開元釋教錄 6.11.3

6.11.3

佛名經十二卷（或云十三卷或分為二十卷正光年於胡相國第譯見續高僧傳）
法集經六卷（或七卷或八卷延昌四年於洛陽出僧朗筆受見法上錄及續高僧傳）
護諸童子陀羅尼經一卷（亦云護諸童子請求男女陀羅尼經）
差摩婆帝受記經一卷（正光年於洛陽出）
不增不減經一卷（正光年於洛陽出七紙錄云二卷者誤）
十地經論十二卷（或十五卷天親菩薩造釋十地經永平元年四月於太極紫亭譯帝親筆
受後付沙門僧辯等訖盡論文至四年夏首畢見崔光序）
彌勒菩薩所問經論五卷（或六卷或七卷或十卷釋彌勒所問經即寶積第四
十一會是在洛陽趙欣宅出）
大乘寶積經論四卷（第一譯與寶意出者同本釋單卷寶積經即大寶積第四十三會普
明菩薩會是）
金剛般若波羅蜜經論三卷（天親菩薩造永平二年於胡相國宅出僧朗筆
受第一譯與唐義淨所出能斷金剛論釋等同本）
文殊師利菩薩問菩提經論二卷（一云伽耶山頂經論婆藪盤豆
菩薩造天平二年在鄴城殷周寺出僧辯道湛筆受）
法華經論二卷（題云妙法蓮華經優波提舍或一卷曇林筆受並製序第二出與前寶意出者
同本初有歸敬頌者是見續高僧傳）
勝思惟梵天所問經論四卷（或三卷普泰元年於洛陽元挑湯宅出僧辯
僧朗筆受錄云十卷應誤見續高僧傳）
無量壽經論一卷（題云無量壽經優波提舍願生偈婆藪盤豆菩薩造永安二年於洛陽
永寧寺出僧辯筆受）
十二因緣論一卷（淨意菩薩造）
百字論一卷（提婆菩薩造）
破外道小乘四宗論一卷（提婆菩薩造）
破外道小乘涅槃論一卷（提婆菩薩造）
寶性論四卷（或五卷初出與寶意出者同本已上並見長房錄及內典錄）
右三十部一百一卷（前二十九部見在後寶性論一部闕本）。
沙門菩提留支。魏言道希。北印度人也。遍通
三藏妙入總持。志在弘法廣流視聽。遂挾道
宵征遠莅葱左。以魏永平之歲至止東華。宣
武下勅慇懃敬勞。後處之永寧大寺供待甚
豐。七百梵僧並皆周給。勅以流支為譯經之
元匠也。其寺本孝明帝熙平元年靈太后胡
氏所立。在宮前閶闔門南御道之東。中有九
層浮圖架木為之。舉高九十餘丈。上有金剎
復高十丈。出地千尺去臺百里已遙見之。初
營基日掘至黃泉獲金像三十二區。太后以
為嘉瑞奉信法之徵也。是以飾制瓖奇窮世
華美。剎表置金寶瓶容二十五斛。承露金槃
一十一重。鐵鎖角張。槃及鎖上皆有金鐸如
一石甕。九級諸角皆懸大鐸。上下凡有一百
三十枚。其塔四面九間六窓三戶。皆朱漆
扉扇垂諸金鈴。層有五千四百枚。復施金
鐸鋪首。佛事精妙殫土木之工。繡莊金鋪
驚駭心目。高風永夜鈴鐸和鳴。鏗鏘之音聞
十餘里。北有正殿形擬太極。中諸像設金玉
珠繡。作工巧綺冠絕當世。僧房周接千有餘
間。臺觀星羅參差間出。彫飾朱紫繢以丹青。
栝栢楨松異草叢集。院牆周匝皆施㭬瓦。正
南三門樓開三道三重。去地二百餘尺。狀若
天門赫奕華麗。夾門列四力士四師子。飾以
金玉莊嚴煥爛。東西兩門例皆如此。所可異
者唯樓兩重北門通道但路而置。其四門外
樹以青槐亘以淥水。京師行旅多庇其下。路
斷飛塵。不由渀雲之潤。清風送涼。豈藉
合歡之發。乃詔中書舍人常景製寺碑文。故
云須彌寶殿兜率淨宮莫尚於斯是也。外國
所獻經像皆在此寺。寺既初成。明帝及太后
共登浮圖視宮中如掌內。下臨雲雨上天清
朗。以見宮中事故禁人不聽登之。時有西域
沙門菩提達摩者。波斯國人也。越自西域
來遊洛京。見金盤炫日光照雲表寶鐸含風
響出天外。歌詠讚歎疑是神工。自云年一百
五十歲。歷涉諸國靡不周遍。如此寺精廬閻
浮所無也。訖佛境界亦無有比。口唱南無
合掌連日。孝昌二年大風發屋拔樹。剎上寶
瓶隨風而墮入地丈餘。復命工人更安新者。
至永熙三年二月為天所震。帝登陵雲臺望
火。遣南陽王寶炬錄尚書長孫稚將羽林一

Foming jing (Names of Buddhas Sūtra), twelve fascicles (also said to be thirteen fascicles, or divided into twenty fascicles; translated in the Zhengguang reign era at the residence of Chancellor Hu; see Continued Biographies of Eminent Monks);
Faji jing (Dharmasaṃgīti-sūtra), six fascicles (also said to be seven or eight fascicles; produced in Luoyang in the fourth year of the Yanchang reign era, scribed by Senglang; see Fashang's Catalogue and Continued Biographies of Eminent Monks);
Hu zhu tongzi tuoluoni jing (Dhāraṇī Sūtra on Protecting Children), one fascicle (also called Hu zhu tongzi qingqiu nannü tuoluoni jing);
Chamo bodi shouji jing (Kṣamāvatī-vyākaraṇa-sūtra), one fascicle (produced in Luoyang in the Zhengguang reign era);
Buzeng bujian jing (Anūnatvāpūrṇatva-nirdeśa-sūtra), one fascicle (produced in Luoyang in the Zhengguang reign era; seven sheets; the catalogues stating two fascicles are in error);
Shidi jing lun (Daśabhūmika-sūtra-śāstra), twelve fascicles (or fifteen fascicles; composed by the Bodhisattva Vasubandhu, explaining the Daśabhūmika-sūtra; translated in the fourth month of the first year of the Yongping reign era in the Taiji Purple Pavilion, with the emperor personally taking it down in writing, and later entrusted to the śramaṇa Sengbian and others to complete the commentary text; finished at the beginning of summer in the fourth year; see Cui Guang's preface);
Miled pusas suowen jing lun (Maitreya-bodhisattva-paripṛcchā-śāstra), five fascicles (or six, seven, or ten fascicles; explaining the Maitreya-paripṛcchā-sūtra, namely the forty-first assembly of the Ratnakūṭa; produced in Luoyang at the residence of Zhao Xin);
Dacheng baoji jing lun (Mahāyāna-ratnakūṭa-śāstra), four fascicles (first translation; same text as that produced by Baoyi; explaining the single-fascicle Ratnakūṭa Sūtra, namely the forty-third assembly of the Great Ratnakūṭa, the Prabhasa-bodhisattva Assembly);
Jingang banruo boluomi jing lun (Vajracchedikā-prajñāpāramitā-śāstra), three fascicles (composed by the Bodhisattva Vasubandhu; produced in the second year of the Yongping reign era at the residence of Chancellor Hu, scribed by Senglang; first translation, same text as the Nengduan jingang lun shi and others produced by Yijing under the Tang);
Wenshushili pusa wen puti jing lun (Mañjuśrī-bodhisattva-paripṛcchā-bodhi-śāstra), two fascicles (also called Gayāśīrṣa-śāstra; composed by the Bodhisattva Vasubandhu; produced in the second year of the Tianping reign era at Yinzhou Temple in Ye City, scribed by Sengbian and Daozhan);
Fahua jing lun (Saddharmapuṇḍarīka-śāstra), two fascicles (entitled Miaofa lianhua jing youbotishe; or one fascicle; scribed by Tanlin, who also composed a preface; second translation, same text as that previously produced by Baoyi; the one with the verse of refuge at the beginning is this text; see Continued Biographies of Eminent Monks);
Shengsiwei fantian suowen jing lun (Viśeṣacintibrahmaparipṛcchā-śāstra), four fascicles (or three fascicles; produced in the first year of the Putai reign era in Luoyang at the residence of Yuan Tiaotang, scribed by Sengbian and Senglang; the catalogue stating ten fascicles must be an error; see Continued Biographies of Eminent Monks);
Wuliangshou jing lun (Aparimitāyus-sūtra-śāstra), one fascicle (entitled Wuliangshou jing youbotishe yuansheng ji; composed by the Bodhisattva Vasubandhu; produced in the second year of the Yong'an reign era at Yongning Temple in Luoyang, scribed by Sengbian);
Shi'er yinyuan lun (Pratītyasamutpāda-śāstra), one fascicle (composed by Bodhisattva Śuddhamati);
Baizi lun (Śata-śāstra fragment / Hundred Syllable Śāstra), one fascicle (composed by Bodhisattva Deva);
Po waidao xiaocheng sizong lun (Śāstra Refuting the Four Doctrines of Non-Buddhists and Hīnayāna), one fascicle (composed by Bodhisattva Deva);
Po waidao xiaocheng niepan lun (Śāstra Refuting the Nirvāṇa of Non-Buddhists and Hīnayāna), one fascicle (composed by Bodhisattva Deva);
Baoxing lun (Ratnagotravibhāga), four fascicles (or five fascicles; first translation, same text as that produced by Baoyi; all the above appear in Changfang's Catalogue and the Neidian Catalogue).
The thirty works and one hundred and one fascicles above (the former twenty-nine works are extant; the latter single work, the Baoxing lun, is lost).
The śramaṇa Bodhiruci, called Daoxi in the language of Wei, was a man from North India. He had a thorough mastery of the Tripiṭaka and possessed profound entry into dhāraṇī. His aim was to propagate the Dharma and broadly spread it to the ears and eyes [of the world]. Carrying the doctrine, he traveled by night and arrived from afar west of the Congling Mountains. In the Yongping reign era of the Wei, he arrived at the Eastern Capital. Emperor Xuanwu issued an edict extending a cordial welcome and consolation. Later, the emperor housed him in the great Yongning Temple, providing for him most lavishly. Seven hundred foreign monks were all fully supplied. By imperial edict, Bodhiruci was appointed the primary master of scriptural translation. That temple was originally founded in the first year of the Xiping reign era of Emperor Xiaoming by the Empress Dowager Ling, née Hu. It was located south of the Changhe Gate in front of the palace, to the east of the imperial avenue. In its midst stood a nine-story stupa framed of wood, towering over ninety zhang high. Above it was a golden mast a further ten zhang high, rising a thousand chi above the ground, visible from afar a hundred li from the observation terrace. On the day the foundation was first laid, digging down to the yellow springs, they found thirty-two golden images; the Empress Dowager considered this an auspicious omen and a sign of venerating and believing in the Dharma. Therefore, its ornamentation was rare and marvelous, exhausting worldly splendor and beauty. Atop the mast was placed a golden treasure vase holding twenty-five hu, with eleven tiers of golden dew-catching plates. Iron chains stretched from the corners; on the plates and chains hung golden bells as large as one-dan jars. Huge bells were suspended from all the corners of the nine tiers, numbering one hundred and thirty in total from top to bottom. The four sides of the stupa had nine bays, six windows, and three doorways, all with vermilion-lacquered door leaves hung with golden bells, five thousand four hundred bells per tier. In addition, golden-bell ring-handles were installed. The Buddhist works were subtle and refined, exhausting the skills of earth and timber; the embroidered embellishments and golden mountings astonished the heart and eyes. When high winds blew through the long night, the bells harmonized their rings, the resonant clanging heard for more than ten li. To the north stood the main hall, modeled in form after the Taiji Hall; the various images inside were set with gold, jade, pearls, and embroidery, the exquisite craftsmanship surpassing anything of the age. Monks' quarters adjoined all around, exceeding a thousand bays. Terraces and pavilions were scattered like stars, alternating and rising in uneven heights, carved and adorned in vermilion and purple, painted with cinnabar and cyan. Cypress, arborvitae, boxwood, pine, and rare grasses grew in dense clusters. The perimeter wall was all capped with carved tiles. The three south gates were built with three-story gate towers opening three passageways, over two hundred chi above the ground, magnificent and resplendent like heavenly portals. Flanking the gates were arranged four mighty warriors and four lions, adorned with gold and jade, radiant and brilliant. The east and west gates were all identical to this. The only difference was that their gate towers were of two stories. The north gate gave passage to the road, simply erected along the way. Outside the four gates, green locust trees were planted and clear waters flowed along; travelers in the capital frequently sheltered beneath them. The roads were cleared of flying dust, without needing the moisture of billowing clouds; cool winds brought refreshing breezes, with no need for the shade of mimosa blossoms. An edict was issued commanding the Secretariat Drafter Chang Jing to compose an inscription for the temple stele, which is why it says, 'Neither the jeweled palace of Sumeru nor the pure palace of Tuṣita surpasses this.' The scriptures and images presented as tribute by foreign nations were all housed in this temple. Once the temple was completed, Emperor Xiaoming and the Empress Dowager climbed the stupa together; looking down upon the palace, it was like looking at the palm of one's hand. Looking down on clouds and rain, the heavens above were clear and bright; because the affairs of the palace could be seen from there, people were subsequently prohibited from ascending it. At that time, there was a śramaṇa from the Western Regions named Bodhidharma, a native of Persia. Coming across from the Western Regions, he traveled to the capital Luoyang. Seeing the golden plates dazzling in the sunlight, the rays illuminating beyond the clouds, and the jeweled bells catching the wind with their sound echoing outside heaven, he sang praises and wondered if it were the work of spirits. He said of himself that he was one hundred and fifty years old, and had traversed all countries without omission, yet a monastery such as this was nowhere to be found in Jambudvīpa, nor was there any match even to the very ends of the realms of the Buddha. Chanting 'Namo' with his palms joined, he continued for days on end. In the second year of the Xiaochang reign era, a violent gale tore off roofs and uprooted trees; the treasure vase atop the mast fell with the wind, sinking more than a zhang into the ground. Artisans were ordered to install a new one. In the second month of the third year of the Yongxi reign era, it was struck by lightning. The emperor ascended the Lingyun Terrace to view the fire, and dispatched the Prince of Nanyang, Baoju, and the Master of Writing Changsun Zhi to lead one [thousand] of the imperial feather forest guards...