一切經音義 1

English (machine translation) 1

Language: English

1.1

Preface to the Newly Collected Sounds and Meanings of the Whole Canon

Dharma Master Huilin, whose secular surname was Pei, was a native of Kashgar. From an early age he was steeped in Confucian arts, and at his coming of age he took refuge in Buddhism. He studied under Tripiṭaka Master Amoghavajra. In regard to the scriptures and treatises, he was especially proficient in lexicography. At the close of the Jianzhong reign-period he authored the Sounds and Meanings of the Canon in one hundred fascicles, comprising roughly six hundred thousand words. It begins with the Mahāprajñāpāramitā-sūtra and concludes with the records and biographies of the Hīnayāna. Early in the dynasty, the śramaṇa Xuanying and the retired scholar Guo of Taiyuan both composed glosses of pronunciation and meaning, but as a rule these were largely fraught with omissions and abridgments. There was the Venerable Xuanchang of Ximing Monastery, who ably continued the glorious path of his predecessors, unflagging by day and night. His aspiration surpassed the purity of autumn frost, and his mind embraced the clarity of still water. He thus sought out what had been lost or left behind, collecting and storing it away. He perfumed it with sandalwood and adorned it with fine brocade. It outshone the past and had no equal in subsequent times, startling the eyes and stirring the heart. Blessings sprang therefrom, and its benefits were vast. I, Qizhi, being unlearned yet wishing to examine the canon, inquired of Master Chang, who graciously showed me the Sounds and Meanings. I consider that having sounds and meanings for Chinese characters is like finding one's path when having lost the way, or like a lamp of wisdom shattering the darkness. Though latent and hidden, they can be silently recognized. Thereupon one scrutinizes the phonetic quality and distinguishes the sounds: there are the throat, the palate, the gums, the teeth, the lips, the mouth, and so on; there are the tones of gong, shang, jue, zhi, yu, and others. One clarifies them by heavy and light, distinguishes them by clear and turbid. The four tones are successively brought forth, and the five notes are alternately employed. Within them, alliteration and rhyming binomes circulate and revert, mutually serving as beginning and end, alternating without error, so that the meaning is made luminous and manifest. If one grasps the pronunciation, the meaning is understood; if the meaning is understood, the principle becomes complete; if the principle is complete, the text presents no obstruction; and if the text presents no obstruction, the thousands of scriptures and myriads of treatises become as plain as pointing to one's palm. Reaching sainthood by evening from being an ordinary person in the morning—does it even require a whole day? Hence it is without abandoning characters that one attains liberation. The teacherless wisdom originates from the source of the mind, splitting open the breast of doubt and stagnation, illuminating darkness and ignorance in an instant. The ultimate truth and conventional truth are hereby demarcated; Sanskrit and the Tang language are from this made clear. Moreover, though pronunciation differs between north and south, the meaning bears no distinction. The Qin people's departing tone resembles the rising tone, while the Wu people's rising tone resembles the departing tone. In between, there are lapses into light flippancy and injuries caused by heavy turbidity. Seldom are the confusions between yu and lu separated; frequently are the errors between shi and hai transmitted. As for the forty-two mātṛkā and the twelve syllabic vowels, they arose from the mind of Vairocana Buddha; bird tracks and insect scripts fall far short of them. However, though the sources and streams differ, the sounds and meanings are not distinct. Sifting sand to pick out gold, one realizes one's nature through principle. Once nature is attained, words can be set aside; when words can be set aside, characters too are forgotten. When all alike return to the one tathatā, the fish trap and rabbit snare are abandoned. The Sthavira Mingsxiu, the Abbot Qiyuan, and the Karmadāna Xuance are all devoted to the true vehicle and maintain the sacred scriptures. Their literary brilliance is dazzling, and their learning in scriptures and treatises is extensive. Some possess a deep and far-reaching spiritual sentiment, uniquely obtaining the mysterious pearl; others maintain a pure and lofty practice of discipline, standing out singularly like the moon of precepts. Above, they satisfy the will of the sages and worthies; below, they make manifest their diligent and earnest devotion. They consequently charged this unworthy one to respectfully compose this preface. (On the tenth day of the ninth month of the fifth year of Kaicheng).

1.4

Preface to the Sounds and Meanings of the Whole Canon

1.5

Composed by Jingshen, Probationary Ritual Officer of the Court of Imperial Sacrifices

1.6

In antiquity, the Uncrowned King established teachings, authoring the 'Ten Wings' to penetrate yin and yang; the Dark Emperor expounded scripture, discoursing on the two sections to illumine the Dao and Virtue. How could they compare to Śākyamuni appearing in the world, walking alone in Kapilavastu, gathering the three vehicles at Gṛdhrakūṭa, and turning the four wheels at Mṛgadāva? From this there were the characters of half and full, and the scattering and stringing together of flowers. Carried by the black-robed monks they arrived from the west, driving the white horse as they journeyed eastward. Thus one knows that neither non-being nor being shrouds false factions, while form being empty and emptiness being form clarifies the right path. Thereupon clouds of wisdom gathered moisture, drooping in dense banks to shade the populace; the Dharma rain contained nourishment, scattering misty droplets to moisten all plants. The benefits of this cannot be fully recounted. Great indeed is the teaching of the Sovereign of Enlightenment! As for being written on palm leaves and compiled in the ocean-like canon, the compilation originated from the mind of Kāśyapa, while the textual meaning was proclaimed by the mouth of Ānanda. Transmitted to this land for more than seven hundred years, when it comes to characters, some are difficult and their components erroneous; some are not recorded in secular writings, and their phonetics are unheard of. Either colloquial forms lack basis, or the original Sanskrit forms are retained. Without sounds and meanings, it is truly difficult to investigate them thoroughly. One wished that people might acquire an enlightened teacher while seated, and instantly hear subtle doctrine; that in pursuing study they need not labor carrying book boxes, and in seeking further instruction they need not trouble lifting their robes. Therefore, the twelve vowels were proclaimed in the profound scripture of the Mahāparinirvāṇa, and the forty-two characters were recorded in the true sūtra of the Avataṃsaka. (The twelve vowels represent the phonetic values used in transcribing Sanskrit letters. The old assertion of fourteen vowels is an error. There are also thirty-four consonants known as mātṛkā. Transcribing each consonant through the twelve vowels produces 408 syllables, which combine and mutate into eighteen chapters called siddham, as detailed in the Sounds and Meanings of the New Nirvāṇa-sūtra.) Therefore it is said: 'Without abandoning characters, liberation is attained.' Coming to the beginning of the dynastic court, there was the śramaṇa Xuanying, who stood out with innate knowledge and uniquely exercised prior awakening. He understood the disparate languages of Tang and Sanskrit, and recognized unusual characters ancient and modern, composing a copy of the Sounds and Meanings of the Whole Canon in twenty-five fascicles altogether. It could be bequeathed to later learners and reflect glory upon previous worthies, serving as a ford and bridge to the other shore, and a key to accessing the Dharma gate. Next there was the śramaṇa Huiyuan, who composed two fascicles of the Sounds and Meanings of the Newly Translated Avataṃsaka; both were compiled into the Kaiyuan shijiao lu. However, with respect to the scriptures and treatises translated later, as well as those not previously glossed in sound, when it came to perusal and exposition, textual errors and interpretive discrepancies, gains, losses, doubts, and bottlenecks remained; those of limited hearing and narrow learning possessed not even a slight understanding, while those of broad learning and strong memory could rarely plumb them to the end. Nevertheless, the haughty were ashamed to ask their inferiors and sought nothing, while the hoarders of learning begrudged their deep knowledge and would not reply. When the holy words were thus obstructed, could one not be grieved? There is Dharma Master Huilin of Daxingshan Monastery, whose secular surname is Pei, a native of Kashgar. He was a disciple of the Great Broad Wisdom, Tripiṭaka Master Amoghavajra. Internally he mastered the esoteric teaching, entering the gate of dhāraṇī; externally he investigated the ink-flowing arts, delving into the finest essence of characters. The subtleties of Indian śabdavidyā and the refinements of Chinese phonology were received like water poured from the flask of his late master, and flowed like a spring to later students. In translating, transcribing, and compiling, he took part among the foremost. The Master plucked out what was missing, lamented what was corrupt and confusing, surveyed these various scriptures, and gathered those glosses and commentaries. However, ancient sound fanqie spellings mostly relied on adjacent initial shifts to make alliteration; starting from Shen Qian, there was originally no fixed standard. Wu pronunciation and Qin pronunciation were indistinguishable; clear rhymes and turbid rhymes were hard to clarify. As when wu and mian were taken as alliterative, or qi and zhi were taken as a rhyming binome—such examples are simply not adopted here. Recently there have been Yuan Tingjian's Yunying and Zhang Jian's Kaosheng qieyun; the present glosses take these as their model. Broadly speaking, explanations of meaning are based on the character books of seven schools (the seven books refer to Yupian, Shuowen jiezi, Zilin, Zitong, Gujin zhengzi, Wenzidian shuo, and Kaiyuan wenzi yinyi). What the seven books do not encompass, the hundred masters are fully consulted for. Furthermore, at the end of the glosses, the six categories of Chinese characters are additionally distinguished, hoping that through this one may recognize that, and by hearing one thing know ten. For more than twenty years, the Master sought far and wide among classics and writings, thoroughly investigating scriptures and treatises, untiring and diligent, making compilation his work. Begun in the final year of the Jianzhong reign-period, it was only completed in the second year of Yuanhe. In total there are one hundred scrolls, fully explaining the various scriptures. Beginning with the Mahāprajñāpāramitā and ending with the Humin fa, it encompasses altogether 1,300 works in more than 5,700 fascicles. The sounds and meanings of the previous two masters were combined and ordered, with their headings distinguished (the two masters refer to Xuanying, Huiyuan, and others). Vast as the sea swallowing all streams to achieve depth, clear as a mirror reflecting all things without weariness, on the thirtieth day of the second month of the twelfth year of Yuanhe, he put down his brush at Ximing Monastery. I, Shen, having a modest fondness for characters, choose what is good and follow it; he permitted me as an uninvited master, while I felt ashamed of being an unpolished vessel. Opening his scrolls, he announced his achievement, and I have erroneously used my slight talent to write this preface.

1.7

Composed by the text-translating śramaṇa Huilin

1.8

Sounds and Meanings of the Tripiṭaka Sacred Teaching Preface and the Mahāprajñāpāramitā-sūtra, Fifty-One Fascicles

1.9

Preface to the Tripiṭaka Sacred Teaching of the Great Tang

1.10

Composed by Emperor Taizong the Civil; Pronunciation by Huilin

1.11

Two forms (二儀: [儀 is pronounced with] the fanqie yu-ji [yí]. The upper 'Appended Remarks' of the Book of Changes states: 'In the Changes there is the Great Ultimate, which generates the Two Forms.' Gu Yewang says: 'The Two Forms refer to Heaven and Earth; they are models.' The Mao Commentary to the Classic of Poetry states: 'Yi means correct.' The Shuowen says: 'A measure; it derives from the person [radical] with the sound yi.' The Shuowen also explains that the character yi derives from sheep and wo; the character wo derives from hand and dagger-axe. Those written with grain beneath are incorrect. Ji has the fanqie sound ju-yi [jī]).

1.12

Covering and carrying (覆載: The upper character has the fanqie sound fu-wu [fù]; it appears in the Yunying and is the Qin pronunciation. The various character books pronounce it with the fanqie fu-jiu [fù], which is the pronunciation of Wu and Chu. Jia Kui's commentary on the Guoyu states: 'Fu means to cover; to shade.' The Shuowen states: 'It derives from cover (襾) with the sound fu.' The Western pronunciation is ya-jia [yà], deriving from 冂 (pronounced mi), representing covering above and below; it is an associative compound. The lower character has the fanqie zai-ai [zài]. Kong Anguo's commentary on the Classic of Documents states: 'Zai means to complete.' The Book of Rites says: 'Heaven has no private covering; Earth has no private carrying.' The Shuowen states: 'Zai means to ride; it derives from cart (車) with the sound [水/戈] (pronounced zāi), which derives from dagger-axe (戈) with the sound cai.' The scriptural text writes 載, which is an abbreviation of clerical script. 才 is the ancient character for cai, not water).

1.13

Latent cold and heat (潛寒暑: The upper character has the fanqie jian-yan [qián]. The Guangya states: 'Qian means to submerge; to hide.' The Erya states: 'To sink; deep.' The Shuowen states: 'To wade in water; it derives from water with the sound qian (朁).' Qian has the fanqie sound qi-gan [cǎn]. Writings with two 'heaven' (天) or two 'husband' (夫) components are erroneous abbreviations. The lower character has the fanqie han-an [hán]. The Cang Jie pian states: 'Han means cold.' The Shuowen states: 'Freezing; it derives from roof (宀), person (人), and grass (𦬇), with ice (仌) below.' Roof (宀) is pronounced mian; grass (𦬇) is pronounced mang; ice (仌) is pronounced bing. The ancient character mang has grass above and below).

1.14

Peering at heaven (窺天: [窺 has] the fanqie sound quan-gui [kuī]. The Kaosheng states: 'Kui means to look at.' The Yunquan states: 'To look secretly.' The Shuowen states: 'To look in a small manner; it derives from cave (穴) with the sound gui (規).' It is also written as 闚. Xu (覻) has the fanqie sound qing-yu [qù]).

1.15

Examining the earth (鑑地: [鑑 has] the fanqie sound jia-xian [jiàn]. The Guangya states: 'Jian means to illuminate; bright.' The Yupian states: 'A mirror.' The Shuowen states: 'A large basin; collecting clear water to reflect the moon; it derives from metal (金) with the sound jian (監).' It is also written as 鑒).

1.16

Can be verified (可徵: [徵 has] the fanqie sound zhi-ling [zhēng]. Zheng Xuan's commentary on the Rites of Zhou states: 'Zheng means to summon; clear.' The Shenglei states: 'To demand; to seek.' Du Yu's commentary on the Zuo Tradition states: 'To verify.' The Shuowen states: 'An image.' Examining matters, that which has an image that can be verified is called zheng. It derives from ren (壬) with the abbreviated sound of wei (微). Ren has the fanqie sound ti-ying [tǐng]).

1.17

Grasping tranquility (控寂: The upper character has the fanqie sound ku-gong [kòng]. The Kaosheng states: 'Kong means to hold.' The Shuowen states: 'To draw; to announce; it derives from hand (手) with the sound kong (空).' The lower character has the fanqie sound qing-yi [jì]; it is a vulgar character. The Shuowen writes 𡧯, which is the correct form).

1.18

Hairbreadths (毫氂: The upper character has the fanqie hu-gao [háo]; the lower has the fanqie li-chi [lí]. According to the Nine Chapters on the Mathematical Art: 'In the method of measurement, it begins with the hu; ten hu make a si; ten si make a hao; ten hao make a li.' The Shuowen states: 'The two characters hao and li both derive from fur (毛); hao derives from an abbreviation of hao (豪), and li derives from an abbreviation of li (斄); both are phono-semantic compound characters.' The modern writing as 豪斄 is not the original characters, but borrowed use).

1.19

Congealed mystery (凝玄: [凝 has] the fanqie sound yu-jing [níng]. Kong Anguo's commentary on the Classic of Documents states: 'Ning means to complete.' Zheng's commentary on the Rites states: 'Solid.' The Guangya states: 'To stop.' The Yunying states: 'Unmoving.' The Shuowen writes 冰: 'Water solidified; it derives from ice (冫) with the sound yi (疑).' 冫 is pronounced bing).

1.20

Wriggling (蠢蠢: [Pronounced with] the fanqie sound chun-yin [chǔn]. The Mao Commentary to the Classic of Poetry states: 'Chunchun means the movement of insects.' Guo Pu's commentary on the Erya states: 'The appearance of moving and swaying; it derives from insects (䖵) with the sound chun (春).' It is also written as 偆, or as 𧕹, or as 惷, which are all ancient characters. 䖵 is pronounced kun).

1.21

Vulgar and base (庸鄙: The upper character has the fanqie sound yong-cong [yōng]. The Kaosheng states: 'Yong means foolish.' Zheng Zhong's commentary on the Da Dai Liji quotes Confucius: 'What is called a mediocre man is one whose mouth does not speak good words, nor can he choose worthy men and good gentlemen to entrust himself to, taking them as upright; he merely follows along with things and drifts, not knowing where to return. One such as this may be called a mediocre man.' The Songs of Chu also states: 'Such a lowly person.' The Shuowen states: 'It derives from geng with the sound yong (用).' The lower character has the fanqie sound bei-mei [bǐ]. The Kaosheng states: 'Bi means a lowly person; an appellation for bad, vulgar, rustic, and unintelligent is a bifu (rustic man).' The Shuowen states: 'Five zizan make a bi; it derives from city (邑) with the sound [口/(百-日+回)] (pronounced bǐ).' Zizan has the fanqie sound zi-duan [zǎn], meaning one hundred households; altogether five hundred families make a bi).

1.22

Eastern domain [東域] (wei-bi fan [wéi]; Kaosheng: "domain [域] means state [國]." Liu Xi's commentary to Mengzi: "A dwelling place." Shuowen: "A state; composed of 'earth' [土] and 'huo' [或] phonetic").

1.23

Rescue sentient beings [拯含] (The sound of zheng [拯] has no rhyming binome, but takes the rising tone of the character zheng [蒸]. Du Yu's commentary to the Zuo zhuan: "Zheng [拯] means to aid." Yunquan: "To save." Fangyan: "To pull out from drowning." Gujin zhengzi: "Zheng [拯] means [抍]; composed of 'hand' [手] with 'cheng' [丞] phonetic." The character [抍] is pronounced sheng).

1.24

Tangled and disordered [紛糾] (First character: fu-wen fan [fén]; Guangya: "Fenfen [紛紛] means confused and disordered." Chuci: "Abundant." Shuowen: "Composed of 'silk' [糸] with 'fen' [分] phonetic." Second character: jing-you fan [jiǔ]; Du's commentary to the Zuo zhuan: "Jiu [糾] means to bring up [舉]." Shuowen: "Composed of 'silk' [糸] with [┴*├] phonetic; abbreviated in clerical script to [┴*├], pronounced jiu; 'silk' [糸] is pronounced mi").

1.25

Following the times [沿時] (First character is pronounced yuan; Kong's commentary to the Shangshu: "Going down with the current is called yan [沿]." Du's commentary to the Zuo zhuan: "Yan [沿] means to follow along [緣]." Shuowen: "To go downstream along the water; composed of 'water' [水], a pictophonetic character").

1.26

Flourishing and decline [隆替] (liu-chong fan [lóng]; Guo's commentary to the Erya: "Rising high in the center." Shuowen: "Rich and grand; composed of 'mound' [阜], a pictophonetic character." / tian-ji fan [tì], a vulgar character; Erya: "To wait for one another." Jia's commentary to the Guoyu: "Abundant." Shuowen: "Written as [普], meaning to abandon; two standing side by side with one leaning low is called ti [替], an associative compound character; now written as 替, which is a vulgar character").

1.27

Xuanzang [玄奘] (zang-lang fan [zàng], also read in the rising tone; Fangyan: "Zang [奘] means big; robust." Kaosheng: "Possessing much strength; vigorous; swift." Shuowen: "Composed of 'big' [大] with 'zhuang' [壯] phonetic").

1.28

How could one [詎能] (qu-yu fan [jù]; Yunying: "A term expressing doubt." Zhuangzi: "Ju neng [詎能] is an expression of definitive determination; a mutually defining [zhuanzhu] character").

1.29

Far transcending [迥出] (ying-ying fan [jiǒng], a rising-tone character; ancient script writes it as 冋, depicting a state's capital or towns, composed of 'mouth' [口]. Shuowen: "Outside the capital is called the suburbs [郊]; outside the suburbs is called the wilderness [野]; outside the wilderness is called the forest [林]; outside the forest is called jiong [冋]." Jiong [冋] is pronounced gui-ying fan [guǐ], depicting distant borders; it is composed of 'movement' [辵]; current vulgar forms using 向 are incorrect).

1.30

Sole throughout antiquity [隻千古] (zheng-yi fan [zhī]; Shuowen: "A single item." Guiyuan zhucan: "Single." Qunshu zhiyao: "The character zhi [隻] is composed of 'short-tailed bird' [隹], which is a bird, and 'claw' [又], which is a hand; a hand holding one bird is a single [隻], a pictographic character; in the sutra text it is sometimes written with 'again' [又], which is an error").

1.31

Lodging his thoughts [栖慮] (xian-xi fan [qī], a vulgar character; properly written as 棲. Erya: "To roost and rest; composed of 'wood' [木] with 'wife' [妻] phonetic." / lü-yu fan [lù]; Kaosheng: "To deliberate and rest upon it." Shuowen: "Composed of 'breath' [息] with 'tiger' [虍] phonetic, pronounced hu").

1.32

Deeply lamented [慨深] (kang-ai fan [kǎi]; Gu Yewang: "Sighing deeply when one's aspirations are thwarted; indignant and impassioned, sighing heavily with lamentation; sometimes written as [熂]." Shuowen: "The character shen [深] is composed of 'water' [水] and an abbreviated form of [𥥍]").

1.33

Errors and distortions [訛謬] (First character: wu-ge fan [é]; Zheng's notes to the Mao Poetry: "E [訛] means spurious." Second character: mei-jiu fan [miù]; Yunying: "Miu [謬] means mistaken." Yunquan: "Deceitful and false." Shuowen: "Composed of 'speech' [言] with 'liao' [翏] phonetic; this liao [翏] is pronounced liu-you fan").

1.34

Dissecting in detail [條析] (First character: ting-yao fan [tiáo]; Guangya: "Tiao [條] means teachings." Mao Poetry: "Branch/category." Shuowen: "Small twigs; composed of 'wood' [木] with 'you' [攸] phonetic." Second character: xing-yi fan [xī]; Guangya: "Xi [析] means to divide." Shuowen: "To split wood; composed of 'wood' [木] and 'splinter' [片]; sometimes written as 析 or [𣂔] in ancient script").

1.35

Lifting his heart [翹心] (zhi-yao fan [qiáo]; Guangya: "Qiao [翹] means to raise up." Du's commentary to the Zuo zhuan: "Qiaoqiao [翹翹] is the appearance of reaching high and far." Shuowen: "Composed of 'feather' [羽] with 'yao' [堯] phonetic").

1.36

Traveling far [遠邁] (mai-bai fan [mài]; Guangya: "Mai [邁] means to travel far; composed of 'ten thousand' [萬] and 'movement' [辵]; chuo [辵] is pronounced chou-lüe fan").

1.37

Pushing through mists and clouds [撥煙霞] (First character: bu-mo fan [bō]; Guangya: "Bo [撥] means to clear away." Zheng's commentary to the Liji: "To sweep aside." Shuowen: "To manage; composed of 'hand' [手] with 'fa' [發] phonetic." Second character: yan-xian fan [yān]; Shuowen: "Vapour of fire; composed of 'fire' [火] with 'yin' [垔] phonetic; sometimes written as 烟." Kaosheng: "Primordial breath." Yin [垔] is pronounced yin. Third character: xia-jia fan [xiá]; Yunying: "Solar vapor." Wang Yi's commentary to the Chuci: "The reddish-yellow vapor when the sun is about to rise." Kaosheng: "Red clouds at the horizon." Gujin zhengzi: "Composed of 'two' [兩] with 'jia' [叚] phonetic; sometimes written as 赮").

1.38

Treading on frost [躡霜] (nü-zhe fan [niè]; Fangyan: "Nie [躡] means to climb." Guangya: "To step on." Shuowen: "To tread; composed of 'foot' [足] with 'nie' [聶] phonetic; nie [聶] has the same sound as above").

1.39

Former footsteps [前蹤] (The first character is the vulgar form of qian [前]; Shuowen: "Preceding; standard form composed of 'stop' [止] and 'boat' [舟], written as [歬]." Shuowen: "Advancing without walking is called qian [前], standing in a boat." Cai Yong added the knife radical [刂], which means water, measuring two xun wide and two ren deep, pronounced gu-wai fan; the vulgar writing with the knife [刀] is incorrect. Second character: zu-yong fan [zōng]; Huainanzi: "When walking there are footprints [蹤]." Erya: "Tracks." Shuowen: "Ruts of a chariot; composed of 'foot' [足] with [從] phonetic").

1.40

Inquiring and seeking [詢求] (sun-zun fan [xún]; Zuo zhuan: "Consulting one's intimates is called xun [詢]." Yunquan: "To inquire into affairs." Erya: "To trust." Gujin zhengzi: "Composed of 'speech' [言] with 'xun' [旬] phonetic").

1.41

Consuming the wind [飡風] (cang-dan fan [cān], a vulgar character; Shuowen: "To swallow; to eat; the standard form is composed of [𣦼] and 'food' [食], written as 餐; [𣦼] is pronounced can").

1.42

Deer Park [鹿苑] (First character: le-mu fan [lù]; second character: yuan-yuan fan [yuàn]; Xiyu ji: "The name of a park in the country of Vārāṇasī, also called Mṛgadāva, or the Forest of Bestowed Deer; the older translations render the country as Boluonai, which is where the Tathāgata first turned the wheel of Dharma").

1.43

Vulture Peak [鷲峯] (First character pronounced jiu [jiù]; a mountain in the Western regions. This mountain is high and precipitous, inhabited by vultures; it is also called Holy Vulture Mountain [靈鷲山] or Vulture Ridge [鷲嶺], which are different names for the same mountain. The Tathāgata turned the wheel of Dharma many times upon this mountain; it is a sacred site in Central India).

1.44

Probing the depths [探賾] (First character: ta-han fan [tàn], a variant vulgar character; ancient script wrote it with [𥥍] as [𢲘]; [𥥍] is pronounced tu-gan fan; Kong's commentary to the Shangshu: "Tan [探] means to take." Shuowen: "To take from afar; composed of 'hand' [手] with 'shen' [罙] phonetic." Second character: chai-ge fan [zé]; Yunquan: "Profoundly deep." Guiyuan zhucan: "Mysterious and subtle." Gujin zhengzi: "Composed of [𦣞], pronounced yi; the character ze [賾] is properly composed of 'thorn' [朿], pronounced ci, written as [𧵩]").

1.45

Galloping swiftly [馳驟] (First character: zhi-li fan [chí], a vulgar character; originally written as [駝], a pictophonetic character; ta [它] is pronounced yi; Kaosheng: "Chi [馳] means to gallop." Guangya: "To rush." Shuowen: "To drive swiftly; composed of 'horse' [馬] with 'ta' [它] phonetic." Second character: chou-shou fan [zhòu]; Jia's commentary to the Guoyu: "Zhou [驟] means swift." Guangya: "Also means to rush." Shuowen: "The fast gait of a horse; composed of 'horse' [馬] with 'ju' [聚] phonetic").

1.46

Three baskets [三篋] (qian-jia fan [qiè]; Liji: "A qie [篋] is a chest for containing articles." A qie is a vessel for containing sutras, books, and clothing. Gujin zhengzi: "A round or square bamboo basket; composed of 'bamboo' [竹] with 'qie' [匧] phonetic." Shuowen: "The character qie [匧] is composed of 'square' [方] with 'jia' [夾] phonetic").

1.47

Surging waves [波濤] (tang-lao fan [táo]; Xu Shuzhong's commentary to the Huainanzi: "Tidal waters that surge up and shift are called tao [濤]." Cang Jie pian: "Huge waves." Gujin zhengzi: "Composed of 'water' [水] with an abbreviated 'shou' [壽] phonetic").

1.48

From [爰自] (yuan-quan fan [yuán]; Kaosheng: "Yuan [爰] means 'at' [于]." Erya: "It means 'to say' [曰]." Notes to the Mao Poetry: "It means 'to be' [為] or 'at' [于]." Shuowen: "To draw along; composed of [𠬪] with 'yu' [于] phonetic; [𠬪] is pronounced pi-biao fan").

1.49

Eastern border [東陲] (shu-wei fan [chuí]; Yunquan: "Chui [陲] means precarious [危]." Guangya: "Border." In the stele inscription of Hongfu Monastery, it is written as 垂, an abbreviation; composed of 'mound' [阜] with 'chui' [垂] phonetic).

1.50

Deficient [𡙇而] (quan-yue fan [quē]; Cang Jie pian: "Deficient [虧]." Shuowen: "A broken vessel; composed of 'chui' [垂] and 'guai' [夬]; also written with [午/止] as 缺, meaning the same").

1.51

Together arriving [同臻] (ce-jin fan [zhēn]; ancient script writes it as [臸]. Dictionaries: "Zhen [臻] means to arrive; in the falling tone, it means to gather." Shuowen: "Composed of 'arrive' [至] with 'qin' [秦] phonetic").

1.52

Teachings fall into decline [業墜] (First character: yan-jie fan [yè]; Erya: "Ye [業] means undertaking [事]." Guoyu: "Arrangement; great." Shuowen: "Composed of [業-木+十] and 'cloth' [巾]; in current clerical script it is written with 'wood' [木], a modified form; [業-木+十] is pronounced chu-xue fan." Second character: chu-lei fan [zhuì]; Erya: "Zhui [墜] means to fall." Guangya: "To lose." Shuowen: "Written as [隊], meaning to fall from a height; composed of 'mound' [阜] with [隊-(阿-可)] phonetic; sometimes written with 'stone' as [䃍]").

1.53

Cinnamon tree grows [桂生] (gui-hui fan [guì]; Shanhai jing: "Mount Zhaoyao has many cinnamon trees." Guo Pu: "Cinnamon leaves resemble loquat leaves, more than a foot long, pungent in flavor, with white flowers." Bencao: "There are two kinds of cinnamon: jun-gui and mu-gui; both are produced in Jiaozhou, Guangzhou, and the mountains of Guilin." Shuowen: "A fragrant tree of Jiangnan, foremost among the hundred medicines; composed of 'wood' [木] with 'gui' [圭] phonetic; jun [菌] is pronounced jun, mu [牡] is pronounced mu").

1.54

Dripping glistening dew [泫其] (xuan-juan fan [xuàn]; Yunquan: "The glistening light of dew on grass." Kaosheng: "Yuanxuan [囦泫] is the appearance of water." Shuowen: "To flow; composed of 'water' [水] with 'xuan' [玄] phonetic; also pronounced xuan; yuan [囦] is pronounced yuan").

1.55

Plants and trees [卉木] (hui-gui fan [huì]; Shuowen: "The general term for grasses; composed of 'sprout' [屮] and 'grass' [草]; now written with thirty [三十] as 卉, which is erroneous; che [屮] is pronounced chou-lie fan").

1.56

Jade batons [珪璋] (First character: gui-hui fan [guī]; Shuowen: "A jade token of auspicious authority, round at the top and square at the bottom, held by dukes, marquises, and earls; composed of doubled 'earth' [土]." Zitong: "According to the Yin rites, enfeoffed lords had three ranks: dukes, marquises, and earls all had doubled earth [territory], hence they held the gui [珪]; viscounts and barons had no doubled earth, hence had no gui; it is an ancient character." Second character: zhi-yang fan [zhāng]; Shuowen: "Half a gui is a zhang; composed of 'jade' [玉] with 'zhang' [章] phonetic; hui [畦] is pronounced hui-gui fan").

1.57

Brushes and ink [翰墨] (han-an fan [hàn]; Shangshu datuan: "Han [翰] refers to the long plumes of birds and beasts, which are taken to make writing brushes; hence skilled writing is called 'brush and quill' [筆翰]." Shuowen: "Plumes of the pheasant [天雞]; composed of 'feather' [羽] with 'gan' [倝] phonetic; gan [倝] is pronounced gan-an fan." Second character: mu-bei fan [mò]; Kaosheng: "Black." Shuowen: "Calligraphic ink; composed of 'earth' [土] with 'black' [黑] phonetic").

1.58

Exalting tiles and gravel [摽瓦礫] (First character: bi-yao fan [biāo]; Kaosheng: "Biao [摽] means to elevate a person." Shuowen: "To strike; composed of 'hand' [手] with 'piao' [票] phonetic; sometimes written as [票*支]." Second character: li-de fan [lì]; Kaosheng: "Coarse gravel." Shuowen: "Composed of 'stone' [石] with an abbreviated 'yue' [樂] phonetic").

1.59

Undeservedly receiving [謬承] (shi-reng fan [chéng]; Shuowen: "To receive; composed of 'hand' [手] with 'cheng' [氶] phonetic").

1.60

Praise and eulogy [襃讚] (First character: bu-mao fan [bāo]; Gu Yewang: "Bao [褒] means to extol and praise beauty." Shuowen: "The broad hem of a garment; composed of 'clothing' [衣] with [印-ㄗ+呆] phonetic; [印-ㄗ+呆] is pronounced bao. Second character: zang-san fan [zàn]; Shiming: "Extolling human excellence is called zan [讚]." Gujin zhengzi: "A eulogy [讚頌] is that by which the nature of things is explained; composed of 'speech' [言] with 'zan' [贊] phonetic").

1.61

Examining oneself [循躬] (First character: sui-yun fan [xún]; Erya: "Xun [循] means oneself." Kaosheng: "To follow; to accord with." Shuowen: "To pace along; composed of 'step' [彳] with 'dun' [盾] phonetic; in the sutra it is written as 循, which is erroneous." Second character: jiang-long fan [gōng]; Shuowen: "The physical body; properly written with [呂] as [躳], composed of 'body' [身] with 'gong' [弓] phonetic").

1.62

Preface to the Tripiṭaka Composed by Emperor Gaozong while in the Eastern Palace (namely Emperor Da [即大帝也])

1.63

Venerating and elucidating [崇闡] (First character: chuang-long fan [chóng]; Zheng's notes to the Mao Poetry: "Chong [崇] means sequence/rank." Jia's commentary to the Guoyu: "To respect." Zheng's commentary to the Liji: "To honor." Shuowen: "Lofty; composed of 'mountain' [山] with 'zong' [宗] phonetic; sometimes written as [崈]." Second character: chang-yan fan [chǎn]; Han Kangbo's commentary to the Xici: "Chan [闡] means to make clear." Guangya: "To open up." Shenglei: "To open wide." Shuowen: "Composed of 'gate' [門] with 'dan' [單] phonetic").

1.64

Tracks and footsteps [軌䠱] (First character: ju-wei fan [guǐ]; Jia Kui's commentary to the Guoyu: "Gui [軌] means model/law." Guangya: "Tracks." Shuowen: "Ruts of a chariot; composed of 'chariot' [車] with an abbreviated 'gui' [宄] phonetic; gui [宄] is pronounced gui. Second character: zhong-lü fan [zhú]; Hanshu yinyi: "Zhu [䠱] means tracks." Shuowen: "Stamping and pacing; composed of 'foot' [足] with 'shu' [屬] phonetic; sometimes written in abbreviated form as [躅]").

1.65

Integrating and synthesizing [綜括] (zong-song fan [zòng]; Guiyuan zhucan: "An apparatus on a loom; arranging warp threads so that they do not tangle is called zong [綜]." Shuowen: "Loom threads; composed of 'silk' [糸] with 'zong' [宗] phonetic." / huan-huo fan [kuò]; Han Kangbo's commentary to the Yijing: "Kuo [括] means to tie up." Han Poetry: "To bundle." Kaosheng: "To restrain." Shuowen: "Clean; composed of 'hand' [手] with 'she' [舌] phonetic").

1.66

Grand and far-reaching [宏遠] (huo-meng fan [hóng]; Erya: "Hong [宏] means great." Zheng's commentary to the Liji: "Spacious." Shuowen: "Echo in a deep hall; composed of 'roof' [宀] with 'gong' [厷] phonetic; mian [宀] is pronounced mian, gong [厷] is pronounced guo-hong fan").

1.67

Mystic portal [祕扃] (bei-mei fan [mì]; Zheng's notes to the Mao Poetry: "Mi [祕] means divine." Guangya: "Laborious." Yunying: "Secret." Shuowen: "Composed of 'altar/sign' [示] with 'bi' [必] phonetic; shi [示] is pronounced qi. / gui-ying fan [jiōng]; Gu Yewang: "An iron bar on a doorleaf used from the outside to bar and lock a door or gate." Shuowen: "An outer door-bolt; composed of 'door' [戶] with 'jiong' [冋] phonetic; in the sutra it is erroneously written with [向] as 扃").

1.68

Remote antiquity [遂古] (sui-lei fan [suì]; Zheng's notes to the Mao Poetry: "Sui [遂] means long ago." Guoyu: "To trust; to follow." Guangya: "To go." Shuowen: "To perish; an associative compound character composed of 'movement' [辵] with [隊-(阿-可)] phonetic; [隊-(阿-可)] has the same pronunciation").

1.69

Clearing the skies [排空] (bai-mai fan [pái]; Gu Yewang: "Pai [排] means to push against." Guangya: "To push." Shuowen: "To thrust out; composed of 'hand' [手] with 'fei' [非] phonetic").

1.70

Black-haired commoners [黔黎] (jian-lian fan [qián]; Zheng's commentary to the Liji: "Qianshou [黔首] means the myriad common people." Shiji: "In the twenty-sixth year of the First Emperor of Qin, the myriad commoners were renamed 'black-heads' [黔首]." Shuowen: "Composed of 'black' [黑] with 'jin' [今] phonetic." / li-ti fan [lí]; Kong's commentary to the Shangshu: "Li [黎] means the multitude").

1.71

Adjusting the lapels [斂衽] (First character: lian-jian fan [liǎn]; Erya: "Lian [斂] means to gather." Kaosheng: "To record." Shuowen: "To collect; composed of 'script' [文] with 'qian' [僉] phonetic." Second character: ren-you fan [rèn]; Shuowen: "The lapel of a robe; composed of 'clothing' [衣] with 'ren' [壬] phonetic").

1.72

Kun-chong (insects) (the first character is gu-hun fan; it is a phonetic loan character, the orthodox form is written as 䖵, and the Shenglei writes it as 蜫; Zheng's commentary on the Liji says: "Kun means bright; those described as bright insects are born in yang and hide in yin"; the Xia xiaozheng says: "Kun means numerous; small insects"; the Shuowen says: "A general term; derived from two 虫"; the second character is zhu-rong fan; the Erya says: "Those with feet are called chong (insects); those without feet are called zhi (crawling insects)"; the Shuowen says: "Derived from three 虫; vulgarly written as 虫"; zhi is pronounced chi-li fan).

1.73

Anouda (nu-lu fan; the correct Sanskrit pronunciation is Anavatapta; in the Tang language it is called "Lake Without Torment" [Wurenaochi]. This lake is located north of the five Indias, north of the Great Snowy Mountains [Himālaya] and south of the Fragrant Mountains [Gandhamādana]; between the two mountains lies this dragon lake. Upon careful examination of the Qishi yinben jing and the Lishi apitan lun, both state that north of the Great Snowy Mountains there is this great lake, measuring fifty yojanas in length and breadth, amounting to one thousand five hundred li square. From the four sides of the lake flow four great rivers, all swirling around the lake once before emptying into the four seas. The one flowing from the eastern face is named the Śītā River, anciently translated as the Sidao River; the one from the southern face is named the Gaṅgā River, anciently named the Heng River; the one from the western face is named the Sindhu River, anciently named the Xindou River; the one flowing out to the north is named the Vakṣu River, anciently named the Boxa River. The Yellow River of this land is the lower reaches of the Śītā River on the eastern face. What is called "Without Torment" in this land is an epithet for the dragon king's meritorious virtues; all dragons suffer the torment of hot sand and the like, but the dragon king of this lake alone is free from this suffering, hence it is named after it).

1.74

Shendian (ting-xian fan; Zheng Xuan's commentary on the Zhouli says: "Dian is like tian (field); it is the field cultivated to serve the Son of Heaven"; Kong's commentary on the Shangshu says: "The territory within a square of one thousand li is called the dianfu, extending five hundred li on each of the four sides of the royal city"; what is nowadays called jidian [capital domain] is precisely this; ji is pronounced qi).

1.75

Qishejueshan (the first character is pronounced qi, the second is da-lü fan; the correct Sanskrit pronunciation is Hṛdayakuṭa [Gṛdhrakūṭa]; in the Tang language it is called Mount Vulture Peak [Jiufengshan], which has already been explained in the preceding text).

1.76

Songhua (the first character is xiang-rong fan, the second is huo-ma fan; these are Mount Songgao and Mount Taihua of this land; the orthodox form of the character 華 is composed of 山 above and 𠌯 below, and is used here as a phonetic loan).

1.77

Kencheng (kang-hen fan; the Guangya says: "Ken means trustworthy; sincere"; the Jixun says: "Fine"; derived from 心 with 貇 as phonetic; 貇 has the same sound as above).

1.78

Tiaochen (the first character is ting-yao fan; it is a popular character, the orthodox form is written as 髫 with 髟; the Picang says: "Tiao means child's bangs"; the Kaosheng says: "When a young child's hair is shaved, leaving the natal hair on both sides, it is called tiao; derived from 髟 with 召 as phonetic"; the second character is chu-jin fan; the Shuowen says: "Losing baby teeth; in boys, teeth grow at eight months and are shed at eight years; in girls, teeth grow at seven months and are shed at seven years; derived from 齒 with 匕 as phonetic"; the scripture incorrectly writes it with 乙; mao is pronounced mao; 髟 is pronounced bi-yao fan; ti is pronounced tian-ji fan).

1.79

Jiawei (a Sanskrit term; the ancient translation was an erroneous abbreviation; the correct Sanskrit pronunciation is the city of Kapilavastu, the place where the Buddha descended to be born).

1.80

Jiuzhi (shi-li fan; Du's commentary on the Zuozhuan says: "Zhi means to grow"; the Cangjie pian says: "To rest"; the Kaosheng says: "To establish; derived from 木 with 直 as phonetic").

1.81

Zuyue (the first character is jiang-yu fan; it is a popular character, the orthodox form is written as 𧾷 from 口 and 止; Du's commentary on the Zuozhuan says: "Zu means to complete"; the Yunying says: "To increase"; it is also a phonetic loan character; the second character is wu-jiao fan; the Guangya says: "Yue means hard (que)"; the Baihu tong says: "Que means shared meritorious virtue"; it is also written as 𡽺; the scripture writes 岳, which is an ancient character; que is pronounced ku-jiao fan).

1.82

Mahāprajñāpāramitā-sūtra, Fascicle One (translated by Dharma Master Xuanzang under imperial decree)

1.83

Initial Section, Chapter on the Nidāna, Part One (explaining the original Sanskrit of the scripture's title)

1.84

Ban (pronounced bo; the original Sanskrit pronunciation is pra; taking the character luo in the rising tone together with a rolled tongue gives it; the conjunct consonant [erhe] takes half the sound of each of the two characters and combines them into one sound; the ancient rendering ban is an erroneous abbreviation); re (er-zhe fan; the correct Sanskrit pronunciation is jñā; zhi is pronounced ji-yi fan, and niang takes the rising tone; the two characters combine into one sound; the ancient rendering re is an abbreviation); bo (the correct Sanskrit pronunciation should be pā; bo-ge fan, with an elongated sound); luo (the correct Sanskrit pronunciation should be ra; as above, taking the rising tone of luo and rolling the tongue to pronounce it); miduo (the correct pronunciation is mita; mi is pronounced mi-yi fan). Fully spoken, it should be mahā-prajñā-pāramitā. In Sanskrit, mahā (in the Tang language, "great"), prajñā (in the Tang language, "wisdom" [hui], also called "insight" [zhihu], or "correct discerning knowledge" [zhengliaozhi]; Yijing gives this interpretation), pā-

1.85

-ramitā (in the Tang language, "having reached the other shore"; now rearranged in syntax as "reaching the other shore" [daobiyan]. Although the above represents the original and correct Sanskrit, the abbreviated pronunciation is already widespread and difficult to rectify. Since "Boreboluomiduo" has circulated in the world for a long time and is heard by both the foolish and the wise, what is discussed here is done for the purpose of compiling sound-glosses for the scripture, explaining its characters, and interpreting the Sanskrit; hence it cannot but be fully stated. It is solely intended to broaden the learning and insight of students, and certainly not to alter the scriptural text. In subsequent scriptures, where correct Sanskrit and debates over character correctness occur, all follow this precedent; choosing between the contemporary and the ancient is left to the reader's discretion).

1.86

Bojiafan (Sanskrit of the five Indias. The Da zhidu lun says: "The Tathāgata's revered title has immeasurable names; briefly speaking, there are six kinds, and Bhagavān is the comprehensive title. Its meaning is the beauty of all virtues and the utmost of reverence." The ancient translation was "World-Honoured One" [Shizun], because he is revered by both the mundane and supramundane worlds. A verse in the Fodi lun says:)

1.87

"Sovereign, flourishing, and dignified, / Renowned, auspicious, and noble; / These six distinctions of meaning / Should be known as the general title Bhagavān."

1.88

(Because this term encompasses multiple meanings, the translators of the scriptures retained the Sanskrit word; subsequent Sanskrit words and dhāraṇī phrases should be understood in accordance with this).

1.89

Zhongdan (the first character is zhu-yong fan, in the rising tone; the second is dan-lan fan; the Guangya says: "Dan means to bear on the back; to carry goods with a pole"; the Shuowen says: "To lift; derived from 手 with 詹 as phonetic"; the scripture sometimes has it with 木 as 檐, which is erroneous).

1.90

Dengwei (the Shuowen says: "The character deng is derived from 竹 and 寺"; the second character is rong-wei fan; the character wei has 爪 on top; the scripture writes 为, which is an erroneous abbreviation).

1.91

Cuimie (the first character is zang-lei fan; Gu Yewang says: "Cui means to break"; the Kaosheng says: "To chop"; the Shuowen says: "To push over; ji is pronounced jing-li fan; derived from 手 with 崔 as phonetic"; the second character is mi-jie fan; Wang Yi's commentary on the Chuci says: "Mie means to eliminate"; the Yupian says: "To perish"; the Shuowen says: "To exhaust; derived from 水 with 烕 as phonetic; the character 烕 is derived from 戌 and 火").

1.92

Xiyi (the first character is xu-ji fan; the Zitong says: "Xi means harmonious"; the Kaosheng says: "Fine; derived from 灬 with 𦣝 as phonetic; 𦣝 is pronounced the same as above; 灬 is pronounced bi-yao fan"; the second character is yi-zhi fan; the Kaosheng says: "Yi means joyful and happy"; the Shuowen says: "Harmonious; derived from 心 with 台 as phonetic; 台 was originally the ancient character for 以").

1.93

Pinqi (the first character is pi-yin fan, the second is jiu-yu fan; the Wenzi jilüe says: "Pin means knitting the brows"; Gu Yewang says: "Pinqi is an appearance of grief, anxiety, and unhappiness"; the Kaosheng says: "Qi means shamefaced and bashful"; the Shuowen says: "Fording water, one knits the brows [pinqi]"; the ancient script wrote 顰, and also 𧭹; it is now abbreviated; the second character qi is also sometimes written as 蹙; the ancient script wrote 𦞠; the scripture writes 蹙, which is not the original character, and glosses it as exhausted, pressed, guilty, or urgent, which is not the meaning in the scripture).

1.94

Gua'ai (the first character is hua-gua fan, the second is wo-gai fan; the Shuowen says: "Ensnared and obstructed; derived from 冈 with an abbreviated 圭 as phonetic; ai means stopped, derived from 石 with 疑 as phonetic").

1.95

She'e (the second character is yu-ge fan; it is a popular character, the orthodox form is written as 軛, derived from 車, 戶, and 乙; Zheng Zhong's commentary on the Kaogongji says: "The wooden yoke at the end of the shaft pressing down on the ox's neck").

1.96

Nishitan (a Sanskrit abbreviation; the correct and complete Sanskrit pronunciation should be niṣīdana; translated in the Tang as "spreading implement", which is the sitting mat of today; 𩕳 is pronounced ning-ding fan).

1.97

Liangfu (two insteps) (fu-wu fan; a popular character, the orthodox form is written as 跗; Zheng's commentary on the Yili says: "The top of the foot"; in the scripture it is sometimes written as 𧿤, which is unclear).

1.98

Lianggen (two heels) (gang-en fan; the Zitong says: "The rear of the foot is called gen"; the Shuowen says: "The heel of the foot; derived from 足 with an abbreviated 根 as phonetic"; zhong is pronounced zhong).

1.99

Sihuai (four ankles) (hua-wa fan; the Cangjie pian says: "The raised parts on the sides of the feet"; the Shenglei says: "The bones attached to the outside of the foot; inside and outside make four ankles"; the Shuowen says: "Foot ankle; derived from 足 with an abbreviated 稞 as phonetic"; ke has the same sound as above).

1.100

Liangjing (two shins) (xing-ding fan; the Yupian says: "Jing is the large bone in front of the calf of the leg"; the Shuowen says: "The lower leg [heng]; heng is pronounced xing; derived from 肉 with an abbreviated 逕 as phonetic"; fei is pronounced fei).

1.101

Liangshuan (two calves) (chuan-ruan; the Wenzi jilüe says: "The belly of the shin"; the Shuowen says: "The calf of the leg"; it is also written in four forms: 𨄔, 踹, and 膞, all identical; here it is written with 肉; chuan is pronounced chuan).

1.102

Liangxi (two knees) (gu-yi fan; the Yupian says: "The top of the shin"; the Shuowen says: "The bone joint at the top of the shin; the orthodox form is written as 䣛 from 卪"; 卪 is pronounced jie, and 桼 is pronounced qi; the scripture writes 膝 with 肉, which is the character in contemporary use).

1.103

Liangka (two thighs) (pi-mi fan; the Kaosheng says: "Ka means thigh"; the Shuowen says: "The orthodox form is written as 脾 with 骨; pi is the outside of the thigh, with 卑 as phonetic"; it is also written as 䠋, which is an ancient character; the current scripture writes 䏶 with 月, which is incorrect; originally there was no such character).

1.104

Yaoxie (waist and ribs) (xiang-ye fan; also written as 脇, which is identical; the Shuowen says: "The two sides of the belly; derived from 肉 with 劦 as phonetic; xie is pronounced ye, derived from three 力"; the scripture writes 脅 with three 刀, which is incorrect).

1.105

Qizhong (middle of the navel) (qing-xi fan; the character dictionary says: "What is in the middle of the abdomen is called qi"; the Shuowen says: "Piqi; derived from 肉 with 齊 as phonetic"; it is also written with 肉 underneath, which is identical; pi is pronounced pi).

1.106

Xiongyi (chest and breast) (the first character is xiang-yong fan; the Shuowen says: "Xiong means ying [breast]"; examining this, ying is precisely yi; it is also written as 匈; the second character is ying-li fan; the Shuowen says: "Yi is also the chest bone; derived from 肉 with an abbreviated 億 as phonetic"; the scripture writes it with 月, which is erroneous).

1.107

Liangye (two armpits) (ying-yi fan, also po-yi fan, both acceptable; the Picang says: "Located behind the elbow"; the Gujin zhengzi says: "Ye is the armpit [ge]; derived from 肉 with an abbreviated 液 as phonetic"; ge is pronounced ge).

1.108

Liangbo (two shoulders) (bang-mo fan; the Zilin says: "Bo means shoulder blade"; the Shuowen says: "The shoulder blade; derived from 骨 with an abbreviated 博 as phonetic"; the scripture mostly writes 膊 with 月, which is incorrect; it is pronounced pu-bo fan; Guo Pu says: "Flensing the five visceras of cattle and sheep is called bo", which is not the meaning in the scripture; pi is pronounced bei, purely composed of 甫 and 寸).

1.109

Liangzhou (two elbows) (zhang-liu fan; the Shuowen says: "The joint of the arm; derived from 肉 and 寸"; also written as 杻 or 䏔, both being ancient characters).

1.110

Liangbi (two arms) (bei-mei fan; the Shuowen says: "The upper part of the hand; that is, what is behind the palm and before the elbow is called the arm; derived from 肉 with 辟 as phonetic").

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一切經音義 — 慧琳, Classical Chinese