中天竺舍衛國祇洹寺圖經 2

English (machine translation) 2

Language: English

2.1

The second great multi-tiered hall is of extraordinary height and breadth, truly surpassing the front hall. The eaves are continuous, towering in layered multiplicity, with vermilion, powder, gold, and jade-green; its exhaustive treasures and consummate artistry are peerless in the world. On its flanks are elevated walkways, connecting on both sides to the belvederes, which are likewise interspersed and adorned with myriad treasures. The hall is exquisitely decorated. Beneath the eaves inside the hall are four silver terraces. Inside two of the terraces are golden packets of sūtras, with white jade for the packets and yellow gold for the characters. Inside two of the terraces is the Vinaya, with yellow gold for the packets and white silver for the characters. The Vinaya was written by the nāga king, and the sūtras were written by the king of māras. These are both scriptures of ancient Buddhas from before the Nakṣatrakalpa. In the continent of Jambudvīpa, these two sets of texts are supreme. After the Buddha's parinirvāṇa, Sāgara Nāgarāja collected them and brought them into his palace. Inside the hall, lapis lazuli serves as the ground, and its bed is spread with golden sand. There are thirty-two great lotuses, and seated amid the flowers surrounded by nāgas is a Buddha. He has one body with four faces, wearing a round crown upon his head. The southern face is made of the seven treasures, inlaid and carved with yellow gold; the western face is of white silver; the northern face is of green jade; and the eastern face is of yellow gold. This image constantly expounds the essentials of the Dharma for humans and devas. Within the pistils of the lotuses there are another one hundred thousand small flowers, and within the flowers are images of the eight classes of devas and nāgas, śrāvakas, and bodhisattvas, totaling one hundred thousand in all, entirely covered by a jeweled net. Encircling the rim of the great lotuses are one billion golden nāgas, each holding a jeweled flower in its mouth; within the flowers are Buddha images of three colors—gold, silver, and white jade—arrayed alternately. Corresponding to the location of each Buddha image, the eight classes and two vehicles of the ten directions also encircle them in succession. Behind each Buddha there are ten thousand kinds of lotus flowers, within which celestial children perform celestial instrumental music. On the four sides of the pool are eight rows of jeweled trees, and at the four corners are golden mountains; many groves of fasts abut the pool, and the water of the pool flows and empties into the great earth. There are also various birds that appear naturally, not through human effort. On each of the six fast-days, they act as the Buddha expounding the Dharma, while older children perform music. Upon the four golden mountains there are each six depictions of the Jetavana Vihāra. The meritorious features above were jointly created by Samantabhadra and Mañjuśrī. Following the Buddha's parinirvāṇa, after Kāśyapa's council, the nāgas collected them and took them away.

2.2

On the transformed walls of the multi-tiered hall, Śākyamuni Tathāgata personally drew the "Illustrations of the Eight Phases of Transformation." This drawing was made when the Buddha was nearing parinirvāṇa: the great image in the middle of the hall spontaneously spoke, requesting Śākyamuni, saying, "How should sentient beings of future generations depict your images?" Prompted by this question, the Buddha drew them for its sake.

2.3

The eastern terrace of the multi-tiered hall has five tiers, all made of the seven treasures, created by Sāgara Nāgarāja. Jeweled pearls are placed atop it, which look like the sun when viewed at night; hence this great hall is constantly bright day and night.

2.4

The upper storey of the eastern terraced pavilion of the multi-tiered hall has the complete-body seven-jeweled stūpa of the second Buddha of the Nakṣatrakalpa, with one thousand three hundred tiers and sixty-four facets, resting on a terrace of white jade. Inside the stūpa is an image of that Buddha entering nirvāṇa, with the eight classes standing guard; only below it is the golden body. Encircling the four sides of the stūpa are eighty thousand golden terraced belvederes, within which are nirmāṇa-buddhas capable of preaching the Dharma. Atop the stūpa is a great king of jeweled pearls, shaped like a white elephant, bearing atop it an image of the Bodhisattva Samantabhadra. Six years after the Buddha passed away, it entered into the Vajra Cave. In the second storey is a thousand-petaled golden lotus; upon each petal are sixteen golden belvederes, within which are many images of the Bodhisattva Samantabhadra. In the center of the flower, Locana Buddha preaches one million gāthās of the Avataṃsaka-sūtra therein; this is the fourth preaching. Furthermore, in the time of Kāśyapa Buddha, a person from this land of Cīnasthāna wrote out the great Vinayapiṭaka and Sūtramiṭaka. The sūtras were written in gold on silver paper, and the Vinaya in silver on gold paper. When he wrote these scriptures, he was at the site of the present Daming Monastery in Jingzhou. The sūtras were placed inside the southeastern terrace of the lotus, and the Vinaya inside the southwestern terrace atop the petal. Their adornments and offerings are beyond telling. Among all the scripts throughout the hundreds of millions of four-continents that are identical to this one, this man received the foremost; even the likes of Zhong, Zhang, Wang, and Wei would not suffice as his peers. During the Tathāgata's days, when sages of various countries arrived, if their writing was identical to it, the Buddha mostly displayed these scriptures to them. After the Buddha passed away, Mañjuśrī gathered them into the Vajra Cave on this Qingliang Mountain. Inside the third tier is a sea of seven treasures; in the sea are 1.6 billion golden nāgas, each holding a great jeweled lotus flower in its mouth. Atop the flowers, gold and silver together form a terrace, inside of which are the Vinaya scriptures preached by past Buddhas, numbering thirty-eight thousand kinds. Among the scripts of the hundreds of millions of four-continents that are identical to this region's writing, these are supreme. Within each terrace is a maṇi jewel-king serving as an illuminating lamp. Whenever ordination is administered, the jewels emit light, illuminating the ordination platform and transforming into hundreds of thousands of golden belvederes. In each belvedere is an image of the Bodhisattva Samantabhadra, who expounds the differing characteristics of the vinayas of past Buddhas to the ordinands, and also expounds the bodhisattva Dharma-gate of upholding precepts. When the ordinands hear it, they are able to give rise to the first bhūmi. After the Buddha's parinirvāṇa, Kāśyapa carried it to the Asura Cave on Mount Kukkuṭapāda. When Maitreya appears, he will bring it back to its original location and install it as before. This was created by the Bodhisattva Vajramati in the time of the third Buddha of the Nakṣatrakalpa. In the fourth tier are sixteen gośīrṣa sandalwood stūpas, each having one thousand three hundred tiers. Inside the stūpas are many images of Śākyamuni attaining enlightenment and turning the wheel of the Dharma. Atop each stūpa, patches of seven treasures cover the four corners. When the great golden bells sound, they can be heard throughout the small chiliocosm, and their sound mostly expounds the merit of building stūpas. Fifteen years after the Buddha's enlightenment, he ordered Maitreya Bodhisattva to lead Kāśyapa Bodhisattva to Mount Gandhamādana to harvest superior sandalwood to make them. After the Buddha's parinirvāṇa, the nāgas gathered them into the sea. In the fifth tier are images of Śākyamuni converting the Kāśyapa brothers. These were crafted by the youth Jīvaka, who requested craftsmen from the Trāyastriṃśa Heaven to carve them from jade. After the Tathāgata's parinirvāṇa, King Vaiśravaṇa took them to dwell in his northern celestial palace.

2.5

The western terrace of the multi-tiered hall has five tiers. In the upper storey is a great maṇi jewel with six facets, shaped like a śarīra stūpa of this land. On its face is a single doorway, with a threefold terrace of white jade and beams made of agate. Within this jewel, past Buddhas once preached the three purifications of the land of the Lotus Sūtra; all that is in the sūtra appears fully within it. No human could see it, but through the supernatural power of Mañjuśrī, the stūpa opened and it was then revealed. The western terrace is likewise, built by the Four Heavenly Kings and completed from the two countries of crystal and agate.

2.6

The various meritorious features narrated from above on down are all accomplished through the pure karma of the Buddhas, benefiting and appearing in accordance with capacities to guide through diverse transformations; how could all the pure lands ever be fully described? Even if one exhausted one's thoughts to search them out, one would ultimately be constrained by days and months. Therefore, according with what has been seen and heard, I have briefly related three to five parts; the features of the other courtyards follow the same model, and are thus preserved here though much is omitted. I have heard that among the traces left by celestial beings, the third son of the Heavenly King of the South, named Zhang Yu, compiled an Illustrated Scripture on the Jetavana in one hundred fascicles, which possesses an overarching synthesis in heaven, whereas what is produced here is merely an outline. If lazy students see it, they will still call it voluminous; such persons are unfit to synthesize the great scope. A celestial being said: 'The sixteenth son of the Lord of Heaven of the North composed a Record of the Vihāra in over five hundred fascicles, which is also in that heaven.' Thus we know that the Buddhas' establishment of transformations deeply has its cause: their appearance has already turned away from the secular, and they dwell in distinct states and towns. Therefore they separately establish monasteries and halls to astonish the residences of ordinary people; they manifest wondrous images and statues to stir the perceptions of mundane minds. This causes people, upon hearing of them, to bow in respect and recognize the path of refuge and faith; upon beholding them, to shed worldly attachments and understand that this crossing contains wonders.

2.7

At the extreme north, a triple multi-storied pavilion rises higher still than the front hall, its floral adornments towering prominently, brightly illuminating the great void. These three halls and pavilions cast their reflections in succession; gazing north as far as the eye can see, they seem scarcely within human contrivance, being all abodes of ancient sages. In all the images therein, precious pedestals are individually set up, the rarest wonders of the world. The Tathāgata assembled the congregation and dwelt there according to the season, so for twenty-five years he mostly remained without moving. When summer arrived, he dwelt in the multi-storied pavilion; the multi-storied lecture hall mentioned in the sutras is precisely this place. Whether ascending or descending, his actions adapted to circumstances, not fixed by a constant standard; within the pavilion there are only seats, with no other images. Its adornments are as usually described. North of the pavilion, enclosing walls surround the four sides, all covered by verandas and colonnades, adorned with vermilion and powder, without any defect. Two storehouses, east and west, stand at the two corners of the wall. (They are called the Buddha's storehouses, where flowers, incenses, and offering utensils are mostly gathered, and from time to time Buddha-work is performed in the ten directions.)

2.8

To the east and west of the multi-storied pavilion are large jewel-towers built by the great King Brahmā, flanking the pavilion. They resemble blooming flowers, their ornaments and carvings wrought by celestial craftsmanship; being no human handiwork, they are beyond words and forms. Flying corridors west of the tower connect directly with the multi-storied pavilion, with carved balustrades and patterned railings, likewise not of human making. Celestial beings and the holy assembly passed through and circled the towers, all dwelling therein. The jewel-tower west of the pavilion was built by Śakra; lofty, vast, flowery, and beautiful, it matches the eastern tower of Brahmā, its flying corridors connecting to the pavilion no differently from the former.

2.9

Inside the south gate of the Great Courtyard, on the eastern side, is a platform built by the great King Brahmā. Facing a square pond to the west, it is called the ordination platform. The bhikṣu Rucika requested the Buddha to establish it. When he first wished to enact the precepts, he assembled the Buddhas of the ten directions. At that time, there were eighty billion [Buddhas] sharing the same name Śākya, and the Buddhas of the ten directions all shared that same name as well, when they initially founded the ordination platform. Once the platform was completed, the Buddhas mounted it and together expounded the rules of the precepts. The platform's magnificence was beyond this world, shaped like Sumeru, with niches and caves placed on its sides, all enshrining images of deities, with celestial gods constantly revering and guarding it. Around it were flower groves whose manifold forms were difficult to fathom. Only the Buddha mounted it; humans dared not ascend. Inside to the west of the gate was a platform built by the Demon King Māra, its ornamental grandeur matching that of the east. When nuns were first ordained, fearing the extinction of the True Dharma, [the Buddha] assembled the Buddhas to ascend the platform and deliberate; determining principles through a hundred deliberations, the four assemblies were established. Thus, these two platforms were only used when the Buddha officiated. From the above onward, the beams, buildings, platforms, ponds, towers, pavilions, and halls of the Buddha Courtyard have been described; outside them, rare flowers and strange trees were planted in rows, flourishing throughout the four seasons. The ground was like a clean mirror, without the slightest speck of weeds or filth. Thus, those who arrived smelled only fragrance; the pure environment thus accorded with these features and was named a bodhimaṇḍa. The name was established according to the setting, not set up in vain.

2.10

On the three sides—east, west, and north—of the Buddha Courtyard, long alleys run in a continuous line, without side doors. To the south, following the great wall, doors open in corresponding directions, leading to the main alley. On three sides of the long alleys, eight rows of trees interlace above, their branches and leaves casting shade, concealing the sangha from view. Circling to the left in front of the Buddha is the usual rule; turning east and wheeling north is the heavenly constant, and ascends and turns above the ground, as may be deduced by analogy.

2.11

Next is explained the Sangha Courtyard, surrounding the Buddha on three sides, with multi-storied buildings above and below, opening front and back. Inside the rooms there are only couches and mats; quilts and pillows sent to the upper stories never reached here. Beginning from the west, it is called the Assembly's Way Rooms. There are nine bays, with two tiers and three partitions, where bodhisattvas from other lands reside, not a dwelling for ordinary mortals. Next north is one room, with two tiers and one partition, where Mahākāśyapa and Śāriputra dwelt. Next north is one room with tiers and partitions like above; it is Upāli's room, where he constantly resided. Next north is one room where the three—Rāhula, Pūrṇa, and Maudgalyāyana—dwelt. Next north is one room where Culapanthaka dwelt. At the end of the western row, the rooms turning east and running north are half-occupied on the west by those beyond learning (arhats), and half on the east by those of the three fruits. The rooms turning south and running east are occupied on the south by ordinary monks from afar, and on the north by monks who are inner and outer ordinary mortals. This concludes the rooms surrounding the Buddha.

2.12

Outside the Sangha Courtyard, on three sides are wide alleys, unobstructed throughout, with gates opening on both sides. The southern side connects to the central avenue. The three gates open wide, with two channels running parallel, also planted with rare trees whose interlocking shade joins together. East and west of the two gates are each courtyard alleys, enclosed on four sides by walls, each with covered walkways running around, not connecting with one another.

2.13

To the left of the east gate of the central courtyard, it is divided into five courtyards. South of the south-end alley it is further divided into two courtyards: the western is called the Vinaya-Observance [Courtyard], and the eastern is named the Ordination Platform [Courtyard]. The three gates of the Vinaya Courtyard are never left unopened; in the center is a great hall where Vinaya masters of the Vinaya school mostly gather and dwell. Surrounding the middle rooms are three circuits, where the Vinaya-observing assembly receives instruction. There is a bronze bell weighing thirty thousand catties, made jointly by the Four Heavenly Kings. When wishing to assemble the holy multitude of the trichiliocosm, Maudgalyāyana struck it with his supernatural power. The tower is seventy feet high, and the bell is shaped like those of the land of Han; on its four sides are mostly images of the sun, moon, stars, constellations, mountains, streams, rivers, and oceans, as well as images of dry measures, balances, and rulers; the four assemblies constantly gather. When struck by ordinary monks, it is also heard throughout the three thousand realms. However, when struck by Maudgalyāyana, according to the matter at hand, comprehension arose immediately; when struck by ordinary men, it merely produced sound.

2.14

Next to the east, the Ordination Platform Courtyard has three gates, like the layout of the previous courtyard, with an ordination platform erected in the center, second only in form. When the Buddha Courtyard was first founded, there were eighty billion [Buddhas] sharing the name Śākya, and the Buddhas of the ten directions shared the same name. Eaves held up flower trees, and surrounding channels flowed southward out to join the great outer channel. Whenever an ordination was conferred, this platform was trodden upon. However, this full ordination is the foundation of the holy path, firmly established by the Buddha, its conditions fully complete; later creators have the name in vain, and when carrying out the rites, they are like mere pendants. Now reciting past conditions, one knows the gravity of what was instituted. In the past, the Buddha Vipaśyin was fifty feet tall; establishing the method of the ordination platform, he decreed five cubits as its base, symbolizing the fivefold dharmakāya. Śākyamuni Tathāgata said: 'Sentient beings of the Sahā world have small sights and small hearings; fearing that what is large would be difficult to accomplish, or might give rise to fatigue and remissness, it is therefore reduced to two and a half cubits.' Establishing three tiers symbolizes the three emptinesses. The Buddha's relics were placed inside the center of the platform; at that time, Śakra Devānām Indra added the form of an overturned bowl above the relics, and the great King Brahmā placed a priceless jewel atop the overturned bowl to make offerings to the relics. Now adding the overturned bowl and jewel to the former three tiers still symbolizes the fivefold dharmakāya; hence the prescribed measurement follows Kāśyapa's two and a half cubits. As for the measurements of the platform, the lower two tiers have stone pillars placed at all four corners. Images of the Four Heavenly Kings descend right at the corners; each tier is one Buddha cubit high and must not exceed it, for exceeding it causes the ground to crack; to fix the mind in single-pointedness, it is one cubit. (The Buddha is double a human: humans are eight feet tall, the Buddha sixteen feet. A human cubit is eight inches by the Zhou measure; [a Buddha] cubit is three feet six inches.) The second tier is one and a half Buddha cubits high, matching when a cakravartin is consecrated, sitting cross-legged upon the platform, ordering lesser kings to consecrate the great king's crown with the waters of the four seas to confer his rank. This is analogous to a bhikṣu first mounting this platform to inherit the Buddha seed, his status and the Dharma enduring firmly as in the Buddha's time. Adopting the measure of the Buddha's cubit is to make the bhikṣu maintain the precepts like a vajra. (When the relics of past Buddhas' bodies were dispersed, all other kinds were shattered, yet the forearm bones were indestructible; hence the measure is determined by the Buddha's cubit.) That ordination platform is solid and does not turn to ash through kalpas, an affair identical to a vajra; hence the cubit is used as the measurement. Both tiers of the platform are fitted with balustrades, above whose sturdy cedar are added platforms of gold and jewels. Also, garuḍas holding nāgas in their beaks match the upper part. (This bird was not the Buddha's original institution, but was later established by the North Indian arhat Uruvilvā.) Intended for those newly receiving the precepts to guard themselves with the precepts and continuously eradicate defilements, just as birds swallow nāgas, this image was placed. The lower two tiers resemble a Sumeru pedestal. Layered steps are set on the paths to cover each other; facing the focal points, niches are divided on the four sides to enshrine spirits; beneath the pillars of the balustrades, lion spirit-kings alternate, carved and adorned in circular forms according to their shape, exhausting all ingenuity in ornamentation. The third tier above is only two inches high, symbolizing the two truths. (It is about seven feet square, clarifying that what the Buddha taught does not exceed the two truths; upon this center, only the Buddha walked.) At the four corners of the pedestal, lions are placed, with nine holes on their backs meant to secure canopy pillars. Around the steps of the lower two tiers are four spirits each. On three sides of the upper tier are two flights of steps each, and one flight on the north side. The south side of the lower tier has two flights of steps, and the east, west, and north sides have one flight each, with steps of three risers. Around the platform outside, for a distance of ten feet, four-season flowers and plants are planted within, and beyond that, flower trees are planted in eight rows. King Brahmā's precious jewel is as large as five pints. When seen by those of merit, its bright light shines for a hundred yojanas; when seen by those of meager merit, it is like a mound of ink. When the Buddha entered nirvāṇa, the jewel vanished spontaneously; when Kāśyapa held the council, this jewel reappeared; when Ānanda passed into extinction, it submerged and disappeared again. After the rules of the Dharma were concluded, Śakra's two jewels remained in the Nandana Garden in heaven to offer worship to prajñā. (Now that there is no jewel, stone nāga lamps may be made to replace it in front of the platform. Two lamps are constantly set up, shining high upon the platform, letting the light encircle above, so as to make offerings to the Buddha.)

2.15

When the ordination platform was first established, whenever there was a ritual, the Bequeathed Teaching was always recited, with a seat set up at the southwest end of the platform to recite it. (West of the south-to-west stair-path of the platform, Mahābrahmā transformed an iron stem, silver dragons, and silver lotuses; on the revolving pathway of opening and closing lotus blossoms, directly opposite the balustrade, they supported the high seat.) Next, the ritual for ascending and descending the platform is explained. First, the ten preceptors assume their correct deportment according to their positions; sitting on the ground with bare feet, they ascend from the eastern stairs of the lower tier and exit to the east, turn north and circle around to the south, and having circled the two tiers twice to the east, they make three prostrations facing the Buddha. They visualize and invite the present Buddhas of the ten directions, all the great bodhisattvas, arhats, and the noble Sangha to descend upon the platform, with the eight classes of devas and nāgas filling the sky. They also invite the three sthaviras who currently conduct the ordination ritual—the first named Doutianna, the second named Louzhi, and the third named Malanna, all of whom are bodhisattva-bhikṣus who originally requested the Buddha to establish the ordination platform, formulate the precepts, and confer ordination—now all are invited, wishing that they descend here. The ten preceptors walk backwards, take the western stairs of the upper tier on the south face and ascend, turn east and circle north, and having circumambulated the Buddha, they leave the three sthaviras to sit next below. Those who wish to receive [the precepts] are about to listen to the Bequeathed Teaching. The karmadāna lines up at the path of the eastern stairs of the lower tier, standing with his face to the west. The master of deportment descends from the upper eastern stairs, and having lined up on the western stair-path and gone up and down the tiers, he immediately turns east facing north, makes three prostrations to the Buddha, kneels on both knees, and listens through the scripture. Taking the eastern stairs, he walks backwards, stepping heel to toe as he descends, and stands outside the ordination platform. Then the karmadāna leads them in one by one; reaching the place where impediments are questioned, he stands directly facing the eastern stairs, looking north. The master of deportment steps heel to toe down from the upper eastern stairs, and having questioned the impediments and obstacles, he ascends from the eastern stairs of the lower tier, turns west, ascends from the western stairs of the upper tier, and turns east. Having made three prostrations before the Buddha, he turns east and circles north, and reaching the front of the karmācārya, he makes the announcement (jñapti). When agreement is reached, he calls the ordinand to ascend the platform according to the rules of the master of deportment. Having prostrated before the three sthaviras, the ordinand next prostrates before the ten preceptors, making three prostrations to each one. The master of deportment instructs him to request the precepts. The karmācārya makes the announcement for harmony and questions the impediments and obstacles. Having received the precepts through the jñapti-caturtha-karman, he kneels on both knees facing east in order. When the others have received [the precepts], all proceed before the Buddha, kneel on both knees, and listen again to the Bequeathed Teaching. Having done so, they stand and cultivate their deportment, carefully arrange their robes and bowls, and stand awaiting instructions. The ten preceptors descend from the northern stairs on the west side and exit to the south, turn east directly north, and make three prostrations before the Buddha. The newly ordained monks descend from the stairs on the east face, exit north, circumambulate the platform to the bottom of the western stairs of the lower tier on the south face, turn east facing north, and finish prostrating to the Buddha. Only then do the ten preceptors descend from the eastern stairs of the lower tier, put on their shoes, and exit to the south, while the newly ordained monks follow behind them. In the midst of the flower groves, they then have the newly ordained proceed in front, while the ten preceptors follow behind, returning to their quarters.

2.16

Within the ordination platform compound there is a great bell-tower, four hundred feet high, atop which is a sacred bell weighing one hundred thousand catties, shaped like Mount Sumeru. Atop its cup stand the images of a thousand cakravartins, each with all of a cakravartin's thousand sons complete. On each of its four sides is a great maṇi jewel, as large as three sheng, embedded in the belly of the bell. At its base is an image of nine dragons intertwined, from whose mouths water possessing the eight virtuous qualities spouts. When the time for ordination arrives, those who are about to receive it are brought to the four sides of the bell, and the nine dragons spout water to bathe all the monks, like when King Mūrdhagata received the position of a cakravartin, in the image of an abhiṣeka by a golden bell. Now having the ordinands receive the Buddha's precepts anew is like the Dharma King of the Buddha receiving the position of Dharma King; it is not set up in vain. Furthermore, Brahmā's maṇi jewels emit light that shines upon the ordinands; when the light touches their bodies, it is cool and joyous, causing the jewel of their precepts to become bright and pure, unstained by dust like a maṇi jewel. The aforementioned great bell was created at the beginning of the kalpa by a cakravartin. When a noble being receives the precepts, one who has attained supernormal powers is ordered to strike it; the sound shakes the trichiliocosm, and all noble beings who hear it attain realization of the fruits, while those in evil destinies who hear it all recognize the knowledge of past lives. When ordinary persons receive the precepts, the bhikṣu Modikā is ordered to strike it. (This man has great strength, equal to one hundred thousand men; of the utmost physical power, it is beyond reckoning.) When struck by this strongman among humans, the sound is heard throughout a small chiliocosm. The newly ordained bhikṣus throughout that realm all recognize the causes and conditions of past lives and matters of good and evil, and all protect the prohibitive precepts like holding a life-buoy. The bell-tower's form is shaped like Mount Sumeru. Within a great pool, there are nine golden dragons coiling upwards; each dragon has ninety-one heads, and atop their heads are framed a thousand beams and ten thousand pillars of gold and jewels, purely made of various famous treasures. Crystal is used for the tiles, dazzling the eyes and mind. When the newly ordained first ascend the platform, the tower revolves, incense issues from the mouths of all the dragons, and the dragons' mouths above his two feet spit out clouds of incense, their color like yellow gold, covering the platform like a canopy. The maṇi jewels emit great light, which circles above the ordination platform. There is heavenly music praising the merits attained by those who uphold the precepts. The tower and the dragons were made by the asura Rāhu. The crystal tiles were made by Śakra. The ground below was made by the nāga Vāsuki. The pool is paved on four sides with white jade, and silver sand is spread beneath. The water of the pool was bestowed by General Saṃjñeya; the water's color is clear and sweet, no different from milk. If those who uphold the precepts drink it when sick, there is none whose illness is not dispelled and cured; if a breaker of precepts drinks it, it is like swallowing molten iron. When the Buddha was about to enter nirvāṇa, the water dried up first, and the roof tiles flew away.

2.17

After the Buddha passed into extinction, his śarīra was venerated for a full month before the cremation (jhāpita) was begun. When the burning was completed, the śarīra was divided that very day. They went to the Jetavana, and having thoroughly inquired into the matters, thirteen days elapsed before they compiled the Tripiṭaka and then went to Rājagṛha. When the compilation took place, Mahākāśyapa assembled the Sangha. Sthavira [Mahākāśyapa] sent Maudgalyāyana to strike the bell to assemble the hundreds of millions of ordinary and noble monks from the four continents. Thereupon, through a jñapti-caturtha-karman, having punished Piṇḍola and Ānanda, he had Ānanda ascend the high seat, wearing the Tathāgata's saṅghāṭī of coarse cloth. Ānanda received his instruction and first recited the Bequeathed Teaching according to the Buddha's injunctions; the great bodhisattvas, great arhats, all the bhikṣus, and the eight classes of devas and nāgas all wailed and wept with grief. The Venerable Mahākāśyapa rose from his seat, put on a saṅghāṭī of coarse cloth, took his niṣīdāna to the front of the high seat, spread the niṣīdāna, and having prostrated to Ānanda, circumambulated him three times. Mahābrahmā held a jeweled canopy covering Ānanda. Śakra, lord of the devas, advanced with a table of seven jewels and placed it before Ānanda. Māra Pāpīyān held a flywhisk of seven jewels and handed it to Ānanda. Māra and Śakra flanked him on both sides, the Four Heavenly Kings attended the four legs of the high seat, and thirty-two envoys knelt behind Kāśyapa and halted.

2.18

Then Mahākāśyapa, having prostrated to Ānanda and circumambulated him to the right three times, went before him to inquire after him no differently than to the Buddha, and asked Ānanda: 'You followed the Tathāgata for more than twenty years: where was the teaching of the Vinaya formulated by the World-Honoured One first established? At the time of the poṣadha, what tally should be used? What is the length of the tally? What method is used when reciting the precepts? When ordination was first received, how did the preceptors and disciples ascend the platform? When the first ordination platform assembled the community, what cubit measurements did its height and width rely upon, and from what era? Were śarīra placed therein or not? What material was used to pave all around the four sides? How many stair-paths were opened? What forms and images were made circling the four sides of the platform? In a land without stone, can a platform be made? In a land without earth, can sand be used? What are the orientations and forms of the monastery's compounds? How many monks are needed to confer ordination in a border region? In the period of the final Dharma, when there are no pure monks, how can a novice receive the full precepts? If there is no previous bhikṣuṇī community, can bhikṣus confer the bhikṣuṇī precepts?' In this sequence, there were three thousand eight hundred questions.

2.19

Ānanda, following the sequence of the questions, answered: 'When he first attained enlightenment, he delivered the five Kaṇḍinas in the Deer Park, and then preached the Dharma.' He answered: 'When the Buddhas were first assembled on the ordination platform, among all the Buddhas, Sumerupradīparāja was the most senior. Śākyamuni Buddha asked: "By what method did the Buddhas of the past instruct the bhikṣus to ascend the platform and perform the poṣadha? What was used as tallies to ascend the platform?" As above, when the Buddhas of the past performed the poṣadha, vajra was used for the tallies. The bhikṣus used them in fragrant water, wishing that the mind upholding the precepts be like vajra-wisdom, discerning each affliction and evil perception one by one so as to eradicate them completely. As for the appearance of the tallies, they should be made from sandalwood and other fragrant woods. Inner or outer gems, bamboo, and hollow grass must not be used. Moreover, they must not be painted or lacquered, lest living beings be harmed; to adorn them, they should be stored in plain boxes. The longest tally is one and a half of the Buddha's spans; the shorter is one span. Before the recitation of the precepts, one must first repent one's transgressions. After having confessed face-to-face, the karmadāna appoints a bhikṣu with a fine voice to recite the Scripture of the Bequeathed Teaching, and all the bhikṣus kneel on both knees to listen, as if before the Dharma Buddha. When he has finished reciting before them, the karmadāna then prepares the recitation of the precepts. The assembly must first wash their feet, sprinkle the ground with fragrant water, and make no noise; only then are the tallies brought forth to the front of the sthavira. When the sthavira has received them, the karmadāna pours water, and the sthavira bathes the tallies, first with clear water and next with fragrant decoction, wiping them dry with a clean towel, not letting them make any sound or fall to the ground. (If they make a sound, it troubles the ghosts and spirits. If a tally falls to the ground, it harms the beings dwelling on the earth and also harms the bhikṣus. If Māra hears the sound of a tally or hears one fall, he rejoices greatly, disturbs the bhikṣus, and also harms them unto death.) For this reason, during the recitation of the precepts, the bhikṣus must remain silent and must not speak disorderly words; they should contemplate the impermanence of the world and swiftly transcend birth and death. The karmadāna takes the tallies, goes to the bulletin board and stands, strikes the mallet, and calls the śrāmaṇeras to enter, having them recite the five virtues and ten items; only then does he make the usual announcements. Or after reciting the "Introduction to the Precepts", he calls the śrāmaṇeras to leave, finishes reciting the precepts according to the Dharma, and the karmadāna again commands the scripture master to recite the Bequeathed Teaching to completion, and only then do they disperse.' He also answered: 'Ordination was first received when the five "Come, bhikṣus!" Kaṇḍinas underwent the jñapti-caturtha-karman in the Deer Park. In the Kalandaka Bamboo Grove Monastery, for the bhikṣu Nandi of Kauśāmbī, among the ten monks there was one who had committed a grave offense. After Nandi had received ordination, he asked the Buddha: "Have I obtained the precepts or not?" The Buddha asked the śrāmaṇera: "Before receiving the precepts, did you know that he had committed the offense or not?" He replied: "I knew." The Buddha said: "You have not obtained the precepts; those who did not know have obtained them." For Nandi's sake, the Buddha assembled the Sangha at the Jetavana ordination platform to confer them again.' He also answered: 'As for the earth and sand of the precept stūpa, they may be made as circumstances permit.' He also answered: 'Regarding ordination for bhikṣuṇīs, if there are initially no nuns, the monks alone may confer it. If nuns arrive later, they must go before both assemblies of monks and nuns to receive it again. If the number of monks and nuns is sufficient, free from seeing, hearing, or suspicion, they can serve [to confer it].' Such was the sequence. When Ānanda finished answering, the water in the pool reappeared, white in color like milk, but it had lost the taste of milk, symbolizing that the True Dharma of the Buddha was waning and gradually growing thin and weak, like the parable of water and milk in the Mahāparinirvāṇa Sūtra. When the compilation was fully completed, the great bell and the jeweled tower flew up to Tuṣita, and the nāgarāja took away the jade paving and silver sand around the pool, whereupon the water dried up.

2.20

The courtyard to the north of the next lane is again divided into two. The western one is named the Treatise Courtyard; treatises and treatise masters all assemble within it. In the center is a great hall surrounded on four sides by chambers, with doors opening on three sides, only the western side having none. There is a bronze bell shaped like a waist-drum, crafted by a Gandharva king. On it are images of Brahmā, Śakra, Māra, the Four Heavenly Kings, the Sāgara Nāgarāja, and asuras, together with their palaces, ranks, men, women, and the like. Whenever heterodox practitioners and non-Buddhists bind [the community] in debate, an arhat possessing supernatural powers is made to strike it, its sound shaking the trichiliocosm. When the debaters are about to resist, the śrāvakas, dull and tongue-tied, dare not utter a word. Those of good intent who wish to hear and resolve their doubts instantly ascend to wisdom upon hearing the sound, sprouting the bodhi seed of the bodhisattvas, setting their spiritual gnosis in motion, and attaining non-retrogression.

2.21

Next, the courtyard to the east is named the Sūtra Courtyard. Its gate opens toward the northwest. In the center is a three-tiered tall pavilion surrounded by chambers, with lotus ponds and flowing channels, where the shadows of forest trees interlace; the sūtra masters of the Sūtra Section all reside here together. There is a stone bell shaped in the Chinese style, resembling bluish-green jade, which can hold ten bushels. On its suspension loop are images of the Thirty-Three Devas, embossed on all four sides in gold and silver. On its eastern and western faces, large precious gems are set into its waist, as large as five pints, eight-cornered and radiating light, in the shape of pollia flowers; all around it are images of the Buddhas of the ten directions at the moment of their initial attainment of the Way. At sunrise, the Buddhas upon the bell all preach the twelve divisions of scriptures. Boys and girls of the city of Śrāvastī all come to listen, and upon hearing them they attain holy fruitions; those who have violated desire do not hear their instructions. Whenever it is time to preach, the Great General Maṇi strikes it with a vajra pestle, its sound being heard throughout ten billion worlds. The radiance of the precious gems shines everywhere across the ten directions, and within that light, hundreds of thousands of Śākyamunis preach the sūtras. This bell was crafted by Krakucchanda Buddha. After that Buddha entered extinction, the Sāgara Nāgarāja took it away. When Śākyamuni Buddha arose in the world, the nāga brought it back again. When the Buddha was about to enter extinction, the light of the gems proclaimed: 'Three months from now, Śākyamuni Tathāgata shall enter parinirvāṇa.' Hearing this, all the devas on the bell's suspension loop wept, and the nāga took it away once more.

2.22

Next, the great courtyard to the north is named the Courtyard of the Buddha Washing Robes. A single gate opens to the south. In the center is a great hall, with surrounding chambers in three circuits. The square stone terraces and round ponds were created by the devas. Flowering groves are planted intertwined, filled with pure fragrance. When the Buddha delights in washing robes, devas and humans gather together, and Śakra Devānām Indra presents a suite of heavenly music. When the Buddha is not present, the sounds of the instruments speak only of impermanence, suffering, and emptiness. If the Buddha is present, the Gandharva king comes in person to drum, playing music throughout the six periods of the day. Initially it never ceased, but after the Buddha entered extinction, the Sāgara Nāgarāja took it into his palace to make offerings to the scriptures. This music has more than three thousand instruments, which were crafted by a Garuḍa king.

2.23

Next, the great courtyard to the north is named the Place of the Buddha's Walking Meditation. A single gate opens to the south. In the center is a great hall, before which are two jeweled pillars made by Śakra, shining constantly day and night. The Buddha frequented this courtyard often, its adornments far surpassing other places, with renowned flowers and wondrous trees doubly superior to the previous courtyard. There are two suites of heavenly music; the instruments offered by Śakra are made purely of the seven treasures, smaller in form than the previous instruments. Heavenly youths constantly drum them throughout the six periods of the day, with over thirty thousand varieties. Before they are played, within the musical tones, they mostly speak of the practices of the six pāramitās, and also speak of the virtues of upholding and accomplishing them, praising those who receive and practice them. Those in the city of Śrāvastī whose faculties are deficient obtain wholeness upon hearing the tones. When those who have broken the precepts hear them, they weep, confess, and their precept-roots are restored. When Kāśyapa ascended the platform, having interred the two holy ones, and Ānanda mounted the seat, the heavenly youths played this music again, the sounds proclaiming the Vinaya methods practiced by past Buddhas, and also speaking of Śākyamuni Tathāgata instructing his disciples in the practice of the vinaya precepts. Hearing this, all the eight classes of devas and nāgas wept. When the compilation was completed, the Tuṣita devas took it up to the heavens. It is now at Maitreya Buddha's dwelling.

2.24

Next, a courtyard to the north is named the Courtyard of the Buddha's Robes. The halls and chambers are as described above, with a southern gate facing the lane. Ānanda resided here, constantly guarding the Buddha's robes. There is a bronze chime that can hold five pints; the four rims of the chime are all engraved in yellow gold with disciples of past Buddhas. Moreover, on the suspension loop, purple-sheen gold forms the shape of nine dragons, upon whose backs stands the image of a deva, holding a jade mallet to strike the chime. Heard throughout the trichiliocosm, its tones also expound the methods by which all Buddhas instruct their disciples. The chime was crafted by Brahmā. When the Buddha entered extinction, the Sāgara Nāgarāja took it into his ocean palace.

2.25

To the east of the Buddha's courtyard, it naturally divides into six places. The courtyards below have southern gates facing the lane. The flowering trees in the lane are as described above. The first courtyard at the eastern end is named the Veda Courtyard. Non-Buddhists share this lineage as their ultimate teaching; the Buddha temporarily permitted bhikṣus to read it in order to subdue the non-Buddhists. Within it is a surrounding gallery, and the texts of the Vedas throughout the four continents are all collected therein. The courtyard has a small drum of the seven treasures; if a bhikṣu wishes to read the Vedic scriptures, the drum sounds of itself, and the monastery attendant holds a key to open the courtyard. This drum was crafted by an artisan from the city of Rājagṛha.

2.26

Next, the second courtyard to the west is named the Courtyard of Books. The diverse writings of the great trichiliocosm are all collected within it. There is a great multi-tiered pavilion housing the books. The Buddha permitted them to be struck and read, without adopting their views, in order to subdue worldly folk. In the center is a small silver drum, borne upon the head of a stone statue of a man. When one wishes to enter the courtyard, the stone man raises his hand upward to strike the drum, and the monastery attendant promptly comes to open the door. The sound of that drum is like the notes of a person's zither. When a bhikṣu reads the books, the drum's sound does not cease, and he naturally attains understanding. The drum was crafted by King Wushi of Pūrvavideha.

2.27

Next, the third courtyard to the west is named the Courtyard of Books on Yin-Yang. The various books on yin-yang from ten billion worlds are all collected in this quarter. The Buddha permitted the bhikṣus to peruse them temporarily in order to contemplate heterodox arts. There are six small drums, three of gold and three of silver, shaped like five-pint bowls; three lotus stems support these drums, and atop the drums are images of the Sun and Moon Devas, holding gold and silver mallets in their hands. When the time arrives they strike them, and the monastery attendant, as before, hears the sound and opens the door. When a bhikṣu reads the books, the drum sounds continuously, and he naturally comprehends without needing anyone to instruct him. The drum's tones also explain the sun, moon, and stars, the extent of celestial palaces, the methods of degrees and measures, as well as the diverse yin-yang arts of ten billion worlds. The white silver drums were crafted by the Moon Deva; the yellow gold drums were crafted by the Sun Deva. After the Buddha entered extinction, they ascended to the Tuṣita Palace. Formerly, in this courtyard, there were armillary sphere charts and clepsydra mechanisms of ten billion worlds—measures of feet, inches, pints, pecks, pints, gills, steelyards, taels, fractions, and grains, with tallies measuring water as clockwork—all made through the combined craftsmanship of devas, nāgas, and humans. The armillary sphere charts and images of the sun, moon, and stars were all of gold and silver. As the Buddha neared extinction, these mechanisms and instruments all collapsed, and astronomical patterns fell into disorder. After the Buddha had passed into extinction, they were gathered into the nāga palace.

2.28

Next, the fourth courtyard to the west is the Courtyard of Medical Recipes. All the medical recipes found across the worlds are collected in this quarter. There is a bronze bell shaped like a grain horn that can hold three pecks, with a golden lion as its suspension loop. When a bhikṣu enters the courtyard, the bell rings and the door opens without troubling the monastery attendant, its tone sounding like the notes of a zither. When a bhikṣu hears it, he naturally attains understanding of the smooth and obstructed paths of diverse karmas. If anyone of the third fruition or above who is ill comes and enters this courtyard, upon hearing the bell he immediately recovers; if ordinary monks are ill and hear it, they cannot be cured. The bell was crafted by Jīvaka using medicinal compounds; after the Buddha entered extinction, Jīvaka hid it away. When procuring the bronze, he selected bronze from three gates, and besides six places on the Northern Continent, he also came to Mount Niutou south of the Yangzi River in Cīnasthāna to procure it. It was synthesized using medicinal compounds.

2.29

Next, the fifth courtyard to the west is named the Quarter for Monastery Attendants. Youths from over eighteen to under twenty always reside within it, sweeping and sprinkling the courtyards, keeping them peerlessly pure and clean.

First 29 of 80 passages. Read on

Linked texts (1)

中天竺舍衛國祇洹寺圖經 — Classical Chinese