法界圖記叢髓錄 1.19

1.19

The Great Record states: One matches this “Dharmadhātu Diagram of the One Vehicle,” etc., to Master Yan’s fivefold ocean seal. That is, “Dharmadhātu of the One Vehicle” matches the ocean seal of forgetting images (the Record's analysis of the first scroll explains this match). The single word “Diagram” matches the ocean seal of manifesting images, meaning that a diagram is an image. The sūtra states: “Just according to its image, manifesting supernormal power.” Master Zang explains: “According to what is contemplated, as in the one hundred and twenty-four questions above down to the Dharma gates taught up through the sixth assembly, those answering these questions all—within the Tathāgata’s dharmadhātu-kāya—without exception, roundly, clearly, and suddenly manifest their images (and so on).” The sūtra below states: “Within the pure dharmakāya, there is no image that does not manifest” (thus far). This passage applies both to internal realization and external transformation; here it is matched in terms of internal realization. “Complete poem in one seal” matches the Buddha’s outward-facing ocean seal, meaning that the poem represents Samantabhadra’s capacity, while the seal represents the Buddha’s outward-facing mind, because the Buddha’s outward-facing seal of mind tacitly tallies with Samantabhadra’s great capacity’s inward-facing mind-top. “Fifty-four angles” matches Samantabhadra’s ocean seal of entering samādhi and observing, meaning that Samantabhadra’s internal realization has two meanings: First, if in terms of the gate of the Buddha-Samantabhadra, then when Samantabhadra enters samādhi, he not only exhaustively realizes the outward-facing seal of mind, but also fully realizes the first two ocean seals, because when Samantabhadra faces inward he is the ten Buddhas, and when the ten Buddhas face outward they are Samantabhadra. Second, if in terms of the gate of distinguishing capacities, then with respect to the Buddha facing outward, he realizes only one portion, because it is not yet complete. Now, in terms of the latter meaning, within this pure store samādhi, the faculties and natures—raw and ripe—of the five teachings and even the immeasurable vehicles, as well as the prominent angles of the various dharmas of the dharmadhātu, suddenly appear. “Two hundred and ten characters” matches Samantabhadra’s emerging from samādhi in the mind and the ocean seal of manifesting speech, meaning that within this ocean seal, the dharmas such as the five cycles of cause and effect are partially displayed and established in graphs and words. According to Shenlin’s intention, in “Dharmadhātu Diagram of the One Vehicle,” the dharma of the dharmadhātu is that which is realized, and today my mind is that which realizes. Precisely this place where that which [realizes] and that which [is realized] are unattainable is the one person capable of cultivation whose practice and stages are termed “vehicle”; since such an unmoving standard and demarcation is established, it is called “dharmadhātu.” The original position of the dharma of the dharmadhātu is our five-foot body; wishing to demonstrate this meaning, an image of the entire body of the complete dharmadhātu was drawn, hence it is called a “diagram.” The winding within the diagram’s seal represents the three vehicles: turning their backs on the non-abiding fundamental substance within the level and equal path and teaching of the One Vehicle, they wind and hibernate in the place where a single thought does not arise and is non-dual, and even cling to the reward Buddha-fruit within a single mark and a single trace. The circling back represents the Hinayāna: not knowing that there is the tathatā of emptiness of dharmas, they only circle back to and cling to the principle of emptiness of persons. The bending represents humans and devas: not knowing of the practice and virtue of world-transcendence, they bend and cling to the human and deva karma of the five precepts and eight precepts. The twisting represents the three bad destinies: not knowing of the actions and karma of humans and devas, they twist and cling to wrong views, falling into the three bad destinies. Thus, all the marks of the three vehicles and three bad destinies are completely drawn; hence it is said that an image of the entire body of the complete dharmadhātu is drawn.