大唐內典錄 5.15.5

5.15.5

[He was skilled in] sacred melody. Currently serving as master of chanting and recitation of the sūtra-teachings for the twenty-five assemblies, he searched and gathered the texts of the various sūtras in contiguous sets, noting only that the fascicles and scrolls of the various śāstras were uneven and disjointed. Quoting the saying of a sūtra: 'If you wish to know the mind of the wise, read extensively the diverse śāstras,' he therefore gathered and selected the treatises composed by earlier sages and later worthies, compiling them into a single work entitled *The Arena of Treatises* (*Lunchang*). Just as in the world an orchard-ground has five fruits and a hundred grains, a theater has songs, dances, and music, a battlefield has helmets, armor, and weapons, and a place of practice has banners, flowers, and jewelled canopies in varied adornment, so now this arena of treatises is comparable to those: nothing is lacking. Unrolling the scroll and glancing through once, one surveys a hundred schools at once, benefiting oneself and benefiting others, aiding self and other alike.

*The Sixfold Practice of Ordinary Beings and Sages* (*Fan sheng liuxing fa*), twenty fascicles (also in ten fascicles, seven fascicles, five fascicles, three fascicles, and one fascicle).
The above six works, in more than forty fascicles altogether, were composed by the untrammeled monk Śramaṇa Daozheng of Cangzhou. Daozheng took ascetic practices (dhūta) as his vocation and did not register under official monastic rosters. Grieving over the hollow talk of worldly customs, he composed this approach to practice, broadly gathering from the various scriptures and laying out categories. In the Kaihuang era, he entered the capital. The Vice Director of the Left Gao Jiong held him in high esteem and established a Dharma lecture for him to discourse on the substance of practice. Renowned and virtuous monks, distressed by the sharpness of his teachings, would not allow their circulation. Daozheng thereupon fled beyond the human world and buried his name in the dust of the mundane; his end was unknown. Later, when his remaining writings were recovered, it was lamented that someone who truly knew him had been so late to appear.

*Biography of Dharmagupta*, four fascicles;
*Treatise on Penetrating the Ultimate* (*Tongji lun*);
*Treatise on Discriminating the Teachings* (*Bianjiao lun*);
*Treatise on Discriminating the Orthodox* (*Bianzheng lun*);
*Treatise on Comprehensive Learning* (*Tongxue lun*);
*Catalogue of Sudhana-śreṣṭhi-dāraka's Good Friends* (*Shancai tongzi zhu zhishi lu*);
*Combined Prefaces to Newly Translated Sūtras* (*Xin yi jing xu he*).
The above six works, totaling ten fascicles, were composed by the monk Śramaṇa Yancong of Riyansi. Yancong's lay surname was Li, from Bairen in Zhaojun. His lineage was renowned for official robes and caps, known as an illustrious family. From youth he was sharp and quick, his literary talent refined within; his insight penetrated the subtle and obscure, his mind clear as a water-mirror. Meeting an object, he instantly understood it, rarely needing a second look. The prose of his treatises and biographies is throughout exquisite and comprehensive. The *Treatise on Penetrating the Ultimate* refutes the worldly Confucians who do not believe in karmic cause and effect, clinging to outer traces of teaching and fondly generating divergent views; the tenet of this treatise takes the Buddhist principle as ultimate. The *Treatise on Discriminating the Teachings* clarifies that the Buddhist teaching proclaims the absolute truth while the Confucian teaching promotes the mundane, and discusses the teaching of Laozi as being no different from mundane Confucianism, whereas scriptures such as the *Lingbao* are not subsumed under Confucianism. The *Treatise on Comprehensive Learning* encourages worldly people to study broadly under both Confucius and the Buddha, so that they may understand both the external and the internal, and be fully acquainted with both the conventional and the ultimate. A good friend (kalyāṇamitra) is a great condition for ascending to sagehood and transcending the ordinary; without a good friend, there is no way to arrive. This work encourages people to make extensive bonds with wise friends, just like Sudhana.

*An Exposition of Master Dao'an's Exegesis of the Mahāprajñāpāramitopadeśa*, twenty-four fascicles (together with Dao'an's self-composed preface);
*Treatise on Retention and Abrogation* (*Cun fei lun*);
*Treatise on Grieving over Learning* (*Shang xue lun*);
*Treatise on Weariness of Cultivation* (*Yan xiu lun*).
The above four works, totaling twenty-seven fascicles, were composed by the monk Śramaṇa Huiying of Shewei Si. Huiying's lay surname was Jiang, a native of Baxi. In the Zhou dynasty, he was a wondrous follower of the *Mahāprajñāpāramitopadeśa* master Śramaṇa Dao'an in doctrinal exegesis, transmitting the lamp, pouring the water, and treading closely behind in the turning of the wheel of the Dharma. 'Transmitting rather than innovating,' he promoted the Mahāyāna, and also served as head of the twenty-five assemblies. Concealing his presence within temple grounds, he let his mind drift in the stream of wisdom; his traces were rare in the human realm, his sentiments mostly beyond worldly things. The tip of his literary spear sprang from his mouth; his penetration into doctrinal depths was inspired. Looking upon the rise of these treatises, their intent may be discerned: the *Treatise on Grieving over Learning* was written to remove the fault of slandering the Dharma; *Retention and Abrogation* was to guard against insidious scheming; *Weariness of Cultivation* causes people to reform their errors and submit to the Way.

*Sūtra on Divination and Examination* (*Zhancha jing*), two fascicles.
The above one work: when checking the catalogues, there was no record. The title at the beginning of the sūtra states: 'Translated abroad by Bodhideng,' seeming to have appeared in recent times. Currently, it is copied and circulated in all canon collections. However, in Guangzhou there was a monk who practiced a stupa-repentance ritual, using leather to make two chits, one written with the word 'Good' and one with the word 'Evil.' He had people cast them: getting 'Good' was auspicious, and getting 'Evil' was inauspicious. Furthermore, he practiced a self-flinging method, taking it to eradicate sins, while men and women mingled promiscuously. In Qingzhou there was also a layman who practiced this method alongside him. In the thirteenth year of the Kaihuang era, someone denounced them to the Guangzhou authorities, saying it was sorcery. The authorities interrogated them, and that person cited proof, saying: 'The stupa-repentance ritual is based on the *Sūtra on Divination and Examination*; the self-flinging method is based on the five-limbed prostration like Mount Tai collapsing in various sūtras.' Guo Yi, Marshal of Guangzhou, came toward Qizhou and reported the details in a memorial. An imperial decree stated that the principles in the *Sūtra on Divination and Examination* were not to be believed, and ordered Li Yuancao, Attendant Gentleman of the Palace Secretariat, together with Guo Yi, to go to Baochang Si to question the venerable elder monks. Fajing and others reported: 'The *Sūtra on Divination and Examination* lacks a name and place of translation in the catalogues; the stupa-repentance ritual also diverges from the various sūtras, and must not be followed or practiced.' An imperial decree was issued: 'Things such as this need not be circulated.'

*Biographies of Manifest Marvels* (*Jingyi zhuan*), twenty fascicles.
The above one work was composed by Hou Junsu, Xiu Cai and Gentleman of Confucian Forests from Xiangzhou, who respectfully received the command of Emperor Wen of Sui. Junsu's personal name was Bai. His wondrous intellect was exceptionally ingenious, broadly encompassing the occult and the Confucian classics. Frequently seated to the right of prime ministers, he was consulted regarding the outlines of the dark and ultimate; therefore, he composed this work to enlighten scholar-officials and commoners.

*Treatise on Comprehending Destiny* (*Tongming lun*), two fascicles.
The above one work was written by Xu Tongqing, Libationer in the Prince of Jin's princely establishment. He held that the Confucian teaching also has the principle of karmic cause and effect across the three times, yet because the written words are concealed and the principles profound and subtle, earlier worthies had never discriminated or established it. Tongqing now fully cited standard texts from the classics and histories, harmonizing and unifying fortune and destiny to trace them back to karmic cause and effect, intending to bring to light the fundamental宗旨 of Confucianism to aid the Buddha in propagating the teachings, guiding all beings to hasten toward a single destination. Only one of broad learning could penetrate such profundity.

*Methods of Comparative Calculation Through Interpenetration of External and Internal [Systems]* (*Wai nei bangtong bijiao shufa*).
The above one work was composed by Liu Ping, translation scholar from Jingyang. Ping was skilled in both Buddhist and non-Buddhist studies and was particularly adept at numerological and mathematical arts. Considering that the calculation methods and comparative techniques used in translating sūtras across earlier dynasties differed considerably, he therefore wrote this exposition. His preface says in brief: 'The arts of the world have shallow and deep; people's endowed learning has coarse and fine. Therefore, if one investigates the utility of reckoning, it embraces the Great Expansion; if one fails to reflect, it causes confusion over the three corners. Now, the numerical methods of China naturally have distinctions of three tiers; how could the expositions of India have no divergent standards? Yet earlier translated sūtras all referred to a great trichiliocosm as a hundred koṭis, and said that one yojana is forty li. In accordance with various calculations, none of these match. I suspect that at the time of translation, the sounds on each side differed, and in the midst of giving directives, errors were introduced. Therefore, I have recorded the mathematical methods in the various sūtras and compared them with those of China, multiplying by tens and mutually expanding through interpenetration, in the hope that those engaged in translation may consult them to resolve confusions. Since it engages with the language of the sūtras, it is appended to this catalogue.'

*Record of the Three Jewels in the Kaihuang Era* (*Kaihuang sanbao lu*), fifteen fascicles.
The above one work was composed by Fei Changfang, translation scholar from Chengdu. Changfang originally left the household, but when the Zhou suppressed the monastic order, and up to the Sui restoration, he remained a layman. At times he participated in the translation work, writing down dictated texts and polishing phrasings. Because many catalogues across the dynasties recorded only sūtras, while