大毘盧遮那成佛經疏 8.4

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.