宋高僧傳 26.12

26.12

釋慧雲，姓姚氏，湖湘人也。性識精明，氣貌疎朗。高宗麟德元年——正十歲矣——，邈然有出塵之志，二親多厭沮之。其心匪席，不可卷也，父哀其所願，從往南嶽初祖禪師稟承慈訓，而能黠慧，好味經教，沈默如也。至于弱冠，於嶽寺受具足法。自專護戒，且善毘尼，尋罷講科，專營福事。發言響答，化俗風從。立事絕私，士庶欽揖。乃出重湖而遊荊郢，江南振錫，浙汭携囊，務在勸人令捨慳病。隨處蓋造，葺修寺宇二十餘所，皆功成不宰。天后久視元年，江北行化，因緣未會。長安元年，來觀梁苑，夜宿繁臺，企望隨河北岸，有異氣屬天。質明入城尋覩，乃歙州司馬宅西北園中池沼。雲徙步臨岸，見瀾漪中有天宮影，參差樓閣，合沓珠瓔，門牖綵繪，而九重儀像逶迤而千狀——直謂兜率之宮院矣。雲覩茲異事，喜貫心膺：「吾聞《智嚴經》說：『瑠璃地上現宮殿之影』，此不思議之境界也。今決擬建梵宮，答其徵瑞。」乃挂錫于安業寺。神龍二年丙午，往濮州屬縣報成寺，發願為國摹寫彌勒像，舉高一丈八尺，募人出赤金。于時施者委輸，逡巡若丘阜矣。遂振槖籥，程巧工，一鑄克成，相好奇特。殆景龍四年庚戌六月，屬溫王讓位奉睿宗——叔父也。景雲元年，雲於寺東廊南隅造別殿安聖容。始云治材，方議版築，檀越眾議紛紜，未成建樹。至二年辛亥，於福慧寺經坊北貿新安典午鄭景宅。方事興工，掘得古碑，則北齊天保六年乙亥歲置建國寺，乃高歡嗣子文宣帝也。覩之者皆驚嘆，同舍利弗悲螘垤焉。採訪使君稱異再三，遂沿此記，改福慧為建國寺，迎取安業聖容及殿材至寺。太極元年五月十三日改元延和，是歲刑部尚書王志愔為採訪使，至浚郊宣勅：「應凡寺院無名額者，並令毀撤，所有銅鐵佛像收入近寺。」雲移所鑄像，及造殿宇門廊，猶虧綵繢。遇新勅，乃輟工。雲於彌勒像前，泣淚焚香，重禮重告曰：「若與此有緣，當現奇瑞，策悟群心。」少頃，像首上放金色光，照曜天地，滿城士庶皆嘆希有。是時生謗毀者隨喪兩目，又有舌腫一尺許者。遠近傳聞，爭來瞻禮，捨施如山，乃全勝概。像坐垂趺，人觀稽顙。涉惡報者，雲望像為其悔過，斯須失明者重視，舌卷者能言，皆願為寺之奴，持鐘掃地也。採訪使王志愔、賀蘭務同錄祥瑞奏聞。睿宗潛符夢想，有勅改「建國」之牓為「相國」——蓋取諸帝由相王龍飛故也。仍勅佛授記寺大德明幹同共檢校功德，勿令州府煩擾。中書舍人賈曾、侍郎崔沼、給事中盧逸、中書侍郎平章事岑羲皆捐俸祿，共構因緣——或啟發心之元，或施外護之力。先天中行傳神于潞邸，玄宗即位，至八月十五日，上皇御書寺額，奉詔令大德真諦并弟子二人、品官一人，齎勅賜幡華及寺額至，迎受懸挂。雲道化梁園，身榮福樹，百齡有限，四相交遷，終于寺之別院。葬今京之東郊，寺莊塔亭存焉！時號造寺祖師。雲去世後，天寶四載造大閣，號排雲。肅宗至德年中造東塔，號普滿者，至代宗大曆十年畢工。或云造塔僧能分身行化，難測品階。文殊、維摩，是王府友吳道子裝塑。又開元十四年，玄宗東封迴，勅車政道往于闐國摹寫天王樣，就寺壁畫焉。僧智儼募眾畫西庫北壁《三乘入道位次》，皆稱奇絕。今之殿宇皆大順年火災之後蓋造，宋太祖重修。翰林待詔高益筆跡壁畫，時推筆墨之妙矣。

Śramaṇa Huiyun, whose secular surname was Yao, was a native of Huxiang. By nature and intelligence he was keen and perceptive, and his bearing was unconstrained and clear. In the first year of the Linde reign era of Emperor Gaozong—when he was just ten years old—he distantly cherished the aspiration to transcend the dust of the world, though his parents repeatedly opposed and discouraged him. Yet his mind was not a woven mat that could be rolled up; his father, pitying his devotion, permitted him to attend upon the initial ancestral meditation master of Mount Nanyue to receive his compassionate instruction. Huiyun was clever and wise, took deep pleasure in the teachings of the scriptures, and was quiet and composed. When he reached twenty years of age, he received the complete ordination at the temple on Mount Nanyue. He personally devoted himself to guarding the precepts and was skilled in the vinaya. Soon he ceased lecturing and specialized in cultivating blessed deeds. Whenever he spoke, people responded like echoes; transforming the common folk, they followed him like the wind. In undertaking affairs he was free from selfishness, so scholars and commoners bowed in reverence. He then departed the Lakes region and traveled through Jing and Ying; vibrating his khakkhara south of the Yangtze and carrying his bag along the banks of the Zhe, his sole aim was to exhort people to abandon the affliction of stinginess. Wherever he went he engaged in construction, renovating over twenty monasteries, yet taking no personal credit when the tasks were done. In the first year of the Jiushi reign era of Empress Wu, he went north of the Yangtze to convert others, but the conditions had not yet ripened. In the first year of the Chang'an reign era, he came to view Liangyuan. Passing the night at Fantai, he gazed toward the north bank of the Sui River and saw an extraordinary vapor reaching into the sky. At dawn he entered the city to seek it out, and found it was a pond in the northwest garden of the residence of the Sima of Shezhou. Huiyun walked over to the bank and saw in the ripples the reflection of a heavenly palace, with tiered towers and pavilions, clustered pearls and necklaces, painted doors and windows, and the winding ceremonial images of nine tiers in a thousand forms—he directly recognized it to be the palace compound of Tuṣita. Seeing this extraordinary phenomenon, joy pierced Huiyun's heart: 'I have heard that the Scripture of Ornamenting Wisdom says, "The reflection of palaces appears on the lapis lazuli ground." This is an inconceivable realm. I am determined to erect a Buddhist palace here to respond to this auspicious sign.' He then lodged at Anye Temple. In the second year of Shenlong, a bingwu year, he went to Baocheng Temple in a subordinate county of Puzhou, where he made a vow to cast a statue of Maitreya eighteen feet high for the sake of the state, soliciting people to donate pure copper. At that time, donors poured in their offerings, which in moments mounted like hills and mounds. He then worked the bellows and tested skilled craftsmen; with a single casting it was successfully completed, its marks and characteristics uniquely marvelous. In the sixth month of the fourth year of Jinglong, a gengxu year, when King Wen yielded the throne to offer it to Emperor Ruizong—his uncle—in the first year of Jingyun, Huiyun began building a separate hall in the southern corner of the eastern corridor of the temple to enshrine the holy image. Just as they were preparing timber and planning the rammed earthwork, the lay donors were divided in their opinions, and the project could not be accomplished. In the second year, a xinhai year, north of the scripture workshop of Fuhui Temple, he purchased the residence of Zheng Jing, the Dianwu of Xin'an. Just as the work began, an ancient stele was unearthed, revealing that Jianguo Temple had been established in the sixth year of Tianbao under the Northern Qi, an yihai year, by Emperor Wenxuan, the heir of Gao Huan. All who saw it marveled, sharing Śāriputra's sorrow over the anthill. The surveillance commissioner praised this wonder again and again; following this record, he changed the name of Fuhui Temple to Jianguo Temple, and they welcomed the holy image and building timber from Anye to the temple. On the thirteenth day of the fifth month of the first year of Taiji, the reign era was changed to Yanhe. In that year, Wang Zhixin, Minister of the Ministry of Justice, serving as surveillance commissioner, arrived in the suburbs of Junyi to proclaim an imperial edict: 'All temples lacking official name plaques are to be dismantled and destroyed, and all bronze and iron Buddha images are to be collected into nearby temples.' When Huiyun moved the cast image and built the halls and corridors, the colorful paintings were still incomplete. Encountering the new decree, the work was halted. Before the Maitreya image, Huiyun wept, burned incense, and repeatedly prostrated and prayed, saying: 'If there are karmic conditions with this place, may an extraordinary sign appear to awaken the minds of the multitude.' Moments later, a golden light radiated from the head of the image, illuminating heaven and earth, and the scholars and commoners of the entire city all marveled at this rarity. At that time, those who slandered it immediately lost both eyes, and there were also those whose tongues swelled to about a foot. As reports spread far and wide, people vied to come and pay reverence, offering donations like mountains, so the grand monastery was completed in all its magnificence. The image sat with pendent feet, and people prostrated upon seeing it. For those who had suffered evil retributions, Huiyun faced the image and repented on their behalf; in an instant, the blind regained their sight and those with curled tongues could speak. All wished to become servants of the temple, striking the bell and sweeping the ground. The surveillance commissioners Wang Zhixin and Helan Wu submitted a memorial detailing these auspicious omens. It matched a dream of Emperor Ruizong, so an imperial edict was issued changing the plaque from 'Jianguo' to 'Xiangguo'—taking the name from the fact that the Emperor had ascended the throne as the Prince of Xiang. The edict also commanded the venerable Minggan of Foshouji Temple to jointly oversee the merit, so that the prefecture and county administrations would not cause disturbance. Drafting Official of the Secretariat Jia Zeng, Vice Minister Cui Zhao, Supervising Censor Lu Yi, and Vice Minister of the Secretariat and Chancellor Cen Xi all donated their official salaries to co-found the karmic conditions—some initiating the original resolve, others providing external protection. During the Xiantian reign era, when a transmission of spirit portraits occurred at the Lu Mansion and Emperor Xuanzong ascended the throne, on the fifteenth day of the eighth month, the Retired Emperor personally wrote the temple plaque. An imperial decree ordered the venerable Paramārtha, together with two disciples and an official of ranked status, to bring the imperially bestowed banners, flowers, and the temple plaque to be received and hung. Huiyun transformed Liangyuan through the Dharma, his life enriched by the tree of blessings. A lifespan of a hundred years is limited, and the four phases continuously shift; he passed away in a detached compound of the temple. He was buried in the eastern suburbs of the current capital, where the stupa and pavilion of the temple manor still remain! At that time he was called the Patriarch of Temple Construction. After Huiyun passed away, a great pavilion named Paiyun was built in the fourth year of Tianbao. In the Zhide reign era of Emperor Suzong, the eastern pagoda named Puman was begun, and it was completed in the tenth year of Dali under Emperor Daizong. Some say the monk who built the pagoda could manifest multiple bodies to convert beings, his spiritual rank being hard to fathom. The images of Mañjuśrī and Vimalakīrti were modeled and painted by Wu Daozi, Friend of the Prince's Court. Moreover, in the fourteenth year of Kaiyuan, when Emperor Xuanzong returned from the eastern feng sacrifice, he ordered Che Zhengdao to go to the Kingdom of Khotan to copy the models of the Heavenly Kings, which were then painted on the temple walls. The monk Zhiyan raised funds from the multitude to paint the 'Stages of Entering the Path in the Three Vehicles' on the north wall of the western treasury, which was praised as marvelous and peerless. The present halls and pavilions were all rebuilt after the fire in the Dashun reign era and further repaired by Emperor Taizu of the Song. The wall paintings by Gao Yi, Hanlin Painter-in-Waiting, were praised in his time as wonders of the brush and ink.