法苑珠林 16.68

16.68

夫最勝之相妙出無等。非直光儀莫寫。固亦形好不傳。夫以世俗之指爪。而匠法身之圓極。算數譬喻豈我萬一。自泥洹以來久踰千祀。西方像製流式中夏。雖依經鎔鑄各務髣髴。名士奇匠競心展力。而精分密數未有殊絕。晉世有譙國戴逵字安道者。風清概遠肥遯舊吳。宅性居理游心釋教。且機思通贍巧擬造化。思所以影響法相。咫尺應身乃作無量壽挾侍菩薩。研思致妙精銳定製。潛於帷中密聽眾論。所聞褒貶輒加詳改。覈准度於毫芒。審光色於濃淡。其和墨點彩刻形鏤法。雖周人盡策之微宋客象楮之妙。不能踰也。委心積慮三年方成。振代迄今所未曾有。凡在瞻仰有若至真。俄而迎像入山陰之靈寶寺。道俗觀者皆發菩提心。高平郗超聞而禮覲。遂撮香而誓曰。若使有常復覩聖顏。如其無常願會彌勒。既而手中之香勃焉自然。芳煙直上其氣聯雲。餘熏葳蕤溢於衢路。凡預聞見皆心喜遍身。宋臨川康王撰宣驗記。亦載其顯瑞。戴公居去靈寶寺百餘步。戴甞中夜而起見寺上有光。其明甚熾。謂是燔火。狼狽往起。隣曲知者咸競駿奔至。而寺門靜閉迺像放光。明旦眾聞扣門方起共觀。咸覩佛堂暉焰洞照于天。莫不整躬虔禮歎覺化之無方也。宋文帝迎像供養。常在後堂。齊高帝起正覺寺。欲以勝妙靈像鎮撫法殿。乃奉移此像。舊在正覺寺。逵又造行像五軀。積慮十年。像舊在瓦官寺。逵弟二子顒字仲若。素韻淵澹雅好丘園。既負荷幽貞亦繼志才巧。逵每製像常共參慮。濟陽江夷少與顒友。夷甞託顒造觀世音像。致力罄思欲令盡美。而相好不圓積年無成。後夢有人告之曰。江夷於觀世音無緣。可改為彌勒菩薩。戴即停手馳書報江。信未及發而江書已至。俱於此夕感夢。語事符同。戴喜於神應即改為彌勒。於是觸手成妙。初不稽思。光顏圓滿俄爾而成。有識讚仰咸悟因緣之匪差。此像舊在會稽龍華寺。尋二戴像製歷代獨步。其所造甚多並散在諸寺。難悉詳錄。

Now, the marks of the Most Victorious One are wondrous and surpass all comparison. Not only can his radiant appearance not be depicted, but his physical marks and signs certainly cannot be transmitted. To use the mortal fingers of the worldly realm to craft the consummate perfection of the Dharmakāya—how could numbers and metaphors reach even one part in ten thousand of it? Since Parinirvāṇa, it has long exceeded a thousand years. The models of images from the Western Regions flowed into the Central Radiance. Although casting and molding were based on the scriptures, each striving for resemblance, and renowned scholars and extraordinary artisans vied with mind and strength, their fine proportions and exact measurements had not yet achieved excellence. In the Jin dynasty, there was a man from Qiaoguo named Dai Kui, styled Andao. His character was pure and his ideals lofty; he retired into seclusion in ancient Wu. Habituating his nature in ultimate principle, he roamed his mind in the teachings of the Śākya. Moreover, his sharp intellect was vast and thorough, and his craftsmanship mirrored the Creator. Contemplating how to reflect the Dharma forms and bring the Nirmāṇakāya close to hand, he fashioned an Amitāyus accompanied by attendant bodhisattvas. Deliberating deeply to attain perfection, he energetically fixed the design. Hiding behind a curtain, he secretly listened to the discussions of the crowd. Whenever he heard praise or criticism, he carefully revised the work accordingly, checking measurements down to the finest hair and scrutinizing radiance and colour in their shades. In blending ink, applying colours, carving forms, and chiselling models, even the subtlety of the man of Zhou exhausting the measuring rod or the skill of the guest from Song carving the mulberry leaf could not surpass him. Putting his mind to it and accumulating thoughts, it took three years to complete. It was something never seen before throughout the ages. All who gazed up at it felt as if they were before the True One. Soon, the image was welcomed into Lingbao Temple in Shanyin. Both monastics and laypeople who viewed it gave rise to the bodhicitta. Xi Chao of Gaoping, hearing of it, went to pay homage. He gathered incense and made a vow, saying: 'If I am to remain long in this world, may I see the holy countenance again; if life is impermanent, may I meet Maitreya.' Thereupon, the incense in his hand flared up of itself; fragrant smoke rose straight up, its scent merging with the clouds, and the residual fragrance flourished and overflowed along the roadways. All who happened to smell and see it felt joy throughout their bodies. The Prince of Kang of Linchuan during the Song compiled the Xuanyan ji, which also recorded this wondrous sign. Dai's residence was a hundred paces from Lingbao Temple. Dai once rose in the middle of the night and saw a light above the temple. Its brightness was blazing intensely, and thinking it was a fire, he rushed over in a hurry. The neighbours who noticed also vied to run swiftly there. When they arrived, the temple gates were quietly shut, and it was the image emitting light. The next morning, when the crowd heard knocking at the gate, they rose together to observe; all saw the radiant flames of the Buddha hall shining up into the sky. None failed to compose themselves, make reverent obeisance, and praise the boundless transformation of the Enlightened One. Emperor Wen of the Song welcomed the image to make offerings, and kept it constantly in the rear hall. Emperor Gao of the Qi founded Zhengjue Temple and, wishing to protect the Dharma hall with a supreme, miraculous image, conveyed this image there; it was formerly in Zhengjue Temple. Dai also made five processional images, reflecting deeply on them for ten years; these images were formerly in Waguan Temple. Dai's second son was Yong, styled Zhongruo. His plain temperament was profound and quiet, and he had an elegant fondness for hills and gardens. He not only took up the mantle of secluded integrity, but also inherited his father's talent and skill. Whenever Dai crafted an image, they would always deliberate together. Jiang Yi of Jiyang had been a friend of Yong from youth. Jiang once entrusted Yong to make an image of Avalokiteśvara. Yong exerted all his effort and exhausted his thoughts, wishing to make it consummate, but the marks and signs were not rounded and full, remaining incomplete for years. Later, he dreamed that someone told him: 'Jiang Yi has no affinity with Avalokiteśvara; it may be changed to Maitreya Bodhisattva.' Dai immediately stayed his hand and sent a letter to inform Jiang. Before the messenger could be dispatched, Jiang's letter arrived; both had experienced the dream on the same night, and their accounts agreed. Dai rejoiced at the divine resonance and immediately changed it to Maitreya. Thereupon, every touch of his hand was wondrous, without pausing to deliberate. The radiant countenance was perfected and complete in an instant. The discerning praised it and all realized that causes and conditions do not err. This image was formerly in Longhua Temple in Kuaiji. Indeed, the image crafting of the two Dais was unparalleled throughout the dynasties. Those they made were very numerous and dispersed among various temples, difficult to record in full.