釋氏要覽 3.298

3.298

根本毘奈耶律第三十四卷云。佛在王舍城羯蘭鐸迦池竹園中。時大目乾連。於時中往五道。慈愍觀察。至捺洛迦（地獄也。此云無喜樂）見諸有情受種種苦。於四眾中。普皆宣告阿難陀言。非一切時處甞有目連。今勅諸苾芻。於寺門壁。畫生死輪。應隨大小。圓作輪形。中安穀。次安五輻。表五趣當轂下畫地獄。二邊畫傍生餓鬼。次上畫人天。於人趣中。唯畫四洲。於其轂上。塗白色。中畫佛。佛前畫三類物。初畫鴿。表多貪。次畫蛇。表多嗔。後畫猪。表愚癡於網處應作溉灌像多安水罐中。畫有情生死之像。生者。於罐出頭。死者出足。於其五趣。各像其形。應畫十二支生滅之相。無明支。作羅剎像。行支。作陶家輪像識支。作獼猴像。名色支。作人乘船像。六處支。作六根像。觸支。作男女撫像。受支。作男女受苦樂像。愛支作女人抱男女像。取支。作丈夫汲井像。有支。作大梵王像生支。作女人誕孕像。老作男女衰老像。病。作病像。死支作死像。憂。作男女憂慼像。悲。作啼哭像。苦。作男女受苦像。惱。作丈夫挽難調駱駝像。其輪頂應畫無常大鬼。髼髼張口。長舒兩手。挽其網於鬼頭。兩畔書二伽他。一曰。汝當求出離。於佛教勤修。降伏生死軍。如象摧草舍。二曰。於此法律中。常為不放逸。能竭煩惱海。當盡苦邊際。次於鬼頭上。畫一白圓壇相。表涅槃圓淨之像。號為五趣生死輪。

The thirty-fourth fascicle of the Mūlasarvāstivāda-vinaya says: "The Buddha was in the Bamboo Grove at the Kalandaka Pond in Rājagṛha. At that time, Mahāmaudgalyāyana would frequently go to the five destinies, observing them with compassion. When he reached Naraka (hell, translated here as without joy or happiness), he saw sentient beings suffering all kinds of pain. He proclaimed this everywhere among the fourfold assembly. Ānanda said: 'Maudgalyāyana is not present in all times and places. I now instruct the bhikṣus to paint the wheel of life and death on the monastery gate wall. It should be made into a circular wheel shape according to size. Place the hub in the center, and next place five spokes to represent the five destinies. Below the hub, paint hell; on both sides, paint animals and hungry ghosts; next above, paint humans and devas. In the human realm, paint only the four continents. Above the hub, apply white paint, and paint the Buddha in the center. In front of the Buddha, paint three kinds of creatures: first, paint a pigeon to represent excessive greed; next, paint a snake to represent excessive anger; last, paint a pig to represent delusion. Along the rim, one should depict irrigation, placing many water jars within which the appearance of sentient beings' birth and death is painted: those who are born emerge head-first from the jar, and those who die emerge feet-first. In each of the five destinies, portray their respective forms. One should paint the characteristics of arising and ceasing of the twelve links: the link of ignorance is depicted as a rākṣasa; the link of karmic formations as a potter's wheel; the link of consciousness as a monkey; the link of name-and-form as a person riding a boat; the link of the six sense bases as the six sense faculties; the link of contact as a man and a woman embracing; the link of feeling as a man and a woman experiencing pain and pleasure; the link of craving as a woman holding a boy and girl; the link of grasping as a man drawing water from a well; the link of existence as Mahābrahmā; the link of birth as a woman giving birth; old age as the decrepit aging of a man and a woman; sickness as the appearance of illness; the link of death as the appearance of death; sorrow as the distress of a man and a woman; lamentation as weeping; suffering as a man and a woman undergoing torment; and despair as a man leading a camel that is difficult to tame. At the top of the wheel, one should paint the great demon of impermanence, with disheveled hair and an open mouth, stretching out both hands to grasp the rim. On either side of the demon's head, write two gāthās. The first says: / 'You should seek to escape, / Diligently practice in the Buddha's teaching, / And subdue the army of birth and death, / Like an elephant crushing a hut of grass.' / The second says: / 'In this Dharma and Vinaya, / One who is constantly unheedful / Can dry up the ocean of afflictions / And reach the ultimate end of suffering.' / Next, above the demon's head, paint the image of a pure white circular altar to represent the immaculate and complete form of nirvāṇa. This is called the wheel of life and death of the five destinies."