大唐內典錄 5.15.6

5.15.6

於佛僧紀述蓋寡。乃撰三寶履歷帝年。始
自周莊魯莊至於開皇末歲。首列甲子傍
列眾經。翻譯時代附見綸綜。今所集錄據
而本之。至於入藏瓦玉相謬。得在繁富失
在覈通非無憑准未可偏削。
眾經法式十卷
右一部。開皇十五年。文帝勅令有司撰。初
即依位辯而出之。奏聞在內。隋祖敬重教
法無時可忘。所以自始登極終及大行。每
日臨朝。於御床前。置列高座二所。一置經
師令轉大乘。二置大德三人通三藏者。帝
目覽萬機耳聆聲教。纔有喜怒經師潛默。
帝曰。師何默耶。僧曰。見陛下責人不敢轉
讀。帝曰。但讀。此臨御億兆喜怒尋常。不足
致怪。乃是俗事何關佛法。樂聞佛言不敢
違背。意願常聞耳。於經有疑隨藏問決。致
有約文法式統明三學。條列有序聞于時俗。
東都起世經十卷
緣生經二卷
藥師如來本願經
攝大乘論釋十卷
菩提資糧論六卷
金剛般若論二卷
緣生論
大方等善住意天子所問經四卷
大方等大集菩薩念佛三昧經十卷
右前經論四十六卷。北天竺烏場國三藏
達摩崛多。隋言法藏。不達鄉國來儀帝京。
開皇仁壽並參傳譯。于時崛多控權令望
居最。傳度梵隋時惟稱美。至於深義莫不
反啟。斯人而容範滔然無涉世路。所以傳
譯聲望抑己揚人。仁壽之末。崛多以緣他
事流擯東越。笈多乘機專掌傳譯。大業三
年東都伊始。煬帝於洛水南汭天津橋左
置上林園立翻經館。遂移京師舊侶於新
邑翻經。笈多相從羈縻而已。余以大業十
年躬至其館。時琮師已往則上猶存。落漠
風猷綴旒誰賞。尋爾離亂宗師殄絕。悲哉。
福田論
僧官論
西域志十卷
右諸論。並沙門釋彥琮所撰。琮名顯兩代
參譯二朝。東都立館掌錄經典。煬帝著令
僧拜俗官。琮不忍此著論陳列。前引東晉
慧遠沙門不敬王者。後解維摩法華權宜
非是化體。廣陳出處之迹。嚴陵周黨之徒。
高竪三寶之儀。崇尚歸敬之本。文極該贍
衢路顯然。近者龍朔之元下詔令尋此議。
京官太半互有異同。余以論示毀謗攸息
錄狀聞奏。下勅罷之。
翻經法式論（一部十卷）
諸寺碑銘三卷
右件論文。翻經沙門釋明則所撰。則本冀
人。生知挺秀。文彩之盛聞于鄉曲。初未
之齒也。及製覺觀寺碑。楚公揚素見而重
之。追入京室預參傳譯。述作銘頌論序等。
備于別集。
序內法一卷
內訓一卷
右翻經沙門行矩所撰。矩即彥琮之猶
子也。然以家風梵學故之此任。後召翻
經。不久終世。不成其器云。

chronicles concerning the Buddha and the saṅgha were quite few, he then compiled the chronology of the Three Jewels alongside the reigns of emperors, starting from King Zhuang of Zhou and Duke Zhuang of Lu down to the final years of the Kaihuang era. At the top he listed the sexagenary cyclical years, and alongside he listed the various scriptures, appending an integrated overview of the eras of translation. What is now collected in this catalogue is based on and founded upon it. As for canonical entry, where tile and jade are confounded, its merit lies in its rich abundance, while its flaw lies in critical exactness; yet it is not without evidential basis and cannot be dismissed out of hand.

*Rules and Models for the Scriptures* (*Zhongjing fashi*), ten fascicles.
The above one work: in the fifteenth year of the Kaihuang era, Emperor Wen ordered the relevant officials to compile it. At first, they distinguished and produced it according to categories, and submitted it to the palace. The Sui founder revered the Dharma teachings, never forgetting them for a moment. Hence, from his initial accession to his demise, whenever he held court each day, he had two high seats set up before the imperial couch: one for a sūtra master, whom he ordered to recite the Mahāyāna, and the other for three elder monks versed in the Tripiṭaka. With his eyes the Emperor oversaw myriad affairs of state, while with his ears he listened to the voice of the teachings. The moment he showed pleasure or anger, the sūtra master fell silent. The Emperor said: 'Why is the master silent?' The monk replied: 'Seeing Your Majesty reprimand people, I did not dare chant.' The Emperor said: 'Just keep chanting! For one ruling over hundreds of millions, pleasure and anger are ordinary occurrences, nothing to wonder at. These are mundane affairs, what have they to do with the Buddha-Dharma? I delight in hearing the Buddha's words and dare not disobey; my wish is to hear them constantly.' When he had doubts about the sūtras, he sought resolution according to the Piṭaka. This led to concise rules and models clearly illuminating the three trainings, arranged in good order and famed among the people of the time.

*Sūtra on the Origination of the World* (*Dongdu qishi jing*), ten fascicles;
*Sūtra on Dependent Origination* (*Yuansheng jing*), two fascicles;
*Sūtra on the Fundamental Vows of the Tathāgata Bhaiṣajyaguru* (*Yaoshi rulai benyuan jing*);
*Commentary on the Mahāyānasaṃgraha* (*She dasheng lun shi*), ten fascicles;
*Treatise on the Provisions for Awakening* (*Bodhisambhāra-śāstra* / *Puti ziliang lun*), six fascicles;
*Treatise on the Vajracchedikā Prajñāpāramitā* (*Jingang bore lun*), two fascicles;
*Treatise on Dependent Origination* (*Yuansheng lun*);
*Sūtra on the Questions of the Devaputra Supratiṣṭhitacitta* (*Dafangdeng shanzhuyi tianzi suowen jing*), four fascicles;
*Mahāvaipulya Mahāsaṃnipāta Sūtra on the Pratyutpanna Samādhi of the Bodhisattva's Mindfulness of the Buddha* (*Dafangdeng daji pusa nianfo sanmei jing*), ten fascicles.
The above preceding sūtras and śāstras, forty-six fascicles in all, [were translated by] the Tripiṭaka Master Dharmagupta from the kingdom of Uḍḍiyāna in North India (in Sui called Fazang). Unable to reach his native land, he came to grace the imperial capital. During both the Kaihuang and Renshou eras, he took part in translation. At that time, Dharmagupta held sway with the highest prestige, and his renderings from Sanskrit into the Sui language were acclaimed at the time. When it came to profound doctrines, all turned to him for explanation. He was a man of dignified bearing, vast and untangled with worldly affairs; thus, as for the renown of translating scriptures, he humbled himself and exalted others. At the end of the Renshou era, Dharmagupta was exiled to Dongyue due to entanglement in other matters; Jñānagupta took the opportunity to assume sole charge of translation. In the third year of the Daye era, as the Eastern Capital began [to be developed], Emperor Yang established the Shanglin Park and built a translation institute to the left of the Tianjin Bridge on the south bank of the Luo River. He thereupon transferred the old companions from the capital to the new city to translate scriptures. Dharmagupta accompanied them merely in nominal compliance. In the tenth year of the Daye era, I personally visited that institute. At that time Master Yancong had already passed away, while Zun was still alive. The refined demeanor had fallen into neglect; who was there to appreciate the pendant banners? Soon thereafter came turmoil and rebellion, and the lineage masters were wiped out. How lamentable!

*Treatise on the Field of Merit* (*Futian lun*);
*Treatise on Monastic Officials* (*Sengguan lun*);
*Record of the Western Regions* (*Xiyu zhi*), ten fascicles.
The above treatises were all composed by the monk Śramaṇa Yancong. Yancong's fame was illustrious across two dynasties, and he took part in translation under two reigns. When the institute was established in the Eastern Capital, he took charge of cataloguing scriptures. Emperor Yang enacted an order requiring monks to bow before secular officials; Yancong could not bear this and composed treatises setting forth [his objections]. Above, he cited Huiyuan of the Eastern Jin on monks not venerating kings; below, he explained that the expedient means in the *Vimalakīrti* and *Lotus Sūtras* were not the substance of the transforming teaching. He broadly set forth the precedents of withdrawal and emergence, such as the fellows Yan Ling and Zhou Dang; he held aloft the dignity of the Three Jewels and exalted the foundation of taking refuge and revering. The text is exceptionally comprehensive and rich, the path clear and manifest. Recently, in the first year of the Longshuo era, an imperial edict was issued ordering a reconsideration of this debate. More than half of the officials in the capital held differing opinions. I presented these treatises, whereupon slander ceased, and when the report was submitted to the throne, an imperial edict was issued rescinding the requirement.

*Treatise on the Rules and Models for Translating Sūtras* (*Fan jing fashi lun*), one work in ten fascicles;
*Inscriptions and Epigraphs of Various Monasteries* (*Zhu si beiming*), three fascicles.
The above treatises and texts were composed by the translation monk Śramaṇa Mingze. Ze was originally a native of Jizhou, inherently endowed with exceptional talent. The brilliance of his literary elegance was renowned in his home district, yet at first he was not counted among the prominent. When he composed the stele for Jueguan Si, Duke of Chu Yang Su saw it and valued him, summoning him to the capital to take part in translation. His compositions of inscriptions, eulogies, treatises, and prefaces are fully recorded in his separate collection.

*Prefaces to Inner Dharma* (*Xu neifa*), one fascicle;
*Internal Instructions* (*Neixun*), one fascicle.
The above were composed by the translation monk Xingju. Ju was the nephew of Yancong. Because of his family tradition in Sanskrit studies, he was appointed to this post. Later he was summoned to translate sūtras, but died not long after; it is said that his full talent was not realized.