[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [律相感通傳](https://indike.org/pramana/in.bauddha.taisho.1898) › 1.60 # 律相感通傳 1.60 律相感通傳 1.60 - **Language:** Classical Chinese ### [1.60](https://indike.org/pramana/in.bauddha.taisho.1898.1.60) 答云：「大明是其本像。梁高祖既崩，像來荊渚。至元帝承聖三年，周平梁後，收國寶皆入北周。其檀像者，有僧珍法師藏隱房內，多以財物賂遺使人，像遂得停。隋開皇九年，高祖遣使人柳顧言往迎寺僧，又求像令鎮荊楚。顧言既是鄉人，從之。令別刻檀像，將往供旨。當時訪匠得一婆羅門僧，名真達，為造，即今興善寺像是也，亦甚靈異。本像在荊州，僧以漆布縵之，相好不及舊者。本是作佛生來七日之身。今加布漆，乃同壯年相狀，故殊絕異於元本。大明本是古佛住處，靈像不肯北遷故也。近有長沙義法師，天人冥讚，遂悟開發，剝除漆布，真容重顯，大動信心。披覿靈儀，全檀所作，本無補接，光趺殊異，象牙彫刻，卒非人工所成。興善像身，一一乖本。」 > He replied: “Daming is the original image. When Emperor Gaozu of the Liang passed away, the image came to Jingzhu. By the third year of Chengsheng of Emperor Yuan, after the Zhou pacified the Liang, the national treasures were all taken into the Northern Zhou. As for that sandalwood image, Dharma Master Sengzhen hid it inside his chamber and gave many gifts and bribes of wealth to the envoys, so the image was able to remain. In the ninth year of Kaihuang of the Sui, Gaozu sent the envoy Liu Guyan to welcome the monastery monks, and also requested the image to protect the Jing-Chu region. As Guyan was a local, he complied with them. He had another sandalwood image carved and took it to fulfill the imperial order. When searching for craftsmen at that time, he found a Brahmin monk named Zhenda to make it; this is the image at Xingshan Monastery today, which is also very miraculous. As for the original image in Jingzhou, the monks covered it with lacquered cloth, so its major and minor marks were not as fine as of old. It was originally made as the Buddha's body when he was seven days old. Now, with the cloth and lacquer added, it resembled the appearance of a mature adult; thus it was completely different from the original. Daming was originally the dwelling place of an ancient Buddha, which was why the spiritual image was unwilling to move north. Recently there was Dharma Master Yifa of Changsha; aided invisibly by devas, he became inspired and peeled off the lacquered cloth, so that the true countenance was revealed again, greatly stirring faith. Beholding the spiritual form, it was made entirely of sandalwood without any joins or repairs; its halo and pedestal were extraordinary, carved from ivory, and not at all something achieved by human craftsmanship. The body of the Xingshan image departs from the original in every respect.” > — English (machine translation) (machine translation) - [Previous: 1.59](https://indike.org/pramana/in.bauddha.taisho.1898.1.59) - [Next: 1.61](https://indike.org/pramana/in.bauddha.taisho.1898.1.61) - [Up: 1](https://indike.org/pramana/in.bauddha.taisho.1898.1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1898~en-mt.1.60) — English, machine translation ## Linked texts (2) - [法苑珠林](https://indike.org/pramana/in.bauddha.taisho.2122.14.58) — 道世, Classical Chinese - [道宣律師感通錄](https://indike.org/pramana/in.bauddha.taisho.2107.1.13) — Classical Chinese --- Source: [https://indike.org/pramana/in.bauddha.taisho.1898.1.60](https://indike.org/pramana/in.bauddha.taisho.1898.1.60) · Pramāṇa