辯正論 6.98

6.98

內箴曰。左徹慕聖。刻像而拜軒皇。勾踐思賢。鑄金而模范蠡。丁蘭克孝憑剞劂以代親。顏在資仁采璧璫而圖聖。故使憂喜形乎容色。精誠通於夢寐。亦其至矣。豈如忉利不還。優填以茲鏤木。堅林晦影阿輸於是鑄金。託妙相於丹青。寄靈儀於銑𮢗。或覩真避座寫貌迴軀。注感應傳云。楊州長干寺有育王像。人欲模寫。寺僧恐損金色不許。造像主乃至心發願。若精誠有感。乞像轉身西向。於是瑣閉高閣。明旦開視。像身宛已西向。遂許圖之。神應不窮由來尚矣。自像流東被正化南移。夕夢金人河浮玉馬。神光導於湘水。瑞彩發於檀溪。注感應傳云。廬陵發蒙寺育王像記云。像身出廬陵三曲。瑞光趺出湘州昭潭。並放光明照曜崖岸。武昌檀溪寺瑞像。身出檀溪光映水上也。長沙標聚日之姿。廬岳顯融金之質。其事廣焉。略而言矣。如干寶搜神臨川宣驗及徵應冥祥幽明錄感應傳等。自漢明已下訖于齊梁。王公守牧清信士女。及比丘比丘尼等。冥感至聖目覩神光者。凡二百餘人。至如見迹萬山浮暉滬瀆。清臺之下覩滿月之容。雍門之外觀相輪之影。南平獲應於瑞像。文宣感夢於聖牙。簫后一鑄而剋成。宋皇四摸而不就。其例甚眾。不可具陳。豈以爾之無目而斥彼之有靈哉。然德無不備者。謂之為涅槃。道無不通者。名之為菩提。智無不周者。稱之為佛陀。以此漢語譯彼梵言。則彼此之佛昭然可信也。何以明之。夫佛陀者。漢言大覺也。菩提者。漢言大道也。涅槃者。漢言無為也。而吾子終日踐菩提之地。不知大道即菩提之異號也。稟形於大覺之境。未閑大覺即佛陀之譯名也。故莊周云。且有大覺者而後知其大夢也。郭注云。覺者聖人也。言患在懷者皆夢也郭注云夫子與子游未能忘言而神解。故非大覺也。君子曰。孔丘之談茲亦盡矣。涅槃寂照不可識識不可智知。則言語道斷而心行處滅。故忘言也。法身乃三點四德名言所成。蕭然無累。故稱解脫。此其神解而患息也。夫子雖聖遙以推功於佛。何者案劉向古舊二錄云。經流於中夏一百五十年。後老子方說五千文。然則周之與老。竝見佛經所說言教。往往可驗故。夫子有言曰。夫易者無為也無思也。寂然不動感而遂通。非天下之至神。其孰能與。於此余今提耳語子。當捨其積迷而荷其晚悟也。支提之製其流蓋遠夫。且封且樹。比干以忠勁顯墳。勿剪勿伐。展季以清貞禁壟。四民懷於十善。緬邈輪王之恩。三界尊於六通。昭彰羅漢之德。正法念經云。四種人得樹偷婆。偷婆漢言塚。謂輪王羅漢辟支如來。況智周十力德滿四弘。妙辯契於忘言。能垂訓於不測大明窮於勿照。乃暢燭於無幽。故有香炭金瓶。全身遍乎八國。光螺鮮貝。散體周於十方。乍五色凝輝。旋空彰於漢世。八彩分耀。神應顯於吳宮。爾其百鏡靈龕千花妙塔。掌承雲露鐸韻高風。紫柱紅梁遙浮空界。翔鵾跂鳳遠接虛方。盡壯麗之容。窮輪奐之美。豈夫高山仰止不忘景行。崇表峻闕標樹鴻猷而已哉。無以欄甃之辯。譏滄海之廣狹。榆枋之智。測崑閬之高卑乎。而汝莫知。其盲二也。

The Inner Refutation states: Zuo Che admired the sage, carving an image to worship Emperor Xuan; Goujian yearned for the worthy, casting metal to model Fan Li. Ding Lan perfected filial piety by relying on the chisel to substitute for his parents; Yan Zai supported humaneness by collecting jade rings to depict the sage. Thus grief and joy showed upon their faces, and utmost sincerity communicated even through their dreams. These indeed reached the utmost! How much more so when [the Buddha] did not return from Trāyastriṃśa, and Udayana on this account carved wood; when his shadow faded in the Śāla Grove, and Aśoka thereupon cast metal! They entrusted the wondrous marks to vermilion and azure, and lodged the numinous presence in gleaming metal and fine jade. Some, seeing the true manifestation, yielded their seats; others, having their likenesses painted, turned their bodies. (The Note in the *Ganying zhuan* states: Changgan Monastery in Yangzhou possessed an Aśoka image. People wished to paint copies of it, but the monks of the monastery, fearing damage to the golden colour, would not permit it. The patron who wished to make the image thereupon made a vow with sincere mind: 'If utmost sincerity can evoke a response, we pray the image will turn its body to face west.' Thereupon they locked the high pavilion. When they opened and looked the next morning, the body of the image had indeed turned to face west. They then permitted it to be depicted.) Numinous responses are inexhaustible; their origins are ancient indeed. Since the flow of images extended east and the true transformation shifted south, [Emperor Ming] dreamed at night of the golden man, and the river floated the jade horse. Numinous radiance guided [the boat] on the Xiang River; auspicious colours shone forth at Tan Creek. (The Note in the *Ganying zhuan* states: The record of the Aśoka image at Fameng Monastery in Luling states that the body of the image emerged from Sanqu in Luling, while its auspiciously radiant pedestal emerged from Zhao Pool in Xiangzhou. Both emitted bright light illuminating the cliffs and banks. The auspicious image of Tanxi Monastery in Wuchang: its body emerged from Tan Creek, its light reflecting upon the water.) Changsha marked the appearance of a concentrated sun; Mount Lu displayed the substance of molten gold. Such events are vast indeed; I speak of them in brief. In works such as Gan Bao's *Soushen ji*, the Prince of Linchuan's *Xuan yan ji*, the *Zheng ying ji*, *Mingxiang ji*, *Youming lu*, and *Ganying zhuan*, from Emperor Ming of the Han down to the Qi and Liang dynasties, princes, dukes, governors, prefects, pure-faith laymen and laywomen, as well as monks and nuns—those who were secretly moved by the utmost Sage and witnessed numinous radiance with their own eyes—numbered more than two hundred people in all. As for seeing traces on Wanshan Mountain or floating radiance at the Hudu estuary; gazing upon the full-moon countenance beneath the Qingtai terrace or viewing the shadow of the wheel-crowned spire outside Yongmen gate; Nanping receiving a response from an auspicious image; Wenxuan moved in a dream by the sacred tooth; Empress Xiao accomplishing the casting in a single attempt; Emperor Song failing even after four attempts at tracing—such cases are exceedingly numerous and cannot be related in full. How could one, on account of your lack of eyes, reject that [the images] possess numinous efficacy? Furthermore, that whose virtues are completely equipped is termed nirvāṇa; that whose Dao penetrates everywhere is named bodhi; that whose wisdom is all-pervading is called Buddha. Translating those Sanskrit terms with these Chinese words, the Buddha of both [realms] is clearly credible. How do we illuminate this? 'Buddha' means in Chinese 'Great Awakening'; 'bodhi' means in Chinese 'Great Dao'; 'nirvāṇa' means in Chinese 'wuwei' (non-action). Yet, sir, you tread daily upon the ground of bodhi without knowing that the Great Dao is another name for bodhi; you receive your form in the realm of Great Awakening without understanding that Great Awakening is the translated name of Buddha. Thus Zhuang Zhou said: 'Only after there is a Great Awakening does one know that this is a great dream.' Guo's commentary states: 'The awakened one is the sage. This means that all who harbor distress within are dreaming.' Guo's commentary states: 'The Master and Ziyou were not yet able to forget words and achieve spiritual comprehension; therefore they were not the Greatly Awakened.' The noble man says: 'Kong Qiu's words here reached their limit.' The quiet radiance of nirvāṇa cannot be perceived by consciousness nor known by intellect; thus the path of words is severed and the realm of mental activity extinguished; therefore words are forgotten. The dharmakāya is constituted of the nominal terms of the three dots and four virtues; unburdened and free, it is therefore called mokṣa (liberation). This is spiritual comprehension and the cessation of distress. Although the Master was a sage, from afar he attributed merit to the Buddha. Why? According to the two records, ancient and old, by Liu Xiang, one hundred and fifty years after the scriptures flowed into the central realm, Laozi only then expounded the five thousand characters. Thus, both Zhou and Lao saw the verbal teachings expounded in the Buddhist scriptures, which can often be verified. Therefore the Master had a saying: 'The Changes are without action and without thought. Silent and unmoving, they respond and thereupon penetrate all things. Were they not the utmost spirit under heaven, who could take part in this?' Here I now pull you by the ear and tell you: you should cast aside your accumulated delusions and welcome your late awakening! The institution of caityas—its lineage is vast indeed! Heaping the mound and planting trees, Bi Gan was distinguished by a tumulus for his unbending loyalty; sparing from cutting and clearing, Zhan Ji was prohibited from having his mound touched because of his pure integrity. The four peoples cherish the ten good deeds, looking back from afar upon the grace of the wheel-turning king; the three realms revere the six supernormal knowledges, brightly manifesting the virtue of the arhat. The *Saddharmasmṛtyupasthāna Sūtra* states: 'Four kinds of persons may erect a thūpo'—thūpo means in Chinese a tumulus—referring to the wheel-turning king, the arhat, the pratyekabuddha, and the Tathāgata. How much more so for one whose wisdom encompasses the ten powers and whose virtue fills the four vast [vows]! His wondrous eloquence accords with the forgetting of words, yet he can bestow instructions on the unfathomable; his great brightness exhausts that which does not shine, yet it brightly illuminates where there is no darkness. Therefore, with fragrant charcoal and golden urns, his complete body was distributed throughout the eight states; with radiant conches and bright cowries, his dispersed relics encircled the ten directions. Suddenly five colours condensed in radiance, circling in the sky to manifest in the Han era; eight colours dispersed in brilliance, a numinous response displayed in the Wu palace. And then, the numinous shrines with a hundred mirrors, the wondrous pagodas with a thousand flowers! Dew-receiving basins catch the cloud-borne moisture; bells chime in the high wind. Purple pillars and scarlet beams float from afar in empty space; soaring kuṇs and perched fenghuangs reach into the distant void. They exhaust the appearance of magnificence and reach the peak of architectural beauty. How could it merely be 'the high mountain looking up to it, not forgetting the noble conduct', or raising steep watchtowers to mark out vast achievements? Do not use the debate of the well-curb to disparage the breadth of the vast sea, or the intellect of the dove and cicada in the elms to measure the height of Mount Kunlun! Yet you do not understand this. This is your second blindness.