[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) › [出三藏記集](https://indike.org/pramana/in.bauddha.taisho.2145) › 10.36 # 出三藏記集 10.36 出三藏記集 10.36 - **Language:** Classical Chinese ### [10.36](https://indike.org/pramana/in.bauddha.taisho.2145.10.36) 阿毘曇心者。三藏之要頌。詠歌之微言。管統眾經領其宗會。故作者以心為名焉。有出家開士。字曰法勝。淵識遠覽極深研機。龍潛赤澤獨有其明。其人以為阿毘曇經。源流廣大難卒尋究。非贍智宏才。莫能畢綜。是以探其幽致別撰斯部。始自界品訖于問論。凡二百五十偈。以為要解。號之曰心。其頌聲也。擬象天樂若雲籥自發。儀形群品觸物有寄。若乃一吟一詠。狀鳥步獸行也。一弄一引。類乎物情也。情與類遷。則聲隨九變而成歌氣與數合。則音協律呂而俱作。拊之金石。則百獸率舞。奏之管絃。則人神同感。斯乃窮音聲之妙會。極自然之眾趣。不可勝言者矣。又其為經標偈以立本。述本以廣義。先弘內以明外。譬由根而尋條。可謂美發於中暢於四枝者也。發中之道要有三焉。一謂顯法相以明本。二謂定己性於自然。三謂心法之生必俱遊而同感。俱遊必同於感。則照數會之相因。己性定於自然。則達至當之有極。法相顯於真境。則知迷情之可反。心本明於三觀。則覩玄路之可遊。然後練神達思水鏡六府。洗心淨慧擬跡聖門。尋相因之數。即有以悟無。推至當之極。動而入微矣。罽賓沙門僧伽提婆。少翫茲文味之彌久。兼宗匠本正關入神要其人情悟所參。亦已涉其津矣。會遇來遊。因請令譯。提婆乃手執胡本口宣晉言。臨文誡懼一章三復。遠亦實而重之。敬慎無違。然方言殊韻難以曲盡。儻或失當俟之來賢。幸諸明哲正其大謬晉太元十六年出。 > The Abhidharma-hṛdaya contains the essential verses of the tripiṭaka, the subtle words of chant and song. It brings together all scriptures and commands their essential assembly; therefore the author took "Heart" (Hṛdaya) as its title. There was a renunciant mahāsattva named Dharmaśrī. With profound knowledge and far-reaching vision, he investigated the deepest subtleties; like a dragon submerged in the red marshes, his brilliance was solitary and unique. That master considered the Abhidharma scripture's sources and currents to be so vast that they could hardly be explored all at once; without abundant wisdom and broad talent, none could integrate it entirely. Therefore, having probed its profound depths, he separately compiled this work, beginning with the Chapter on the Dhātus and ending with the Inquiries and Treatises, totaling 250 verses, making it an essential commentary and titling it "The Heart". Its versified sounds imitate the likeness of heavenly music, as if clouds and flutes sounded of themselves; its demeanor embodies all categories of phenomena, attaching to things wherever it touches. When chanted or recited, it depicts the steps of birds and the movements of beasts; when struck or drawn out, it resembles worldly sentiments. As sentiment shifts with kinds, the voice follows nine variations to become a song; as breath harmonizes with numerical patterns, the tones concord with the pitches and rise together. Striking metal and stone to it, the hundred beasts lead each other in dance; playing it on winds and strings, humans and spirits are moved alike. This indeed exhausts the wondrous meeting of sounds and reaches the peak of nature's varied impulses, beyond what words can convey. Furthermore, as a scripture, it presents verses to establish the root, and elaborates the root to expand the meaning. It first promotes the internal to clarify the external, like tracing branches from their roots; it can truly be called beauty bursting forth from the centre and smoothly flowing to the four limbs. The essential way of bursting from the centre consists of three points: first, revealing the marks of dharmas to clarify the root; second, fixing one's own nature in spontaneity; third, recognizing that the arising of mental dharmas must occur together and respond alike. Occurring together, they necessarily respond alike; thus one illuminates the mutual dependence of the assembly of conditions. With one's own nature fixed in spontaneity, one penetrates the limits of ultimate fitness. With the marks of dharmas revealed in the true realm, one knows that straying passions can be reversed. When the root of mind is clarified in the three contemplations, one perceives the mysterious path that can be traversed. Thereafter, refining the spirit and mastering contemplation, one mirrors the six faculties like clear water; washing the mind and purifying wisdom, one patterns one's steps on the gate of the sages. Tracing the numbers of mutual conditioning, one uses existence to awaken to non-existence; pushing to the limit of ultimate fitness, one moves into the subtle. The śramaṇa Saṅghadeva from Kapiśa enjoyed this text in his youth and savoured it for a long time; moreover, having patterned himself on authentic models, his insights touched upon the spiritual essentials, and his understanding had already traversed its ferry. Happening to arrive on his travels, we consequently requested him to translate it. Saṅghadeva then held the Hu text in hand and proclaimed the Jin words orally. Facing the text with care and fear, he repeated each section thrice. I, Yuan, also respected and valued it, being reverent and cautious without error. However, regional dialects have different rhythms, and it is difficult to exhaustively convey them all; should there be any inaccuracies, we await future worthies, and hope all enlightened masters will correct its major errors. Translated in the sixteenth year of Taiyuan of the Jin dynasty. > — English (machine translation) (machine translation) - [Previous: 10.35](https://indike.org/pramana/in.bauddha.taisho.2145.10.35) - [Next: 10.37](https://indike.org/pramana/in.bauddha.taisho.2145.10.37) - [Up: 10](https://indike.org/pramana/in.bauddha.taisho.2145.10) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.2145~en-mt.10.36) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.2145.10.36](https://indike.org/pramana/in.bauddha.taisho.2145.10.36) · Pramāṇa