[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [法苑珠林](https://indike.org/pramana/in.bauddha.taisho.2122) › 12.98 # 法苑珠林 12.98 法苑珠林 12.98 - **Language:** Classical Chinese ### [12.98](https://indike.org/pramana/in.bauddha.taisho.2122.12.98) 昔維衛及迦葉石像。以西晉愍帝建興元年。像汎海而來入乎吳松江滬瀆口。遙見海中有二人浮游水上。漁人莫能就視。延巫師祝。則謂為海神。祭酒則疑是仙靈。或振鐸以請。或巾褐往祈。並濤涌霧曀逆流遠去。奉黃老者。謂是天師。往迎風浪如初。吳縣朱應素奉正法。迺請東靈寺帛尼并信齋戒者數人。共往迎像。於是雲銷日朗風霽波息。乘流自到。轉身示銘。始接登舟其輕如羽。未載大車其重若山。及處像於吳時舊寺通玄精舍。事源委曲已詳舊碑。至齊永明七年。又有瑞石浮海來入吳境。質堅貞固光采鮮潤。駕潮截瀾汎若松舟。時主書朱法讓。即先獲石像。朱應之曾孫也。被使至吳。獲石獻臺。是時齊武皇帝。初建禪靈。重構七層將美莊嚴。而瑞不遠至。協時應機。朝士僉議以為宜旌妙貺。式彰法身。乃命石匠雷卑等。造釋迦文像身坐高三尺五寸。連光及座通高六尺五寸。盡鐫琢之奇。極金艧之巧。克孚顯相。允副幽禎。竊惟。石性本沈神感則浮。越海適吳隔代荐至。雖古今異造。而總歸七佛。獲瑞之人復緣朱氏。祕契冥期終始如一。故追序前事以表厥證。宋世所獲二石像。立高七尺。銘其背上。一名維衛佛。二名迦葉佛。莫識年代而字分明。在吳郡通玄寺。齊威所造瑞石像。舊在禪靈寺。 > Formerly, there were stone images of Vipaśyin and Kāśyapa. In the first year of the Jianxing era of Emperor Min of the Western Jin, the images floated across the sea and entered the mouth of the Hudu on the Wusong River. In the distance, people saw two persons floating on the water; fishermen could not draw near to inspect them. When they summoned shamans to offer incantations, the shamans considered them to be sea gods; when libationers \[of the Celestial Masters\] investigated, they suspected they were transcendent spirits. Some shook bells to make invocations, while others went in kerchiefs and coarse garments to pray, but in all cases waves surged, mist darkened, and \[the figures\] retreated far away against the current. Those who served Huang-Lao deemed them to be Celestial Masters, but when they went to welcome them, the wind and waves were just as before. Zhu Ying of Wu County had long revered the saddharma; he then invited the nun Bao of Dongling Temple along with several persons who faithfully observed the fasts and precepts to go together to welcome the images. Thereupon the clouds dispersed, the sun shone brightly, the wind cleared, and the waves were calmed. Riding the current, they arrived of their own accord, turned their bodies around, and showed their inscriptions. When they were first received onto the boat, they were as light as feathers; yet before they could be loaded onto a great wagon, they were as heavy as mountains. As for housing the images in the Tongxuan Hermitage, an old temple from the Wu period, the detailed particulars of the affair are already explained on the old stele. Reaching the seventh year of the Yongming era of the Qi, there was again an auspicious stone that floated across the sea and entered the territory of Wu. Its substance was firm and solid, its luster fresh and glossy; riding the tide and cutting through the billows, it floated like a pine boat. At the time, the Director of the Palace Secretariat, Zhu Fazhang, was the great-grandson of Zhu Ying who had earlier obtained the stone images. Having been dispatched on an official mission to Wu, he obtained the stone and presented it to the palace. At this time, Emperor Wu of the Qi had just established the Chanling \[Temple\] and was rebuilding a seven-story \[pagoda\], intending to adorn it beautifully; and the auspicious omen arrived from afar, harmonizing with the times and responding to the occasion. The court officials unanimously deliberated that this marvelous gift ought to be proclaimed so as to manifest the dharmakāya. Thereupon he commanded the stone mason Lei Bei and others to fashion an image of Śākyamuni Buddha, three feet five inches high in seated posture, and six feet five inches in total height including the nimbus and pedestal. It exhausted the wonders of carving and chiseling and brought the craft of gilding and coloring to its utmost, successfully matching the manifest signs and duly answering the hidden portents. I humbly consider: the nature of stone is intrinsically to sink, but when moved by spiritual resonance it floats; crossing the sea to reach Wu, it has appeared repeatedly across different generations. Although the ancient and modern creations are distinct, they jointly return to the Seven Buddhas; and the persons who obtained the auspicious omens were, moreover, linked through the Zhu clan. Their secret concordance and dark accord are one from beginning to end. Therefore, I retrospectively narrate the previous affairs to demonstrate the proof. The two stone images obtained during the Song dynasty stood seven feet high, with inscriptions on their backs: one named Vipaśyin Buddha and the other named Kāśyapa Buddha. No one knows the era \[of their making\], but the characters are distinct; they are in Tongxuan Temple of Wu Commandery. The auspicious stone image made by Emperor Wu of the Qi was formerly in Chanling Temple. > — English (machine translation) (machine translation) - [Previous: 12.97](https://indike.org/pramana/in.bauddha.taisho.2122.12.97) - [Next: 12.99](https://indike.org/pramana/in.bauddha.taisho.2122.12.99) - [Up: 12](https://indike.org/pramana/in.bauddha.taisho.2122.12) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.2122~en-mt.12.98) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.2122.12.98](https://indike.org/pramana/in.bauddha.taisho.2122.12.98) · Pramāṇa