四分律行事鈔資持記 3.676

3.676

次正明中，初文，先敘目連圖寫；至下，後引如來垂誡。以佛生七日，摩耶命終，生忉利天；佛後成道，思報母恩，昇天說法，經于一夏；按《造像經》，時優填王思念如來，命目連引三十二匠，往彼天中，以旃檀木各圖一相；如是至三，方得圓足；文云恐者，若論圖寫，似指目連；取後垂誡，須推佛意；雖緣在優填，意存來世。次垂誡中，初明授記。即優填王聞佛下天，將像至寶堦所；像即迎佛，自行七步；佛為摩頂授記，辭如鈔引。低首曲身，故云垂地。因下，次正誡勅。法身儀則者，威容相好，法身之表故。得念佛三昧者，由見色像，三昧易成故；具相好者，由生忻慕，能感勝報故。如是者，即指檀像，勅後効之。注中國僧者，即鳩摩羅琰，從西天負像，欲來此方；路經四國，皆被留本圖寫（注云今後傳者，即知第四寫本，非優填造者。）；至龜茲國，王抑令返道，以妹妻之；後生羅什，齎至姚秦；後南宋孝武破秦，躬迎此像，還于江左，止龍光寺（故號龍光瑞像）；至隋朝，於楊州置長樂寺，有僧奏請瑞像歸寺。（今在帝京，此據龍光壁記所載；若《感通傳》天神云：非羅什將來，未詳孰是。）

Next, within the direct explanation: in the first passage, it first recounts Maudgalyāyana's drawing and painting; below, it then quotes the Tathāgata's imparted admonition. Because seven days after the Buddha was born, Māyā passed away and was reborn in the Trāyastriṃśa Heaven; after the Buddha attained the Way, wishing to repay his mother's kindness, he ascended to heaven to preach the Dharma, spending an entire summer rains retreat there. According to the Sūtra on Making Images, King Udayana then longed for the Tathāgata and commanded Maudgalyāyana to lead thirty-two craftsmen up into that heaven, each to depict one mark using sandalwood; only after doing so up to three times was it made complete and perfect. Where the text says 'fearing,' if discussed in terms of drawing and painting, it seems to refer to Maudgalyāyana; taking the subsequent imparted admonition, one must infer it was the Buddha's intention; although the occasion lay with Udayana, the intention was kept for future generations. Next, within the imparted admonition, it first explains the prophecy. That is, when King Udayana heard that the Buddha was descending from heaven, he brought the image to the jewelled staircase; the image thereupon welcomed the Buddha, walking seven steps on its own; the Buddha rubbed its crown and bestowed a prophecy upon it, with words as quoted in the Manual. It lowered its head and bent its body, hence it is said to have 'hung to the ground.' Below, 'owing to' next directly conveys the admonition. 'Model of the Dharma-body': the majestic countenance and physical marks are the outward manifestations of the Dharma-body. 'Attaining the mindfulness-of-the-Buddha samādhi': because by seeing the physical image, samādhi is easily achieved. 'Possessing the marks and signs': because by generating longing and admiration, one can induce an excellent retribution. 'Like this': this refers to the sandalwood image, ordering future generations to emulate it. The note mentioning 'a monk from the Middle Kingdom' refers to Kumārayāna, who carried the image from Western India wishing to come to this land; passing through four countries on his route, he was detained in all of them so they could make copies of the original (the note stating 'those transmitted now and hereafter' indicates that the fourth copy is known not to have been made by Udayana); arriving in the kingdom of Kucha, the king coerced him into returning to lay life and gave him his sister in marriage; she later gave birth to Kumārajīva, who brought it to the Yao Qin; later, Emperor Xiaowu of the Southern Song defeated Qin and personally welcomed this image, bringing it back to Jiangzuo to reside at Longguang Temple (hence it was called the 'Longguang Auspicious Image'); in the Sui dynasty, Changle Temple was established in Yangzhou, and a monk submitted a memorial requesting that the auspicious image return to the temple. (It is now in the imperial capital; this is according to what is recorded in the wall inscription at Longguang. Yet as the heavenly deity states in the Records of Miraculous Responses: 'It was not brought by Kumārajīva'—it is not known for certain which is correct.)