法苑珠林 33.5

33.5

昔優填初刻栴檀。波斯始鑄金質。皆現寫真容工圖妙相。故能流光動瑞避席施虔。爰至髮爪兩塔衣影二臺。皆是如來在世已見成軌。自收迹河邊闍維林外。八王請分還國起塔及瓶炭二所。於是十剎興焉。其生處得道說法涅槃。髮髻頂骨四牙雙跡鉢杖唾壺泥洹僧等。皆樹塔勒銘標碣神異。爾後百有餘年。阿育王遣使浮海。壞撤諸塔分取舍利。還值風潮頗有遺落。故今海族之中時或遇者是。後八萬四千因之而起。育王諸女亦次發淨心。並鐫石鎔金圖寫神狀。至能浮江汎海影化東川。雖復靈迹潛通而未彰視聽。及蔡愔秦景自西域還至。始傳畫㲲釋迦。於是涼臺壽陵並圖其相。自茲厥後形像塔廟。與時競列。洎于梁代遺光粵盛。但法身無像因感故形。感見有參差。故形應有殊別。若乃心路蒼茫則真儀隔化。情志慊切則木石開心。故劉殷至孝誠感。釜庾為之生銘。丁蘭溫凊竭誠。木母以之變色。魯陽迴戈而日轉。杞婦下淚而城崩。斯皆惻隱入其性情。故使徵祥昭乎耳目。是知道藉人弘。神由物感。豈曰虛哉。是以祭神如神在。則神道交矣。敬像如敬佛。則法身應矣。故入道必以智慧為本。智慧必以福德為基。譬猶鳥備二翼儵舉萬尋。車足兩輪一馳千里。豈不勤哉。豈不勗哉。

Formerly, when Udayana first carved sandalwood and Prasenajit first cast golden material, both portrayed the true countenance and skillfully depicted the wondrous marks; hence they could radiate light, stir up auspicious omens, and cause people to leave their seats to pay reverence. Coming down to the two stūpas of the hair and nails, and the two terraces of the robe and shadow, these were all established models already seen while the Tathāgata was in the world. From the gathering of his traces beside the river to the cremation outside the forest, the eight kings requested to divide the relics and return to their states to erect stūpas, along with the two places for the urn and charcoal; thereupon ten shrines were raised. His birthplace, attaining of the Way, preaching the Dharma, and nirvāṇa; his topknot, cranial bone, four canine teeth, footprints, alms bowl, staff, spittoon, and antarvāsaka (niwanseng), all had stūpas erected and inscriptions carved, setting up monuments to mark their divine anomalies. More than a hundred years thereafter, King Aśoka dispatched emissaries across the sea to dismantle the various stūpas and divide the śarīra; on their return they encountered wind and tide, and some were lost, which is why among the sea creatures nowadays they are occasionally found. Afterward, the eighty-four thousand [stūpas] were erected because of this. The various daughters of King Aśoka also sequentially generated pure minds, engraving stone and casting metal to depict the divine images, even floating across rivers and seas to manifest their shadows and convert the eastern lands. Although the miraculous traces secretly communicated, they were not yet made evident to sight and hearing. When Cai Yin and Qin Jing returned from the Western Regions, they first transmitted a painting of Śākyamuni on fine cloth; thereupon his image was depicted at the Liangtai and Shouling. From this time onward, images and stūpa-temples competed with one another in time. Coming down to the Liang dynasty, the bequeathed radiance was especially flourishing. Yet the Dharmakāya has no form; it assumes form because of sympathetic resonance. Since responses and visions vary, physical manifestations also have their differences. If the mental path is vague, the true likeness is separated from transformation; if affection and intent are earnest and intense, wood and stone will open their hearts. Therefore, Liu Yin's supreme filial piety moved through sincerity, and caldrons and cauldrons produced inscriptions for him; Ding Lan's warming and cooling exhausted his devotion, and the wooden mother changed her expression for him. Lu Yang turned his lance and the sun reversed its course; the woman of Qi shed tears and the city wall collapsed. These all stem from compassionate sincerity entering into their nature and emotions, thereby making omens manifest clearly before ears and eyes. From this we know that the Way is broadened by people, and the spirit is moved by things; how could it be false! Therefore, when you sacrifice to the spirits as if the spirits were present, then the spiritual Way intersects; when you revere an image as if revering the Buddha, then the Dharmakāya responds. Thus, in entering the Way one must take wisdom as the root, and wisdom must take meritorious blessings as its foundation. It is just like a bird equipped with two wings soaring high for myriad fathoms, or a cart furnished with two wheels speeding a thousand li at once. How can one not be diligent? How can one not exert oneself?