佛祖歷代通載 14.10

14.10

（五　戊申）　清涼國師澄觀。字大休。會稽人。姓夏侯氏。生於開元戊寅。身長九尺四寸。垂手過膝。口四十齒。目光夜發。晝乃不眴。天寶七年出家。至肅宗二年丁酉受具。是年奉詔入內勅譯華嚴。初至德中即以十事自勵曰。體不捐沙門之表。心不違如來之制。坐不背法界之經。性不染情礙之境。足不履尼寺之塵。脇不觸居士之榻。目不視非儀之綵。舌不味過午之餚。手不釋圓明之珠。宿不離衣鉢之側。從牛頭忠徑山欽。問西來宗旨。授華嚴圓教於京都詵禪師。至是大曆三年代宗詔入內。與大辯正三藏譯經。為潤文大德。既而辭入五臺大華嚴寺覃思華嚴。以五地聖人栖身佛境心體真如。猶於後得智起世俗心學世間解。繇是博覽六藝圖史九流異學華夏訓詁竺經梵字及四圍五明聖教世典等書。靡不該洽。至建中四年下筆著疏。先求瑞應。一夕夢金容當陽山峙。光相顒顒。因以手捧咽面門。既覺而喜以謂獲光明遍照之徵。自是落筆無停思。乃以信解行證。分華嚴為四科。理無不包。觀每慨舊疏未盡經旨。唯賢首國師頗涉淵源。遂宗承之製疏。凡歷四年而文成。又夢身為龍。矯首南臺尾蟠北臺。宛轉凌虛鱗鬣耀日。須臾變百千數蜿蜓青冥。分散四方而去。識者以為流通之像也。初為眾講之。感景雲凝停講堂庭前之空中。又為僧叡等著隨疏演義四十卷隨文手鏡一百卷云。

(Fifth [year], wushen) National Preceptor Qingliang Chengguan, courtesy name Daxiu, was a native of Kuaiji, with the surname Xiahou. He was born in the wuyin year of Kaiyuan. He was nine feet four inches tall, his hands hung past his knees, his mouth had forty teeth, his eyes radiated light at night and did not blink by day. In the seventh year of Tianbao, he went forth from home; in the second year of Suzong, dingyou, he received full ordination. In this year, he received an imperial decree to enter the palace and translate the Avataṃsaka. Early on, during the Zhide era, he encouraged himself with ten resolutions, saying: "Let my body not abandon the outward demeanor of a śramaṇa. Let my mind not violate the regulations of the Tathāgata. Let my seat not turn its back on the sūtras of the dharmadhātu. Let my nature not be tainted by spheres of emotional obstruction. Let my feet not tread upon the dust of nunneries. Let my flanks not touch the couches of householders. Let my eyes not look upon unseemly finery. Let my tongue not taste dishes past noon. Let my hands not release the perfectly luminous beads. Let my sleep not depart from the side of my robes and bowl." He studied under Zhong of Niutou and Qin of Jingshan to inquire into the principle of [Bodhidharma's] coming from the West, and received the Complete Teaching of the Avataṃsaka from Chan Master Shen in the capital. Up to this Dali third year, Daizong summoned him to enter the palace to translate sūtras with the Tripiṭaka Master of Great Eloquence and Correctness, serving as a text-polishing venerable. Afterwards, he took leave and entered the Great Huayan Monastery on Mount Wutai to contemplate deeply on the Avataṃsaka. Considering that sages of the fifth bhūmi dwell in the Buddha's realm and their mind-essence is Suchness, yet with subsequent wisdom they give rise to a worldly mind and study mundane knowledge, he therefore read widely in the Six Arts, historical records, diverse learning of the Nine Schools, Chinese philology, Indian scriptures and Sanskrit scripts, as well as the four Vedas, the five sciences, holy teachings, and secular classics, mastering them all thoroughly. In the fourth year of Jianzhong, he began to write his commentary. First seeking an auspicious response, he dreamt one night of a golden countenance standing like a mountain against the sun, its light and marks towering; he cupped his hands to swallow it into his mouth. Upon waking, he rejoiced, taking it as a sign of attaining the illumination of all-pervading light. From then on, his writing flowed without pause. He then divided the Avataṃsaka into four categories—faith, understanding, practice, and realization—leaving no principle unencompassed. Chengguan always lamented that older commentaries did not exhaust the sūtra's meaning, and only National Preceptor Xianshou [Fazang] had delved deeply into its source; he thus took him as the model to compose his commentary. It was completed after four years. He further dreamt that his body became a dragon, raising its head to the South Peak and coiling its tail around the North Peak, curving through empty space with scales and mane shining against the sun; in an instant, it transformed into hundreds of thousands of dragons winding through the blue sky and dispersing in the four directions. Those who understood took this as an omen of the text's widespread dissemination. When he first lectured on it to the assembly, it moved auspicious clouds to congeal and stay in the air before the courtyard of the lecture hall. He also composed for Sengrui and others forty fascicles of Sui shu yanyi (Exposition on the Commentary) and one hundred fascicles of Suiwen shoujing (Hand Mirror to the Text).