[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) › [中天竺舍衛國祇洹寺圖經](https://indike.org/pramana/in.bauddha.taisho.1899) › 1.54 # 中天竺舍衛國祇洹寺圖經 1.54 中天竺舍衛國祇洹寺圖經 1.54 - **Language:** Classical Chinese ### [1.54](https://indike.org/pramana/in.bauddha.taisho.1899.1.54) 前佛殿東樓上層，有八萬白銀佛，坐七寶蓮華。於銀像內，有八萬四千七寶樓觀。一一樓觀各各有如來成道、降天魔、轉法輪、入涅槃等像。七寶寶樓內有一寶池，寶花莊嚴，花上諸佛，各說妙法，其像多少，白玉作之。池中蓮花。院內有十六億白銀寶塔，於諸塔心有天真殊塔，百二十角，層數亦爾。塔下有三百二十頭盤龍，上承珠塔，塔表有大珠王，其形如鳳鳳，上文殊師利乘之。每月布薩，殊王放光，至戒壇所，照諸比丘，光呵破戒，有覆罪者光觸其身。又見頭上犯重比丘，珠光射心，發熱燒身，交受苦惱。至誠悔者，珠光出水，清泠灌注。身心得清涼樂，戒根還生。大悲文殊放白毫光，又照比丘，呵責破戒，讚持戒者。是珠塔者，又從地出，飛至壇所，遶壇行道。塔中天樂皆說諸平等大悲，歎譽持戒諸大功德。此珠塔中有釋迦、多寶二像說《法華經》第七會者，在此塔中大眾八部入不相障。將欲制戒，時金剛幢菩薩為請主。塔中先有迦葉、維衛二佛毘尼藏。釋迦如來十二年後制戒之時，於此塔中披討古律。阿難比丘常在習誦。此殊塔上，四面百億天人皆乘殊風，手執樂器，常以供養大毘尼藏。每受戒時，塔至壇所，諸天樂遶塔供養。有功德者，塔門自二開，見世尊手摩其頭。受已，此塔返於故地。其中微妙不思議事，不可說盡。已前諸相，總是金剛智菩薩於維衛佛時所作。其珠寶者，娑竭龍王也。釋迦如來將往涅槃前，塔中像、樓、觀、池、塔乘空送之至闍維所。天人便奏常樂我淨曲。闍維事了，珠塔放光蔽諸大眾。又出大聲，塔門即開，見二世尊。爾時寶積菩薩為諸大眾請決所疑：過去諸佛入涅槃時，如何教戒諸弟子等闍維、起塔、分布等相？佛皆隨答。因菩薩請，遂名其經，名《大寶積》。其經三分一與《涅槃經》相似。既說經已，塔門還閉。娑竭龍王收還海宮。（依今《別傳》。且渠國中見有此經，十萬餘偈。玄奘法師亦將梵本只譯一分，名《大菩薩藏》。廣明大乘六度四攝佛不共法，餘者未出也。）《妙法華經》事同《華嚴》、《般若》，多會說之。今此所翻，當第三會。《佛華嚴經》亦數度說，一一說各有七處八會，教主不同。寶樓中層內有十六介七寶樓觀。隨觀有多彌勒菩薩像。《經》中善財童子遇彌勒菩薩於斯觀中。又五百白銀臺，臺內各有五百金臺，隨臺各有七寶池，各有千葉金蓮花，隨花有佛。復有七寶蓮花，小小諸天童子等作天伎樂。中有碧須彌山，山上作釋迦如來度諸龍像。上來寶樓並是無言菩薩，於維衛佛時造而供養。逮至于今，如來涅槃，忉利天主收往天上。寶樓下層，作牛頭栴檀大梵王像并梵眷屬，又作帝釋四王部眷等像。佛成道後三十一年，之文殊師利告之像形，音言動止與真無異。中央有大金鐘，帝釋像每日擊之，振三千界。及佛滅後經十二年，大龍收入海殿供養。 > On the upper story of the eastern pavilion of the front Buddha hall, there are eighty thousand silver Buddhas seated on seven-jewel lotuses. Within the silver images, there are eighty-four thousand seven-jewel multi-storied pavilions. Inside each pavilion are images of the Tathāgata attaining the Way, subduing the heavenly māra, turning the wheel of the Dharma, and entering nirvāṇa. Inside the multi-storied pavilions of the seven jewels is a jewel pond, adorned with jewel flowers; on the flowers are Buddhas, each expounding the wondrous Dharma, and their numerous images are made of white jade. In the lotuses within the pond. In the courtyard are 1.6 billion silver jewel stūpas; in the centre of these stūpas is a natural heavenly jewel stūpa with one hundred and twenty corners and the same number of tiers. Beneath the stūpa are three hundred and twenty coiled nāgas supporting the jewel stūpa above; on the outside of the stūpa is a great king of jewels shaped like a phoenix, ridden by Mañjuśrī above. At each monthly poṣadha, the king of jewels emits light reaching the ordination platform, illuminating the bhikṣus; the light rebukes those who break the precepts, and if any conceal their offenses, the light touches their bodies. It is also seen that above the heads of bhikṣus who have committed grave offenses, the light of the jewel shoots into their hearts, generating heat that burns their bodies, so that they suffer intertwined agonies. For those who repent with utmost sincerity, the light of the jewel releases water, flowing pure and cool. Their bodies and minds attain refreshing bliss, and their precept-roots are reborn. Great Compassionate Mañjuśrī emits light from his white curl, which also illuminates the bhikṣus, rebuking those who break the precepts and praising those who uphold them. This jewel stūpa then rises from the earth and flies to the platform, circumambulating the platform in pradakṣiṇa. The heavenly music inside the stūpa all speaks of impartial great compassion, praising the great merits of upholding the precepts. In this jewel stūpa are the two images of Śākyamuni and Prabhūtaratna expounding the seventh assembly of the Lotus Sūtra; inside this stūpa, the great assembly and the eight classes enter without obstructing one another. When the precepts were about to be formulated, Vajradhvaja Bodhisattva served as the requester. In the stūpa there were originally the Vinayapiṭakas of the two Buddhas Kāśyapa and Vipaśyin. When Śākyamuni Tathāgata formulated the precepts twelve years after his enlightenment, he examined the ancient Vinayas in this stūpa. The bhikṣu Ānanda constantly studied and recited them here. Above this jewel stūpa, ten billion devas on all four sides ride the wondrous wind, holding musical instruments in their hands, constantly making offerings to the great Vinayapiṭaka. Whenever the precepts are conferred, the stūpa arrives at the platform, and the heavenly music circles the stūpa in offering. For those with merit, the door of the stūpa opens of itself, and they see the World-Honoured One's hand stroking their heads. Once the ordination is done, this stūpa returns to its former place. The subtle, inconceivable wonders within it cannot be fully told. All the aforesaid forms were made by Vajramati Bodhisattva during the time of Vipaśyin Buddha. As for its gems and jewels, they are from the nāga king Sāgara. When Śākyamuni Tathāgata was about to enter nirvāṇa, the images, multi-storied pavilions, pond, and stūpa flew through the sky to escort him to the cremation ground. The devas then played melodies of permanence, bliss, self, and purity. When the cremation was concluded, the jewel stūpa emitted light that overshadowed the great assembly. It also issued a great voice, and the door of the stūpa opened at once, revealing the two World-Honoured Ones. At that time, Ratnarāśi Bodhisattva, on behalf of the great assembly, asked for resolution of their doubts: "When past Buddhas entered nirvāṇa, how did they instruct and admonish their disciples regarding the marks of cremation, the erection of stūpas, distribution, and so forth?" The Buddha answered each in turn. Due to the bodhisattva's request, the sūtra was named the Mahāratnakūṭa. One third of this scripture resembles the Nirvāṇa Sūtra. Once the scripture had been preached, the door of the stūpa closed again. Sāgara Nāgarāja gathered it up and took it back to his ocean palace. (According to the current Separate Biography, in the country of Chequ there is this scripture, with more than one hundred thousand verses. Dharma Master Xuanzang also brought the Sanskrit text and translated only one portion, named the Great Bodhisattva Piṭaka. It broadly illuminates the Mahāyāna's six pāramitās, the four means of embracing, and the Buddha's eighteen unshared dharmas; the rest has not yet been produced.) The circumstance of the Lotus Sūtra of the Wondrous Dharma is like that of the Avataṃsaka and Prajñāpāramitā, expounded in multiple assemblies. What is translated now corresponds to the third assembly. The Buddhāvataṃsaka-sūtra was also expounded several times, each exposition having seven locations and eight assemblies, with different teaching lords. Inside the middle story of the jewel pavilion, there are sixteen seven-jewel multi-storied pavilions. In each pavilion are many images of Maitreya Bodhisattva. In the scripture, the youth Sudhana met Maitreya Bodhisattva in these pavilions. There are also five hundred silver platforms; inside each platform are five hundred gold platforms, and corresponding to each platform is a seven-jewel pond, each with a thousand-petaled golden lotus, and on each lotus is a Buddha. There are further seven-jewel lotuses, with small heavenly youths making celestial music. In their midst is a jasper Mount Sumeru, upon which is depicted the image of Śākyamuni Tathāgata delivering the nāgas. The jewel pavilions described above were all made and offered by Asangabhāṇa Bodhisattva during the time of Vipaśyin Buddha. Coming down to the present, when the Tathāgata entered nirvāṇa, the Lord of Trāyastriṃśa gathered them up to heaven. On the lower story of the jewel pavilion are made an image of Mahābrahmā in ox-head sandalwood together with Brahmā's retinue, and images of the retinues of Śakra and the Four Kings. Thirty-one years after the Buddha attained the Way, Mañjuśrī announced the shapes of these images; their voices, words, and deportment were no different from the real ones. In the centre is a great golden bell; the image of Śakra strikes it daily, vibrating the three thousand worlds. Twelve years after the Buddha's parinirvāṇa, the great nāga gathered it into his ocean palace for worship. > — English (machine translation) (machine translation) - [Previous: 1.53](https://indike.org/pramana/in.bauddha.taisho.1899.1.53) - [Next: 1.55](https://indike.org/pramana/in.bauddha.taisho.1899.1.55) - [Up: 1](https://indike.org/pramana/in.bauddha.taisho.1899.1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1899~en-mt.1.54) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1899.1.54](https://indike.org/pramana/in.bauddha.taisho.1899.1.54) · Pramāṇa