集神州三寶感通錄 2.8

2.8

5. In the Xianhe era under Emperor Cheng of the Eastern Jin, Gao Kui, Prefect of Danyang, on his travels to and from the imperial palace, constantly saw an unusual light appearing at the inlet by Zhanghou Bridge. He sent officials to search for it, and they retrieved a golden image. It was of ancient Western Regions craft, lacking both halo and pedestal. Gao Kui dismounted his carriage and loaded the image into it. When he reached the mouth of Changgan Lane, the ox would go no further. Gao Kui stopped the driver and let the ox go where it wished; it then proceeded directly to Changgan Temple. He accordingly enshrined it there. The whole capital of Yangzhou assembled in reverence to view and worship it, and very many were enlightened. At midnight the image inevitably emitted golden rays of light for over a year. Zhang Houshi, a fisherman of Linhai County, saw a bronze lotus pedestal drifting on the sea with cinnabar light. He swiftly sailed his boat to intercept and retrieve it, presenting it fully to the imperial court. The emperor ordered that it be tested under the feet of Gao Kui's image, and it matched perfectly. After some time, five monks from the Western Regions carrying pilgrim's staffs arrived to visit Gao Kui, saying, "In the past we traveled to India and obtained a King Aśoka image. When we reached Ye, we encountered disorder and hid it on the riverbank. Once the royal roads opened, we searched for it but lost its location. Recently we had an evocative dream telling us: 'I have emerged in Jiangdong and have been obtained by Gao Kui, residing in King Aśoka Temple.' Therefore, we came from afar to seek refuge here, wishing to pay homage once." Gao Kui led them to the temple. When the five monks saw the image, they wept and sobbed; the image emitted light on their behalf, illuminating the interior of the hall and circling the monks' bodies. The monks said, "It originally had a circular halo, which is now in a distant place, but it too should arrive soon." The five monks then remained to make offerings. In the first year of the Xian'an era, Dong Zongzhi, a pearl diver in Hepu of Jiaozhou in the Southern Sea, constantly saw light floating on the water from the seabed. Searching for it, he obtained the Buddha's halo. When this matter was reported to the throne, Emperor Jianwen decreed that it be bestowed on this image. The apertures matched completely, and its radiance and color were without difference. In total, it took over forty years for the auspicious resonances of east and west to bring the halo and pedestal together. On the flower base of this image, there is Western script; many visitors could not recognize it, but Tripiṭaka Master Guṇavarman alone said, "This is ancient Sanskrit script. It was made by King Aśoka's fourth daughter." At that time, the śramaṇa Huisui of Fanguan Temple wished to make a replica of it. The abbot of the temple, Sengshang, feared damaging the gilding and said to Huisui, "If you can make the Buddha emit light and turn its body facing west, it will be beyond my control." Huisui prayed with utmost sincerity. In the middle of the night, he heard an unusual sound; opening the hall, he saw the image radiating great light and seated facing west. Thereupon permission was granted to make molds of it. Several dozen copies were produced and circulated everywhere. Under Emperor Wu of Liang, seven heavenly musicians and two bodhisattvas were added above the halo. In the second year of the Yongding era under the Chen, Wang Lin stationed troops at Jiangpu and was about to advance toward Jinling. Emperor Wu ordered generals to sail upriver. When the army departed, the body of the image shook and could not rest stably. This was reported to the throne. The emperor investigated and found it to be true; shortly thereafter, before weapons even clashed, Wang Lin's forces disbanded, and he fled north on a single horse. Thus the upper reaches were completely pacified. Therefore, it manifested this through movement. During the Tianjia era, when troops rose in the southeast, the emperor made vows before the image that the wicked bandits would be repelled. As he finished speaking, light illuminated the steps and eaves. Before long, Dongyang and Minyue were both pacified. The śramaṇa Huixiao was the leader at Changgan; wherever his conversion reached, matters were swept along like the wind. He then built a multi-storied pavilion, causing the colorful paintings to reach the pinnacle of wondrous beauty, commanding a panoramic view. At the beginning of the Zhide era, a square pedestal was additionally crafted. From the Jin through the Chen, none of the rulers and ministers of the five dynasties failed to pay homage and revere it. During severe droughts, the image was invited into the palace, riding on the imperial carriage with an oiled covering above. Monks prayed for rain, and heavy rains poured down midway; this omen was never missed. When the fortunes of the Chen declined, rumors and folk prophecies frequently circulated. In the second year of the Zhenming era, the image turned its face to the west on its own; though straightened, it returned to that position. The situation was memorialized to the throne. The emperor invited it into the Taiji Hall, holding a fast and circumambulating the altar. The image had previously possessed a crown of the seven treasures, adorned with pearls and jade, weighing about three catties, with a brocade cap placed on top. By dawn, the jeweled crown was hanging from the image's hand, while the brocade cap was still on its head. When the emperor heard of this, he burned incense and prayed, "If there is misfortune for the state, take off the jeweled crown again to show the warning omen." He then replaced the crown upon its head. By morning, it was removed and hung just as yesterday. Rulers and ministers lost color. When the Sui destroyed the Chen, the entire state went bare-headed with hands tied behind their backs, migrating westward, just as had been portended. When Emperor Gao of the Sui heard of this, he decreed that it be brought to the imperial palace in the capital for worship, constantly standing in attendance himself. He issued a decree saying, "We are old and cannot endure standing for long. Let the appropriate officials make a seated image resembling this standing original image, and send it to Daxingshan Temple." When the image first arrived, the hall was large and could not face directly south, so it was placed facing north. By dawn, it sat facing directly south. Though the assembly marveled at it, they moved it back facing north. By dawn, it again faced south as before. The assembly all felt shame and apologized for their negligence. At present, drawings and paintings of it are very numerous. I have excerpted and gathered from numerous accounts to compose this record; if there are aspects that are not comprehensive, may it be known that this is not due to exaggeration.