[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) › [宗鏡錄](https://indike.org/pramana/in.bauddha.taisho.2016) › 18.25.3 # 宗鏡錄 18.25.3 宗鏡錄 18.25.3 - **Language:** Classical Chinese ### [18.25.3](https://indike.org/pramana/in.bauddha.taisho.2016.18.25.3) 已於先佛種諸善根。 我於爾時。 在竹林中。 聞其音聲。 即起慈心。 諸女爾時見我來至迦毘羅城。 以水洗瘡。 以藥傅之。 苦痛尋除。 耳鼻手足。 還復如本。 我時即為略說法要。 悉令俱發。 阿耨多羅三藐三菩提心。 即於大愛道比丘尼所。 出家受具足戒。 善男子。 如來爾時。 實不往至迦毘羅城。 以水洗瘡傅藥止苦。 善男子。 當知皆是慈善根力。 令彼女人見如是事。 悲喜之心。 亦復如是。 善男子。 以是義故。 菩薩摩訶薩。 修慈思惟。 即是真實。 非虛妄也。 善男子。 夫無量者。 不可思議。 菩薩所行。 不可思議。 諸佛所行。 亦不可思議。 是大乘典。 大涅槃經。 亦不可思議。 以此明文。 可為誠證。 則知三界九有。 一切染淨等法。 皆不出法界眾生之心。 猶如畫師。 畫出一切境界。 心之畫師。 亦復如是。 所以正法念處經云。 又彼比丘。 如是觀察。 云何眾生有種種色。 種種形相。 有種種道。 種種依止。 又彼觀察。 有種種心。 種種依止。 種種信解。 有種種業。 此如是等種種諸色。 種種形相。 種種諸道。 種種依止。 譬如黠慧善巧畫師。 若其弟子。 觀察善平堅滑好地。 得此地已。 種種彩色。 種種雜色。 若好若醜。 隨心所作。 如彼形相。 心業畫師。 若其弟子。 亦復如是。 善平堅滑業果報地。 生死地界。 隨其所解。 作種種形相。 種種諸道。 種種依止。 心業畫師。 業作眾生。 又諸彩色。 取白作白。 取赤作赤。 取黃作黃。 若取鴿色。 則為鴿色。 取黑作黑。 心業畫師。 亦復如是。 緣白取白。 於天人中。 則成白色。 何義名白。 欲等漏垢所不染污。 故名白色。 又復如是。 心業畫師。 取赤彩色。 於天人中。 能作赤色。 何義名赤。 所謂愛聲味觸香色。 畫觀察衣。 又復如是。 心業畫師。 取黃彩色。 於畜生道。 能作黃色。 何義名黃。 彼此遞互飲血噉肉。 貪欲嗔癡。 更相殺害。 故名黃色。 又復如是。 心業畫師。 取鴿彩色。 攀緣觀察。 於餓鬼道。 作垢鴿色。 何義名鴿。 彼身猶如火燒林樹。 飢渴所惱。 種種苦逼。 心業畫師嫉心所秉。 癡闇所覆。 又復如是。 心業畫師。 取黑彩色。 於地獄中。 畫作黑色。 何義名黑。 以黑業故。 生地獄中。 有黑鐵壁。 被然被縛。 得黑色身。 作種種病。 飢渴苦身。 無量苦逼。 皆是自業。 非他所作。 又彼比丘。 觀察如是三界五道。 五種彩色。 生死畫衣。 於三地住。 謂欲界地。 色無色地。 心業畫師。 習近婬欲。 攀緣欲界種種色畫。 緣色依止。 有二十種。 離欲四禪。 以為畫筆。 依十六地。 是所畫處。 作色界。 離緣色界三摩跋提。 緣無色界。 畫為四處。 心業畫師。 廣畫如是三界大衣。 又彼比丘觀察如是心業畫師。 身如彩器。 貪欲瞋癡。 以為堅牢。 攀緣之心。 猶如梯隥。 根如畫筆。 外諸境界。 聲觸味色。 及諸香等。 如種種彩。 生死如地。 智如光明。 勤發精進。 如手相似。 眾生如畫。 神通如彼無量形服。 有無量種業果報生。 如畫成就。 又彼比丘。 依禪觀察。 心業畫師。 有異種法。 如彼畫師。 不生疲倦。 善治彩色。 各各明淨。 善識好筆。 畫作好色。 心業畫師。 亦復如是。 不生疲倦。 若修禪定。 善治禪彩。 攀緣明淨。 如彩光明。 修道之師。 如善好筆。 知禪上下。 如善識知。 有取有捨。 如不疲倦。 如是禪定心業畫師。 畫彼禪地。 如彼好色。 又彼如是。 心業畫師。 若有疲倦。 則畫不善。 地獄餓鬼畜生道處。 同業因緣。 鐵杵為筆。 不善彩色。 畫非器人。 所謂地獄餓鬼畜生。 如是等色。 非好色畫。 > "\[They\] had already planted roots of goodness under former buddhas. At that time, I was in the Bamboo Grove, and hearing their cries, I immediately gave rise to a mind of loving-kindness. Those women then saw me arrive in the city of Kapilavastu, wash their sores with water, and apply medicine to them, whereupon their agony was immediately removed, and their ears, noses, hands, and feet were restored to their original state. I then briefly expounded the essentials of the Dharma to them, causing them all to give rise to the mind of anuttarā-samyak-saṃbodhi, and at the place of the bhikṣuṇī Mahāprajāpatī they went forth from the household and received the complete precepts. Good son, at that time the Tathāgata in truth did not go to the city of Kapilavastu, wash their sores with water, or apply medicine to stop their pain. Good son, you should know that all this was through the power of the roots of goodness of loving-kindness, which enabled those women to see such things. The mind of compassion and sympathetic joy is likewise also like this. Good son, for this reason, when bodhisattva-mahāsattvas cultivate the contemplation of loving-kindness, it is real and not false. Good son, the immeasurable is inconceivable; that which bodhisattvas practice is inconceivable; that which buddhas practice is also inconceivable; and this Mahāyāna scripture, the Great Nirvāṇa Sūtra, is also inconceivable.' > Using this clear text, it can serve as a genuine proof. Thus we know that all the defiled and pure phenomena of the three realms and nine states of existence do not go beyond the citta of the sentient beings of the dharmadhātu. It is just like a painter who paints all kinds of scenes; the painter that is the citta is also like this. > Therefore the Saddharmasmṛtyupasthānasūtra states: 'Furthermore, that bhikṣu contemplates thus: How is it that sentient beings have various forms and various characteristics, have various destinies and various bases? Furthermore, he contemplates that they have various minds, various bases, various convictions, and various karmas. These various forms, various characteristics, various destinies, and various bases are like a clever and skillful painter or his apprentice who inspects a fine, flat, firm, and smooth ground. Having obtained this ground, with various pigments and various mixed colours, whether fine or base, he produces according to his mind such forms and characteristics. The painter of mind and karma, or his apprentice, is also like this: on the fine, flat, firm, and smooth ground of karmic retribution—the ground and realm of saṃsāra—according to his understanding he produces various forms and characteristics, various destinies, and various bases. The painter of mind and karma through karma makes sentient beings. > 'Furthermore, as for the various pigments: taking white, he makes white; taking red, he makes red; taking yellow, he makes yellow; if he takes dove-colour, it becomes dove-colour; taking black, he makes black. The painter of mind and karma is also like this: conditioning white, he takes white, and among devas and humans it becomes white colour. What is the meaning of "white"? It is not defiled by the stains of the outflows such as desire; therefore it is called white colour. Furthermore, the painter of mind and karma takes red pigment, and among devas and humans can make red colour. What is the meaning of "red"? It refers to attachment to sounds, tastes, touches, scents, and sights, painting the garment of contemplation. Furthermore, the painter of mind and karma takes yellow pigment, and in the animal destiny can make yellow colour. What is the meaning of "yellow"? They mutually drink each other's blood and devour each other's flesh; through desire, dveṣa, and moha they further kill and harm one another; therefore it is called yellow colour. Furthermore, the painter of mind and karma takes dove-colour pigment, and by grasping and contemplating, makes the soiled dove-colour in the hungry ghost destiny. What is the meaning of "dove-colour"? Their bodies are like trees in a forest burned by fire, distressed by hunger and thirst and pressed by various sufferings; it is sustained by the envious mind of the painter of mind and karma and covered by the darkness of moha. Furthermore, the painter of mind and karma takes black pigment, and in the hells paints black colour. What is the meaning of "black"? Because of black karma, they are born in the hells where there are black iron walls, and being burned and bound, they obtain black bodies, developing various diseases, bodies tormented by hunger and thirst, and pressed by immeasurable sufferings. All this is their own karma, not made by another. > 'Furthermore, that bhikṣu contemplates these three realms and five destinies, the five pigments, the painted garment of saṃsāra, abiding in the three grounds—namely, the ground of the desire realm, and the grounds of form and formlessness. The painter of mind and karma indulges in sexual desire, grasping at and painting the various forms of the desire realm; relying on form as a basis, there are twenty kinds. Taking the four dhyānas free from desire as the paintbrush, relying on the sixteen grounds as the place to be painted, he makes the form realm. Leaving behind the samāpattis conditioning the form realm and conditioning the formless realm, he paints the four places. The painter of mind and karma extensively paints such a great garment of the three realms. > 'Furthermore, that bhikṣu contemplates this painter of mind and karma: the body is like the vessel of pigments; desire, dveṣa, and moha are taken as the firmness \[of the vessel\]; the mind that grasps at conditions is like a ladder; the faculties are like paintbrushes; external objects—sounds, touches, tastes, sights, and various scents—are like the various pigments; saṃsāra is like the ground; wisdom is like the light; diligently generating vīrya is similar to the hand; sentient beings are like the painting; supernormal powers are like those immeasurable forms and attires; and the immeasurable varieties of karmic retribution born are like the completion of the painting. > 'Furthermore, that bhikṣu, relying on dhyāna, contemplates that the painter of mind and karma has distinct principles: Just as that painter does not become weary, prepares pigments well so that each is bright and pure, knows fine brushes well, and paints fine colours, the painter of mind and karma is also like this: he does not become weary, and if he cultivates dhyāna-concentration, he prepares the pigments of dhyāna well; his grasping at conditions is bright and pure, like the brilliance of pigments; the master of cultivating the Path is like a fine and good brush; knowing the higher and lower levels of dhyāna is like skillful knowing; adopting and discarding is like not being weary. Such a painter of mind and karma in dhyāna-concentration paints that ground of dhyāna like those fine colours. > 'Furthermore, if this painter of mind and karma becomes weary, then he paints unvirtuously: in the places of the destinies of hells, hungry ghosts, and animals, with conditions of shared karma, he takes an iron pestle as a brush and unvirtuous pigments to paint unfit beings—namely, hell beings, hungry ghosts, and animals; such colours are paintings of unfine colours.'" > — English (machine translation) (machine translation) - [Previous: 18.25.2](https://indike.org/pramana/in.bauddha.taisho.2016.18.25.2) - [Next: 18.25.4](https://indike.org/pramana/in.bauddha.taisho.2016.18.25.4) - [Up: 18.25](https://indike.org/pramana/in.bauddha.taisho.2016.18.25) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.2016~en-mt.18.25.3) — English, machine translation ## Linked texts (2) - [正法念處經](https://indike.org/pramana/in.bauddha.sanskrit.mahayanasutra.narrative.saddharmasmrtyupasthana*zh-gautama-prajnaruci.5.7) — Classical Chinese - [大般涅槃經](https://indike.org/pramana/in.bauddha.sanskrit.mahayanasutra.mahaparinirvana-mahayana*zh-dharmaksema.16.13) — Classical Chinese --- Source: [https://indike.org/pramana/in.bauddha.taisho.2016.18.25.3](https://indike.org/pramana/in.bauddha.taisho.2016.18.25.3) · Pramāṇa