宋高僧傳 14.12

14.12

釋懷素，姓范氏，其先南陽人也。曾祖嶽，高宗朝選調為絳州曲沃縣丞。祖徽，延州廣武縣令。父強，左武衛長史，乃為京兆人也。母李氏夢雲雷震駭，因而娠焉。誕育之辰，神光滿室。見者求占：此子貴極，當為王者之師傅也。幼齡聰黠，器度寬然，識者曰：「學必成功，才當逸格。」耳聞口誦，皆謂老成。年及十歲，忽發出家之意，猛利之性，二親難沮。貞觀十九年，玄奘三藏方西域迴，誓求為師。雲與龍而同物，星將月以共光，俱懸釋氏之天，悉麗著明之象。初尋經論，不費光陰。受具已來，專攻律部。有鄴郡法礪律師，一方名器，五律宗師，迷方皆俟其指南，得路咸推其鄉導。著疏十卷，別是命家。見接素公，知成律匠。研習三載，乃見諸瑕，喟然歎曰：「古人義章，未能盡善！」咸亨元年，發起勇心，別述《開四分律記》。至上元三年丙子歸京，奉詔住西太原寺傍聽道成律師講，不輟緝綴。永淳元年，十軸畢功，一家新立，彈糾古疏，十有六失焉。新義半千百條也。傅翼之彪，搏攫而有知皆畏；乘風之震，砰輷而無遠不聞。所化翕然，所傳多矣。復著《俱舍論疏》一十五卷，《遺教經疏》二卷，《鈔》三卷，《新疏拾遺鈔》二十卷，《四分僧尼羯磨文》兩卷，《四分僧尼戒本》各一卷。日誦《金剛經》三十卷，講大律已疏計五十餘遍，其餘書經、畫像，不可勝數。於本寺別院忽示疾，力且薾然，告秀章曰：「余律行多缺，一報將終。」時空中有天樂瀏亮，奄然而逝，俗齡七十四，法臘五十三。葬日，有鴻鶴遶塔悲鳴，至暮方散。素所撰述，宗薩婆多，何邪？以法密部緣化地部出，化地從有部生，故出受體以無表色也。又斥二宗云：「相部無知，則大開量中，得自取大小行也。南山犯重，則與天神言論，是自言得上人法也。」大抵素疏出，謂之「新章」焉。開元中，嵩山賓律師造《飾宗記》以解釋之，對礪舊疏也。又謂為東、西塔律宗，因傳習處為名耳。大曆中，相國元公載奏成都寶園寺置戒壇，傳新疏，以俸錢寫疏四十本，《法華經疏》三十本，委寶園光翌傳行之。後元公命如淨公為素作傳。韋南康皋作靈壇，傳授毘尼新《疏記》，有承襲者，刊名于石。其辭酋麗，其翰兼美，為蜀中口實焉。

Śramaṇa Huaisu, surnamed Fan, had ancestors who were originally natives of Nanyang. His great-grandfather Yue was appointed through examination during the reign of Emperor Gaozong as Assistant Magistrate of Quwo County in Jiangzhou. His grandfather Hui was Magistrate of Guangwu County in Yanzhou. His father Qiang was Senior Clerk of the Left Militant Guard, and thus they became residents of the capital. His mother, Lady Li, dreamed of thunder and clouds crashing and frightening her, and consequently became pregnant. At the time of his birth, divine light filled the room. Those who saw it sought divination, which said: "This child's nobility will reach the ultimate; he will be a preceptor to a king." In his youth, he was clever and astute, with an expansive capacity. Those with discernment said: "His studies will surely succeed, and his talent will be of an extraordinary caliber." Hearing with his ears and reciting with his mouth, everyone considered him mature beyond his years. When he reached ten years of age, the thought of leaving the household suddenly arose in him, and with such fierce resolve, his parents could hardly deter him. In the nineteenth year of the Zhenguan era, Tripiṭaka Master Xuanzang had just returned from the Western Regions, and Huaisu vowed to seek him as his teacher. Like clouds and dragons belonging to the same category, or stars and the moon sharing their light, both were suspended in the sky of the Buddhist lineage, all manifesting bright omens. At first, he investigated the sūtras and treatises without wasting any time. Since receiving full ordination, he applied himself exclusively to the Vinaya division. There was Vinaya Master Fali of Ye Prefecture, a prominent figure of his region and the master of the Five-Part Vinaya; all who were lost awaited his guiding compass, and all who found the road praised him as their local guide. He composed a ten-roll commentary, establishing a distinct school of his own. When he received Master Huaisu, he knew he would become a master of the Vinaya. After studying under him for three years, Huaisu began to see various flaws in his work and sighed: "The doctrinal treatises of the ancients could not achieve complete perfection!" In the first year of the Xianheng era, he gave rise to courageous resolve and independently composed the Kai sifunlü ji. In the third year of the Shangyuan era, bingzi, he returned to the capital, and in accordance with an imperial decree he resided at West Taiyuan Temple, where he attended the lectures of Vinaya Master Daocheng while continuously compiling his own work. In the first year of the Yongchun era, the ten scrolls were completed; a new school was established, criticizing the old commentary for sixteen errors and proposing five hundred new points of doctrine. Like a winged tiger pouncing and seizing so that all conscious beings fear it, or thunder riding the wind with a roar heard everywhere, his influence was sweeping and what he transmitted was vast. He further composed the Commentary on the Abhidharmakośa-śāstra in fifteen rolls, the Commentary on the Legacy Teachings Sūtra in two rolls, a Subcommentary in three rolls, the Gleanings Subcommentary to the New Commentary in twenty rolls, the Karman Texts for Monks and Nuns of the Four-Part Vinaya in two rolls, and the Prātimokṣa for Monks and Nuns of the Four-Part Vinaya in one roll each. Daily he recited thirty rolls of the Diamond Sūtra, and he lectured on the Great Vinaya and his own commentary a total of more than fifty times; his other acts of copying scriptures and painting images were beyond count. In a separate courtyard of his home temple, he suddenly manifested illness and his strength waned. He said to Xiuzhang: "My Vinaya practice has many defects, and this single karmic retribution is about to end." At that time, celestial music was clearly audible in the sky, and he suddenly passed away at the secular age of seventy-four and a Dharma age of fifty-three. On the day of his burial, great cranes circled the pagoda, crying mournfully, dispersing only at dusk. Huaisu's compositions took the Sarvāstivāda as their authority. Why? Because the Dharmaguptaka emerged from the Mahīśāsaka, and the Mahīśāsaka arose from the Sarvāstivāda; therefore, he posited the unmanifest form as the essence of the precepts. Furthermore, he criticized the other two schools, saying: "The Xiangbu school is ignorant, for in widely opening the standard, it allows practitioners to adopt either Mahāyāna or Hīnayāna practices on their own. The Nanshan school commits a grave offense, for in conversing with celestial spirits, it claims to possess superhuman qualities." Generally, when Huaisu's commentary appeared, it was called the "New Commentary." During the Kaiyuan era, Vinaya Master Bin of Mount Song composed the Shizong ji to explain it in contrast to Fali's old commentary. They were also called the East and West Pagoda Vinaya schools, named after the places where they were studied and transmitted. During the Dali era, Prime Minister Lord Yuan Zai memorialized to establish an ordination platform at Baoyuan Temple in Chengdu to transmit the New Commentary, using his official salary to copy forty sets of the commentary and thirty sets of the Commentary on the Lotus Sūtra, entrusting Guangyi of Baoyuan Temple to transmit and practice them. Later, Lord Yuan ordered Master Rujing to write a biography of Huaisu. Wei Gao, Prince of Nankang, constructed a miraculous platform to transmit the new Subcommentary on the Vinaya, and whenever someone succeeded to the lineage, their name was carved on stone. His words were vigorous and beautiful, and his calligraphy was equally splendid, becoming an enduring topic of conversation throughout Sichuan.