釋鑑稽古略續集 1.137

1.137

勅建旃檀瑞像殿　翰林承旨。程鉅夫撰記。其略曰。蓋聞。道非有像作易者。必擬諸形容。法本皆空。度世者暫資於色相。謂如指空為鏡。不若以鏡而諭空。即樹占風。將使識風以忘樹。是以雙林付囑舍利。以凡聖而遍分。千輻經行足跡亘古今而常在。非炫神通於幻境。實開方便於迷津。所謂由佛以念心。即心而即佛者也。旃檀瑞像佛之真像也。其猶萬影沈江。如如不異。孤光透隙。一一皆圓。夫豈擇地而容。蓋以隨緣而應。望梅林而止渴。靡不同沾。泛竹葉以言歸。誰堪共載。惟我聖天子。道躋先聖。慈等覺王。祝長樂之春秋。恒依佛地企如來之歲月。坐閱人天　瑞像本末。具載前集宋寧宗嘉泰三年錄中。爰自西土龜茲涼州至上京等處。二千三百七年也。

An imperial edict ordered the construction of the Sandalwood Auspicious Image Hall. Cheng Jufu, Academician Recipient of Edicts of the Hanlin Academy, composed the record, which stated in brief: "It is said: The Way has no form; yet those who composed the Book of Changes necessarily patterned it upon forms. Phenomena are fundamentally void; yet those who deliver the world temporarily rely upon physical forms. It is just as pointing to empty space as a mirror is not as good as using a mirror to illustrate empty space; observing the wind by means of the trees is meant to lead one to recognize the wind and forget the trees. Therefore, in the Twin Groves, the Śarīra was entrusted, and it was distributed to all, both commoners and sages; the footprints of walking with thousand-spoked wheels remain forever throughout antiquity and the present. This was not to display spiritual powers in an illusory realm, but truly to open up expedients at the deluded ford. This is what is meant by 'mindfulness of the mind through the Buddha, and mind is itself the Buddha.' The Sandalwood Auspicious Image is the true likeness of the Buddha. It is like ten thousand reflections sinking into the river, such-like and without difference; or a single beam of light piercing through a crevice, each and every one complete and round. How could it choose a ground to be contained? It responds purely according to conditions. Quenching thirst by gazing at a plum grove—who does not partake of it alike? Floating a bamboo leaf to speak of returning home—who can board it together? Only our holy Son of Heaven has attained a Dao equal to the ancient sages and a compassion identical to the King of Awakening; praying for the longevity of Changle Palace, he ever relies upon the Buddha land; anticipating the years of the Tathāgata, he sits witnessing gods and humans." The origin and history of the auspicious image are fully recorded in the record for the third year of Jiatai of Emperor Ningzong of the Song in the previous collection. From the Western Lands, Qiuci, and Liangzhou to Shangjing and other places, it has been two thousand three hundred and seven years.