大聖妙吉祥菩薩說除災教令法輪 1.4

1.4

「於真言外應畫九執大天主，所謂日天、月天、五星、蝕神、彗星，及大梵天王、淨居天、那羅延天、都使多天、帝釋天主。當佛背後畫摩醯首羅大天，共一十二尊，列位分布周圍一匝，各有所乘、各有所執，唯傳受此法者知之。於此大天外又安界道，於道外竪畫一十二枚獨股金剛杵，通至外輪輞，以為金輪之輻。於此輻間，當佛前面向佛右邊逐日順轉，安師子宮、次秤宮、次蝎宮、次弓宮、次摩竭宮，此六宮在佛右邊。又從佛後順轉却向佛前，安寶瓶宮、次魚宮、次羊宮、次牛宮、次男女宮、次蟹宮，此六宮在佛左邊與師子宮相接。當佛背後安虛宿，當佛前安七星宿。於此十二宮外安置二十八宿，各依本宮次第安置。惟為國王除災即全畫天身，自餘凡庶已下除災不應畫天身，但置位書梵字天名點星形即得。於二十八宿外周匝畫輪緣如車輞形，金色闊狹大小與輪形相稱。於此輞上畫八方天王，當佛前安焰摩天，當佛後安多聞天王，文殊師利背後輞上安水天，於金剛手背後安持國天王、乾闥婆王。四隅四天，東北角欲界自在天，東南角火天，西南角羅剎主，西北角風天。於此輞上空處，金銀書熾盛光佛頂真言及緣生四句偈、十二緣生經文，無明緣行乃至生緣老死憂悲苦惱，又書十二滅句，無明滅則行滅乃至老死憂悲苦惱滅，令其分布遍於輞上。又於輪外應書一百八箇青蓮華，葉頭如承此輪之勢。即於一一葉上梵書一阿字，應金銀或用白粉，金銀最妙。葉外四邊界外方四緣，周匝畫作界道，於界道上畫獨股金剛杵，相接周匝圍繞令合，便成結界。於方界內輪外四角空處，畫四大明王以為外護。於佛前右邊角內，畫四臂降三世明王，青色。於佛前左邊角內，即畫無動明王，青色。於佛後右邊角內，畫四臂無能勝明王，紫黑色。於佛後左邊角內，畫四臂大力烏蒭澁摩金剛明王，赤色。此四大明王，並皆坐寶盤石上，火焰圍繞。如是依教安布，名曰一切如來祕密除災教令法輪。若有難時，上從王者次及儲君后妃婇女，下及百寮道俗凡庶，本命宿上五星陵押退行留守，或日月於上交蝕，彗孛惡星[(土/儿/夕)*力]犯宿者，於是中即用此法。嚴飾一淨房，深密之處建曼荼羅，勿使多人知見。若多人知見，即求願難得、災禍不除。若國王息災者，應嚴飾一深殿建曼荼羅，依教如法護淨嚴飾，如經所說。勿使女人黃門奴婢下劣人見，即觸穢道場。所謂及諸畜生，皆是不吉祥之類器。若猪狗猫鼠，盡勿令見清淨道場。若能一一躬親自入道場，至誠祈禱所祀天神，念誦熾盛光佛頂真言晝夜不間斷，兼誦諸尊真言，少則三日三夜，多或七日七夜或二七日夜，至心持念兼作護摩，乃至感應得吉祥警誡，此為最勝，當知災障決定消滅。若得應効，其曼荼羅便須收却不應久留。本法如是。若是地壇，便須除剗掃去，送於長流淨水之中。若身不得自入道場者，或處律公私職務，或事嚴君應奉尊貴，或處幽閨禁約，或乃身力不逮，或家老少病患，或卑下身不自由，或容寄他方無家無處，或近邪見惡人怨家之處，難為建立，即應訪求一明解此法教之人，或道或俗，殷勤求請，供彼所須，令替身念誦，慎密精誠建立道場，然後酬賞劬勞令其歡喜。如其事逼不及作壇，但於幽靜深房清淨或伽藍之處，取淨床敷安輪壇，北面懸熾盛光佛頂輪王像，或對一忿怒王尊像亦得。幢幡華蓋莊嚴敷置此輪壇，於尊像前如曼荼羅勢，四面如法飲食果子乳粥酪飯、沙糖酥燈蜜漿、甘蔗蒲桃等漿羅列陳設，焚香散華供養至心持念。法人身著純白衣服，日數如前，必得災滅。其供養器物並用白銀，無用白銅或白瓷充，勿用觸器，吉祥，唯須常誦熾盛光佛頂陀羅尼晝夜不間。其所燒香，當用沈水、白檀、白膠、薰陸、白茅和之，不絕計千計萬，乃至洛叉或三洛叉億數，以得願滿為限，亦不定數為期。兼誦佛眼真言、文殊師利金剛手等八菩薩真言。每初入道場，各先誦一百八遍，請召入道場。諸天及宿曜真言各念七遍。正念誦時深發慈心，常以佛眼瞻視此輪上諸天形像，下心祈禱焚香發願求乞恩福。不應作降伏忿怒之心，便乖聖意必不相應。此等皆是大福德天仙行菩薩道，以誓願力受此天身，為饒益有情故，令諸剛強眾生怖畏作善。豈有將此凡夫下劣微分芥福垢穢之身，而欲折伏造化天仙？無有是處。審可思慮而乃行之，敬而畏之，深起慈心愍念一切諸有情極厄難諸眾生等，願令解脫，一心持誦熾盛光佛頂真言，唯功多為上。我今宣說陀羅尼曰：

"Outside the mantras, one should paint the nine great celestial lords of the navagrahas—namely, Sūrya (Sun Deva), Candra (Moon Deva), the five planets, the eclipse planet (Rāhu), and the comet (Ketu)—as well as Mahābrahmā Devarāja, the Śuddhāvāsa Devas, Nārāyaṇa Deva, the Tuṣita Devas, and Śakra Devendra. Directly behind the Buddha, paint the great deva Maheśvara. In all there are twelve deities, arranged and distributed in a circle, each having their own mount and each having their own implement, which is known only to those who have received transmission of this teaching. Outside these great devas, establish another boundary line, and outside that line paint twelve erect single-pronged vajras extending to the outer rim of the wheel, serving as the spokes of the golden wheel. Between these spokes, directly in front of the Buddha and facing the Buddha's right side, moving progressively clockwise day by day, place Leo (Simha), next Virgo (Kanyā), next Scorpio (Vṛścika), next Sagittarius (Dhanu), and next Capricorn (Makara); these six houses are on the Buddha's right side. Then, moving clockwise from behind the Buddha back toward the Buddha's front, place Aquarius (Kumbha), next Pisces (Mīna), next Aries (Meṣa), next Taurus (Vṛṣabha), next Gemini (Mithuna), and next Cancer (Karkaṭa); these six houses are on the Buddha's left side, adjoining Leo. Directly behind the Buddha, place the lunar mansion Dhaniṣṭhā (Xuxu); directly in front of the Buddha, place the Seven Stars (Beidou / Ursa Major). Outside these twelve houses, arrange the twenty-eight nakṣatras, placing each in succession according to its respective house. Only when averting calamities for a king should one paint the complete celestial bodies of the devas; for all ordinary people below that to avert calamities, one should not paint their celestial bodies, but only establish their positions, write the Sanskrit letters of the devas' names, and dot their star shapes, and that will suffice. Outside the twenty-eight nakṣatras, paint a wheel rim all around like the shape of a cart rim, golden in colour, whose width and size correspond proportionally to the shape of the wheel. Upon this rim, paint the celestial kings of the eight directions: directly in front of the Buddha, place Yamadeva; directly behind the Buddha, place Vaiśravaṇa Devarāja; on the rim behind Mañjuśrī, place Varuṇadeva; behind Vajrapāṇi, place Dhṛtarāṣṭra Devarāja and the Gandharvarāja. In the four intermediate corners are four devas: in the northeast corner is Kāmadhātvīśvara Deva; in the southeast corner is Agni; in the southwest corner is the Rākṣasa Lord (Nirṛti); in the northwest corner is Vāyudeva. In the empty spaces on this rim, write in gold and silver the Tejaprabha Uṣṇīṣa Mantra, the four-line pratītyasamutpāda verse, and the text of the twelve links of dependent origination: 'with avidyā as condition, saṃskāra arises' up to 'with jāti as condition, old age, death, sorrow, lamentation, suffering, and distress arise'; and write also the twelve sentences of cessation: 'with the cessation of avidyā, saṃskāra ceases' up to 'the cessation of old age, death, sorrow, lamentation, suffering, and distress', distributing them so that they cover the rim entirely. Furthermore, outside the wheel, one should paint one hundred and eight blue lotuses with their petal tips as if upholding this wheel. Upon each individual petal, write a Sanskrit letter 'A' in gold and silver, or using white powder, gold and silver being the finest. Outside the petals on the four sides of the outer boundary, create a square boundary border all around; upon this boundary border, paint single-pronged vajras joined together in a continuous circle so they connect, which constitutes the boundary consecration (sīmābandha). In the empty spaces at the four corners inside the square boundary and outside the wheel, paint the four great vidyārājas as outer protectors: inside the corner to the right front of the Buddha, paint the four-armed vidyārāja Trailokyavijaya, blue in colour; inside the corner to the left front of the Buddha, paint the vidyārāja Acala, blue in colour; inside the corner to the right rear of the Buddha, paint the four-armed vidyārāja Aparājita, purplish-black in colour; inside the corner to the left rear of the Buddha, paint the four-armed, great-power vidyārāja Ucchuṣma Vajra, red in colour. All these four great vidyārājas sit on jeweled boulder-platforms, surrounded by blazing flames. Arranging them thus in accordance with the teaching is called the Secret Calamity-Averting Dharma Wheel of Commands of All the Tathāgatas. When there is distress—from the king on down to the crown prince, empress, consorts, and court ladies, and down to the hundred officials, religious, and secular commoners—if the five planets encroach upon, retrogress into, or station themselves at one's birth natal mansion, or if the sun or moon undergoes an eclipse there, or if baleful and calamitous stars aggressively invade the natal mansion, then one should employ this ritual. In a secluded and secret place, adorn a clean room and establish the maṇḍala, not letting many people know of or see it. If many people know of or see it, then what one seeks will be hard to obtain and calamities will not be averted. If it is to avert calamities for a king, one should adorn an inner hall and establish the maṇḍala, guarding its purity and adorning it strictly according to the teaching, as expounded in the sūtra. Do not let women, paṇḍakas, slaves, maidservants, or low persons see it, which would defile the sacred arena. Furthermore, animals and beasts are all unsuitable and inauspicious vessels; pigs, dogs, cats, and rats must entirely be kept from seeing the pure sacred arena. If one can personally enter the sacred arena oneself, pray with utmost sincerity to the worshipped devas and spirits, recite the Tejaprabha Uṣṇīṣa Mantra without interruption day and night, and concurrently recite the mantras of the various deities—for at least three days and three nights, or up to seven days and seven nights, or fourteen days and nights—maintaining the recitation with a concentrated mind while performing the homa, until one receives a response and attains an auspicious warning or sign, this is supreme, and one should know that calamitous obstacles will certainly be eradicated. Once an efficacious response is obtained, the maṇḍala must be dismantled at once and should not be kept long. Such is the fundamental ritual. If it is an earthen altar, it must be scraped clean and swept away, and conveyed into flowing clean water. If one cannot enter the sacred arena in person—whether occupied by official or private duties under regulatory discipline, serving a strict lord and waiting on the noble, secluded in forbidden quarters, lacking physical strength, suffering from illness as an elder or youth in the family, humble in status and without personal liberty, a guest stranded in other lands without a home or lodging, or residing near places of evil persons of wrong views or enemies so that it is difficult to construct—then one should seek out a person who clearly understands this ritual teaching, whether a monk or a layperson, entreat them earnestly, supply their needs, and have them recite on one's behalf, constructing the sacred arena with circumspection and utmost sincerity, and afterward rewarding their labour to make them rejoice. If pressing circumstances do not allow time to construct an altar, one may simply obtain a clean mat and establish the wheel altar in a quiet and secluded room, pure place, or monastery (saṅghārāma). Facing north, suspend an image of the Tejaprabha Uṣṇīṣa Cakravartin, or an image of a wrathful king deity may also be used. Adorn and arrange this wheel altar with banners, streamers, and parasols, and in front of the sacred image set out offerings in the manner of a maṇḍala, arranging on the four sides in accordance with the ritual: food, drink, fruits, milk gruel, curd-rice, molasses, ghee lamps, honey syrup, sugarcane juice, grape juice, and the like, burning incense and scattering flowers in worship, and reciting with a concentrated mind. The ritual practitioner wears pure white garments. The number of days is as before, and calamities will certainly be averted. The offering vessels should all be made of silver; if not available, white copper or white porcelain may be used. Do not use defiled vessels. For auspiciousness, one must constantly recite the Tejaprabha Uṣṇīṣa Dhāraṇī day and night without interruption. As for the incense burned, use a blend of agarwood, white sandalwood, frankincense, liquidambar, and couch grass, maintaining it without break for thousands, tens of thousands, or even a lakṣa or three lakṣas, up to hundreds of millions, taking the fulfillment of one's wish as the limit, with no fixed number as a limit. Concurrently recite the Buddhalocanā Mantra and the mantras of the eight bodhisattvas such as Mañjuśrī and Vajrapāṇi. Each time one first enters the sacred arena, recite each one hundred and eight times to summon them into the sacred arena. Recite the mantras of the various devas, lunar mansions, and planets seven times each. When correctly performing the recitation, arouse deep compassion, constantly gaze upon the celestial images on this wheel with the Buddha-eye, pray with a humble mind, burn incense, make vows, and supplicate for grace and blessing. One must not give rise to a subjugating or wrathful attitude, which would run contrary to the holy intent and certainly fail to yield a response. These deities are all celestial seers (ṛṣi) of great merit who practice the bodhisattva path and have taken these celestial bodies by the power of their vows; in order to benefit sentient beings, they make stubborn beings fearful so that they do good. How could an ordinary, base mortal, with merely a mustard-seed fraction of contaminated merit and a defiled body, wish to subjugate the creative celestial seers? There is no such possibility! One should carefully reflect and then act: respect them and revere them, deeply arouse a compassionate mind to pity all sentient beings in extreme hardship and peril, wishing for their liberation, and recite the Tejaprabha Uṣṇīṣa Mantra single-mindedly, regarding greater effort as supreme. I now proclaim the dhāraṇī:"