四分律刪繁補闕行事鈔 3.257

3.257

初明造經像法意者。如來出世，有二益：一為現在生身說法。二未來經像流布，令諸眾生，於彌勒佛聞法悟解，超升離生。此大意也。恐後生造像，無所表彰，故目連躬將匠工，上天圖取，如是三反，方乃近真。至于下天，此像垂地來迎；世尊命曰：汝於來世，廣作佛事。因垂勅云：我滅度後，造立形像，一一似佛，使見者得法身儀則；乃至幡華供養，皆於來世，得念佛三昧，具諸相好。如是造立，是佛像體（此像中國僧將來漢地，諸國不許，各愛護之，不令出境，王令依本寫留之；今後傳者，乃至四寫；彼本今在楊州長樂寺，亦云龍光瑞像云云）。今人隨情而造，各生奇薄；不追本實，競封世染。所以中國傳像，在嶺東者，並皆風骨勁壯，儀肅隆重；每發神瑞，光世生善（如長干瑞像，是阿育王第四女作，脚趺銘云：今在京師，大發靈相）。逮于漢世，髣髴入真；流之晉宋，頗皆近實。並由敬心殷重，意存景仰，準聖模樣，故所造靈異。今隨世末，人務情巧，得在福敬，失在法式。但問尺寸短長，不論耳目全具；或爭價利鈍，計供厚薄。酒肉餉遺，貪婬俗務；身無潔淨，心唯涉利。致使尊像雖樹，無復威靈。菩薩立形，譬類婬女之像；金剛顯貌，等逾妬婦之儀。乃至抄寫經卷，唯務賤得；弱筆麁紙，惡匠鄙養。致使前工無敬，自心有慢；彼此通賤，法儀滅矣。致令經像訓世，為諸信首；反自輕侮，威靈焉在。故致偷盜毀壞，私竊治鑄，焚經受用，多陷罪咎。並由違背世、出世法。現在未來受無量苦，皆由失法之所致也。若使道俗存法，造得真儀，鳥獸不敢汙踐，何況人乎（近見有賊，劫盜瑞像，纔入佛殿，便忽迷悶，莫知所趣；至曉寺僧怪問，久而方醒云云）！但能奉聖像儀，佛亦垂形示迹。《善見》云：佛右牙，帝釋處；右缺盆骨，師子國中。《增一》：優填王造栴檀，波斯匿王造紫金，二像各長五尺。

First, explaining the purpose of making scriptures and images: The Tathāgata appeared in the world with two benefits: first, to expound the Dharma for living beings in his present physical body; second, through the future dissemination of scriptures and images, to cause living beings to hear the Dharma and attain awakening under Maitreya Buddha, transcending transmigration and leaving behind birth. This is the great purpose. Fearing that when later generations made images there would be nothing to represent him, Maudgalyāyana personally took craftsmen up to the heavens to sketch his likeness; only after three trips did it come close to the real. When the Buddha descended from heaven, this image came forward, touching the ground to welcome him; the Bhagavat instructed it, saying: 'In future ages, you shall extensively perform Buddha-work.' Thereupon he issued an injunction, saying: 'After my parinirvāṇa, erect images where every detail resembles the Buddha, so that those who see them may obtain the model of the Dharmakāya; on up to making offerings of banners and flowers, all will in future ages attain the recollection-of-the-Buddha samādhi and be endowed with all the major and minor marks.' Fashioning them in this manner constitutes the true form of a Buddha image (Monks of the Central Kingdom brought this image to the Han territory; the various foreign kingdoms would not permit it, each cherishing and protecting it, not allowing it to leave their borders; their kings ordered copies to be made and retained based on the original; those transmitted today are up to four copies removed; that original is now in Changle Monastery in Yangzhou, also known as the Longguang miraculous image, and so forth). Nowadays, people make them according to personal fancy, each producing novel and superficial things; they do not pursue the original reality, but vie in clinging to worldly defilements. Therefore, the transmitted images from the Central Kingdom located east of the ranges all have vigorous bones and spirited air, with dignified and solemn demeanor; they frequently display divine auspicious signs, illuminating the world and giving rise to goodness (Such as the Changgan miraculous image, made by the fourth daughter of King Aśoka, with an inscription on its pedestal; it is now in the capital, extensively manifesting miraculous signs). Coming down to the Han era, they still vaguely approached the true; extending into the Jin and Song dynasties, quite a few were close to reality. This was entirely because their reverent minds were earnest and profound, their intentions held deep admiration, and they conformed to the sacred model; thus what they made was miraculous and extraordinary. Nowadays, as the world has declined into its end, people occupy themselves with subjective cleverness: they achieve merit and reverence, but lose the standard forms. They merely ask about the length of dimensions, not discussing whether the ears and eyes are fully complete; or they wrangle over cheapness and sharpness of price, calculating whether the offerings are generous or meager. They send gifts of wine and meat, indulging in covetous and lustful secular affairs; their bodies lack purity, and their minds are bent only on profit. Consequently, although the honored images are erected, they possess no more awe-inspiring numen. The standing figures of bodhisattvas are compared to the likenesses of courtesans; the revealed visages of vajra-deities are matched to the demeanor of jealous wives. Even in copying scripture scrolls, they strive solely to obtain them cheaply, using weak brushes and coarse paper, with inferior craftsmen on vile provisions. Consequently, the craftsmen have no reverence, and their own minds harbor disdain; with both sides regarding them as base, the ritual forms are destroyed. Thus scriptures and images, which should instruct the world and stand at the head of all faith, are instead degraded and despised—where can their awe-inspiring numen remain? Hence theft and destruction occur, people secretly melt them down, and burn scriptures for practical use, falling extensively into offenses and faults. All this stems from violating both worldly and trans-worldly laws. Suffering immeasurable pain in the present and future is entirely caused by losing the proper Dharma. If clergy and laity would preserve the Dharma and fashion the true forms, birds and beasts would not dare defile or trample them, let alone humans! (Recently I saw a thief who stole a miraculous image: the moment he entered the Buddha hall, he was suddenly dazed and confused, not knowing where to turn; at dawn the monastery monks questioned him in wonder, and only after a long time did he regain consciousness, and so forth.) If only one can revere the sacred image's form, the Buddha will also manifest his shape and show traces. The Sudarśana states: 'The Buddha's right tooth is in the place of Śakra; his right clavicle is in the kingdom of Siṃhala.' The Ekottarika-āgama states: 'King Udayana made one of sandalwood, and King Prasenajit made one of purple gold; both images were each five cubits tall.'