止觀輔行傳弘決 5.21

5.21

「觀心」下，次明能觀觀法。觀法非十，對根有殊。雖復根殊，但是一不思議觀，觀不思議境乃至離愛不離境故。故此十觀，文十義十。根三意二，分遠近故，近期初住、遠在極果。又次位下三雖非觀法，並由觀力相從名觀，故名十觀。又備此十令觀可成，故名成觀，亦名成乘。思之可見。「既自達」下，生起次第，今文可見。《四念處》中以初四法皆共成於上求下化，故彼文云「上求不思議境，觀於煩惱即是菩提。於此煩惱上求菩提，無別求也。生死涅槃亦復如是。為欲下化應須發心，即發弘誓。我以何法上求下化？應須安心莊嚴上求。以此定慧能度眾生，名為下化。若無上果，下化不成。故知果成由於破遍，若破不遍須識通塞。」下去生起，與今文同。以此而觀，前之四法用無前後，通塞等三成就前四，次位等三以判前七，能善用者十如指掌。「譬如」下，舉譬。「毘首」等者，毘首是天家巧匠。《長阿含》云「天帝與修羅戰勝，更造一堂名為最勝。東西百由旬、南北六十由旬。堂有百間，間有七支露臺，一一臺上有七玉女，一一玉女有七使人，皆是天帝優給衣食莊嚴之具。千世界中此堂無比，故名最勝。」今云「得勝」者，由戰得勝而造此堂。先略銷譬，下文自合。周匝間隙皆容一綖。十法無間如「不疎」，無混濫過如「不密」，十法相別如「容綖」，十法圓乘出諸觀上，如「峙上天」，謂居極理第一義天。「巍巍昂昂」，稱歎辭也。巍，高也。昂，舉也。尚非別教教道所知，況暗證拙匠能揆則耶？揆，度也。則，準也。非是暗證能思度故。言「善畫」者，如張顧之徒，並得筆墨之妙，今家觀法亦復如是。圖謂圖寫，畫之所生。依教修習得佛法大綱，猶如「匡郭」。匡郭者，物之外圍。得佛法意猶如「逼真」，依教尋真猶如「寫像」，窮教實體名為「骨法」，依實生解義如「精靈」。十法所趣如「生氣」，從因趣果名「飛動」，豈誦文者所知？如非填彩等也。「此十觀」下，合譬。以此一合通合兩譬，最後結中同結二人。然此合語文約意廣，先對二譬、次重釋文。初合勝堂者，橫竪等合不疎不密等。從「初則」下，合巍巍等。「意圓」下，合非拙匠等。若合後譬者，「橫竪」等合匡郭逼真，「微妙」等合圖寫等，從「初則」下合生氣等，「非誦文者」合填彩人。次更委釋此合文者，言橫竪者，此之十法有通有別。別者，如不思議境窮實相底名竪，包十法界名橫。發心上求名竪，下化眾生名橫。又上求下化名竪，依境發誓名橫。安心徹理名竪，六十四番名橫。破遍惑窮名竪，諸門相望名橫。通至寶所名竪，校校塞著名橫。道品至後名竪，品品相望為橫。正助至後名竪，法法相望為橫。次位至極名竪，位位遍攝為橫。安忍進後為竪，違順相望為橫。無著入住為竪，離似三法為橫。此且單約圓乘為解。若望偏乘名橫名竪，亦如橫竪顯非橫竪，若不思議非橫非竪能作橫竪而云橫竪。又總論者，在一一位十自相望為橫，一一至極當法漸深為竪。又亦可前之七法名橫，識次位去名為竪。又《玄》文對信復名別竪，攝諸法盡故云「收束」。十法理幽為微，開麁絕待為妙，不濫偏小名精，安布次比名巧。初則簡圓極境為真，以偏小等為偽。中則發心安心至識次位為正，唯有第七正助為助，以助添正名為「相添」。後則第九安忍、第十無著，令行不息得入初住。若觀若說意在一乘，名為「意圓」。所說之法不雜偏邪，名為「法巧」。法遍諸教為「該」。咸收入十為「括」。以該故周，以括故備。遍於四教一十六門，乃至五時八教一期始終，今皆開顯束入一乘，遍括諸教備入一實。若當分者，尚非偏教教主所知，況復世間暗證者耶？規圓炬方法有準則，依理安心，初有則也。不次第破無通無塞而論通塞，乃至正助，中有則也。無著不於相似起愛，後有則也。至於初住名為「薩雲」。薩雲雖即本在究竟，初住分得亦可通用也。「蓋如來」下，稱難也。十法既是《法華》所乘，是故還用《法華》文歎。若約迹說，即指大通智勝佛時以為「積劫」，寂滅道場以為「妙悟」。若約本門，指我本行菩薩道時以為積劫，本成佛時以為妙悟。迹本二門秖是求悟此之十法。「身子」等者，寂場欲說，物機未宜，恐其墮苦，更施方便。四十餘年種種調熟，至法華會初略開權動執生疑。殷勤三請，五千起去方無枝葉，點示四一演五佛章，被上根人名為法說。中根未解猶希譬喻，下根器劣復待因緣。佛意聯綿在茲十法，故十法文末皆譬大車。今文所憑意在於此。惑者未見尚指《華嚴》，唯知《華嚴》圓頓之名，而昧彼部兼帶之說，全失《法華》絕待之意，貶挫妙教獨顯之能。驗迹本二文、檢五時之說，圓極不謬，何須致疑？是故結曰「正在茲乎」。

From "contemplating the mind" onward, the methods of contemplation as the agent of contemplation are explained next. The methods of contemplation are not strictly ten; there are distinctions corresponding to capacities. Although capacities differ, it is solely the one contemplation of the inconceivable, contemplating the inconceivable object down to avoiding attachment without departing from the object. Therefore, these ten contemplations have ten textual sections and ten meanings. As for capacities being three and intentions being two, this distinguishes the near from the far: the near goal lies in the initial stage of abiding, while the far goal lies in the ultimate fruit. Furthermore, although the three beginning with "stages and ranks" below are not methods of contemplation per se, they follow from the power of contemplation and are collectively called contemplations; hence they are named the "ten contemplations." Moreover, having all ten enables contemplation to be accomplished; hence it is called "accomplishing contemplation," and also called "accomplishing the vehicle." One can see this upon reflection. From "having attained it oneself" onward, the order of arising can be seen in the present text. In the *Sishi nianchu* (Four Stations of Mindfulness), the first four dharmas collectively accomplish seeking [awakening] above and transforming [beings] below; thus that text says: "Seeking the inconceivable object above, one contemplates afflictions as being precisely bodhi. Seeking bodhi above within these afflictions, there is no other bodhi to seek. Birth-and-death and nirvāṇa are also like this. Wishing to transform [beings] below, one must arouse the aspiration [for awakening], which is to make the great vows. By what dharma do I seek above and transform below? One must calm the mind to adorn the search above. Using this concentration and wisdom one can liberate sentient beings, which is called transforming below. If there is no ultimate fruit, transforming below cannot be accomplished. Therefore know that the accomplishment of the fruit is due to universal refutation; if the refutation is not universal, one must discern the pass and the blockage." The order of arising down from this is the same as the present text. Observing from this perspective, the application of the preceding four dharmas has no before and after; the three beginning with pass and blockage accomplish the preceding four; and the three beginning with stages and ranks judge the preceding seven. For those capable of skillfully applying them, the ten are as plain as the palm of one's hand. From "by analogy" onward, an analogy is adduced. "Viśvakarman" and so forth: Viśvakarman is the master artisan of the heavens. The *Dīrghāgama* says: "After the Lord of the Gods triumphed in battle against the asuras, he built another hall named 'Supremely Victorious.' It was one hundred yojanas from east to west, and sixty yojanas from south to north. The hall had one hundred bays, each bay having seven projecting open terraces, with seven jade maidens on each terrace and seven attendants for each jade maiden, all being adorned with clothes and food generously provided by the Lord of the Gods. Throughout the thousandfold world this hall was peerless; hence it was named 'Supremely Victorious.'" The present [text's phrase] "obtaining victory" means that this hall was built due to winning the battle. Let us first briefly explain the analogy; the text below will match it. In all directions the gaps can only admit a single thread. The ten dharmas being uninterrupted is like "not loose"; lacking the fault of confusion and mixture is like "not dense"; the ten dharmas being distinct from one another is like "admitting a thread"; the ten dharmas as the perfect vehicle surpassing all contemplations is like "towering into the heavens above," meaning dwelling in the heaven of supreme truth, the ultimate principle. "Towering and lofty" are words of praise. "Towering" means high; "lofty" means elevated. This is not even known by the doctrinal path of the distinctive teaching, so how could a blind practitioner or clumsy artisan calculate its rules? "To calculate" means to measure; "rules" means standards. It is because a blind practitioner cannot conceive or measure it. As for "a master painter," like the likes of Zhang [Sengyou] and Gu [Kaizhi], they all attained the marvel of brush and ink; the contemplation methods of our school are also like this. "Sketching" refers to drafting and outlining, which is what gives rise to a painting. Cultivating and practicing according to the teaching to grasp the main framework of the Buddha's Dharma is like "the outer contour." The outer contour is the outer perimeter of a thing. Grasping the intent of the Buddha's Dharma is like being "lifelike"; seeking the truth according to the teaching is like "depicting a form"; penetrating the real substance of the teaching is called "bone-structure method"; generating understanding based on reality is in meaning like "vital spirit." That to which the ten dharmas tend is like "vital energy"; proceeding from cause to fruit is called "vibrant motion." How could this be known by someone who merely recites the text? This is just like someone who does not understand the application of colours. From "these ten contemplations" onward, the analogy is matched. With this single matching, both analogies are collectively matched, and the final conclusion similarly concludes with both persons. However, the phrasing of this matching is concise while its meaning is expansive; first it matches the two analogies, and next it re-explains the text. First, matching the Supremely Victorious Hall: horizontal and vertical and so forth match "neither loose nor dense" and so on. From "initially..." onward matches "towering" and so on. From "perfection of intention" onward matches "not [known by] a clumsy artisan" and so forth. If matching the latter analogy: "horizontal and vertical" and so forth match "the outer contour and lifelike"; "subtle and wondrous" and so forth match "drafting and depicting"; from "initially..." onward matches "vital energy" and so forth; "not someone who merely recites the text" matches "a colour-filler." Next, to explain this matching text more fully: as for "horizontal and vertical," these ten dharmas have both general and particular aspects. As for the particular: as with the inconceivable object penetrating to the very bottom of the true mark being called "vertical," and embracing the ten dharma-dhātus being called "horizontal." Arousing the aspiration to seek [awakening] above is called vertical; transforming sentient beings below is called horizontal. Furthermore, seeking above and transforming below is called vertical, while making vows based on the object is called horizontal. Calming the mind to penetrate the principle is called vertical, while the sixty-four variations are called horizontal. Universal refutation that exhausts delusions is called vertical, while the mutual viewing among the various gates is called horizontal. Passing through to the treasure trove is called vertical, while examining every blockage is called horizontal. The aids to the path reaching to the end is called vertical, while each aid viewed in relation to the others is called horizontal. Primary and auxiliary [practices] reaching to the end is called vertical, while each dharma viewed in relation to the others is called horizontal. Stages and ranks reaching the ultimate is called vertical, while each stage universally including [the others] is called horizontal. Patient endurance advancing to what follows is called vertical, while adversity and favor viewed in relation to each other is called horizontal. Non-attachment entering the stage of abiding is called vertical, while avoiding the three dharmas of semblance is called horizontal. This is just explained purely in terms of the perfect vehicle. If viewed in relation to the biased vehicles, what is called horizontal and vertical is also like using horizontal and vertical to show non-horizontal and non-vertical; if inconceivable, it is neither horizontal nor vertical, yet able to make horizontal and vertical, and thus is spoken of as horizontal and vertical. Furthermore, speaking generally, within each single stage the ten contemplations viewing one another is horizontal, while each reaching the ultimate with that dharma progressively deepening is vertical. Furthermore, the preceding seven dharmas can be called horizontal, while from discerning stages and ranks onward is called vertical. In the *Fahua xuanyi*, viewed in relation to faith it is also called a distinct verticality; because it embraces all dharmas exhaustively, it says "drawing together." The ten dharmas having a profound principle is "subtle"; opening up the crude and cutting off the relative is "wondrous"; not mixing with the biased and Hinayana is "pure"; arranging them in order and proportion is "skillful." Initially, one selects the ultimate perfect object as real, taking the biased and Hinayana as false. In the middle, from arousing the aspiration and calming the mind down to discerning stages and ranks is primary; there is only the seventh, primary and auxiliary, which serves as auxiliary—using the auxiliary to supplement the primary is called "supplementing one another." At the end, the ninth, patient endurance, and the tenth, non-attachment, ensure that practice does not cease and one can enter the initial stage of abiding. Whether in contemplation or in preaching, the intention is directed toward the One Vehicle, which is called "perfection of intention." The dharmas preached do not mix with the biased or corrupt, which is called "skillfulness of dharma." The dharma pervading all teachings is "encompassing." Drawing all into the ten is "subsuming." Because it encompasses, it is universal; because it subsumes, it is complete. Pervading the four teachings and sixteen gates, down to the entirety of the five periods and eight teachings from beginning to end, all are now opened and revealed, drawn together into the One Vehicle, universally subsuming all teachings and fully entering the One Reality. If considered in their own domain, they are not even known by the teaching masters of the biased teachings, so how much less by the blind practitioners of the mundane world? With compasses for circles and carpenter's squares for rectangles, the method has standards: calming the mind based on principle has standards at the beginning. Non-gradual refutation without pass and without blockage while discussing pass and blockage, down to primary and auxiliary practices, has standards in the middle. Non-attachment without arousing attachment at the level of semblance has standards at the end. Reaching the initial stage of abiding is called *sarvajña* (all-knowledge). Although *sarvajña* is originally in the ultimate, by partially obtaining it at the initial stage of abiding it can also be used generally. From "for the Tathāgata" onward, praise is offered to its difficulty. Since the ten dharmas are what is ridden in the *Lotus Sūtra*, the text of the *Lotus Sūtra* is accordingly used to praise them. If explained in terms of the trace teaching, it points to the time of the Buddha Mahābhijñājñānābhibhū as the "accumulated kalpas," and the site of quietude and extinction as the "wondrous awakening." If explained in terms of the origin teaching, it points to when I originally practiced the bodhisattva path as the accumulated kalpas, and originally attaining Buddhahood as the wondrous awakening. The two teachings of trace and origin are simply seeking awakening to these ten dharmas. As for "Śāriputra" and so forth: wishing to preach it at the site of quietude, the capacities of beings were not yet suitable; fearing they would fall into suffering, [the Buddha] further employed expedient means. Over forty-odd years of various kinds of seasoning and ripening, when reaching the Lotus assembly, he initially opened up the provisional in brief, shaking attachments and giving rise to doubts. Upon earnest threefold requests, and the five thousand having risen and departed, there were finally no more branches and leaves; pointing out the four unities and expounding the chapter on the five buddhas was addressed to those of superior capacity, which is called the preaching of the Dharma. Those of medium capacity, not yet understanding, still hoped for parables; those of inferior capacity, being of meager vessel, again waited for causes and conditions. The Buddha's continuous intent lay in these ten dharmas; therefore, at the end of the text on the ten dharmas, all are compared to the great cart. The reliance of the present text intends this. The deluded who have not seen this still point to the *Avataṃsaka*; they only know the name of "perfect and sudden" of the *Avataṃsaka*, while remaining blind to that text's doctrine of accommodating and combining, completely missing the meaning of absolute transcendence of the *Lotus Sūtra*, and disparaging the unique revelatory power of the wondrous teaching. Examining both texts of the trace and the origin, and inspecting the teachings of the five periods, that the perfect is ultimate is beyond error—why should one harbor doubts? Therefore it concludes, saying, "Does it not lie precisely here?"