高僧傳 13.30

13.30

論曰：昔憂填初刻栴檀，波斯始鑄金質，皆現寫真容，工圖妙相。故能流光動瑞，避席施虔。爰至髮爪兩塔，衣影二臺，皆是如來在世，已見成軌。自收迹河邊，闍維林外，八王請分，還國起塔。及瓶灰二所，於是十剎興焉。其生處得道，說法涅槃，肉髻頂骨，四牙雙跡，鉢杖唾壺，泥洹僧等。皆樹塔勒銘，標揭神異。

The appraisal says: In the past, when Udayana first carved sandalwood and Prasenajit first cast metal, both depicted the true countenance and skillfully rendered the wondrous marks. Therefore, they could radiate light, stir auspicious omens, and cause people to leave their seats and offer reverent devotion. Coming down to the two stūpas for hair and nails, and the two terraces for robes and shadows, all were established models already seen while the Tathāgata was in the world. From the time he withdrew his traces beside the river and was cremated outside the forest, the eight kings requested to divide his relics and returned to their kingdoms to erect stūpas. Together with the two places for the urn and ashes, ten sanctuaries thus arose. His place of birth, attainment of the Way, preaching the Dharma, and parinirvāṇa; the uṣṇīṣa, cranial bone, four canine teeth, pair of footprints, alms bowl, staff, spittoon, and nīvāsana robe—stūpas were erected and inscriptions carved for all of them, setting forth and displaying their divine marvels.