開元釋教錄 6.11.3

6.11.3

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...