself for protection when entering and leaving, and is also used to sprinkle upon disciples when summoning them inside. At the homa site, another vase is placed separately, making roughly a hundred or more vases. When the sūtra speaks of six vases, this is the minimum limit: one should place one in each of the four cardinal directions of the central garbha, and the one outside the gate must certainly not be omitted. If using eighteen vases: place one vase in the central garbha; in the second enclosure, at the place of the Great Diligent One (Mahāvīra), the Lotus and Vajra lineage masters, and the gate, there are four vases in total; for the four great bodhisattvas of the second enclosure—namely Mañjuśrī and the others—place one vase each; [and for the rest,] the four gates, four corners, and outside the gate of the outer enclosure: using them in this way is sufficient. If there are many who wish to receive abhiseka, have one vase made for each person according to the number, and let none be lacking. As with the scented-water vases, so too are the various arghya vessels: one should use gold, silver, crystal, and so forth to make the bowls, or even conch shell (śaṅkha), refined copper, stone, and wood; or one may use tree leaves or new earthenware to hold various scented waters with assorted famous flowers placed in them, setting them out one by one wherever vases were placed before. Moreover, one should offer clean garments before each of the venerable ones. As explained earlier, the principal venerable ones also follow the method of food offerings by doubling [the quantities]; thus it is said: 'Each is also offered a second garment.' If one cannot manage this, simply place them before the principal venerable ones. Or, according to what is available, put them in chests and place them inside the central garbha enclosure, exercising the mind to offer them to all venerable ones. Whenever making offerings to the central garbha, they should be placed in the single-layer empty space outside the garbha; if making offerings to the nameless venerable ones, they should be placed within the boundaries of the triple enclosure. Furthermore, when making offerings, one should first present the arghya water, next offer powdered unguent, next offer flowers, burning incense, and food and drink, and finally offer lamps; the order in the sūtra text is not chronological. Furthermore, from the perspective of the profound, secret explanation: powdered unguent signifies purification; just as worldly powdered unguent can cleanse dirt and impurities and dispel burning fever, so now the practitioner uses the arghya that is like space to wash away the defilements of the one hundred and sixty kinds of prapañca within the bodhicitta, and smears it with the unguent of abiding in unconditioned morality, so that the burning fever of saṃsāra is extinguished and a cooling nature is attained; therefore it is called 'powdered unguent'. What is called 'flowers' signifies birth from loving-kindness and compassion; this very seed of the pure mind blooms forth into myriad practices within the womb of mahākaruṇā, adorning the tree of the Buddha's awakening; therefore it is called 'flowers'. Burning incense signifies reaching universally throughout the dharmadhātu; just as when the heavenly tree-king blossoms, its fragrance naturally spreads both against and with the wind, so too is the fragrance of awakening: corresponding to each and every merit, it is burned by the fire of wisdom and wafted by the wind of liberation, turning unimpeded according to the power of compassionate vows to universally perfume everything; therefore it is called 'burning incense'. Food and drink are the unexcelled amṛta, the flavour of neither birth nor death; if one partakes of this ripe fruit of merit, there is no higher flavour, and at that moment it is called entering realisation; therefore it is spoken of as 'food'. What is called 'lamps' signifies the Tathāgata's radiance dispelling darkness; this means that upon reaching the stage of fruition, the obstacles of the mind are completely exhausted, and inexhaustible wisdom revolves to illuminate sentient beings everywhere; therefore it is spoken of as 'lamps'. If explained vertically, each and every bhūmi possesses these five meanings; if explained horizontally, each and every gateway possesses these five meanings. For example, regarding the various foods explained above, although their suitability to the palate is one, there are different flavours according to the skill of the chef's hands; one should know that it is the same with the remaining incenses and flowers. If a practitioner is able to perform the vajra dance and play with the five-syllable gateway to respond universally to sentient beings, it is like blending the five flavours, laying out the five colours, harmonising the five notes, or compounding the five medicines: though their intrinsic portions do not exceed five kinds, their myriad changes and transformations turn skillfully without end. One should know that this person understands the meaning of the unguent samādhi, understands the meaning of the flower samādhi, the burning incense samādhi, and the food and lamp samādhi, and also understands the meaning of these five kinds of dhāraṇī. Offering such various Dharma gateways and offering implements to the Tathāgata who is the king of mind can cause all the venerable ones to rejoice, and whatever is sought will certainly be obtained. If, with the principle therein, one looks back upon worldly flowers, incenses, and so on, one will naturally know the proper applications of their forms, fragrances, and intrinsic portions, and innumerable upāyas will arise from encountering things.

8.4

The sūtra says: 'Having thus cultivated offerings, / Next lead in those who should be saved.' From here on, it clarifies the subsidiary parts for adhiṣṭhāna-instruction and the subsidiary parts for the homa at the time of the actual ritual performance. In the adhiṣṭhāna-instruction, it answers three questions from Vajrapāṇi: namely, how to lead in disciples, how to bestow abhiseka upon them, and how to make offerings to the master. Having finished asking these three questions, he only then asks about the homa site. In the present answer, after first explaining the leading in of disciples, it clarifies the homa, and only then answers the remaining two questions. Yet homa applies across all ritual matters and is not merely for empowering disciples; hence it is fitting that it form a distinct subsidiary part. In the preceding fascicle, it already clarified the painting of the deities' positions in the maṇḍala at the time of the actual ritual performance on the seventh night, but because other necessary subsidiary parts were clarified in the interim, the textual progression was interrupted. Now, resuming the thread of the preceding text, it is explained in sequence. After the ācārya has finished painting the maṇḍala, he observes it all around, and knowing it to be complete and fully prepared, he then goes outside to perform the purification by sprinkling according to rule. As before, he directs his mind to pay universal homage to all tathāgatas, repents, takes refuge, and purifies his own three karmas; thereafter, relying on the ritual for offerings, he binds the samaya seal and so forth to protect his own body. As for the various offering articles, he also removes defilement, purifies, and banishes obstacles with the Acala mantra, preparing them beforehand fully according to rule. He must also put on the vajra armour and so forth, making each detail accord with rule. The ācārya says: 'When assuming the tathāgata body, use the tathāgata armour; when assuming the vajra body, use the vajra armour; they should be swapped and used.' Furthermore, in accordance with the Susiddhi and so forth, it is especially good to adorn one's own body with the marks of the tathāgata's uṣṇīṣa, halo, and so forth, which may either be used universally or generated through the all-accomplishing mantra. Having done this, he then faces the position of the maṇḍala, sits down as appropriate, and abides in yoga. First, he purifies his mind everywhere by means of the syllable RA gateway. Next, he purifies the ground of the bodhimaṇḍa, completely eliminating all signs of afflictions so that it is identical with empty space. Thereafter, using the syllable HA, he raises a great wind wheel; above the wind wheel, using the syllable VA, he raises an ocean of fragrant water; and using the syllable A gateway, he raises the vajra ground and Mount Meru, the king of mountains. One should know that this maṇḍala is right upon it. As described in the sequence of offerings, he visualises it with various adornments by means of upāya, sustaining it with Ākāśagarbha. Next, on the seat of each respective deity in the maṇḍala, he visualises their original bīja syllable; from these syllables, they all transform into the bodies of the principal deities. If that ācārya's contemplative path is not yet fluent and he fears prolonging the time, he may simply visualise the syllable A upon the central womb's lotus throne; the syllable gateway emits immeasurable light, illuminating the seats of all the deities everywhere, and at that moment the deities will manifest. At that moment, through upāya, he reciprocally visualises that these deities are non-dual and undivided from his own body, which means that the deities are right within his body. The ācārya says: 'If the practitioner does not abide in yoga, how could he construct such a maṇḍala ritual? Even at the very beginning of its establishment, he already visualises it within his body and only then paints it. If he is an ācārya of profound practice, he is ever together with such an assembly of āryas of the mahākaruṇāgarbha, and also realizes that they are precisely his own mind, identical with those ten similes of conditioned arising, being ultimately ungraspable.' Having thus visualised the principal deities, he next directs his mind to create various jewelled vehicles, empowering them with the Acala mantra and mudrā, using them to welcome the assembly of āryas and to purify the pathways. Next he performs the summoning. The Guhyatantra says: 'One should invite them each with their own mantra, or universally invite all deities with the mantra of the maṇḍala lord.' Or, relying on what is taught in the root teaching, one may follow one's inclination for an extensive or abbreviated [ritual], combining it with the summoning mantra and mudrā. Moreover, according to the principle of this sūtra, they receive the invitation right at their original seats, and arrive at this bodhimaṇḍa with the mark of not coming, unlike in coarse upāya where there is the mark of 'here' and 'there'. Once the great assembly has gathered, he should use the Acala mantra to dispel obstacle-makers, and then display the three kinds of samayas to perform empowerment. Next, he should offer arghya water and arrange their seats, saying: 'Welcome, bhagavat! Welcome, bhagavat! By the power of your fundamental vow, please descend and arrive. Deign to grant adhiṣṭhāna, and accept this invitation and slight offering. Out of great kindness and compassion, deign to accept it.' At that time, since the ācārya wishes to carry out vajra activities, he again uses the Acala wisdom-sword to eliminate his own bodily obstacles, transforming himself into Vajrasattva to subdue the karmic deeds of Māra. He continues to use the wisdom-sword to bind the boundaries in all directions, and again uses the tathāgata's great boundary mantra and mudrā to re-bind the surrounding boundary, using the four great protectors to protect each of the directions, and also reciting the Unbearable Great Protector to protect everything universally. The ācārya says: 'Whenever making a maṇḍala, from the very beginning one uses Acala, or uses Trailokyavijaya, to protect and sustain this ground. In the interim, whenever reciting, one binds the boundary according to rule, and upon finishing, releases it again. When reaching the night of the ritual performance, one further completes the binding of the boundary up to the vajra line. For the site of the abhiseka and homa altars, one should further use lines outside the maṇḍala to form an outer enclosure, making it connect with the inner boundary, and establish gates for entry and exit. When the outer boundary of the maṇḍala is universally enclosed and cut off with vajra lines, at the time of the homa offering one should also direct one's mind, raising the vajra line at the connecting gate so that all the deities may come and go freely. Moreover, when binding the boundary, one should simply perform the ritual as usual at one's own seat. If one wishes to circumambulate once and bind the surrounding boundary, that too is fully accomplished. If, after binding the boundary, the boundary is suddenly broken due to false thoughts, or various māra activities arise, one should immediately recite and maintain the Unbearable Great Protector. If one wishes to be free of obstacles at all times, the surrounding boundary, offering articles, and so forth should all be protected first with the Great Protector; later, when obstacles arise, it should be used again.' Next, he should pay homage and offer arghya water, sprinkling all the offering utensils everywhere with the great wisdom-sword, purifying them with the mind of the inconceivable dharmadhātu. When offering sandalwood ointment, he should abide in the sandalwood ointment mantra to sustain it. When making offerings in sequence, he further adds the mantra of that deity to each, whether universal or particular, or what he himself maintains. The rest of the offering articles follow this pattern. He should also perform the mental offering method, sustaining it with the Ākāśagarbha mantra, and chant praises with the vajra-ṛṣi melodies. Next, he also goes outside to bestow food upon the wild spirits and ghosts. According to the diagram, outside the eastern gate he bestows food to Vināyaka; outside the southern gate, to Grahāḥ (these are possessive spirits that attach to people); outside the western gate, to Grahas (these are spreaders of epidemics); outside the northern gate, to Ḍākinīs. To the left and right of the gates, four positions are set up respectively. However, the Guhyatantra says: 'These are all rākṣasas, piśācas, bhūtas, and all those that consume flesh and blood, various kinds of non-humans, whether dwelling on the ground or in trees and forests.' Bringing to mind whichever are attached, he summons them according to their respective directions and bestows food to them everywhere. All food offerings associated with the maṇḍala are gathered together in one place, and the various incenses, flowers, and so forth are also set aside in portions and placed together in one place. The ācārya should give rise to a mind of great compassion and limitless Dharma-giving, visualising them in yoga as various articles of enjoyment, and also sustaining them with the Ākāśagarbha transformation mantra to scatter and bestow them all around. When these ghosts and spirits receive the food, they will not cause obstacles to the maṇḍala. One should start with the east as the first, and then proceed to the south, west, and north. Having completed one circuit in this way, one next bestows to the northeast, then proceeds to the southeast, southwest, and northwest. Having completed another circuit, one returns to the east of the altar to bestow food upon the spirits of the zenith, and next proceeds to the west of the altar to bestow food upon the spirits of the nadir. In general, food is put down three times. Among the various ritual matters, this method is especially difficult. At that time, either extremely terrifying forms may manifest on their own, or one may hear great sounds like thunderclaps, the howls of jackals, and various extraordinary signs like these; the ācārya must keep his mind well settled. Furthermore, when about to make the distribution, he should first further guard his body so that every detail accords with rule. If that food is exhausted and they seek more, he should bestow it again, striving to make it abundant so as to make them rejoice. If goods are scarce, it should simply be according to what is available. All items offered in the altar should also be handled with an impartial mind, and there must not be any lack. The Guhyatantra says: 'If, when distributing food, there are errors or deficiencies, one should immediately make them up and still pray for their rejoicing. If the kinds of food distributed are not comprehensive, one should make up the count with other items.' Having finished bestowing food to all directions, he washes his hands, purifies himself with sprinkling, and burns incense before the gate as an offering. Next, he enters inside, offers arghya and burning incense, and mentally offers garments as sacrificial gifts. Thereafter, he abides upon his yoga seat, sustains his body with the syllables of the five wheels, places the King of a Hundred Lights Pervasively Illuminating on his head, and with unstained eyes contemplates the originally unborn syllable upon the lotus throne of his own mind, only then performing the universal gateway recitation. First, the mantra manifests brilliantly in the moon of Vairocana's heart, after which he recites and maintains it and displays the secret mudrā. Having gone completely around the central womb, he next proceeds to the deities of the second court, up to the end. Either he contemplates each one manifesting before him and performs the recitation, or he makes his own body that principal deity, manifesting the mantra syllables in the heart-moon and performing the recitation, or even instantly assumes the body of the maṇḍala and performs the recitation, in accordance with the strength of the practitioner's contemplative mind. If he is unable to do so, he should with a single mind recite the mantra of the family lord a hundred times, and recite the mantras of the remaining chief deities seven times each, also forming their mudrās, all as explained in the sequence of offerings. After the ācārya has finished performing the ritual in this way, he again reverently pays homage to the deities with a sincere mind, and then summons all the disciples, having them enter one by one, sprinkles and purifies them with the aforementioned fragrant water, gives them sandalwood ointment to rub on their hands, and next gives them pure flowers, briefly expounding to them the true meaning of bodhicitta in the 'Chapter on the Abiding Mind' to let them know their own place of refuge, make a genuine arousal of the aspiration, and sincerely and earnestly recollect all buddhas. Why is this so? Because if a practitioner is able to arouse the buddha-mind, he is a son of the Buddha, shall receive the abhiseka stage of a Dharma prince, and be born into the lineage of the Tathāgatas; therefore, in all movement and stillness, speech and deed, he does not forget the buddhas. Now in this sūtra, whenever it is about to explain all mantras, it consistently says 'Universal refuge in all buddhas', which is precisely this intention. As for the expression 'pure buddha', in the Śrāvaka Dharma an arhat is also called a buddha, and in other provisional Mahāyāna sūtras there is also the sense of becoming a buddha, yet these cannot be called thoroughly pure. Here, it specifically clarifies that one's fundamental mind is eternally a buddha, and therefore distinguishes it with the word 'pure'. In a correct translation of the Sanskrit text, 'buddha family' should be called 'buddha gotra', which has the sense of lineage and category. At that time, the ācārya visualises the disciple's body as the five wheels, sustains it with the five syllables, and also places the syllable A and so forth in the heart's lotus throne, making him identical in substance with Mahāvairocana. With the seal of entering the buddha-samaya, he seals the crown of his head; next, with the seal of the dharmadhātu-origin, he seals his heart; and forming the seal of turning the Dharma wheel, he seals his navel wheel, reciting the respective mantras three times each. Next, he transforms the syllable A gateway in his heart into the syllable VA gateway, and binds the Vajrasattva mudrā to seal his limbs, namely the five locations. Why is it done like this? It is because he wishes to accomplish his vajra activities. At that time, the ācārya should also further protect and sustain himself with the samaya and so forth. Next, taking fresh, clean white cotton or other fine silk, he first purifies it according to rule with the Acala mantra, and further empowers it by turning it three times with the mantra-king of the respective family. If making the Mahāvairocana maṇḍala, he uses the Vairocana mantra; for Padmapāṇi and Vajrapāṇi, it should also be applied accordingly. Using this colourful, clean silk, he covers the disciple's face all around, and giving rise to a profound mind of compassion and protective concern, he whispers the samaya precepts into his ear, not letting any others who have not entered the altar hear the sound. This one verse shall be explained in the Chapter on the Practice of the Syllable-Wheel Maṇḍala. Furthermore, he visualises that above his crown there is a syllable RA, with a dot placed above the syllable, hence it is said: 'adorned with the great emptiness dot' (this is the syllable RAṂ). All four sides of this syllable are surrounded by flames of light, continuous like an unbroken garland of flowers. From within the syllable, white light also flows out everywhere, like the radiance of a pure full moon. Because it is empowered by this mind of the pure dharmadhātu, it can eliminate all internal and external obstacles. Next, he leads him to the first gate, the place guarded by the two nāga kings Sunda and Upasunda, having him stand squarely before the gate wings without moving forward or backward. The master should form the samaya mudrā for him, recite its mantra three times, place a flower upon the mudrā, and have the disciple scatter it toward the bodhimaṇḍa with a sincere mind. Wherever the flower lands, one should know that it is the practitioner's Dharma gateway and spiritual friend from past causes and conditions, and relying upon this upāya gateway, he advances in his practice. The Guhyatantra says: 'When about to enter the altar, the ācārya should say: "I, named so-and-so, have made this maṇḍala according to rule, and am bringing my disciple to enter; according to his merit, lineage, and the Dharma vessel he is capable of fulfilling, I pray that its signs be revealed in this maṇḍala." After the flower has been scattered, he should next uncover his face to let him gaze upon the bodhimaṇḍa, and tell him with a joyful mind: "Now behold this wondrous maṇḍala and give rise to deep reverence and faith. You have already been born into the family of all buddhas, all the vidyā-deities jointly protect you, and all auspiciousness and siddhis are present before you. Therefore, firmly uphold the samaya precepts and diligently cultivate the mantra teachings." Next, he has the disciple make universal offerings of incense, flowers, and so forth to the assembly of āryas in the maṇḍala, and immediately in the bodhimaṇḍa confers the root mantra and mudrā upon him, having him sit in one place to recite it, and then leads in the next person. In general, the ācārya should observe where the flower lands to discern his nature and type: if it falls upon the Buddha's head, he will accomplish the uṣṇīṣa, the ūrṇā, and so forth; if it falls upon the face, he should accomplish the Buddha-eye; if on the middle section of the body, one should know that he accomplishes the various hearts; if it falls upon the lower section, he accomplishes the various messengers and so forth. Furthermore, according to the upper, middle, and lower sections of the Buddha's body, one knows the upper, middle, and lower accomplishments; this is also true for the Lotus and Vajra [families]. For the remaining other deities, one only knows the signs of upper, middle, and lower. If the flower falls far away from that deity, he will only attain accomplishment after a long time. If it falls in the offering court, he is conferred the mantra according to the deity to which it belongs. If it falls between two deities, one should observe its proximity. If it first falls in the inner court and then shifts out to the outer court, that person's faith is incomplete; if he forcibly recites, he will obtain an inferior accomplishment. If it falls on the boundary paths or the circumambulation court, that person lacks a resolute mind and will not obtain accomplishment. If he wishes to cast it again, one should perform a homa for him and then cast it.' The rest is as explained there. Next, one should perform a peaceful homa for all the disciples; this is the śāntika ritual, which may also be translated as averting calamities. Next, this is one subsidiary part. Now in the Tathāgata's answer, because it is according to the sequence of the practical rites, before the subsidiary part of adhiṣṭhāna-instruction is finished, the homa is explained in the middle of it; or perhaps it may be combined with rites such as abhiseka into a single subsidiary part.

8.5

The sūtra says: "Perform the peaceful homa; for the homa, abide in accordance with the Dharma." Above, "homa" refers to the practice of this homa ritual that should be performed. Next, "homa" is said as an admonition to the practitioner. When performing homa, one must abide in accordance with the Dharma, hence it is stated again. Here, empowering one's own body through the method of yoga, up to invoking deities and establishing boundaries, all rely on the upāya of recitation; hence it is said, "abide in accordance with the Dharma." "First, from the Garbhadhātu up to outside the second [enclosure], within the maṇḍala, generate a mind free of doubt and hesitation": this aforementioned esoteric phrase regards the court of Śākyamuni's retinue as the second, placing it outside the great altar aligned with the Garbhadhātu. The ācārya is further outside it, facing the maṇḍala; between these two positions, the fire altar is established. The Sanskrit text intentionally used esoteric phrasing, saying, "In the ācārya's maṇḍala, construct the homa altar." If one does not receive it from a master, one will mostly miss its intent, perhaps constructing it within the enclosures of the maṇḍala. Now, since the consecration (abhiṣeka) altar must directly face the central Garbha, one may shift this altar slightly southward. Up to the southwest corner, these three positions face one another, which is logically without fault. A mind free of doubt and hesitation means the intent of pacifying calamities (śāntika); one should perform it with single-pointed, undistracted focus. If the practitioner abides in the syllable ŚA gateway and contemplates all dharmas as eternally tranquil, seeking the cessation of doubt and remorse and purifying hindrances, this is the original intent of the peaceful homa. As for the method of constructing the maṇḍala: take one cubit (hasta) of one's own forearm for the length and width, half of that for its depth, and place a rim around it four finger-breadths wide and equally high. In general, homa altars vary as square, round, or triangular according to the rite; here, however, the ritual should use a square altar. Smear it with cow dung (gomaya) and cow urine (gomūtra), and sprinkle it with scented water. "The center indicates the vajra seal": this means that within the hearth, one should draw a vajra. Why is this so? Homa is the Tathāgata's fire of wisdom, capable of burning away all disasters and perils produced by karmic causes and conditions, sweeping them entirely clean without residue. The square altar is named Great Indra, which carries the meaning of the mind-king, clarifying that this seal of wisdom-fire plumbs the ultimate source and is born from the vajra-nature; therefore, like the vajra, it is indestructible. Later, in the "Chapter on Worldly and Transcendent Homa," the Bhagavān himself explains the causes and conditions in detail. If a mantra practitioner performs merely a worldly homa without understanding this esoteric meaning, how would it not be confounded with Vedic fire sacrifices? Therefore, the translator also applied the term for wisdom, hoping to present both the shallow and profound interpretations along with their functions.

8.6

The sūtra says: "To the right of the master's seat are the implements and requisites for homa." Suppose the gate of the great maṇḍala opens to the west: the fire altar should be to the west of the great altar, and the ācārya should be to the west of the fire altar, seated facing east. All requisites and implements used for the homa should be to the south of the master's seat. For homa firewood, one should use milky wood, such as mulberry or paper mulberry. Or cut stems of Achyranthes aspera (niúxī) to a measure of twelve finger-breadths; all must be moist and freshly gathered, choosing straight and well-formed branches. One should inspect their top and bottom, aligning them uniformly, sprinkle them clean with scented water, and have their base ends face oneself. When about to burn them, dip both ends into milk curds, clarified butter (ghṛta), and honey, and cast them into the hearth. Or use aloeswood, measuring four knuckles in length and as thick as a thumb, dipped in storax (suhéxiāng), performing this one hundred and eight times, which is especially good. Take each of the various food offerings, incense, flowers, and so forth meant for the maṇḍala, sprinkle them clean with the ritual-accomplishing mantra in accordance with the Dharma, and place them to the right of the seat. The argha vessel should be placed on the left side. For the offered foods, mix them together with clarified butter, curds, and the like in one vessel. The five grains should also be moistened with clarified butter, oil, and the like, combined in one place, and arranged in a separate vessel, all prepared plainly and properly. If interpreted according to the profound and esoteric meaning, these homa requisites signify the manifold causes and conditions; through these causes and conditions, the disasters and perils of the three realms of existence arise. Now, these are returned to serve as fuel for the fire of wisdom, offering them to all universal-gate bodies and augmenting inconceivable power. A sūtra says: "Afflictions are the firewood, wisdom is the fire; through these causes and conditions, the meal of nirvāṇa is prepared, causing all disciples to relish it." This is the meaning. Moreover, when performing the ritual for disciples, spread fresh kuśa grass to the north of the ācārya and have them squat or sit. The ācārya should also sit on a grass seat, and must not use couches, mats, or the like. Taking and using fresh kuśa grass has roughly three meanings: First, its nature is pure and free from luxurious comfort, which can eliminate the practitioner's torpor, indolence, and arrogance. Second, this is auspicious grass (kuśa), which the Bhagavān used as a seat upon which he realized bodhi; therefore, it can eliminate all obstacles. Third, this auspicious kuśa represents the nature of wisdom. This grass has many sharp prickles on both sides; if one sits, lies, or grasps it without skillful means (upāya), one will instead be harmed by it, but if handled with care following its grain, it cannot harm. All dharmas are likewise: if contemplated in accord with the true reality, all defilements possess the function of inherent purity; but if skillful means are lost, they can damage the wisdom-body. Therefore, it serves as a symbol for this Dharma-door. If constructing the maṇḍala upon a large rock or in an upper storey where one cannot dig to make a hearth, one should paint it with colored pigments, making it extremely clear, majestic, and beautiful, and it will serve the purpose; this is called the abbreviated homa site. If the maṇḍala constructed inside a room is cramped, one should go outside to a place where the bodhimanda can be seen and make the hearth according to the ritual. Around all four sides of the hearth, lay fresh kuśa grass clockwise in circles, each overlapping the next with their tips pointing outward; the rest is as explained in the "Chapter on Homa." Furthermore, make it broad and thick all around so that no bare ground is exposed, sprinkle it thoroughly with scented water, and empower it with the ritual-accomplishing mantra, which is the earth-sprinkling mantra mentioned above. In this homa practice, after the ācārya has initially performed offerings and recitation in the maṇḍala, he should next go outside to perform the fire ritual. Facing east on the auspicious seat, he first places dry firewood of milky wood into the hearth, sprinkles clarified butter on it, and ignites it; afterwards, he puts in moist firewood. Having removed impurities, dispelled hindrances, and sprinkled it clean with the ritual-accomplishing mantra, he should abide in yoga and transform the bīja of the fire deity into the Fire Deity within a triangular maṇḍala, selecting whichever of the twelve fire deities shown in the lower chapter corresponds to the rite. Once aligned, he should contemplate the body of the Fire Deity as non-dual and undivided from his own body; as is the Fire Deity, one should know that the fire maṇḍala is likewise. One should contemplate that these three places share the identical characteristic, and then invoke him with the fire deity mantra. The Susiddhi says: "When wishing to invoke, first speak these words: 'I now invoke the chief of fire deities, the rishi among the gods, whom those of pure conduct revere; may you descend to this place and accept the homa.'" Next, the fire deity mantra is spoken:

8.8

The first phrase is taking refuge in all buddhas, the meaning of which is as explained previously. The second phrase, agnaye, has the meaning of fire. Here, the initial syllable A serves as the bīja; because all dharmas are originally unborn, it is identical with the substance of vajra-wisdom. GA has the meaning of practice (gamana); because all dharmas are originally unborn, though endowed with myriad practices, there is nothing practiced, and therefore it is called self-awakening without a teacher. If it is self-awakening without a teacher, it is identical with great emptiness, pervading everywhere, and hence shares the same substance with the syllable NA. Because dharmas have no teacher and no practice, they naturally pervade everywhere; thus, without stirring or departing from the three realms, one reaches sarvajña (all-knowledge). Therefore, there is neither vehicle nor traveler of the vehicle; only then is it the Mahāyāna. This is also why the sound of samādhi is added, intending to clarify that in this vehicle, concentration and wisdom are equal. When all buddhas practiced the bodhisattva path, they burned away all defilements of the mind with this fire of wisdom and blazed forth the radiance of the correct Dharma; therefore, speaking it according to reality forms the mantra. When summoning, one should add the syllables ehe hy-ehe (ehy ehi); when sending off, add the syllables gaccha gaccha. Its mudrā is as explained in the lower chapter. Having invoked him, first sprinkle clean three times with argha scented water, present water for rinsing the mouth three times, and then take the five grains, clarified butter, curds, and the like, offering homa to the fire deity three times with the aforementioned mantra. In all homas, one first fills a large ladle with pure clarified butter and burns it, next burns firewood, next homa cooked rice, next the grains or milk gruel, and next burns lotus flowers or the like at will. What is offered in between is always done with a small ladle; hence the sūtra says, "One should hold a full vessel and offer it." Having made the offerings, sprinkle scented water again and pour argha, just as a person washes and rinses with water after eating; offer incense, flowers, and so forth again, and direct one's mind to escort the fire deity back to his original seat. Next, invoke the deities: first take a flower, purify it of defilements with the ritual-accomplishing mantra, empower it with the mantra of the family lord, hold it with both hands clasped, and say with mind and mouth: "May the deities empower this place and accept my humble offering." Then cast it toward the maṇḍala across the hearth. Before casting it, according to the distance, first contemplate that this flower reaches all the seats of the deities, creating seats appropriate to their respective categories. Again use the ritual-accomplishing mantra to remove defilements and purify inside the hearth, and only then invoke the deities. One may invoke each individually with that deity's mantra, or according to the retinue of a family, or even invoke all at once using the king of mantras. Furthermore, since this fire hearth is identical to the fire realm, when invoking them, merely contemplate that the deities descend without moving from their original seats, and when the affair is concluded, they return to their original places without any mark of departing. For each deity to whom homa is offered, sprinkle the hearth with scented water and rinse water, and make offerings seven times with the pacification mantra mentioned below. Having finished each in this manner, perform homa again one hundred and eight times, burning clarified butter once more with a full vessel. If one is unable to do so, one should make a general offering one hundred and eight times or one thousand and eighty times, contemplating: "According to whatever is present here, may all the deities together accept the offering." Next, universally request their delight. Having made offerings according to the ritual, perform repentance, dedication of merit, and chant the vajra verses, ensuring that the burning incense is not interrupted. Offer argha again, then pay homage to the deities, summon the disciples, perform the flower-scattering ritual and the like as explained above, and after finishing all the admonitions, lead each disciple to the homa site. To the left of the ācārya, they should squat and remain with a reverent mind. The master holds the disciple's right thumb with his left hand and recites the pacification mantra, offering fire food with each recitation, doing so twenty-one times; all disciples do likewise. The Guhyakā says: "Again smear the hands with incense, press them against their chest, recite at will, and dispatch them." Next, this pacification mantra will be explained.

8.10

This mantra takes the initial [syllable] A (falling tone, pronounced abruptly) as its essence. A signifies that all dharmas are originally unborn, which is the very essence of the fire of vajra wisdom. Adding the samādhi dot constitutes the vajra wisdom fire of original arisen practice. The two dots beside the samādhi [dot] signify nirvāṇa. Entering this syllable A gateway, wisdom practice is complete; hence it can burn away all obstacles and hindrances, attaining great quietude nirvāṇa. The reason it is a disaster-pacifying mantra lies precisely in this meaning. Furthermore, when performing the rite, one should visualize this syllable surrounded by a garland of light emerging from the fire, fully equipped with three colors: its fundamental essence is yellowish white; its samādhi stroke is red like Jāmbūnada gold; and the two dots beside it are black like the fire at the end of the kalpa. Because its original nature is pure white, it has the function of pacifying disasters; being additionally yellow, it has the function of increasing prosperity; being red, it has the function of subjugating and burning; being black, it crushes great obstacles and performs summons. Moreover, this syllable's essence is the upāya gateway; one should know that it is identical with the color of the great emptiness, possessing diverse activities. Furthermore, among the twelve fires [explained] below, the syllable A is the fire of wisdom; the samādhi stroke is the fire of fulfilled practice; having the sense of summons, it is the wind-drying fire; having the sense of subjugation, it is the lohita fire; the blending of yellow and red is the mṛṇa fire; including both red and black, it is the wrathful fire; completely possessing all colors, it is the jaṭhara fire. In brief, it fully possesses the twelve kinds of functions, which should be broadly expounded. The subsequent phrases explain each other in turn. The first phrase, mahā-śānti, means great quietude. Gata means gone. It means that by virtue of the meaning of this single syllable, the Tathāgata has departed and arrived in the fundamentally, eternally tranquil great nirvāṇa. The essence of the syllable A is original quietude; because it possesses the samādhi stroke, he is the Well-Gone (Sugata); possessing the purification dots, he has entered nirvāṇa. Unmoving from this place, he instantly proceeds and instantly arrives, identical with the great emptiness and omnipresent; hence it is called 'great quietude'. The next phrase, śānti-kara, means 'making quietude'. It means that because this syllable gateway's upāya is fully satisfied, it constantly pervades the ten directions and the three times, universally performing the universal gateway's activities to accomplish sentient beings, causing them all to depart and enter into great quietude; thus it is called 'making quietude'. Next, praśama-dharma-nirjāta: pra is the sense of supreme; śama is the realization of this quietude, re-explaining the previous phrase: because it makes quietude, it is the quietude within quietude. Why is that? Because quietude is ultimately unattainable, it constantly acts; because acting is ultimately unattainable, it is constantly quiet. All the worlds cannot conceive of this; hence it is called 'supreme'. Dharma is phenomenon; nirjāta is 'arisen'. From where does it arise? It arises from this very inconceivable activity of quietude. Because motion and quietude are ultimately equal, from within the phrase of original unbornness, roots, stems, branches, leaves, flowers, and fruits fully arise, forming the king of bodhi trees. Just as the fire element can both burn and nourish, the vajra wisdom fire is also like this: using the purification dots to burn, and the samādhi dot to nourish. Next, abhāva-svabhāva: this again re-explains the previous phrase, hence saying 'without self-nature'. All self-natures are originally tranquil yet arise from conditions, and thus have no self-nature. Those arising from conditions are all originally tranquil, and therefore are the self-nature of all dharmas. By this meaning, false conceptualization does not arise, yet the great emptiness arises. Next, dharma-samanta-prāpta: this again re-explains the previous phrase. By this meaning, the Tathāgata is equal in all dharmas, which refers to the attainment of unexcelled bodhi. Prāpta has the meaning of 'obtained': by virtue of having nothing to obtain, he attains this phrase of equality. The rest is explained as above. Whenever performing homa, diverse signs will appear: sometimes when kindling, the fire will not burn, or having ignited, it quickly extinguishes or is not very blazing; or smoke rises without flame, or the smoke is very turbid; or it emits sounds like those of donkeys and beasts that people dislike hearing; or words of non-accomplishment and the like—one should know these are signs of obstacles and non-accomplishment. Or within the smoke and flames there form precious vases, jewel nets, lions, chariots, and various wondrous forms; or the sound is like the resonance of music from bells, handbells, and conches; or it emits sounds of auspicious accomplishment—one should know these are signs of unhindered siddhi. Up to this point, one who skillfully performs homa should, within this, receive subtle instructions and clearly and fully know the signs of success and blockage. In homa, according to each corresponding ritual, one sits facing north, east, or south with a mind of tranquility, joy, or ferocity; the clothing worn is white, yellow, or red. The maṇḍalas also differ in being round, square, or triangular, and the colors can also be known accordingly. For homa firewood, the uppermost branches of trees are used for pacifying disasters; the middle branches of trees are used for increasing prosperity; and for subjugation, tree roots should be used. For pacifying disasters, one should use ghee, milk, barley, honey, milk gruel, shoots of kuśa grass, kunda flowers, white sandalwood, and aśoka wood. For increasing prosperity, one should use milk gruel, curds and rice, honey, curd-and-milk gruel, sesame, deodar wood, fennel, asparagus cochinchinensis, nāgapuṣpa, and various grains. For subjugation, one should use red and white mustard seeds or mustard oil, poison, bones and hair, and thorny woods such as brambles. Although the sūtra does not speak of them exhaustively, one should infer them by analogy. Furthermore, following the number of times ghee is burned, sesame is also done likewise; the rest is at one's discretion in quantity. At the very beginning and the very end, homa should be performed with a ladle full of ghee; all other ritual matters follow this pattern. In all disaster-pacifying homas, one must first perform the rite of subjugation. If the mantra employed contains the sense of subjugation, one simply recites it according to the root [text]. If it lacks that meaning, one should add to it according to the rule. Using items corresponding to subjugation such as mustard seeds, one performs homa seven or fourteen times; next, visualizing the phrase meaning and offerings corresponding to increasing prosperity, one again performs it seven or fourteen times; only then does one fully perform the disaster-pacifying rite. Just as in performing a prosperity-increasing homa, one must first perform the rite of subjugation, and only then fully perform the prosperity-increasing rite. For the subjugation homa, a single rite directly accomplishes it, without needing to set up the preceding upāya. One should know that this maṇḍala fully possesses the three kinds of ritual practices. The Guhyatantra says: 'After the abhiṣeka is completed, one should again perform homa according to the rule. First, using the mantra of the lord of the maṇḍala, burn ghee one hundred times; next, using the tranquil mantra with ghee, honey, curds, and mixed rice, [burn them] one hundred times; next, use sesame one hundred times; only then extensively display the maṇḍala.' When the matter is finished and about to disperse, the master should sprinkle his own body, again offer argha, and make offerings to each of the deities in sequence. Next, perform homa eight hundred times with the lord of the maṇḍala; next, one hundred times with the tranquil mantra; next, twenty-one times with the heart of the family; next, perform homa seven times each for the respective mantras of each deity using cow ghee; thereafter, perform homa at will with the root mantra one upholds; only then perform the rites of releasing the boundary, dismissing [the deities], and so forth. Alternatively, relying on the previous general upāya is also permissible. In this present sūtra, the three syllables A, SA, and VA, as explained in the 'Chapter on the Syllable Wheel', are the heart mantras of the three families. If at other times one performs the three kinds of rituals, upon completing the recitation within the altar, one should immediately go forth to perform homa. Or if performing homa for accomplishment, five places must be aligned: first, the primary deity; second, the fire hearth; third, the object of accomplishment; fourth, the vessel of ghee; fifth, the seat of the ācārya. The object to be accomplished is first covered with clean leaves; each time ghee or the like is taken, it is placed upon the leaves with a ladle and only then burned. If accomplishing sentient beings, one should draw their image in the place where objects are set; the rest is as stated above. If performing homa on behalf of a person, one recites their name each time before casting it into the fire. If there is no maṇḍala and one only performs the homa ritual, one should draw a single-tier maṇḍala circling the hearth, arrange the seats of the deities, and invite the deities to receive offerings, extensively or briefly as one pleases. The Susiddhikara says: 'When the homa is finished, one should always use the root mantra one upholds to empower pure water, circle the hand around, and sprinkle it into the hearth three times. One must invite Agni again to receive the remaining offerings, and visualize him returning to his original seat. The remaining grains, ghee, honey, curds, and so forth are mixed together, empowered three times with the Agni mantra, and offered as homa; one again performs the mudrās of protecting the body and protecting the quarters, and only after releasing the boundary may one dismiss [the deities].' The Guhyatantra says: 'On the sixth night, when the ritual for the disciples is completed, to eliminate obstacles one first performs a subjugation homa; next, for one's own prosperity, one performs homa with the heart mantra of the family; thereafter, with the tranquil mantra one performs a disaster-pacifying homa. When approaching the performance of the ritual, if inauspicious signs occur frequently, one should use the mother mantra of the family to perform a disaster-pacifying homa, burning ghee and firewood one hundred times each. On the day after performing the ritual, to replenish whatever was lacking, one again performs a disaster-pacifying homa eight hundred times.' However, this fire rite is also a difficult matter among the components: because it is about to remove disasters and obstacles and enhance the majestic power of the true Dharma, all those who create difficulties lie in wait here seeking an opportunity. If one is not thoroughly clear on every detail, one will harm oneself; one must not act rashly based on personal whim.

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大毘盧遮那成佛經疏 — Classical Chinese