T21n1419_佛說造像量度經解
大正藏第 21 冊 No. 1419 佛說造像量度經解
No. 1419
造像量度經序
烏朱穆秦部落。原任公工布查布。深通五明。精習三倚。心珠內含。慧月外照。憫夫世之造像者。離宗失迷。程式靡準。三會成咎。淪於極惡。致使如來妙勝。末由仰瞻。乃追㡧像之初。宏演胎偶之法。翻譯量度經一卷。手加註釋。積歲既成。請正於余。余惟在昔。釋迦如來。為須菩提。說金剛般若波羅蜜經云。若見諸相非相。即見如來。又云。發阿耨多羅三藐三菩提心者。於法不說斷滅相。夫真空冥冥。無我無人。一切有為。如夢幻泡。尋茲元理。蕩蕩難名。斯則神明變化。無可究其形容者矣。然而因現相乘。種種具足。色身融相。如虹斯彰。遍諸大千。普示覺利。剎剎塵塵。蚩蚩蠢蠢。聞香觸光。歡喜無量。自漢以來。至於今日。範金鑄形。摶土成像。俾諸瞇曚。同著隻眼。豈非法界之明燈。果海之寶筏哉。若乃宿根明凈。智慧通流。瞻奉慈雲。大啟正覺。循是有相。以窺無相。眼耳鼻舌。如如空虛。人我眾生。等無障礙。所謂以一莖草化丈六身者。逼塞遍滿。隨處涌現。我佛全體。於是乎在。譬如得魚。自然忘筌。顧非是筌。魚何緣得。釋經功德。亦復如是。余樂其有善因也。為之訂魚亥
【現代漢語翻譯】 現代漢語譯本： 《佛說造像量度經解》序
烏朱穆秦部落的原任公工布查布，精通五明（聲明、工巧明、醫方明、因明、內明），精習三倚（身倚、語倚、意倚），心如明珠內含光芒，智慧如明月向外照耀。他憐憫世間那些造像之人，背離宗旨，迷失方向，程式規範沒有準則，導致身、語、意三方面都犯下過錯，最終沉淪於極惡之中，以致如來微妙殊勝的形象，無法讓人瞻仰。於是他追溯造像的初始，弘揚演繹胎偶之法（造像的儀軌），翻譯《量度經》一卷，並親手加以註釋。歷經多年終於完成，請我來校正。
我想到過去，釋迦如來為須菩提講說《金剛般若波羅蜜經》時說：『若見諸相非相，即見如來。』又說：『發阿耨多羅三藐三菩提心（無上正等正覺之心）的人，對於佛法不說斷滅相。』真空深邃幽遠，沒有我，沒有人。一切有為法，都如夢幻泡影。探尋這根本的道理，廣大無邊難以名狀。這正是神明變化莫測，無法窮盡其形容的原因啊！
然而，憑藉因緣和合而顯現的相，種種功德具足。色身與法相融合，如同彩虹般彰顯。遍佈諸大千世界，普遍示現覺悟的利益。每一個剎土，每一粒微塵，所有有情眾生，聞到佛法的香氣，接觸到佛法的光明，都歡喜無量。自漢代以來，直到今天，用範金鑄造佛像，用摶土塑造佛像，使那些迷惑無知的人，都能共同開啟智慧之眼。這豈不是法界中的明燈，果海中的寶筏嗎？
如果宿世善根清凈，智慧通達流暢，瞻仰佛的慈悲之云，就能大大開啟正覺之心。遵循這有相之法，以窺探無相之理，眼耳鼻舌等感官，如如不動，空虛寂靜。人我眾生，平等而無有障礙。這就是所謂用一根草就能化現丈六金身，充滿整個世界，隨處涌現。我佛的全體法身，就在這裡啊！譬如得到了魚，自然會忘記魚筌（捕魚的工具）。但如果不是魚筌，又怎麼能得到魚呢？解釋經典的功德，也是如此。我樂於他有這樣的善因，所以為他訂正。
【English Translation】 English version: Preface to the Explanation of the Sutra on Image Measurement Spoken by the Buddha
Gongbu Zhapu, formerly a public official of the Wuzhumuqin tribe, was proficient in the Five Sciences (Shabda-vidya (grammar), Shilpa-vidya (arts and crafts), Chikitsa-vidya (medicine), Hetu-vidya (logic), and Adhyatma-vidya (inner knowledge)), and deeply versed in the Three Supports (body, speech, and mind). His heart was like a pearl containing light, and his wisdom shone outward like the moon. He pitied those image-makers in the world who deviated from the true purpose, lost their way, and lacked standard procedures, resulting in faults in body, speech, and mind, ultimately sinking into extreme evil, so that the wondrous and excellent form of the Tathagata could not be revered. Therefore, he traced back to the beginning of image-making, promoted and expounded the method of the womb-born image (the ritual of image-making), translated the one-volume Sutra on Measurement, and personally added annotations. After many years of completion, he asked me to correct it.
I thought that in the past, when Shakyamuni Tathagata spoke the Diamond Prajna Paramita Sutra to Subhuti, he said, 'If you see all forms as non-forms, then you see the Tathagata.' He also said, 'Those who have aroused the mind of Anuttara-samyak-sambodhi (the mind of unsurpassed, right, and perfect enlightenment) do not speak of annihilation in relation to the Dharma.' The true emptiness is profound and distant, without self and without others. All conditioned dharmas are like dreams, illusions, bubbles, and shadows. Exploring this fundamental principle, it is vast and boundless, difficult to name. This is precisely why the transformations of the divine and enlightened are unfathomable, and their forms cannot be fully described!
However, relying on the forms that appear due to the convergence of causes and conditions, all kinds of merits are complete. The union of the physical body and the Dharma body manifests like a rainbow. It pervades all the great chiliocosms, universally showing the benefit of enlightenment. In every Buddha-land, in every dust mote, all sentient beings, smelling the fragrance of the Dharma and touching the light of the Dharma, are filled with immeasurable joy. Since the Han Dynasty, until today, casting Buddha images with metal and molding Buddha images with clay have enabled those who are confused and ignorant to jointly open the eye of wisdom. Is this not a bright lamp in the Dharma realm and a precious raft in the ocean of fruition?
If one's roots of virtue from past lives are pure and clear, and one's wisdom flows freely, then by gazing upon the clouds of compassion of the Buddha, one can greatly awaken the mind of right enlightenment. Following this form with attributes, one can glimpse the principle of formlessness. The senses of eyes, ears, nose, and tongue are unmoving, empty, and still. Self, others, and all sentient beings are equal and without obstruction. This is what is meant by transforming a single blade of grass into a sixteen-foot-tall body, filling the entire world and appearing everywhere. The entire Dharma body of my Buddha is here! It is like obtaining the fish and naturally forgetting the fish trap (a tool for catching fish). But if it were not for the fish trap, how could one obtain the fish? The merit of explaining the scriptures is also like this. I am pleased that he has such good causes, so I correct it for him.
。剃繁重。更付剞劂。流傳四大。庶幾四八莊嚴。隨分圓足。八十妙好。放大光明。以是因緣。齊生忉利云爾。
旹
乾隆十三年歲次戊辰秋七月中元吉日
和碩莊親王愛月居士題並書
造像量度經序
一切諸經所謂佛之身也(顯密眾典所載。二身。三身。四身。五身等。許多分別演說者)其說有二。一曰法身。二曰色身(色。猶相也。其約在有相無相。法身無相。報身住凈土。體同虹霓。化身住穢土。躬與人同。俱有相)法身者。慧德之報。修習自覺自利之功行。圓滿之極地。色身者。福德之果。能為覺他利他之方便。大權成就之至處。佛為救度眾生。發菩提心。屢劫勤行精進。並修慧福二德。無毫停息。以當得甘露(獲佛果。謂之得甘露)時至果報並結。究竟正覺焉。法身元體。如同虛空。無有著礙。遍一切處。不可分別清凈智慧。色身融相。雖類人天。相好莊嚴。奇特超絕。世無可比。因其一切諸善福德具足故(言五部圓滿報身。及百京最上化身也。其隨類變化身。則無有定矣。雖分而言之謂二。合之可以為不二)眾生若得見其躬。或聞其音。觸其光。至於心所憶念者。具德無量饒益。其善遠被慈愍。未得親睹者。乃有造像之術遺於世間。作為方便第一福田。凡得見聞
【現代漢語翻譯】 現代漢語譯本： 將繁瑣的（工作）簡化，更進一步交付刊刻，使之流傳於四大部洲（指東勝身洲、南贍部洲、西牛貨洲、北俱盧洲），或許能使四八莊嚴（指佛的三十二相），隨分隨力地圓滿具足，八十種妙好（指佛的八十種隨形好），放大光明。因為這樣的因緣，（眾生）都能往生到忉利天（欲界六天之一）啊。
時在 乾隆十三年戊辰秋七月中元吉日
和碩莊親王愛月居士題並書
《造像量度經》序
一切經典所說的佛身（顯教和密教的眾多經典所記載的二身、三身、四身、五身等，有許多分別的演說），其說法有兩種。一是法身，二是色身（色，就是相。大致可以分為有相和無相。法身無相，報身住在凈土，其體如同虹霓，化身住在穢土，身形與人相同，都屬於有相）。法身，是智慧功德的報應，是修習自覺自利功行的圓滿極地。色身，是福德的果報，能夠作為覺悟他人、利益他人的方便，是大權成就的至高之處。佛爲了救度眾生，發菩提心，經歷無數劫的勤奮修行和精進，同時修習智慧和福德兩種功德，沒有絲毫停息，因此才得到甘露（獲得佛果，稱為得到甘露），時機成熟時，果報自然結成，最終成就正覺。法身的本體，如同虛空，沒有任何阻礙，遍佈一切處，不可分別的清凈智慧。色身的融相，雖然類似於人天，但相好莊嚴，奇特超絕，世間無可比擬，因為他一切諸善福德都具足（指五部圓滿報身，以及百京最上化身。至於隨類變化身，則沒有定數。雖然分開來說是二，合起來也可以說是不二）。眾生如果能夠見到他的身軀，或者聽到他的聲音，觸碰到他的光芒，甚至心中憶念他，都能獲得無量饒益，他的善行廣被，慈悲深遠。對於那些沒有機會親眼見到佛身的人，於是有了造像的法術流傳於世間，作為方便的第一福田。凡是能夠見到或聽到
【English Translation】 English version: Simplify the cumbersome (work), and further entrust it to engraving, so that it may spread throughout the four great continents (referring to Purva-videha, Jambudvipa, Aparagodaniya, and Uttarakuru). Perhaps it can make the thirty-two marks of excellence (of the Buddha) complete and sufficient according to one's capacity, and the eighty minor marks (of the Buddha) radiate great light. Because of this cause and condition, (beings) can all be reborn in Trayastrimsa Heaven (one of the six heavens of the desire realm).
At the time of The auspicious day of the Zhongyuan Festival in the autumn of the thirteenth year of Qianlong, the year of Wuchen
Inscribed and written by Heshuo Zhuang Prince, Layman Ai Yue
Preface to the Sutra on the Measurement of Buddha Images
All the sutras speak of the body of the Buddha (the many different explanations of the two bodies, three bodies, four bodies, five bodies, etc., recorded in the exoteric and esoteric scriptures). There are two kinds of explanations. One is the Dharmakaya (Dharma body), and the other is the Rupakaya (form body) (Rupa means form or appearance. Roughly speaking, it can be divided into form and formless. The Dharmakaya is formless, the Sambhogakaya (reward body) dwells in the pure land, its essence is like a rainbow, and the Nirmanakaya (transformation body) dwells in the impure land, its form is the same as humans, both belonging to form). The Dharmakaya is the reward of wisdom and virtue, the perfect ultimate state of cultivating self-awareness and self-benefit. The Rupakaya is the fruit of merit and virtue, which can be used as a means to awaken and benefit others, and the supreme place for the great power to be achieved. In order to save sentient beings, the Buddha aroused the Bodhi mind, diligently practiced and progressed through countless kalpas, and cultivated both wisdom and merit without any rest, so he obtained the nectar (obtaining Buddhahood is called obtaining nectar). When the time is ripe, the fruit will naturally be formed, and ultimately perfect enlightenment will be achieved. The original body of the Dharmakaya is like empty space, without any obstacles, pervading all places, and is the indistinguishable pure wisdom. The form of the Rupakaya, although similar to humans and devas, is adorned with excellent marks, unique and transcendent, unparalleled in the world, because it is complete with all good merits and virtues (referring to the complete Sambhogakaya of the five families, and the most supreme Nirmanakaya of a hundred kotis. As for the transformation body that changes according to the type, there is no fixed number. Although they are said to be two when separated, they can also be said to be non-dual when combined). If sentient beings can see his body, or hear his voice, touch his light, or even remember him in their minds, they can obtain immeasurable benefits, his good deeds are widely spread, and his compassion is profound. For those who do not have the opportunity to see the Buddha's body in person, there is the art of making images handed down in the world, as the first field of merit for convenience. All those who can see or hear
想觸。但有接緣者。悉能消除身心之災障。而令發二覺之心。引入無漏之境。利益不亞於原身也。其術世稱為量度經傳。流通聖方。及諸番地。自漢明帝初入于中華。迄今千有六百餘年。雖信心瞻禮。頻示形容。而工業倣傚。實未盡真跡妙之矣。今有番學大人工某者。生平樂學習之業。懷弘濟之念。寒暑不墆。益久彌勤因見佛像傳塑。規儀未盡。乃特譯出舍利弗造像經。親加註述。弘緘具備。而屬予考訂。予細閱數次。喜自不勝。因規校一切。詳加釐定。題諸經首。以記予隨喜之志云耳。
乾隆七年佛初轉法輪日
敕封灌頂普善廣慈大國師章佳胡圖(克)突書于 敕建嵩祝禪林
佛說造像量度經序
或問。佛有相耶。答。佛有相問。佛無相耶。答。佛無相。問。佛有相之中無相耶。答然。問。佛無相之中有相耶。答然。問。如何是佛有相。答。眾生有相。佛焉無相。問。佛相眾生相。一耶二耶。答。不一不二。問。如何是不一。答。佛以沙劫薰脩。百千萬行。相好莊嚴。圓成果海。眾生曠古無明。性天未朗。所行所感。不出六道。故不一也。問。如何是不二。答。佛言。我昔曾為蟲來。未成佛時。何異眾生。今眾生之中。忽然大悟。已有佛性。于生死海中頓超覺岸。前佛后佛。而無間焉。故
【現代漢語翻譯】 現代漢語譯本： 想觸控（佛像）。但如果有接受因緣的人，都能消除身心上的災禍和障礙，從而使他們生起自覺和覺悟之心，引入沒有煩惱的境界，所帶來的利益不亞於佛陀原身。這種方法世人稱為量度經傳，在各地流傳。自從漢明帝時期傳入中華，至今已經有一千六百多年了。雖然人們虔誠地瞻仰禮拜，佛像也頻繁地顯現形象，但是工匠們的倣傚，實際上並沒有完全掌握其真正的精妙之處。現在有一位來自番地的學問淵博的大工匠某某，平生喜愛學習這種技藝，懷有弘揚佛法的願望，不畏寒暑，越久越勤奮。因為看到佛像的塑造，規矩和儀軌還不夠完善，於是特意翻譯出《舍利弗造像經》，親自加以註釋和闡述，內容完備詳盡，並請我來考訂。我仔細閱讀了幾次，喜悅之情難以言表。因此我計劃校正一切，詳細地加以整理和修訂，並題寫在經書的開頭，以記錄我隨喜讚歎的心意。
乾隆七年佛陀初轉法輪之日
奉旨敕封灌頂普善廣慈大國師章佳胡圖克圖書于奉旨敕建嵩祝禪林
《佛說造像量度經序》
有人問：佛有形象嗎？答：佛有形象。問：佛沒有形象嗎？答：佛沒有形象。問：佛在有形象之中沒有形象嗎？答：是的。問：佛在沒有形象之中有形象嗎？答：是的。問：什麼是佛的有形象？答：眾生有形象，佛怎麼會沒有形象？問：佛的形象和眾生的形象，是一樣還是不一樣？答：既一樣又不一樣。問：如何是不一樣？答：佛以無數劫的時間修行，經歷百千萬種善行，相貌美好莊嚴，圓滿成就了功德的海洋。眾生在漫長的歲月中被無明遮蔽，本性沒有顯現，所作所為和感受，都逃不出六道輪迴。所以不一樣。問：如何是一樣？答：佛說：我過去也曾是蟲蟻，在沒有成佛的時候，和眾生有什麼區別？現在眾生之中，如果忽然大徹大悟，就已經具備了佛性，在生死苦海中立刻超越，到達覺悟的彼岸。之前的佛和之後的佛，沒有間隔。
【English Translation】 English version: Desire to touch (the Buddha image). But those who have the affinity to receive, can eliminate the disasters and obstacles of body and mind, thereby causing them to generate the heart of self-awareness and enlightenment, leading them into the realm without afflictions, the benefits of which are no less than the original body of the Buddha. This method is known in the world as the 'Treatise on Measurement,' circulating in sacred regions and various foreign lands. Since the time of Emperor Ming of the Han Dynasty when it first entered China, it has been more than sixteen hundred years. Although people piously admire and pay homage, and Buddha images frequently manifest their forms, the imitation by artisans has not fully grasped its true essence and subtlety. Now, there is a great artisan from a foreign land, so-and-so, who loves to study this art throughout his life, cherishing the desire to propagate the Dharma, persevering through heat and cold, becoming more diligent over time. Seeing that the rules and regulations for the creation of Buddha images are not yet perfect, he specially translated the 'Sariputra Image-Making Sutra,' personally adding annotations and explanations, with complete and detailed content, and asked me to examine it. I carefully read it several times, and my joy is beyond words. Therefore, I plan to correct everything, carefully organize and revise it, and inscribe it at the beginning of the sutra, to record my joy and praise.
On the day when the Buddha first turned the Wheel of Dharma in the seventh year of the Qianlong reign.
By imperial decree, Zhangjia Hutuktu, the Great National Preceptor of Universal Goodness and Great Compassion, who was granted the title of 'Initiation,' wrote this at the Chan Forest of Mount Song, built by imperial decree.
Preface to the Sutra on the Measurement of Buddha Image Making Spoken by the Buddha
Someone asks: Does the Buddha have form? Answer: The Buddha has form. Question: Does the Buddha have no form? Answer: The Buddha has no form. Question: Is the Buddha without form within form? Answer: Yes. Question: Is the Buddha with form within no form? Answer: Yes. Question: What is the Buddha's having form? Answer: Sentient beings have form, how can the Buddha not have form? Question: Are the Buddha's form and the sentient beings' form the same or different? Answer: Neither the same nor different. Question: How are they not the same? Answer: The Buddha cultivated for countless kalpas, performing hundreds of thousands of practices, with beautiful and majestic features, perfectly accomplishing the ocean of merit. Sentient beings are obscured by ignorance for countless ages, their nature has not manifested, and their actions and feelings cannot escape the six realms of reincarnation. Therefore, they are not the same. Question: How are they the same? Answer: The Buddha said: 'I was once an insect, and when I had not yet become a Buddha, how was I different from sentient beings? Now, among sentient beings, if one suddenly has a great enlightenment, they already possess the Buddha-nature, and immediately transcend the sea of birth and death, reaching the shore of enlightenment. The Buddhas before and the Buddhas after are without interval.'
無二也。問。如何是佛無相。答。佛未出世。相從何生。問。出世后如何。答。鏡華水月。問。鏡華水月是無耶。答。爾問鏡華水月。問。畢竟如何。答。爾問畢竟。問。畢竟無問處。答。無問處亦無。噓。靈山拈華之旨。少林分髓之機。全彰無剩矣。問。如何是佛有相之中無相。答。有不自有。因無而有。無不自無。因有而無。眾生執有以成病。諸佛以無為藥而治之。經云。三心不可得者是也。眾生執無以成病。諸佛以有為藥而治之。經云。於法不說斷滅相者是也。然則有亦能成病。有亦能為藥。無亦能成病。無亦能為藥。有也無也。藥也病也。在當人執與不執而已矣。經云。佛說一切法。為度一切心。我無一切心。何用一切法。是也。我則曰。佛現莊嚴相。為度六道生。六道證真空。莊嚴不可得。經云。即非諸佛。是名諸佛。即非莊嚴。是名莊嚴。即非眾生。是名眾生。是也。問。如何是佛無相之中有相。答。凈法界中。本無色相。大悲示現。四八莊嚴。莊嚴者。非別所有莊嚴。即眾生而莊嚴者也。何也。眾生執貪慾。諸佛化貪慾而為解脫。眾生臥無明。諸佛破無明而為般若。眾生輪生死。諸佛超生死而為涅槃。譬如木中。本有火性。當其未假方便因緣。火何有也。及其方便施工。火從木出。可說無耶。眾生佛性
【現代漢語翻譯】 現代漢語譯本 無二也。問：如何是佛無相？答：佛未出世，相從何生？問：出世后如何？答：鏡華水月。問：鏡華水月是無耶？答：爾問鏡華水月。問：畢竟如何？答：爾問畢竟。問：畢竟無問處。答：無問處亦無。噓。靈山拈花之旨（Lingshan Nianhua zhi zhi，靈山會上拈花微笑的禪宗典故），少林分髓之機（Shaolin Fensui zhi ji，少林寺達摩傳法的禪宗典故），全彰無剩矣。問：如何是佛有相之中無相？答：有不自有，因無而有；無不自無，因有而無。眾生執有以成病，諸佛以無為藥而治之。《經》云：『三心不可得』者是也。眾生執無以成病，諸佛以有為藥而治之。《經》云：『於法不說斷滅相』者是也。然則有亦能成病，有亦能為藥；無亦能成病，無亦能為藥。有也無也，藥也病也，在當人執與不執而已矣。《經》云：『佛說一切法，為度一切心。我無一切心，何用一切法』，是也。我則曰：佛現莊嚴相，為度六道生。六道證真空，莊嚴不可得。《經》云：『即非諸佛，是名諸佛；即非莊嚴，是名莊嚴；即非眾生，是名眾生』，是也。問：如何是佛無相之中有相？答：凈法界中，本無色相，大悲示現，四八莊嚴。莊嚴者，非別所有莊嚴，即眾生而莊嚴者也。何也？眾生執貪慾，諸佛化貪慾而為解脫；眾生臥無明，諸佛破無明而為般若（Bore，智慧）；眾生輪生死，諸佛超生死而為涅槃（Nirvana，寂滅）。譬如木中，本有火性，當其未假方便因緣，火何有也？及其方便施工，火從木出，可說無耶？眾生佛性
【English Translation】 English version Non-duality. Question: What is the formlessness of the Buddha? Answer: Before the Buddha appeared in the world, from where would form arise? Question: What about after appearing in the world? Answer: A flower in a mirror, the moon in water. Question: Are the flower in a mirror and the moon in water nothing? Answer: You ask about the flower in a mirror and the moon in water. Question: What is it ultimately? Answer: You ask about the ultimate. Question: Ultimately, there is nowhere to ask. Answer: Even the place of no question is also non-existent. Alas! The essence of Lingshan Nianhua (Lingshan Nianhua, the Zen story of the Buddha holding up a flower and Mahākāśyapa smiling at the assembly on Vulture Peak), the opportunity of Shaolin Fensui (Shaolin Fensui, the Zen story of Bodhidharma transmitting the Dharma at Shaolin Monastery), are completely and exhaustively revealed. Question: What is the formlessness within the form of the Buddha? Answer: Existence does not exist by itself; it exists because of non-existence. Non-existence does not not exist by itself; it does not exist because of existence. Sentient beings cling to existence and become ill; the Buddhas use non-existence as medicine to cure them. As the Sutra says, 'The three minds are unattainable.' Sentient beings cling to non-existence and become ill; the Buddhas use existence as medicine to cure them. As the Sutra says, 'Regarding the Dharma, do not speak of annihilation.' Therefore, existence can also cause illness, and existence can also be medicine; non-existence can also cause illness, and non-existence can also be medicine. Existence or non-existence, medicine or illness, depends on whether the person clings to it or not. As the Sutra says, 'The Buddha speaks all Dharmas to liberate all minds. I have no mind, so what use is there for all Dharmas?' That is it. I say: The Buddha manifests a majestic form to liberate beings in the six realms. When the six realms realize emptiness, majesty is unattainable. As the Sutra says, 'They are not Buddhas; therefore, they are called Buddhas. They are not majesty; therefore, they are called majesty. They are not sentient beings; therefore, they are called sentient beings.' That is it. Question: What is the form within the formlessness of the Buddha? Answer: In the pure Dharma realm, there is originally no form or appearance. Out of great compassion, the forty-eight adornments are manifested. These adornments are not separate from anything; they are the adornments of sentient beings. Why? Sentient beings cling to greed; the Buddhas transform greed into liberation. Sentient beings lie in ignorance; the Buddhas break ignorance and turn it into prajna (Bore, wisdom). Sentient beings revolve in birth and death; the Buddhas transcend birth and death and enter Nirvana (Nirvana, extinction). It is like wood, which inherently has the nature of fire. When the conditions and causes of skillful means are not applied, how can there be fire? But when skillful means are applied, fire comes out of the wood. Can it be said that there is nothing? The Buddha-nature of sentient beings
。亦復如是。當其迷時。無明云暗。智月未彰。三界茫茫。一大夢場。及其悟也。慧風大掃。云盡無方。性天本潔。智月本光。本潔本光者。不為無明云暗而無。不為無明云盡而有也。嗚呼。三世諸佛。即三世眾生。三世眾生。即三世諸佛。不有眾生。安有諸佛。不有諸佛。誰度眾生。然則眾生者。諸佛之苗也。諸佛者。眾生之果也。當知眾生。不可輕也。輕眾生。輕諸佛也。諸佛。不可不學也。不學諸佛。眾生不了也。眾生要了者。當觀諸佛之相好也。諸佛之相。有四八端嚴。八十妙好者。從百千三昧。無量妙行而來也。眾生可有此相耶。可有此好耶。既無此相。又無此好者。定無百千三昧。無量妙行者也。要求諸佛之相好端嚴。當求諸佛之百千三昧。無量妙行。諸佛之百千三昧。無量妙行者。不離眾生。自身自口自意而求也。眾生之身口意。無明為首。便為十惡。智慧為首。番為十善。又以智慧為首。番而為十波羅蜜。十波羅蜜。十地等證。名為等覺。覺既等矣。必等於相。相覺不分。而入于妙。所謂妙覺。妙斯妙矣。妙妙圓明。所謂圓覺。圓覺者。佛果也。佛果者。方有四八端嚴之相。八十二種無上妙好者也。不有如是之相。安有如是之果。不有如是之果。安有如是之相。如是之佛果。如是之佛相。可說有耶。
【現代漢語翻譯】 現代漢語譯本： 也是這樣。當人們迷惑的時候，無明的烏雲遮蔽，智慧的月亮無法顯現。三界茫茫，就像一場大夢。等到覺悟的時候，智慧的風猛烈吹拂，烏雲消散無蹤。自性的天空本來就是潔凈的，智慧的月亮本來就是光明的。所謂本來潔凈、本來光明，不是因為無明的烏雲遮蔽而消失，也不是因為無明的烏雲消散才出現。唉！三世諸佛，就是三世的眾生；三世的眾生，就是三世的諸佛。沒有眾生，哪裡會有諸佛？沒有諸佛，誰來度化眾生？如此說來，眾生是諸佛的幼苗，諸佛是眾生的果實。應當知道眾生不可輕視，輕視眾生就是輕視諸佛。諸佛的教法不可不學習，不學習諸佛的教法，眾生就不能明瞭。眾生想要明瞭，應當觀察諸佛的相好莊嚴。諸佛的相，有四十八種端正莊嚴，八十種微妙美好，這是從百千種三昧（Samadhi，禪定），無量妙行中得來的。眾生可以有這樣的相嗎？可以有這樣的美好嗎？既然沒有這樣的相，又沒有這樣的美好，那一定是缺少百千種三昧，無量妙行。想要獲得諸佛的相好端嚴，應當追求諸佛的百千種三昧，無量妙行。諸佛的百千種三昧，無量妙行，不離開眾生自身的身口意去尋求。眾生的身口意，以無明為首，就成為十惡；以智慧為首，就轉為十善。又以智慧為首，轉而成為十波羅蜜（Paramita，到彼岸）。十波羅蜜，十地（Bhumi，菩薩的十個階位）等證，名為等覺。覺悟既然相等了，必定等於佛的相。相與覺悟不分，而進入微妙的境界，這就是所謂的妙覺。妙啊，真是太妙了！妙到圓滿光明，這就是所謂的圓覺。圓覺，就是佛的果位。佛的果位，才具有四十八種端正莊嚴的相，八十二種無上微妙美好的特徵。沒有這樣的相，哪裡會有這樣的果？沒有這樣的果，哪裡會有這樣的相？這樣的佛果，這樣的佛相，可以說是有嗎？
【English Translation】 English version: It is also like this. When one is deluded, the clouds of ignorance darken, and the moon of wisdom does not appear. The Three Realms are vast, like a great dream. When one awakens, the wind of wisdom sweeps greatly, and the clouds disappear without a trace. The nature of the sky is originally pure, and the moon of wisdom is originally bright. What is meant by 'originally pure' and 'originally bright' is that it does not disappear because of the clouds of ignorance, nor does it appear because the clouds of ignorance dissipate. Alas! The Buddhas of the Three Times are the sentient beings of the Three Times; the sentient beings of the Three Times are the Buddhas of the Three Times. Without sentient beings, where would there be Buddhas? Without Buddhas, who would liberate sentient beings? Therefore, sentient beings are the seedlings of the Buddhas, and the Buddhas are the fruits of the sentient beings. One should know that sentient beings should not be despised; despising sentient beings is despising the Buddhas. The teachings of the Buddhas must be learned; without learning the teachings of the Buddhas, sentient beings cannot understand. If sentient beings want to understand, they should observe the auspicious marks and adornments of the Buddhas. The marks of the Buddhas have forty-eight kinds of dignified features and eighty kinds of subtle perfections, which come from hundreds of thousands of Samadhis (禪定, concentration) and immeasurable wonderful practices. Can sentient beings have such marks? Can they have such perfections? Since they do not have such marks and do not have such perfections, they must lack hundreds of thousands of Samadhis and immeasurable wonderful practices. If one wants to obtain the auspicious marks and dignified features of the Buddhas, one should seek the hundreds of thousands of Samadhis and immeasurable wonderful practices of the Buddhas. The hundreds of thousands of Samadhis and immeasurable wonderful practices of the Buddhas are not sought apart from the body, speech, and mind of sentient beings themselves. The body, speech, and mind of sentient beings, with ignorance as the head, become the ten evils; with wisdom as the head, they turn into the ten virtues. Furthermore, with wisdom as the head, they transform into the Ten Paramitas (波羅蜜, perfections). The Ten Paramitas, the Ten Bhumis (十地, ten stages of a Bodhisattva), and other attainments are called Equal Enlightenment. Since enlightenment is equal, it must be equal to the marks of the Buddha. The marks and enlightenment are inseparable, and one enters the realm of the subtle, which is called Wonderful Enlightenment. Wonderful, how wonderful it is! Wonderful to the point of perfect clarity, which is called Perfect Enlightenment. Perfect Enlightenment is the fruit of Buddhahood. The fruit of Buddhahood has forty-eight kinds of dignified features and eighty-two kinds of unsurpassed subtle and wonderful characteristics. Without such marks, where would there be such a fruit? Without such a fruit, where would there be such marks? Such a fruit of Buddhahood, such marks of the Buddha, can it be said to exist?
可說無耶。可說無相中有相耶。可說有相中無相耶。雖然。無方便中。假立方便。無佛相中。假立佛相。令諸眾生。觀佛相好。從何而生。經云。佛身者。法身也。從慈悲喜捨而生。眾生即悟曰。慈悲喜捨。人亦能為。不肯為也。譬如周道皇皇。進亦無阻。退亦無阻。進退由人。非由道也。我等眾生。何莫由斯道也。裹慈悲喜捨之糧。駕三十七助之車。御十八不共之驥。進取佛果。而證佛相。寧癡癡蠢蠢。甘忍塵勞。莊飾人天世趣。三惡業道之身相也耶。書曰。見賢思齊。祖曰。彼既丈夫。我亦爾。定光曰。佛昔曾為我。我安不成佛。胡不思之。胡不勉之。予因龍公之命。敬于經首。假立問答。論而序之。以發明人天瞻像之旨焉。
時
乾隆六年佛成道日比丘定光界珠謹題
佛像量度經序
我佛廣大劫來。天上人間。龍宮魔窟。胎卵濕化。鱗甲羽毛。塵塵剎剎。無往不入。故顯示三十二相。八十種好。使情與無情。心明自性。體證金剛。婆婆和和。四十九年。三百餘會。塵說剎說。熾然說。無間歇。又道未曾說著隻字。正所謂佛與眾生。皆具一體。同攝一用者也。佛之相好。始如優填王思佛。命匠塑之。佛對相云。無為真佛。實在我身。脫然會得。佛身即我身。我身即佛身。迄今三千年
【現代漢語翻譯】 現代漢語譯本： 可以認為沒有嗎？可以認為在無相之中有相嗎？可以認為在有相之中沒有相嗎？雖然如此，在沒有方便法門中，假立方便法門；在沒有佛的形象中，假立佛的形象，讓眾生觀看佛的相好，是從何而生的。經書上說：『佛的身，就是法身啊，是從慈悲喜捨而產生的。』眾生隨即領悟說：『慈悲喜捨，人也能做到，只是不肯去做罷了。』譬如周朝的道路寬廣平坦，前進也沒有阻礙，後退也沒有阻礙，前進後退在於人，不在於道路啊。我們這些眾生，為什麼不走這條道路呢？帶著慈悲喜捨的糧食，駕駛著三十七道品（三十七助道品）的車，駕馭著十八不共法（十八不共佛法）的駿馬，前進以取得佛果，從而證得佛的相好。難道要癡癡蠢蠢，甘心忍受塵世的勞苦，去莊嚴人天世趣，三惡道的身相嗎？《尚書》上說：『見到賢人就應該想著向他看齊。』禪宗祖師說：『他既然是大丈夫，我也是大丈夫。』定光古佛說：『佛過去曾經是我，我為什麼不能成佛呢？』為什麼不去思考這些呢？為什麼不去努力呢？我因為龍公的囑託，恭敬地在經文開頭，假立問答，論述並作序，以此來闡明人天瞻仰佛像的宗旨啊。
時 乾隆六年佛成道日比丘定光界珠謹題
佛像量度經序
我佛在廣大的劫數以來，天上人間，龍宮魔窟，胎生、卵生、濕生、化生，有鱗的、有甲的、有羽毛的，每一個微塵、每一個剎土，沒有不進入的。所以顯示三十二相（佛的三十二種殊勝的相），八十種好（佛的八十種細微的特徵），使有情和無情眾生，心明瞭自性，身體證悟金剛不壞之身。婆婆和和地說了四十九年，三百多次法會，微塵在說法，剎土在說法，熾盛地說法，沒有間斷。又說未曾說過一個字，這正是佛與眾生，都具有一體，共同發揮作用啊。佛的相好，最初是優填王（Udayana）思念佛陀，命令工匠塑造的。佛對（自己的）像說：『無為才是真佛，實在存在於我的身中。』（優填王）豁然領會，佛身就是我的身，我的身就是佛身。直到現在三千年。
【English Translation】 English version: Is it permissible to say there is nothing? Is it permissible to say that within the formless, there is form? Is it permissible to say that within the formed, there is no form? Although it is so, within the absence of expedient means, expedient means are provisionally established. Within the absence of the Buddha's form, the Buddha's form is provisionally established, so that all sentient beings may observe the Buddha's excellent marks and characteristics. From whence do they arise? The sutra says, 'The Buddha's body is the Dharma body; it arises from loving-kindness, compassion, joy, and equanimity (慈悲喜捨).' Sentient beings then realize, 'Loving-kindness, compassion, joy, and equanimity, people are also capable of doing, but they are unwilling to do it.' It is like the Zhou dynasty's road, broad and level; advancing is without obstruction, and retreating is without obstruction. Advancing and retreating depend on the person, not on the road. Why do we sentient beings not follow this path? Carrying the provisions of loving-kindness, compassion, joy, and equanimity, driving the vehicle of the thirty-seven aids to enlightenment (三十七助道品), and riding the steeds of the eighteen unshared qualities (十八不共佛法), advance to attain the fruit of Buddhahood, and thereby realize the Buddha's excellent marks and characteristics. Would you rather be foolish and dull, willingly endure the toils of the mundane world, and adorn the forms and appearances of the realms of humans and gods, and the three evil paths?
The Book of Documents says, 'When you see a worthy person, think of equaling them.' The Patriarch said, 'Since he is a great man, so am I.' Dipankara Buddha (定光) said, 'The Buddha was once me; why can I not become a Buddha?' Why not think about this? Why not strive for this? I, due to the command of Long Gong, respectfully at the beginning of this sutra, provisionally establish questions and answers, discuss and preface it, in order to elucidate the purpose of humans and gods venerating the Buddha's image.
Time: Respectfully inscribed by Bhiksu Dingguang Jiezhu (定光界珠) on the day of the Buddha's enlightenment in the sixth year of the Qianlong reign.
Preface to the Sutra on Measuring Buddha Images
My Buddha, throughout vast kalpas, in the heavens and the human realm, in dragon palaces and demon caves, through birth from wombs, eggs, moisture, and transformation, with scales and armor, feathers and fur, in every dust mote and every Buddha-land, there is nowhere He does not enter. Therefore, He manifests the thirty-two marks (三十二相) and eighty minor characteristics (八十種好), enabling sentient and insentient beings to clarify their inherent nature and realize the indestructible Vajra body. For forty-nine years, in over three hundred assemblies, dust motes spoke, Buddha-lands spoke, speaking intensely, without interruption. Yet, He also said that He had never spoken a single word. This is precisely because the Buddha and sentient beings are all of one body, sharing one function. The Buddha's excellent marks and characteristics began when King Udayana (優填王) thought of the Buddha and ordered artisans to sculpt an image. The Buddha said to the image, 'Non-action is the true Buddha, truly existing within my body.' (King Udayana) suddenly understood that the Buddha's body is my body, and my body is the Buddha's body. This continues until now, three thousand years later.
來。大光明下。普照支那。間有明一善。取一相。不昧正因。而佛之慈悲相好。奚啻四八莊嚴。八十妙好。不過盡眾生之機見。權示導引。依相趨歸。皆至如一善之所取焉。況觀大地眾生。說佛。學佛。語佛。徹見佛頭腦目髓心肝毫髮不爽。能使盡恒河沙眾生著得隻眼。如其人者。爰有大檀生緣。烏朱穆秦部落。自幼承。
聖祖仁皇帝鞠育之恩。以為儀賓。因其通西土之語。世宗憲皇帝特留帝都。以為西番學總理。兼管翻譯之事焉。其為人樸素鯁直。聰敏恭謹。出乎稠人之表。予得會。敕修大藏。乾隆元年同館事。三年來。形骸相忘。脫非世比。亦深知熏習善種。無忘本得。雖處塵塵之中。無他所好。惟耽心梵冊。酷嗜華言。窺顛末。察微芒。盡其平生力。是欲測佛智。于中揀閱佛說造像量度儀經一帙。遠朝市。棲幽壑。窮究歲月。一心不問。考佛出作入息。差無漏明。差無背向。法相短長。毫髮曲盡其妙。其精如佛在世之無異焉。時懷同歸一善之忱。所患朝野邊邦。明佛心依相歸。或金銀銅鐵。香木泥瓦。繪素。種種不一。匠功巧拙。精粗收分。執相之訛。而人心之慢。是以見顏色而啟敬之心。上格佛心。下契愚衷。功豈小補者哉。欲壽梓流通。問序于余。予訝然笑曰。縱具通身手眼。百千三昧。曷敢向佛頭
【現代漢語翻譯】 現代漢語譯本： 來。大光明之下，普照支那（古代中國的稱謂）。即使只有一點善念萌發，選取一個佛的形象，也不會偏離正確的因果。而佛的慈悲和莊嚴的相貌，又何止是四十八種莊嚴和八十種妙好？這不過是爲了適應眾生的根器和見解，權宜地示現和引導，使人們依據佛的形象而趨向歸依，最終達到與那一點善念所趨向的目標相同。更何況觀察大地上眾生，談論佛，學習佛，講述佛，徹底瞭解佛的頭腦、眼睛、骨髓、心肝，甚至細微的毫毛都絲毫不差。能夠使像恒河沙數一樣多的眾生獲得正見。像這樣的人，是因為有很大的佈施和因緣。烏朱穆秦部落的大檀生，自幼承蒙聖祖仁皇帝的養育之恩，被選為儀賓（駙馬）。因為他精通西域的語言，世宗憲皇帝特意將他留在帝都，擔任西番學（藏學）的總理，兼管翻譯事務。他為人樸素正直，聰敏恭謹，超出眾人之上。我有幸與他相會，奉旨一同修訂大藏經。乾隆元年，我們同在館中做事，三年來，我們形骸相忘，情誼非同一般。我也深深知道他熏習了善良的種子，沒有忘記根本。雖然身處塵世之中，沒有其他愛好，唯獨沉迷於梵文經典，酷愛漢文。探究事情的始末，觀察細微之處，竭盡平生之力，想要測度佛的智慧。從中揀選佛說的造像量度儀經一帙（一套），遠離朝市，隱居山林，窮究歲月，一心不問世事。考證佛的出入作息，細微之處沒有遺漏，沒有偏差。佛像的法相長短，毫髮都曲盡其妙，其精妙如同佛在世時一樣。他時常懷著同歸一善的誠心，所擔心的是朝野邊疆，人們明白佛心而依據佛像歸依，或者用金銀銅鐵、香木泥瓦、繪畫等種種不同的材料製作佛像，工匠的技藝有巧有拙，精細程度不一，執著于佛像的偏差，而人心又怠慢。因此，通過看到佛像的顏色而開啟敬畏之心，上能契合佛心，下能符合愚昧之人的心意，這功德難道是小小的補益嗎？他想要將此書刊印流通，向我詢問序言。我驚訝地笑著說，縱然具有通身的手眼，百千種三昧，又怎敢在佛的頭上……
【English Translation】 English version: Come. Under the great light, universally illuminating China (ancient name for China). Even if there is only a spark of goodness, choosing an image of the Buddha will not deviate from the correct cause and effect. And the Buddha's compassion and majestic appearance are far more than the forty-eight adornments and eighty minor marks of excellence. This is merely a provisional manifestation and guidance to accommodate the faculties and views of sentient beings, so that people can rely on the Buddha's image to tend towards refuge, ultimately reaching the same goal as that spark of goodness. Moreover, observing the sentient beings on earth, discussing the Buddha, learning about the Buddha, speaking of the Buddha, thoroughly understanding the Buddha's mind, eyes, marrow, heart, liver, and even the finest hairs without any deviation, is capable of enabling sentient beings as numerous as the sands of the Ganges to attain right view. Such a person is due to great giving and karmic connections. Da Tanasheng of the Ujumuqin tribe, from childhood, received the nurturing grace of the Holy Ancestor Emperor, and was chosen as an Imperial Son-in-Law (駙馬). Because he was proficient in the languages of the Western Regions, the World Ancestor Emperor specially kept him in the capital to serve as the Director of Tibetan Studies, concurrently managing translation affairs. He was simple and upright, intelligent and respectful, surpassing others. I had the honor of meeting him and was ordered to revise the Tripitaka together. In the first year of the Qianlong reign, we worked together in the institute. For three years, we forgot our physical forms and our friendship was extraordinary. I also deeply knew that he had cultivated the seeds of goodness and had not forgotten his roots. Although he was in the midst of the mundane world, he had no other hobbies, only indulging in Sanskrit scriptures and being fond of Chinese. Exploring the beginning and end of things, observing subtle details, exhausting his life's strength, he wanted to measure the Buddha's wisdom. From this, he selected a set of Buddha's image measurement scriptures, staying away from the court and residing in the mountains, exhaustively studying for years, single-mindedly not asking about worldly affairs. Examining the Buddha's coming and going, working and resting, there were no omissions or deviations in the subtle details. The lengths of the Buddha's image, every hair was exquisitely perfect, its precision was as if the Buddha was in the world. He often cherished the sincerity of returning to the one goodness, what he worried about was that in the court and borders, people understood the Buddha's mind and relied on the Buddha's image for refuge, or used gold, silver, copper, iron, fragrant wood, mud tiles, paintings, and other different materials to make Buddha images, the craftsmanship of the artisans was skillful or clumsy, the degree of refinement was uneven, clinging to the deviations of the Buddha's image, and people's minds were lazy. Therefore, by seeing the color of the Buddha's image and opening the heart of reverence, it can conform to the Buddha's mind above and conform to the minds of the ignorant below, is this merit a small supplement? He wanted to print and circulate this book and asked me for a preface. I was surprised and laughed, saying, 'Even if I have hands and eyes all over my body, thousands of samadhis, how dare I point at the Buddha's head...'
上著色乎。然傅大士云。夜夜抱佛眠。朝朝還共起。起坐鎮相隨。語默同居止。欲識佛性義。祇者語聲是。拈此一段。可表 大檀抱一式。歷萬古不磨之因。守一法。結千秋香飄之果。孰為佛耶。孰不為佛耶。鏡華水月之想。幻化諸實之議。旨哉此也。瞥然一笑。直與三世諸佛。同一鼻孔出氣。三世眾生。同一體靜觀。則像由之所生。心佛亦然。夫復何贅。是為序。
乾隆七年歲在壬戌佛誕日
楚黃嗣祖沙門明鼎拜書于京都萬壽符夢堂丈室
佛像量度經序
從來修佛果者。六度為先。成佛因者。造像第一。昔如來住世。金相流輝。原有量度。古有造礦麥大像。且獲福無疆。況志心造像。而不遵量度可乎。漢唐以來。此方國王大臣士庶緇流。造像供養者。不可勝紀。然造者多。而如法者少。皆未得其真尺寸者也。烏朱穆秦部落儀賓公。內通五明。留心佛典。創譯造像量度經。乃舍利弗之所請問。如來親宣者也。其中所說。從頂至足。分寸節度。皆有法則。縱橫大小。毫釐不差。未得流通於此土。今儀賓公。心存菩薩行。利濟形於外。常翻譯諸文。悉皆成章。意欲遺之無窮。又遇靜覺國師。出佛像圖式。及量度經。與其意相合。於是刊佈流行。適灌頂大國師。抱恙就浴溫泉。公往問訊。道經
【現代漢語翻譯】 現代漢語譯本： 這是關於著色的問題嗎？傅大士（Fu Dashi，一位佛教居士）說：『夜夜抱著佛像入眠，朝朝與佛一同醒來。』一舉一動都與佛相隨，言語沉默都與佛同處。想要了解佛性的真義，就在這說話的聲音中。』拈出這一段話，可以象徵大檀（Da Tan，可能指一位施主）抱持著『一』的姿態，經歷萬古而不磨滅的因，守持『一法』，結出千秋香飄的果。誰是佛呢？誰又不是佛呢？鏡中花、水中月的虛幻之想，幻化出諸法的實相之議，這道理多麼精妙啊！會心一笑，直接與三世諸佛，用同一個鼻孔出氣；與三世眾生，在同一個本體中靜觀。那麼一切形象都由此而生，心與佛也是如此，又何必多說呢？這就是序言。
乾隆七年壬戌年佛誕日
楚黃嗣祖沙門明鼎，在京都萬壽符夢堂丈室拜書
《佛像量度經》序
自古以來修習佛果的人，以六度（Liu Du，佈施、持戒、忍辱、精進、禪定、智慧）為先；成就佛果的因，以造佛像為第一。過去如來住世時，金色的身相光輝燦爛，原本就有一定的量度。古時候有建造礦麥般大小的佛像，因此獲得無量的福報。更何況真心誠意地造佛像，而不遵循量度可以嗎？漢唐以來，此地的國王、大臣、士人、僧侶，建造佛像供養的人，數不勝數。然而建造的人雖多，但如法的人卻很少，都是沒有得到真正的尺寸。烏朱穆秦部落儀賓公（Wu Zhu Mu Qin Bu Luo Yi Bin Gong，官名），精通五明（Wu Ming，聲明、工巧明、醫方明、因明、內明），留心佛典，首次翻譯《造像量度經》，這是舍利弗（Sariputra，佛陀十大弟子之一，以智慧著稱）所請問，如來（Tathagata，佛陀的稱號之一）親自宣說的。其中所說，從頭頂到腳底，分寸的節度，都有法則。縱橫大小，毫釐不差。尚未在此地流通。現在儀賓公，心存菩薩行，利益眾生的行為顯現在外，經常翻譯各種經文，都寫成文章，想要遺留給後世無窮的利益。又遇到靜覺國師（Jing Jue Guoshi，法號），拿出佛像圖式及量度經，與他的想法相合。於是刊印發布流行。恰逢灌頂大國師（Guan Ding Da Guoshi，法號）抱病前往溫泉沐浴，儀賓公前往問候，談論到這部經。
【English Translation】 English version: Is this about coloring? Fu Dashi (a Buddhist layman) said: 'Night after night, I sleep embracing the Buddha; morning after morning, I wake up with the Buddha.' Every movement accompanies the Buddha, and speech and silence share the same dwelling. If you want to know the meaning of Buddha-nature, it is in this sound of speech.' Picking up this passage, it can symbolize Da Tan (possibly a donor) holding the posture of 'one,' experiencing the cause that will not be erased for ten thousand ages, guarding 'one dharma,' and bearing the fruit of fragrance that will drift for a thousand autumns. Who is the Buddha? Who is not the Buddha? The illusory thought of flowers in a mirror and the moon in water, transforms into the discussion of the reality of all dharmas. How subtle is this principle! A knowing smile directly shares the same nostrils with the Buddhas of the three worlds; and with the sentient beings of the three worlds, one contemplates quietly in the same essence. Then all forms arise from this, and the mind and the Buddha are also like this, so why say more? This is the preface.
The Buddha's Birthday in the year of Renxu, the seventh year of Qianlong
The Shramana Mingding, a descendant of Chu Huang, respectfully wrote this in the abbot's room of the Longevity Talisman Dream Hall in Kyoto.
Preface to the Sutra on the Measurement of Buddha Images
Since ancient times, those who cultivate the fruit of Buddhahood take the Six Perfections (Six Paramitas: Dana (generosity), Sila (virtue, ethics), Ksanti (patience), Virya (effort, diligence), Dhyana (meditation), and Prajna (wisdom)) as the priority; the cause of attaining Buddhahood is making Buddha images as the first. In the past, when the Tathagata (one of the titles of the Buddha) lived in the world, his golden form shone brilliantly, and originally had a certain measurement. In ancient times, there were those who built Buddha images the size of mineral wheat, and thus obtained immeasurable blessings. How much more so should one sincerely make Buddha images and not follow the measurements? Since the Han and Tang dynasties, the kings, ministers, scholars, and monks of this land who have built Buddha images for offering are too numerous to count. However, although there are many who build them, few are in accordance with the Dharma, and all have not obtained the true dimensions. The Duke of the Wu Zhu Mu Qin tribe (Wu Zhu Mu Qin Bu Luo Yi Bin Gong, official title), who is proficient in the Five Sciences (Panchavidya: Sabdavidya (grammar), Silpasthanavidya (arts and crafts), Cikitsavidya (medicine), Hetuvidya (logic), and Adhyatmavidya (spirituality)), and pays attention to Buddhist scriptures, first translated the Sutra on the Measurement of Buddha Images, which was requested by Sariputra (one of the ten great disciples of the Buddha, known for his wisdom) and personally proclaimed by the Tathagata. In what is said therein, from the top of the head to the soles of the feet, the degrees of inches and sections all have rules. The vertical and horizontal dimensions, large and small, are without the slightest error. It has not yet been circulated in this land. Now the Duke, with the mind of a Bodhisattva, manifests the act of benefiting sentient beings outwardly, and often translates various scriptures, all of which are written into chapters, wanting to leave them to future generations for infinite benefit. He also encountered the National Teacher Jing Jue (Jing Jue Guoshi, Dharma name), who brought out the diagrams of Buddha images and the Sutra on Measurement, which coincided with his ideas. Therefore, he printed and published them for circulation. It happened that the Great National Teacher Guan Ding (Guan Ding Da Guoshi, Dharma name) was ill and went to the hot springs for bathing, and the Duke went to inquire and talked about this sutra.
荒庵。思在藏館同事接談之情。故出所譯經卷。示成人之美。善必同歸。余因而序之。見其詞清義暢。宛然有古昔房相之風。兼繪像圖式。雅有法度。后之造像者。依式而行。無不感通。福田其有窮乎。法華經云。聚沙為塔。指爪畫佛。皆為成佛正因。況志心造像。而遵量度者哉。自漢至今。世多訛謬相傳。失其法則。公今刊佈流通。遵佛量度。若有善信人等。發心造像。依此準繩。造繪聖容。即同世尊在世。親見如來。將金璧交輝之聖像。演六度之精嚴。求得佛果。有何難哉。后之同志者。幸勿忽諸。
乾隆七年佛出家日慈善比丘本誠記
造像量度經引
夫造像之藝。其來尚矣。梵志阿思陀(二合)仙子所作像傳曰。人壽十萬歲時。南洲有轉輪王。名尾亞舍。爾時有儒童夭殤。其父被哀迷亂。負尸號而奔闕。妄犯啟言。梵典頗載。輪王治世。民無非命。今臣息如是。其咎何歸。速還吾子。莫污聖揚。如此纏綿不已。舉朝無法解慰。稍生不寧。即時大梵天帝。為護國王。特遣毗首羯麻天子。授之以圖畫之術。物色儒童真容。而令活之。與其翁。上下俱得歡悅。梵天嘗贊曰。山中妙高最。鳥中惟大鵬。人中如輪王。藝中是丹青。遂流傳於世間。以為像藝之通原焉。惟佛像之本。則我佛中年之時。中天
【現代漢語翻譯】 現代漢語譯本： 荒庵（地名）。因為思念在藏館與同事們交往的情誼，所以拿出所翻譯的經卷，展示成人之美。善行必定殊途同歸。我因此寫下這篇序言，看到其文辭清麗，義理通暢，宛然有古時候房玄齡（唐朝宰相）的風範。兼有繪畫影象的樣式，高雅而有法度。後世的造像者，依照這個樣式而行，沒有不產生感應的。那麼，這所種的福田哪裡會有窮盡呢？《法華經》說，堆積沙子成為佛塔，用指甲畫佛像，都是成就佛果的正因。更何況是真心實意地造像，而且遵循量度標準的人呢？自從漢朝至今，世間流傳的很多都是訛誤謬誤，失去了法則。現在公（指刊印流通此經者）刊印發布流通此經，遵循佛的量度標準。如果有善男信女等，發心造像，依照這個準繩，造繪佛的聖容，就如同世尊在世一樣，親自見到如來。將金碧交輝的聖像，演說六度（佈施、持戒、忍辱、精進、禪定、智慧）的精嚴，求得佛果，有什麼困難呢？後世的同道者，希望不要忽略這件事。
乾隆七年佛出家日（四月初八）慈善比丘本誠記
《造像量度經》引
造像的技藝，由來已久。《梵志阿思陀(二合)仙子》（梵志：古印度的一種宗教修行者；阿思陀：人名）所作的像傳記載：人的壽命有十萬歲的時候，南贍部洲（佛教宇宙觀中的四大洲之一）有一位轉輪王（統治世界的理想君王），名叫尾亞舍（人名）。當時有一個小孩夭折，他的父親悲傷迷亂，揹著屍體哭號著奔向王宮，冒犯地啟奏說，梵典記載，轉輪王統治世界，人民不會非正常死亡，現在我的兒子這樣，這過錯應該歸於誰？請您快還我的兒子，不要玷污了您的聖名。這樣糾纏不已，整個朝廷沒有辦法安慰他，稍稍產生不安。當時大梵天帝（佛教中的天神）爲了保護國王，特意派遣毗首羯麻天子（印度教的工匠神）授予他繪畫的技藝，描繪出小孩的真實容貌，讓他復活，還給了他的父親。上下都感到歡悅。梵天曾經讚歎說，山中妙高山（須彌山）最高，鳥中大鵬鳥最大，人中轉輪王最尊貴，技藝中繪畫最重要。於是流傳於世間，作為像藝的起源。至於佛像的根本，則是我佛中年的時候，中天（指印度）
【English Translation】 English version: Huang'an (place name). Because of missing the friendship of colleagues in the Tibetan library, I took out the translated scriptures to show the beauty of adults. Good deeds will surely lead to the same goal by different routes. Therefore, I wrote this preface, seeing that its words are clear and its meaning is smooth, just like the style of Fang Xuanling (prime minister of the Tang Dynasty) in ancient times. It also has the style of painting images, which is elegant and has rules. Later image makers, following this style, will surely have a response. Then, where will the blessed field planted in this way end? The Lotus Sutra says that building a pagoda by accumulating sand and drawing a Buddha with fingernails are both the direct causes of attaining Buddhahood. How much more so for those who sincerely make images and follow the standards of measurement? Since the Han Dynasty, many errors and fallacies have been passed down in the world, losing their rules. Now, you (referring to the publisher of this scripture) are publishing and circulating this scripture, following the Buddha's standards of measurement. If there are good men and women, etc., who aspire to make images, follow this guideline to create and paint the holy face of the Buddha, it will be as if the World Honored One is in the world, personally seeing the Tathagata. Using the golden and jade-like holy image to expound the precision of the Six Perfections (generosity, morality, patience, diligence, concentration, and wisdom), what difficulty is there in seeking to attain Buddhahood? Later like-minded people, I hope you will not neglect this matter.
Recorded by Bhikshu Ben Cheng of Compassionate Charity on the day the Buddha left home (April 8th) in the seventh year of Qianlong.
Excerpt from the Treatise on the Measurement of Image Making
The art of image making has a long history. The image transmission made by Brahmin Asita (Skt. Āsita) (Brahmin: a religious practitioner in ancient India; Asita: a personal name) records: When people's lifespan was one hundred thousand years, there was a Chakravartin King (ideal ruler of the world) in Jambudvipa (one of the four continents in Buddhist cosmology) named Viashe (personal name). At that time, a child died prematurely, and his father was sad and confused, carrying the corpse and crying as he ran to the palace, presumptuously requesting that the Brahmin scriptures record that when the Chakravartin King ruled the world, people would not die unnaturally. Now my son is like this, to whom should the fault be attributed? Please return my son quickly, do not tarnish your holy name. He entangled in this way, and the entire court had no way to comfort him, causing slight unease. At that time, the Great Brahma Deva (a deity in Buddhism) specially sent Vishvakarman (the craftsman god in Hinduism) to protect the king, granting him the art of painting, depicting the true appearance of the child, and reviving him, returning him to his father. Both above and below were delighted. Brahma once praised, 'Among the mountains, Mount Myoko (Mount Sumeru) is the highest, among the birds, the Garuda is the largest, among the people, the Chakravartin King is the most honorable, and among the arts, painting is the most important.' Thus, it was passed down in the world as the origin of image art. As for the root of the Buddha image, it was when our Buddha was middle-aged, in Central India.
竺國瓶沙王。為遺遠友。乞得世尊畫容。為㡧像之始(時工被佛神光射眼。眩目不能注視。乃請世尊令坐河岸。而謹取水中影相為式。描得聖容。因被微波。由作曲彎長絲相。故名謂水絲衣佛。今你波羅國所出佛像。多有此樣。其摹似乎唐吳道子觀音石像)暮節。舍利弗創受造像量度。而優填王鏤檀造世尊立像。是為如來胎偶之初。於是流佈五天竺之境矣。其于土番。則唐之貞觀中。創興佛法。前後累使東土及天竺。徴聘諸賢。而賚取眾經。一切五明典籍(一聲明。二因明。三醫方明。四工巧明。五內明)繼續翻譯。準令國內公私立剎。各隨其願力學習之。夫三倚之造法。乃工巧明部所收。最為尊勝者也(三倚者。佛像為身倚。佛身之相也。神靈倚。結此寓之。以施人愿也。文字為語倚。佛語之相也。妙法倚。凝此存之。以備傳教訓也。塔幢為心倚。佛心之相也。道德倚。因此表之。以示顯義理也。又倚者依也。眾生依此三相而發信。見道明理。又倚此作福田也。梵語伽啼。華云倚。或翻因。謂聖凡相。結之因由也。或翻作跡。假此軌跡引誘後人也。亦通。又像為色身倚。文字及塔為法身倚。而廟宇附之。至於法輪鈴杵等物。於一切工用之中。最為尊勝也)彼所出載經傳頗多。而得其傳授者。曼。堇。啾。三氏惟精。
西來佛像。什有八九。靡非彼三家所出者(相有大同小異)而天下通稱藏佛(藏翻江。其地有江故名。國中兩大邑聚。一謂前藏。一謂後藏。)賢愚同寶。貴賤共持。豈非份量盡得合式。深有契於人心之故歟。余先在恩師。
敕封弘教三藏廣智法王寶榻前。親受密集曼那羅尺寸時。並得佛像及塔之尺寸。附安藏法要集偈番本。雖未能熟習。亦自知珍惜之。蓋慎藏而弗失者有年矣。今中土之佛像。有所謂漢式者。有所謂梵式者。其所謂漢式者。則漢武北伐匈奴。得休屠金人。安置於甘泉宮。孝明西迎沙門。受㡧像。建立洛都寺宇。其後漸盛遍蔓。自晉魏(北朝)六朝以至於宋。代與西國通和。公私往來。時時不斷。故多得西國佛像。而唐之元奘法師。遍歷五竺境。共十有七載。瞻禮世尊過化之地。綜通其聲教。大般若等經千有餘卷。金玉佛像百什余軀。俱以大象載歸。其像之精妙。皆阿育王等所造者焉。蓋自漢以來。凡欲造佛像者。皆取西來像為模。工行家。祖述相傳。此所謂漢式者也(或以謂唐式)其所謂梵式者。元世祖混一海宇之初。你波羅國匠人阿尼哥。善為西域梵像。從帝師巴思八來。奉敕修明堂針灸銅像。以工巧稱。而其門人劉正奉。以塑藝馳名天下。因特設梵像提舉司。專董繪畫佛像。及土木刻削之
【現代漢語翻譯】 現代漢語譯本：西來的佛像，十有八九都出自那三家（佛像的形相大同小異），而天下普遍稱之為藏佛（藏語翻譯為江，因為那個地方有江而得名。藏地有兩大城市聚集地，一個叫前藏，一個叫後藏）。無論賢明愚笨都同樣珍視，無論尊貴貧賤都共同持有。這難道不是因為這些佛像的尺寸比例都非常合適，並且深深契合人心的緣故嗎？我之前在恩師—— 敕封弘教三藏廣智法王寶榻前，親自接受密集曼陀羅的尺寸時，並得到了佛像和佛塔的尺寸，附在《安藏法要集》的偈頌梵文版本中。雖然我未能熟練掌握，但也知道珍惜它。大概是謹慎收藏而沒有丟失已經有很多年了。現在中土的佛像，有所謂的漢式佛像，也有所謂梵式佛像。所謂漢式佛像，是漢武帝北伐匈奴，得到休屠王的金人，安置在甘泉宮。漢孝明帝西迎沙門，接受佛像，建立洛陽的寺廟。此後逐漸興盛蔓延，從晉魏（北朝）六朝一直到宋朝，朝代都與西域各國通好，官方和私人的往來，時時不斷。所以多次得到西域的佛像。而唐朝的玄奘法師，走遍五印度的各個地方，總共十七年，瞻仰禮拜世尊度化的地方，綜合貫通其聲教，《大般若經》等經書一千多卷，金玉佛像一百多尊，都用大象載回。這些佛像的精妙，都是阿育王等人所造的。大概從漢朝以來，凡是想要製造佛像的人，都取西來的佛像作爲模範。工匠行家，祖祖輩輩相傳。這就是所謂的漢式佛像（或者有人認為是唐式佛像）。所謂梵式佛像，是元世祖統一天下之初，尼波羅國的匠人阿尼哥（Aniko），擅長製作西域梵像，跟隨帝師八思巴（Phagpa）前來。奉皇帝的命令修復明堂鍼灸銅像，以工藝精巧著稱。而他的門人劉正奉，以雕塑技藝聞名天下。因此特地設立梵像提舉司，專門管理繪畫佛像以及土木雕刻的事情。
【English Translation】 English version: The Buddha statues that come from the West, eight or nine out of ten are produced by those three families (the appearances of the statues are largely the same with minor differences), and the world generally calls them Tibetan Buddhas (the Tibetan translation of 'Jiang', named because that place has a river. There are two major urban agglomerations in Tibet, one called 'Front Tibet' and one called 'Rear Tibet'). Whether wise or foolish, they are equally cherished; whether noble or lowly, they are jointly held. Isn't this because the proportions of these Buddha statues are very suitable and deeply resonate with people's hearts? I was previously in front of my respected teacher's— The throne of the 'Edict-conferred Propagator of Teachings, Tripitaka, Greatly Wise Dharma King', personally receiving the dimensions of the 'Intensive Mandala', and also obtained the dimensions of the Buddha statues and pagodas, attached to the Sanskrit version of the verses in the 'Collection of Essential Methods for Placing Treasures'. Although I have not mastered it proficiently, I also know to cherish it. It has probably been carefully collected and not lost for many years. Now, the Buddha statues in the Central Lands include the so-called 'Han-style' and the so-called 'Brahma-style'. The so-called 'Han-style' refers to when Emperor Wu of Han campaigned against the Xiongnu and obtained the golden statue of the King of Xiutu, which was placed in Ganquan Palace. Emperor Xiaoming of Han welcomed the Shramanas from the West, received Buddha statues, and built temples in Luoyang. Thereafter, it gradually flourished and spread, from the Jin and Wei (Northern Dynasties) Six Dynasties to the Song Dynasty, the dynasties all had good relations with the Western Regions, and official and private exchanges were constant. Therefore, they often obtained Buddha statues from the Western Regions. And the Tang Dynasty's Xuanzang (Xuanzang) Master, traveled all over the five regions of India for a total of seventeen years, paying homage to the places where the World Honored One transformed, comprehensively integrating his teachings, more than a thousand volumes of scriptures such as the 'Great Perfection of Wisdom Sutra', and more than a hundred statues of gold and jade Buddhas, all carried back by elephants. The exquisite nature of these statues was all created by King Ashoka (Ashoka) and others. Since the Han Dynasty, anyone who wanted to create Buddha statues has taken the statues from the West as models. Craftsmen and experts have passed it down from generation to generation. This is the so-called 'Han-style' Buddha statue (or some consider it the 'Tang-style'). The so-called 'Brahma-style' Buddha statue refers to when Emperor Shizu of Yuan unified the world, the craftsman Aniko (Aniko) from Nepal, who was good at making Brahma statues from the Western Regions, came with the Imperial Teacher Phagpa (Phagpa). He was ordered by the emperor to repair the bronze acupuncture statue of the Mingtang, and was known for his exquisite craftsmanship. And his disciple Liu Zhengfeng, was famous throughout the world for his sculpting skills. Therefore, a special 'Brahma Statue Promotion Department' was established to specifically manage the painting of Buddha statues and the carving of earth and wood.
工。故其藝絕於古今。遂稱為梵像。此則所謂梵式者也(你波羅國。在印土之北。吐番之西。其風俗出巧工。蓋阿尼哥更超群者也。故帝師特引來薦于帝也。巴思八者。華云聖。亦是號而非名也。名洛追建燦。華云慧幢。西番貴族。敏悟非凡。五明俱通。世祖中統元年。封國師。授以玉印。主統天下釋門。后即封法號曰。皇天之下。一人之上。開教。宣文。輔治。大聖。至德。普覺。真知。佑國如意。大寶法主。西天佛子。大元帝師。因叔侄傳係爲吐番國總主。按本傳。世祖初。命取明堂針灸銅像。示之於阿尼哥曰。此安撫王[袖-由+戢]使宋時所進。歲久闕壞。無能修完者。汝能新之乎。對曰。請試之。至元二年新像成。關鬲脈洛皆備。金工嘆其天巧。莫不愧服。劉正奉者。姓劉名元。字秉元。薊之寶坻人。其精藝非一。而獨長於塑。又從阿尼哥國公學西天梵相。神思妙合。遂為絕藝。凡兩都名剎。有塑土範金。摶換佛相。皆出元之手。天下無與比。官至昭文館大學士。正奉大夫。秘書監卿)然迄今歷代。竟未譯出其經傳。若有離宗失迷口授尺度久訛不歸者。固無可評正矣。夫貴著貴相。賤露賤貌。里存外現。分毫不差。昔如來以宿因三十二種大功德圓滿。具足三十二種妙相。而凈息凡夫八十種妄想。因全備八十
【現代漢語翻譯】 現代漢語譯本 工匠的技藝因此超越古今，於是被稱為『梵像』。這就是所謂的『梵式』（你波羅國，位於印度的北部，吐蕃的西部，那裡的風俗是出產巧匠。阿尼哥更是其中的佼佼者。所以帝師特別引薦他來進獻給皇帝。巴思八，漢譯為『聖』，也是一種稱號而非名字。他的名字是洛追建燦，漢譯為『慧幢』，是西藏的貴族，聰敏過人，精通五明。元世祖中統元年，被封為國師，授予玉印，總管天下佛教事務。後來被封的法號是：皇天之下，一人之上，開教，宣文，輔治，大聖，至德，普覺，真知，佑國如意，大寶法主，西天佛子，大元帝師。因為叔侄相傳，成為吐蕃國的總領主。根據本傳記載，元世祖最初，命令取來明堂的鍼灸銅像，給阿尼哥看，說：『這是安撫王[袖-由+戢]使宋朝時進獻的，年代久遠，殘缺損壞，沒有人能夠修復完整。你能修復它嗎？』回答說：『請讓我試試。』至元二年，新像完成，關節脈絡都完備。金工們驚歎他的天工巧奪，沒有不愧服的。劉正奉，姓劉名元，字秉元，是薊州寶坻人，他的精湛技藝不止一種，而尤其擅長雕塑。又跟隨阿尼哥國公學習西天梵像，神思妙合，於是成為絕藝。凡是兩都的名剎，有塑造泥土、鑄造金屬、摶換佛像的，都出自劉元之手，天下沒有能與他相比的。官至昭文館大學士、正奉大夫、秘書監卿。）然而直到今天，歷代以來，竟然沒有翻譯出相關的經傳。如果存在脫離宗派、迷失方向、口頭傳授的尺度長期訛誤而不迴歸正途的情況，也就沒有什麼可以評判糾正的了。貴在於真實，貴在於相符，卑賤在於暴露，卑賤在於外貌。內在存在，外在顯現，分毫不差。從前如來憑藉宿世的因緣，三十二種大功德圓滿，具足三十二種妙相，從而清凈息滅凡夫的八十種妄想，因為完全具備八十 種隨形好。故能感應道交。示現種種神通變化。令瞻仰者。滅罪生福。增信發心。若夫毫釐有差。則神情頓異。豈能令人肅然起敬耶。況乎偽妄邪僻。則罪過無邊矣。是則雖曰梵式。而實非梵式也。雖曰梵像。而實非梵像也。豈可不慎哉。豈可不慎哉。
【English Translation】 English version Therefore, his craftsmanship surpassed both the past and present, and his works were called 'Brahma Images.' This is what is meant by 'Brahma Style' (The country of Nepal is located north of India and west of Tibet, and its customs are to produce skilled craftsmen. Anige was even more outstanding among them. Therefore, the Imperial Preceptor specially recommended him to the Emperor. 'Phags-pa,' translated as 'Holy,' is also a title rather than a name. His name was Lodro Gyaltsen, translated as 'Banner of Wisdom,' a Tibetan nobleman, exceptionally intelligent, and proficient in the five sciences. In the first year of the Zhongtong era of Emperor Shizu, he was appointed as Imperial Preceptor, granted a jade seal, and placed in charge of all Buddhist affairs in the realm. Later, he was granted the Dharma title: 'Beneath the Emperor, Above All Others, Initiating Teachings, Spreading Culture, Assisting Governance, Great Sage, Supreme Virtue, Universal Enlightenment, True Knowledge, Protecting the Nation, Wish-Fulfilling, Great Treasure Dharma Lord, Buddha Son of the Western Heaven, Great Yuan Imperial Preceptor.' Because the position was passed down through uncles and nephews, he became the overall leader of Tibet. According to his biography, Emperor Shizu initially ordered the acupuncture bronze statue from the Mingtang to be brought and shown to Anige, saying, 'This was presented by the Pacification King [袖-由+戢] envoy during the Song Dynasty. It has been damaged and incomplete for many years, and no one has been able to repair it completely. Can you restore it?' He replied, 'Please allow me to try.' In the second year of the Zhiyuan era, the new statue was completed, with all the joints and meridians complete. The metalworkers marveled at his divine craftsmanship and were all ashamed and convinced. Liu Zhengfeng, whose surname was Liu and given name was Yuan, with the courtesy name Bingyuan, was a native of Baodi in Ji Prefecture. His exquisite skills were not limited to one, but he was particularly skilled in sculpture. He also studied the Brahma images of the Western Heaven from Duke Anige, and his divine thoughts were wonderfully combined, thus becoming an unparalleled art. All the famous temples in the two capitals, with their clay sculptures, metal castings, and Buddha image transformations, were all made by Liu Yuan, and no one in the world could compare to him. He rose to the rank of Academician of the Zhaowen Hall, Grand Master Zhengfeng, and Secretary Supervisor.) However, until today, throughout the generations, the related scriptures have not been translated. If there are cases of deviating from the sect, losing direction, and long-term errors in the orally transmitted standards that are not corrected, then there is nothing to judge and correct. What is valued is truth, what is valued is conformity, what is despised is exposure, what is despised is appearance. What exists internally manifests externally, without the slightest difference. In the past, the Tathagata, relying on the causes and conditions of past lives, perfected thirty-two great merits and virtues, possessed thirty-two excellent marks, thereby purifying and extinguishing the eighty kinds of delusions of ordinary people, because he fully possessed eighty kinds of minor marks of excellence, he was able to interact with the Way through resonance, manifesting various supernatural powers and transformations, causing those who gazed upon him to eradicate sins, generate blessings, increase faith, and arouse the aspiration for enlightenment. If there is even the slightest difference, the expression and spirit will be completely different. How can it inspire reverence? Moreover, if it is false, deceptive, or perverse, then the sins will be boundless. In that case, although it is called 'Brahma Style,' it is not truly 'Brahma Style.' Although it is called 'Brahma Image,' it is not truly 'Brahma Image.' How can we not be cautious? How can we not be cautious?
種隨形好。示應化一切潤嚴者也(八十種妄想者。貪屬妄想四十種。嗔屬三十三。癡屬七種。出秘密集會大教王經疏)此其妙勝莊嚴。豈可以無師之學。謬為增損者哉。蓋具幾分之準量。則凝注幾分之神氣。有神氣之力。以能引彼眾生之愛敬心。因以其愛敬心之輕重之分。而因獲其攝受利益之大小。此乃天理之自然也。經云。量度不準之像。則正神不寓焉。此豈工人之所易任者乎。然則尺寸量度之為要務也明矣。予平素留意於斯。然非用佛說經義。莫能證鑒。故每為之遲遲。適陜西洮州 敕賜禪定寺崇梵靜覺國師喇嘛來朝。晤于公署。偶談及此。訓余曰。舍利弗問造像量度經者最先詳且該。子盍譯而行之。予聞之喜。敬諾焉。於是月餘。而國師贈經之模本。併圖像五篇。俱擇日而程其功。其中復有當資旁搜者。亦各遍攬採取。納于經間空處述之。或別錄類附於后。仰賴佛力。已獲垂成。凡我同好。永遠供為資糧矣。因效番王佛陀阿布提(二合)所作五明傳略引。而書于經首。時
乾隆七年佛從忉利天下還日(依番九月二十二)
番學總管漠北工布查布謹識
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釋迦佛裸體之相也。
凡佛像壞質以此為模式。
【現代漢語翻譯】 現代漢語譯本 形態隨著種類而美好。這顯示了佛應化萬物，滋潤莊嚴的特性（八十種妄想：貪屬於妄想四十種，嗔屬於三十三種，癡屬於七種。出自秘密《大教王經疏》）。這種精妙殊勝的莊嚴，怎麼可以憑藉沒有老師指導的學問，隨意增減呢？大概具備幾分的準則衡量，就能凝聚幾分的神氣。有了神氣之力，才能引來眾生愛慕敬仰之心。根據他們愛敬之心的輕重程度，從而獲得攝受利益的大小。這乃是天理的自然規律。經書上說：『量度不準確的佛像，正神不會寄寓其中。』這難道是工匠可以輕易承擔的責任嗎？既然如此，尺寸量度的重要性就顯而易見了。我平時留意於此，但如果不用佛說的經義，就不能驗證鑑別，所以常常為此遲疑。恰逢陜西洮州敕賜禪定寺的崇梵靜覺國師喇嘛來朝，我在公署拜見了他。偶然談到此事，他教導我說：『《舍利弗問造像量度經》最先詳細且全面。你何不翻譯並刊行它呢？』我聽了很高興，恭敬地答應了。於是過了一個多月，國師贈送了經書的模本，以及影象五篇。我都選擇吉日開始工作。其中還有應當參考旁搜的內容，也各自廣泛蒐集採納，納入經文的空白處加以敘述，或者另外記錄分類附在後面。仰仗佛力，已經快要完成了。凡是與我志同道合的人，永遠將此作為修行的資糧。因此效仿番王佛陀阿布提（二合）所作的《五明傳略引》，書寫在經文的開頭。 時 乾隆七年佛從忉利天下還日（依照藏曆九月二十二） 番學總管漠北工布查布謹識 釋迦佛裸體之相。 凡佛像壞質以此為模式。
【English Translation】 English version The form is beautiful according to the species. This shows the characteristic of Buddha's response to all things, nourishing and solemn (Eighty kinds of delusions: greed belongs to forty kinds of delusions, anger belongs to thirty-three kinds, and ignorance belongs to seven kinds. From the secret Maharajadhiraja Sutra commentary). How can this subtle and supreme solemnity be arbitrarily increased or decreased by learning without a teacher? Probably possessing a few points of criteria and measurement can condense a few points of spirit. With the power of spirit, it can attract the love and respect of sentient beings. According to the degree of their love and respect, they can obtain the size of the benefit of acceptance. This is the natural law of heaven. The scriptures say: 'The righteous spirit will not reside in an image with inaccurate measurements.' Is this a responsibility that craftsmen can easily bear? Since this is the case, the importance of dimensional measurement is obvious. I usually pay attention to this, but if I don't use the Buddhist scriptures, I can't verify and identify it, so I often hesitate about it. Coincidentally, the Chongfan Jingjue National Teacher Lama of Chan Ding Temple, Taozhou, Shaanxi, came to the court. I met him at the office. I happened to talk about this, and he taught me: 'The Shariputra Asks About the Image Measurement Sutra is the most detailed and comprehensive at the beginning. Why don't you translate and publish it?' I was very happy to hear this and respectfully agreed. So after more than a month, the National Teacher gave me the model of the scriptures and five pictures. I chose auspicious days to start work. Among them, there are also contents that should be searched and adopted, and they are widely collected and adopted, and described in the blank spaces of the scriptures, or recorded separately and attached later. Relying on the power of the Buddha, it is almost completed. All my like-minded people will always use this as a resource for practice. Therefore, I imitated the Introduction to the Biography of the Five Vidyas written by the Tibetan King Buddhābhuti (two combined) and wrote it at the beginning of the scriptures. Time: The day when Buddha returned from Trayastrimsa Heaven in the seventh year of Qianlong (according to the Tibetan calendar, September 22) Respectfully recorded by Gongbu Zhabu, the chief supervisor of Tibetan studies in Mobei The naked image of Shakyamuni Buddha. All damaged Buddha images use this as a model.
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釋迦佛著衣之相也。
凡化身佛相除手印及坐法幖幟之外概以是作為通式。
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無量壽佛之像也。
凡報身佛像除手印坐相及幖幟之外皆以是作為通式。
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文殊菩薩之像也。
凡菩薩天男相者除非手印坐法及幖幟之外概以是作為通式。
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多啰菩薩像
凡佛母天女相者除非手印等差別類其餘以此式可為通用焉。
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本是世尊游化乞食之相也今亦為彌陀接引相凡造諸佛菩薩立像者依此尺寸則無有失差矣。
其雙腳之按法乃依畫像之為也胎偶則趺面對並向前而兩踵間有四指而兩巨指根相去須作八指之分焉。
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金剛杵式
諸菩薩侍奉世尊在旁列立之像以此作式而有幖幟則其幖幟尖向上置於華心中。
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【現代漢語翻譯】 現代漢語譯本 這是釋迦佛（Śākyamuni Buddha）穿著袈裟的形象。 一般來說，所有化身佛（Nirmāṇakāya Buddha）的形象，除了手印、坐姿和標誌之外，都可以此作為通用樣式。 這是無量壽佛（Amitābha Buddha）的形象。 一般來說，所有報身佛（Saṃbhogakāya Buddha）的形象，除了手印、坐姿和標誌之外，都可以此作為通用樣式。 這是文殊菩薩（Mañjuśrī Bodhisattva）的形象。 一般來說，所有菩薩和天男的形象，除了手印、坐姿和標誌之外，都可以此作為通用樣式。 這是多啰菩薩（Tārā Bodhisattva）的形象。 一般來說，所有佛母和天女的形象，除了手印等差別之外，其餘都可以此樣式作為通用。 這原本是世尊（Bhagavan）游化乞食的形象，現在也作為彌陀（Amitābha）接引的形象。凡是塑造諸佛菩薩站立像的，依照這個尺寸就不會有差錯。 雙腳的放置方法是依照畫像而定的。胎偶（不知道如何翻譯）則是雙腿盤坐，面對前方，兩腳後跟之間相隔四指，兩根大腳趾的根部相距需要做出八指的距離。 這是金剛杵（Vajra）的樣式。 諸位菩薩侍奉世尊，排列站立的形象，以此作為樣式，如果有標誌，則將標誌的尖端向上放置在蓮花心中。
【English Translation】 English version This is an image of Śākyamuni Buddha wearing his robes. Generally, all Nirmāṇakāya Buddha images, except for the hand gestures (mudrā), seating posture (āsana), and emblems (laksana), can use this as a common style. This is an image of Amitābha Buddha. Generally, all Saṃbhogakāya Buddha images, except for the hand gestures, seating posture, and emblems, can use this as a common style. This is an image of Mañjuśrī Bodhisattva. Generally, all Bodhisattva and Deva male images, except for the hand gestures, seating posture, and emblems, can use this as a common style. This is an image of Tārā Bodhisattva. Generally, all Buddha-mother and Deva female images, except for differences such as hand gestures, can use this style as a common one. This was originally an image of the Bhagavan wandering and begging for food, and is now also used as an image of Amitābha receiving and guiding beings. Whenever creating standing images of Buddhas and Bodhisattvas, following these dimensions will ensure no errors. The method of placing the feet is based on the paintings. For 'tai ou' (unable to translate), the legs are crossed, facing forward, with four fingers' width between the heels, and the distance between the roots of the two big toes should be eight fingers' width. This is the style of the Vajra. For images of Bodhisattvas attending the Bhagavan, standing in a row, use this as the style, and if there are emblems, place the tip of the emblem upwards in the heart of the lotus.
T21p0940_06.gif
不動明王像也。
以為諸明王忿怒相式。
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如來滿月面 菩薩雞子面
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佛母芝麻面明王四方面
(發攢側歪者乃是依畫像之樣也若胎偶則從前直往後斜傾之)。
週身惟面目最要。故重出四面之像。而復詳之。因經文得其尺寸。以圖樣明其運法。則引學之綱領備矣。夫辭之所不得詮。圖之所未能盡者。則在乎學者思慧之力也。
佛說造像量度經解
大清內閣掌譯番蒙諸文西番學總管儀賓 工布查布 譯並解述
如是我聞。一時佛在舍衛國。祇樹給孤獨園。與諸菩薩聲聞弟子。一切人天龍神。無量眷屬大眾俱。正乃世尊。因為母說法。將升忉利天土時也。爾時賢者舍利弗。向佛敬禮而作是言。世尊不住斯間。若有善人不勝懷慕。思睹世尊。愿造容像者。則其法如何為之。佛言。善哉舍利弗。我今暫升天土。未旋斯間。或示無餘涅槃之後。若有善人。思睹瞻仰。及為自他利益作福田故。愿造容像者。則須遵準量度法為之。如來身量。縱廣相稱。如尼拘𡀩(二合)陀樹。滿
【現代漢語翻譯】 現代漢語譯本 不動明王像。 作為諸明王忿怒相的範式。 如來是滿月面相，菩薩是雞蛋麵相。 佛母是芝麻面相，明王是四方面相。 (髮髻傾斜歪向一側，是依照畫像的樣子。如果是胎生，則從前向後傾斜。) 週身惟有面目最為重要。所以重複畫出四面之像，並且詳細說明。因為經文得到了尺寸，用圖樣來說明其運用方法，那麼引導學習的綱領就完備了。文字所不能完全表達，圖畫所不能完全窮盡的，就在於學習者的思考和智慧了。 《佛說造像量度經解》 大清內閣掌譯番蒙諸文西番學總管儀賓 工布查布 譯並解述 如是我聞。一時，佛在舍衛國祇樹給孤獨園，與諸菩薩、聲聞弟子，以及一切人、天、龍神等無量眷屬大眾在一起。正值世尊因為母親說法，將要上升到忉利天的時候。當時，賢者舍利弗向佛敬禮並說道：『世尊不在世間的時候，如果有善人非常懷念，想要瞻仰世尊的容貌，想要塑造佛像，那麼應該如何做呢？』佛說：『很好，舍利弗。我現在暫時上升到天界，還沒有返回人間，或者示現無餘涅槃之後，如果有善人想要瞻仰，以及爲了自己和他人利益而作福田的緣故，想要塑造佛像，那麼必須遵照量度法來做。如來的身量，縱向和橫向相稱，就像尼拘律陀樹一樣，充滿。』
【English Translation】 English version Image of Acala (Fudo Myoo). Considered the model for the wrathful appearance of all Vidyarajas (Wisdom Kings). Tathagatas (Buddhas) have a full moon face, Bodhisattvas have an egg-shaped face. Buddha-matas (Buddha Mothers) have a sesame seed face, Vidyarajas have a four-sided face. (The hair knot being tilted to the side is according to the image's appearance. If born from a womb, it should be slanted from front to back.) Throughout the body, the face is the most important. Therefore, the four-faced image is repeated and explained in detail. Because the dimensions are obtained from the scriptures, and the methods of application are clarified with diagrams, the guiding principles for learning are complete. What words cannot fully express and what diagrams cannot fully exhaust lies in the learner's power of thought and wisdom. 'Explanation of the Sutra on the Measurement of Buddha Images' Translated and explained by Gongbu Zhabu, Grand Manager of Translation of Tibetan, Mongolian, and Western Languages of the Qing Dynasty Imperial Cabinet. Thus have I heard. At one time, the Buddha was in Shravasti (Savatthi), in the Jeta Grove, Anathapindika's Park, together with numerous retinues of Bodhisattvas, Shravaka (listeners) disciples, and all humans, devas (gods), nagas (dragons), and other beings. It was the time when the World-Honored One was about to ascend to Trayastrimsa Heaven (忉利天) to preach the Dharma for his mother. At that time, the wise Shariputra (舍利弗) paid homage to the Buddha and said, 'World-Honored One, when you are not in this world, if there are virtuous people who deeply miss you and wish to behold the World-Honored One's appearance, and wish to create Buddha images, then how should they do it?' The Buddha said, 'Excellent, Shariputra. I am now temporarily ascending to the heavens and have not yet returned to this world, or after showing Parinirvana (無餘涅槃), if there are virtuous people who wish to behold and venerate, and for the sake of creating fields of merit for themselves and others, wish to create Buddha images, then they must follow the measurement methods. The Tathagata's body size, length and width, should be proportionate, like a banyan tree (Nigrodha tree, 尼拘律陀樹), full and complete.'
自一尋。今其體肢大小節分。豎橫制度。起從頂髻。略說于汝。諦聽。善思念之縱廣。猶豎橫也。尼拘𡀩(二合)陀。樹名。梵語也。華云無節。狀如柳。此樹。株身之高分。與其周圍垂梢彼此間深裡向豎橫相等。佛身亦如是。從頂至腳底之縱分。與其平舒兩肱。二中指尖相去間廣分。無不相稱。各滿自己一尋也。
於是世尊即說伽陀日 伽陀。梵語也。華云偈。義詳辭約。為學者易持也。
以自手指量。百有二十指。肉髻崇四指。髮際亦如此 按西來專業像家量度法。微塵。髮梢。蟣。芥子。麥。后復增八倍。一麥分為一小分。二麥並布為一足。四足為指。又謂中分。十二指為搩(音桀。以手度物曰搩。俗謂大扎)亦謂大分。倍搩為肘。四肘為尋。即一庹(俗作托)也。以自手指量者。言現今所造佛像大小幾許。即以自身手指量之。應得自己一尋之份量。即以自搩十搩。以自指百二十指之分也。肉髻。佛頭巔頂上有肉塊。高起如髻。形似積粟覆甌。高四指。由其根下至髮際之份量。亦如此四指也。若胎偶則多得半指。譬如現今欲造立像一丈二尺。則此丈二。即是本像之一尋。而其一寸。即本像之一指分。如是豎橫各得百二十指。乃㡧像之比量。是為戒生大教王經中說量度法之義也○分別其節目。則肉髻
【現代漢語翻譯】 現代漢語譯本： 用自身的一尋來衡量。現在佛的體肢、大小關節，以及豎向和橫向的制度，從頂髻開始，我略微為你解說。仔細聽，好好思考。縱向和橫向，就像尼拘律陀樹（榕樹，梵語，意為無節，形狀像柳樹）。這樹的樹幹高度和周圍垂下的樹梢之間的深度，以及豎向和橫向都是相等的。佛的身軀也是如此，從頭頂到腳底的縱向長度，與平伸雙臂，兩個中指尖之間的橫向寬度，完全相稱，各自都滿自己的一尋。 於是世尊就說了偈頌（伽陀，梵語，意為偈，意義詳細而簡潔，方便學者記憶）： 用自己的手指測量，總共有一百二十指。肉髻的高度是四指，髮際線也是如此。（按照西來的專業造像家的量度方法，從微塵、髮梢、蟣、芥子、麥，之後又增加八倍。一麥分為一小分，兩麥並排為一足，四足為一指，也叫中分。十二指為一搩（音桀，用手測量物體叫做搩，俗稱大扎），也叫大分。兩倍的搩為一肘，四肘為一尋，也就是一庹（俗寫作托）。用自己的手指測量，意思是說現在所造的佛像大小是多少，就用自身的手指來測量。應該得到自己一尋的量，也就是用自己的十搩，或者一百二十指的量。肉髻，是佛頭頂上的肉塊，高高隆起像髮髻，形狀像倒扣的盛米的容器，高四指。從肉髻根部到髮際線的距離，也是四指。如果胎偶，則會多出半指。比如現在想要造一尊一丈二尺高的立像，那麼這一丈二尺，就是這尊佛像的一尋，而一寸，就是這尊佛像的一指。這樣豎向和橫向各有一百二十指，就是造像的比例。這是《戒生大教王經》中說的量度方法的意義。分別它的各個部分，比如肉髻。
【English Translation】 English version: Measure with your own 'xun' (a unit of measurement equal to the distance between the tips of the middle fingers when the arms are outstretched). Now, the body limbs, the size of the joints, and the vertical and horizontal dimensions of the Buddha, starting from the 'dingji' (ushnisha, the protuberance on the crown of the Buddha's head), I will briefly explain to you. Listen carefully and contemplate well. The vertical and horizontal dimensions are like the 'Nijulvtuo' (Nigrodha) tree (banyan tree, in Sanskrit, meaning without joints, shaped like a willow). The height of the trunk of this tree and the depth between the surrounding drooping branches, as well as the vertical and horizontal dimensions, are equal. The Buddha's body is also like this; the vertical length from the top of the head to the soles of the feet, and the horizontal width between the tips of the two middle fingers when the arms are outstretched, are perfectly proportionate, each fulfilling its own 'xun'. Then the World Honored One spoke the 'gatha' (verse, in Sanskrit, meaning verse, with detailed and concise meaning, easy for scholars to remember): Measure with your own fingers, a total of one hundred and twenty fingers. The height of the 'rouji' (ushnisha) is four fingers, and the hairline is also the same. (According to the measurement method of professional image makers from the West, from 'weichen' (dust mote), 'fashao' (hair tip), 'ji' (nit), 'jiezi' (mustard seed), 'mai' (wheat), and then increased eight times. One 'mai' is divided into one small part, two 'mai' side by side are one 'zu' (foot), four 'zu' are one finger, also called 'zhongfen' (middle part). Twelve fingers are one 'jie' (a unit of measurement using the hand, commonly called 'dazha'), also called 'dafen' (large part). Twice the 'jie' is one 'zhou' (elbow), four 'zhou' are one 'xun', which is one 'tuo' (fathom). Measuring with your own fingers means how big the Buddha statue being made now is, measure it with your own fingers. It should obtain the amount of your own 'xun', that is, using your own ten 'jie', or the amount of one hundred and twenty fingers. 'Rouji' (ushnisha), is the fleshy mound on the top of the Buddha's head, rising high like a hair bun, shaped like an inverted container for holding rice, four fingers high. The distance from the base of the 'rouji' to the hairline is also four fingers. If it is a 'tai ou' (rare occurrence), it will be half a finger more. For example, if you want to build a standing statue of one 'zhang' (ten chi) and two 'chi' (feet) high, then this one 'zhang' and two 'chi' is the 'xun' of this Buddha statue, and one 'cun' (inch) is the finger division of this Buddha statue. In this way, there are one hundred and twenty fingers each vertically and horizontally, which is the proportion of making the statue. This is the meaning of the measurement method described in the 'Jiesheng Dajiao Wang Jing' (Sutra of the Great King of Precepts and Birth). Distinguish its various parts, such as the 'rouji' (ushnisha).
。髮際。頸喉。各縱四指。共湊成滿一搩也。面輪。及自喉至心窩。由是至肚臍。由是至陰藏。各一搩。是上身之五搩也。牌樞(即胯骨也)膝骨。足踵。各縱四指。共湊一搩。股。脛。各二搩。是下身之五搩。合較滿十搩。十搩即一尋。每搩十二指。十個十二。即一百二十。此乃比量豎縱之分法也。度橫廣之法。則自心窩而上。比至六指處(胎偶則六指零一足處)從正中橫量至兩腋。各一搩。由是順手至肘以里。兩臑各長二十指。由是至手腕兩臂各十六指。由是兩中指梢各一搩。共計亦百二十指也○若造坐像。其法陰藏中為正中。即身之半也。其下添四指處。平彈絣線(絣音伻。以繩直物也)而彼與梵絣(㡧像之主。心準繩曰梵絣)相接處。即跏趺交會之下隅也。又加四指。為法身之下邊。寶座之上面也。從趺會下隅起。直上立彈絣線。比至眉間白毫中之份量。與其趺坐雙膝外邊相去間闊分。長短平等。而兩踵相離分得四指焉。
面輪豎縱度。帶半十二指。分三為額鼻。及頦俱得一 首面與四體。釋典謂之五輪。帶半。加半指也。言面之長。逕一搩加半指。將此一搩半指。分為兩個四指。及一個四指半。三分。而自發際至山根之眉間白毫中心。額顱之崇作一個四指分。由是至準頭。鼻之長得其一四指分。由是
【現代漢語翻譯】 現代漢語譯本： 從髮際到頸喉，各縱向四指寬，總共構成一拃（zhǎ）的長度。面輪（臉的長度），以及從喉嚨到心窩，從心窩到肚臍，從肚臍到陰藏，各為一拃。這是上半身的五拃。牌樞（即胯骨），膝骨，足踵，各縱向四指寬，總共構成一拃。大腿（股），小腿（脛），各二拃。這是下半身的五拃。合起來總共是十拃，十拃就是一尋。每拃十二指，十個十二，就是一百二十。這是比量豎向長度的劃分方法。 測量橫向寬度的方法：從心窩向上，量到六指處（如果是胎偶，則是六指零一點的地方），從正中橫向測量到兩腋下，各一拃。從腋下順著手臂到肘部以內，兩臂（臑 nào）各長二十指。從肘部到手腕，兩臂各十六指。從手腕到兩中指指尖，各一拃。總計也是一百二十指。如果塑造坐像，那麼陰藏的中間為正中，也就是身體的一半。在陰藏下面增加四指的位置，用彈線（絣 bēng，用繩子使物體變直）拉成直線，這個直線與梵絣（塑造佛像的主持者，心中的準繩叫做梵絣）相接的地方，就是跏趺坐雙腿交疊的下角。再加四指，是法身的下邊，也就是寶座的上面。從跏趺坐交疊的下角開始，向上拉一條垂直的彈線，量到眉間白毫中心的距離，與跏趺坐雙膝外側之間的距離相等，而兩腳後跟（踵 zhǒng）之間相隔四指。 面輪豎向長度，帶半個十二指（六指），分成三份，額頭、鼻子和下巴各佔一份。首面（頭面）與四體，在佛教經典中被稱為五輪。帶半，就是加半指。說的是臉的長度，直徑一拃加半指。將這一拃半指，分為兩個四指，以及一個四指半，共三分。從髮際到山根（眉間白毫中心），額頭的長度為一個四指的長度。從山根到鼻尖（準頭），鼻子的長度為一個四指的長度。從鼻尖到...
【English Translation】 English version: From the hairline to the neck and throat, each measures four fingers in length vertically, totaling one 'zha' (span). The face (length of the face), and from the throat to the heart, from the heart to the navel, from the navel to the pubic region, each measures one 'zha'. These are the five 'zha' of the upper body. The 'pai shu' (hip bone), knee bone, and heel, each measures four fingers in length vertically, totaling one 'zha'. The thigh (gu) and calf (jing), each measures two 'zha'. Together, they total ten 'zha', and ten 'zha' is one 'xun' (fathom). Each 'zha' is twelve fingers, and ten times twelve is one hundred and twenty. This is the method of proportionally dividing the vertical length. The method of measuring horizontal width: From the heart upwards, measure to the point of six fingers (if it is a 'tai ou', then it is six fingers and a fraction), from the center horizontally measure to both armpits, each one 'zha'. From the armpits along the arm to the inside of the elbow, both upper arms (nu) are each twenty fingers long. From the elbow to the wrist, both arms are each sixteen fingers long. From the wrist to the tips of both middle fingers, each one 'zha'. The total is also one hundred and twenty fingers. If sculpting a seated statue, then the middle of the pubic region is the center, which is half of the body. Add four fingers below the pubic region, and draw a straight line with a snapped line (beng, using a rope to straighten objects), and the place where this line connects with the 'Fan beng' (the master sculptor of Buddhist images, the standard in the heart is called 'Fan beng'), is the lower corner where the crossed legs of the lotus position meet. Add another four fingers, which is the lower edge of the Dharmakaya (Dharma body), which is the top of the treasure seat. Starting from the lower corner of the crossed legs, draw a vertical snapped line upwards, and the distance to the center of the white hair between the eyebrows is equal to the distance between the outer sides of the crossed knees, and the heels are separated by four fingers. The vertical length of the face, with half of twelve fingers (six fingers), is divided into three parts, with the forehead, nose, and chin each taking one part. The head and face and the four limbs are called the five 'chakras' in Buddhist scriptures. 'Dai ban' means adding half a finger. It refers to the length of the face, with a diameter of one 'zha' plus half a finger. This one 'zha' and a half finger is divided into two four-finger lengths, and one four-and-a-half-finger length, for a total of three parts. From the hairline to the 'shan gen' (root of the mountain, center of the white hair between the eyebrows), the length of the forehead is one four-finger length. From the 'shan gen' to the tip of the nose (zhun tou), the length of the nose is one four-finger length. From the tip of the nose to...
至頦下邊。得其帶半指之一分。依胎偶而言之也。若㡧像。則不加半指。只本分一搩。平分三分。而額。鼻。頦。各均得四指之分也。凡搩分多加半指者。皆是胎偶之比量法。是乃時輪大教王經中說制度之義也。夫胎偶者。有骨肉之相。因以凸高顯露。故皮面須加每搩上半指也。面輪之半指在頷頦。上身之湊成一搩分上。應加之半指在髮際。下身之湊成一搩分上。應加之半指在踵際。其餘心窩。肚臍。陰藏。此三處各間加半指。股。脛。各加滿指(此兩骨節。本來各有二搩。故合而宜加滿指之分也)是縱里向共總增出五筒滿指分也。自胸中平量至兩腋間之分各加半指。兩肘各得三足零三分足之一。兩手腕各有二足零三分足之二。兩手頭各加半指。如是廣裡向共增出五滿指。合較縱廣俱各得百二十有五指也。至於梵絣。與[巾亭]木(胎偶之主心木也)之制。則更無有少異矣。密藏倚在脊尖尾骶之前。故數上身。以上六十指。脾樞雖貼于脊骨。而在密藏之上邊。其因結援腿根。為足之生處。故數下身。以下六十指。然而須知其交接法為要(安[巾亭]木法見裝藏章)○鼻準上。胎偶則添一滿指之分。而去其髮際之半指。鼻柱高一指。亦不在正數之內。㡧像之準頭。及頦下。亦各添半指。而不言增添何也。蓋凡繪事筆
法。借高鋪地。凹凸增添。雖有幾分增出之筆。仍有被所遮掩之分。因地面平坦故。雖有增添之劃文。而無加益之實跡也。
下分四指半。頦身只二指。廣向十六足。深分逕四指 下分。即前說三分之末分也。言面之縱分。雖分三分。而上分為額。中分為鼻。各得四指之分。其末分為頷頦者。連嘴共有四指加半指也。頦身者。自下唇根至於頦下際也。其縱分只二指。而飽滿光滑。旁曠而邊圓。頦之廣分寬里向十六足。即四指。若笑容則隨宜增加份量。其自頦際至喉深分亦四指。有沿邊疊折。似重頦之相焉○凡胎偶之凸凹分。除非頦際及梢尖等處可畫之外。皆㡧像之所不得而用也。
上唇長二指。寬有其半矣。中顯頻婆形。邊角各一指。口長度四指。賢者須要知。牙齒數四十。堅密白凈齊。下唇長六足。寬深亦如是。人中凹槽闊。三分指之一 從鼻柱根至閉口處。直量一指半。上唇之長分二指。寬有其半者。言二指之半。即一指也。唇之寬厚分三足。而人中槽下際凹入嘴唇邊一麥之分。其外尖凸出一足之分。似乎頻婆形。與前說之三足合為四足。即一指矣。頻婆。梵語。果名。華云相思果。色丹而潤。蓋不但喻其形。兼唇之色而言之矣。兩邊角各一指。總口之長分有四指也。齒數具正四十(常人但有三十二
【現代漢語翻譯】 現代漢語譯本： 方法。好比在高低不平的地面上鋪設東西，凹凸不平的地方會增加或減少。即使有一些增加的筆畫，仍然有被遮蓋的部分。因為地面是平坦的，所以即使有增加的筆畫，也沒有實際增加的痕跡。
從下巴分出四指半的距離。下巴本身的長度只有兩指。寬度是十六足（四指）。深度是四指。下分，就是前面說的三分的最後一部分。說的是面部的縱向劃分，雖然分為三部分，但上部分是額頭，中部分是鼻子，各佔四指的距離。最後一部分是下巴，連同嘴巴共有四指加半指。下巴身，指的是從下嘴唇根部到下巴下緣的距離。它的縱向長度只有兩指，但飽滿光滑，旁邊寬闊而邊緣圓潤。下巴的寬度是十六足，也就是四指。如果微笑，可以根據情況增加份量。從下巴邊緣到喉嚨的深度也是四指。有沿著邊緣重疊的褶皺，像是雙下巴的樣子。凡是胎裡帶來的凹凸部分，除非是下巴邊緣和尖端等處可以描繪之外，都不能用畫像來表現。
上嘴唇長兩指，寬度是其一半。中間顯現頻婆果的形狀。嘴角各一指。嘴巴的長度是四指，有智慧的人應該知道。牙齒的數量是四十顆，堅固緊密，潔白整齊。下嘴唇長六足，寬度和深度也一樣。人中凹槽寬闊，是三分之一指。從鼻柱根部到閉口處，直接測量是一指半。上嘴唇的長度是兩指，寬度是其一半，也就是說兩指的一半，即一指。嘴唇的厚度是三足，人中槽下緣凹入嘴唇邊緣一麥的距離。其外尖凸出一足的距離，似乎是頻婆果的形狀。與前面說的三足合起來是四足，即一指。頻婆（Bimba），梵語，果名。漢譯為相思果。顏色鮮紅而潤澤。大概不僅僅是比喻它的形狀，也兼指嘴唇的顏色。兩邊嘴角各一指。整個嘴巴的長度是四指。牙齒的數量是四十顆（常人只有三十二顆）。
【English Translation】 English version: Method: It's like laying something on uneven ground, where the bumps and dips will be increased or decreased. Even if there are some added strokes, there are still parts that are covered. Because the ground is flat, even if there are added strokes, there are no actual traces of addition.
Divide four and a half fingers from the chin. The chin itself is only two fingers long. The width is sixteen feet (four fingers). The depth is four fingers. 'Lower division' refers to the last part of the aforementioned three divisions. It refers to the longitudinal division of the face, although divided into three parts, the upper part is the forehead, the middle part is the nose, each occupying four fingers. The last part is the chin, which together with the mouth is four and a half fingers. 'Chin body' refers to the distance from the root of the lower lip to the lower edge of the chin. Its longitudinal length is only two fingers, but it is full and smooth, wide on the sides and round on the edges. The width of the chin is sixteen feet, which is four fingers. If smiling, the amount can be increased as appropriate. The depth from the edge of the chin to the throat is also four fingers. There are overlapping folds along the edge, resembling a double chin. All congenital bumps and dips, unless they are the edge of the chin and the tip, etc., that can be depicted, cannot be expressed by portraits.
The upper lip is two fingers long, and the width is half of that. The shape of 'Bimba' fruit appears in the middle. The corners of the mouth are each one finger. The length of the mouth is four fingers, which the wise should know. The number of teeth is forty, firm, dense, white and neat. The lower lip is six feet long, and the width and depth are the same. The philtrum groove is wide, one-third of a finger. From the root of the nasal column to the closed mouth, the direct measurement is one and a half fingers. The length of the upper lip is two fingers, and the width is half of that, that is, half of two fingers, which is one finger. The thickness of the lip is three feet, and the lower edge of the philtrum groove is indented into the edge of the lip by the distance of one 'mai'. The outer tip protrudes by the distance of one foot, which seems to be the shape of 'Bimba' fruit. Combined with the aforementioned three feet, it is four feet, which is one finger. 'Bimba' (梵文), a fruit name. Translated as 'Xiangsi' fruit. The color is bright red and moist. It probably not only refers to its shape, but also refers to the color of the lips. The corners of both sides of the mouth are each one finger. The length of the entire mouth is four fingers. The number of teeth is forty (ordinary people only have thirty-two).
。三十六齒)堅固齊密。潔凈瑩白。似乎𤥭[王*巨]。然平素不露牙齒也。下唇長指半。寬分。其邊與齒根相去亦如是指半。而其一指即厚之分。上面有凹承上唇之凸尖。下面亦有微凹平且闊。合之形如弓弝。其邊兩彎垂外際。比上唇之寬分各多一麥。二唇吻之而豎里向直量則只得一滿指。口之兩角寬半麥之分。其梢向上翹起。如華瓣之尖。美妙含笑之容。具為口相也。人中槽闊。三分指之一。而深里向宜得一足零一麥之多半分矣。
鼻寬二指量。準高指半矣。鼻孔圓且藏。竅闊有半指。雙翹勻真圓。鼻柱橫半指 鼻之寬闊。略量有二指。雙目前角間為山根。高寬俱一指。浸長高而直美。鼻樑作略顯不顯之些微弓彎。準頭圓滿。高分連鼻柱一指半。鼻孔規圓。而睨視之不見竅孔。闊量半指。深分作一指。鼻之兩翹彎回。規圓均美。凸凹真刻。厚分各得一足半。鼻柱及兩孔各寬半指。共合鼻身寬二指一足也。鼻孔之邊與鼻柱相齊。高分有一指焉。
目間曠八足。長分應四指。白黑睛三分。各分得滿指。黑珠作五分。正中是眸子。眼寬只一足。其胞有三指。式如蓮華瓣。清瑩金精色。印堂白毫地。廣帶半一指。眉如初月牙。中高長四指 雙目之間曠空處。闊二指。自白毫而下。比至二指之地。向兩旁橫量各
【現代漢語翻譯】 現代漢語譯本：三十六顆牙齒堅固齊整，潔凈瑩白，如同𤥭[王*巨]（一種珍貴的白色寶石）。平時不顯露牙齒。下唇長約一指半，寬約一分。下唇邊緣與牙齒根部相距也是一指半。下唇厚度為一指的十分之一。上部有凹陷以承接上唇的凸尖，下部也有微小的凹陷，平坦而寬闊，合起來的形狀像弓背。下唇邊緣的兩彎向外垂，比上唇的寬度各多一麥粒。雙唇閉合后，從上到下垂直測量只有一滿指。嘴角兩角寬約半麥粒，末梢向上翹起，像花瓣的尖端，呈現出美妙含笑的容貌，這就是口部的相貌特徵。人中槽寬約三分之一指，深度適宜，應為一足零一麥粒的多一半。 鼻子寬約二指，鼻尖高約半指。鼻孔圓潤且隱藏，孔竅寬約半指。雙鼻翼勻稱圓潤，鼻柱橫寬約半指。鼻子的寬闊，略微測量有二指。兩眼內角之間為山根，高寬都是一指。山根逐漸增長，高聳而挺拔秀美。鼻樑呈現略微可見的弓形彎曲。鼻尖圓潤飽滿，高度（從鼻尖到鼻柱）連同鼻柱共一指半。鼻孔規則圓潤，從側面看也看不到孔竅。寬度測量為半指，深度為一指。鼻翼的兩側彎曲迴旋，規則圓潤，勻稱優美，凸凹分明。厚度各為一足半。鼻柱和兩個鼻孔各寬半指，總共合起來鼻身寬二指一足。鼻孔的邊緣與鼻柱齊平，高度為一指。 兩眼之間的空曠處寬八足，長度應為四指。眼白和黑眼珠各佔三分，各佔滿一指。黑眼珠佔五分，正中間是瞳孔。眼睛寬只有一足，眼瞼有三指寬，形狀像蓮花瓣，清澈明亮，呈現金色的光澤。印堂（兩眉之間）的白毫之地，寬約半指到一指。眉毛像新月一樣，中間高起，長度為四指。雙眼之間的空曠處，寬二指。從白毫向下，到距離二指的地方，向兩旁橫向測量各
【English Translation】 English version: The thirty-six teeth are firm, even, dense, clean, and bright white, resembling 𤥭[王*巨] (a precious white gem). Normally, the teeth are not exposed. The lower lip is one and a half fingers long and one 'fen' (a unit of measurement) wide. The distance between the edge of the lower lip and the root of the teeth is also one and a half fingers. The thickness of the lower lip is one-tenth of a finger. The upper part has a depression to receive the convex tip of the upper lip, and the lower part also has a slight depression, which is flat and wide, and the combined shape is like the back of a bow. The two curves of the edge of the lower lip droop outward, each being one grain of wheat wider than the upper lip. When the lips are closed, the vertical measurement from top to bottom is only one full finger. The corners of the mouth are about half a grain of wheat wide, and the tips are upturned, like the tips of flower petals, presenting a beautiful smiling appearance, which is the characteristic of the mouth. The philtrum (the vertical groove between the nose and upper lip) is about one-third of a finger wide, and the depth should be one 'zu' (another unit of measurement) and one and a half grains of wheat. The nose is about two fingers wide, and the tip of the nose is about half a finger high. The nostrils are round and hidden, and the openings are about half a finger wide. The two alae nasi (the wings of the nose) are symmetrical and round, and the nasal column (the part between the nostrils) is about half a finger wide. The width of the nose is slightly measured to be two fingers. The area between the inner corners of the eyes is the 'mountain root' (the radix nasi), which is one finger high and wide. The 'mountain root' gradually grows, tall, straight, and beautiful. The bridge of the nose has a slightly visible arc. The tip of the nose is round and full, and the height (from the tip of the nose to the nasal column) together with the nasal column is one and a half fingers. The nostrils are regularly round, and the openings are not visible from the side. The width is measured to be half a finger, and the depth is one finger. The two sides of the alae nasi curve back, regularly round, symmetrical, and beautifully defined. The thickness is one and a half 'zu' each. The nasal column and the two nostrils are each half a finger wide, totaling two fingers and one 'zu' for the width of the nose. The edge of the nostrils is level with the nasal column, and the height is one finger. The space between the eyes is eight 'zu' wide, and the length should be four fingers. The white of the eye and the black of the eye each occupy one-third, each occupying a full finger. The black of the eye occupies five-tenths, and the pupil is in the center. The width of the eye is only one 'zu', and the eyelid is three fingers wide, shaped like a lotus petal, clear and bright, with a golden luster. The area of the white hair between the eyebrows (the glabella) is about half a finger to one finger wide. The eyebrows are like a new moon, high in the middle, and four fingers long. The space between the eyes is two fingers wide. From the white hair down to a distance of two fingers, measure horizontally to both sides each
至一指處。為大眼角。胎像則加半指。因為山根之高分也。由是向外比兩旁各去四指處。為小眼角。尖正對耳孔中間。兩角各縱半指。合得一指之分。而餘三指均分。其正中一指作黑珠。在兩邊之二指作白珠。又彼黑珠平分五分。而以其中分為眸子。色甚黑。而發金光如電(眸子邊圍畫金圈以相之)眼之寬分只一足。為入定之相。形似長弓。其弝前面之寬。只一麥半之分。弝後面之寬分。才滿一足。白珠雖有一指。只見其三足半之分。而近於眼兩角之各得一麥分。則不得見焉。眼胞高一足。闊三指。形如蓮華瓣。白睛珍珠色。黑睛紺青色。分明潤美光滑。眼角肉淡紅色。眼睫亦紺青色。而殊勝如牛王睫。長有一麥之分焉。印堂。安白毫之地也。自發際以下比三指處。作白玉毫清凈柔軟。右旋彎轉而末向上。底盤圓滿。廣闊一指。由是而下。比三麥半之處起。向兩旁橫量各至足半處。即兩眉前梢也。由是至后梢長四指。后梢對耳尖底一足。形似初二三之月牙。眉之中身寬處。有二麥之分。而兩梢漸細也。
耳廣有二指。尖等眉中齊。洞門寬四足。竅孔得半指。耳朵高四麥。橫分應滿指。耳內上下略。四分指之一。連槽深分總。二指加半指。耳葉四指半。耳垂長五指。輪郭髮際邊。可愛盡難比 耳之前面橫寬平量二
【現代漢語翻譯】 現代漢語譯本： 至一指之處（約1.5釐米）。為大眼角（外眼角）。胎像（嬰兒的眼睛）則加半指（約0.75釐米），因為山根（鼻樑）之高低不同。由此向外，兩旁各去四指之處（約6釐米），為小眼角（內眼角）。尖端正對耳孔中間。兩角各縱半指（約0.75釐米），合起來得一指（約1.5釐米）的距離。而剩餘的三指（約4.5釐米）均分。其中正中一指（約1.5釐米）作為黑珠（瞳孔）。在兩邊的二指（約3釐米）作為白珠（眼白）。又將黑珠平分為五份，而以其中一份作為眸子（瞳仁），顏色非常黑，並且發出金光如電（在眸子邊圍畫金圈來觀察）。眼睛的寬度只有一足（約12寸），這是入定之相。形狀像長弓。弓把前面的寬度，只有一麥半（約0.225釐米）。弓把後面的寬度，才滿一足（約12寸）。白珠雖然有一指（約1.5釐米）的寬度，但只能看見其三分半（約5.25釐米）的寬度，而靠近眼兩角的各一麥分（約0.15釐米），則看不見。眼胞（眼瞼）高一足（約12寸），寬三指（約4.5釐米），形狀像蓮花瓣。白睛（眼白）是珍珠色，黑睛（瞳仁）是紺青色，分明潤澤美麗光滑。眼角肉是淡紅色。眼睫毛也是紺青色，而且殊勝如同牛王睫毛，長度有一麥分（約0.15釐米）。印堂，是安放白毫（佛的三十二相之一，兩眉之間放光之毫毛）的地方。自發際以下比三指（約4.5釐米）之處，長出白玉毫，清凈柔軟，右旋彎轉而末端向上，底盤圓滿，廣闊一指（約1.5釐米）。由此而下，比三麥半（約0.525釐米）之處開始，向兩旁橫量各至足半（約6寸）之處，即是兩眉的前梢。由此至后梢長四指（約6釐米），后梢對著耳尖底一足（約12寸）。形狀像初二三的月牙。眉毛的中間身寬處，有二麥（約0.3釐米）的寬度，而兩梢逐漸變細。 耳朵廣闊有二指（約3釐米），尖端與眉毛中間對齊。洞門（耳孔）寬四足（約48寸），竅孔（耳孔）有半指（約0.75釐米）。耳朵高四麥（約0.6釐米），橫向寬度應滿一指（約1.5釐米）。耳朵內部上下略微，四分指之一（約0.375釐米）。連槽（耳甲腔）深總共，二指加半指（約3.75釐米）。耳葉（耳垂）四指半（約6.75釐米）。耳垂長五指（約7.5釐米）。輪廓髮際邊緣，可愛難以比擬。耳朵的前面橫向寬度平量二
【English Translation】 English version: To the point of one finger's breadth (approximately 1.5 cm). This is the outer corner of the eye (大眼角, dà yǎnjiǎo). The fetal appearance (胎像, tāixiàng, referring to an infant's eyes) adds half a finger's breadth (approximately 0.75 cm), because the height of the nasal bridge (山根, shāngēn) varies. From there, going outward, four fingers' breadth (approximately 6 cm) on each side marks the inner corner of the eye (小眼角, xiǎo yǎnjiǎo). The tip points directly to the middle of the ear hole. Each corner is vertically half a finger's breadth (approximately 0.75 cm), totaling one finger's breadth (approximately 1.5 cm). The remaining three fingers (approximately 4.5 cm) are evenly divided. The central one finger (approximately 1.5 cm) is taken as the black pupil (黑珠, hēizhū). The two fingers (approximately 3 cm) on either side are taken as the white of the eye (白珠, báizhū). The black pupil is then divided into five equal parts, with one part being the iris (眸子, móuzi), which is very black and emits golden light like electricity (draw a golden circle around the iris to observe). The width of the eye is only one foot (約12寸), indicating a state of meditative absorption. The shape resembles a longbow. The width of the front of the bow's handle is only one and a half wheat grains (約0.225釐米). The width of the back of the bow's handle is exactly one foot (約12寸). Although the white of the eye is one finger's breadth (約1.5釐米), only three and a half (約5.25釐米) can be seen, while the one wheat grain (約0.15釐米) near each corner of the eye is not visible. The eyelid (眼胞, yǎnbāo) is one foot (約12寸) high and three fingers (約4.5釐米) wide, shaped like a lotus petal. The white of the eye (白睛, báijīng) is pearl-colored, and the iris (黑睛, hēijīng) is dark blue, clear, lustrous, beautiful, and smooth. The flesh at the corner of the eye is light red. The eyelashes (眼睫, yǎnjié) are also dark blue, and as extraordinary as the eyelashes of a king of oxen, with a length of one wheat grain (約0.15釐米). The 印堂 (yìntáng), the space between the eyebrows, is the place where the white hair-curl (白毫, báiháo, one of the thirty-two marks of a Buddha, a radiant hair between the eyebrows) is located. Three fingers (約4.5釐米) below the hairline, the white jade hair-curl grows, pure and soft, spiraling to the right and curving upward at the end, with a round and full base, one finger's breadth (約1.5釐米) wide. From there, going down, starting at three and a half wheat grains (約0.525釐米), measuring horizontally to half a foot (約6寸) on each side, are the front tips of the eyebrows. From there to the rear tips is four fingers (約6釐米) long, with the rear tips facing the bottom of the ear tip, one foot (約12寸). The shape resembles a crescent moon on the second or third day of the lunar month. The middle of the eyebrow is two wheat grains (約0.3釐米) wide, and both tips gradually taper. The ear is two fingers (約3釐米) wide, with the tip aligned with the middle of the eyebrow. The ear canal (洞門, dòngmén) is four feet (約48寸) wide, and the ear hole (竅孔, qiàokǒng) is half a finger (約0.75釐米). The ear is four wheat grains (約0.6釐米) high, and the horizontal width should be a full finger (約1.5釐米). The inside of the ear is slightly up and down, one-quarter of a finger (約0.375釐米). The depth of the concha (連槽, liáncáo) is two and a half fingers (約3.75釐米) in total. The earlobe (耳葉, ěryè) is four and a half fingers (約6.75釐米). The earlobe is five fingers (約7.5釐米) long. The edge of the hairline of the outline is lovely and incomparable. The horizontal width of the front of the ear is measured to be two
指。畫像相同。背面寬指半。其尖齊比眉之中。洞門闊一指。竅孔半指。俱圓而不顯。耳朵。俗謂耳樁。遮攬洞門旁立。豎半指。橫一指。而中有凹。正對小眼角。上凸圓而上凸匾。形如將開未開之華朵。洞門外耳槽橫一指一足。胎偶則連其隰深分得二指。加輪郭之半指。共總二指半也。耳內上下。括而言之也。四分指之一。即一足也。分別而言之。則耳槽邊厚一足。向里彎緣耳葉而下。至於離底根一指。斜對耳朵處。轉起一凸。高亦一足。形類耳朵。復落彎回而為底根。闇合與耳朵根相連。槽邊上身份作兩岔。厚分各亦一足。其內枝漸細而尖伏入藏於耳輪綱邊之下。外枝稍漸漸散沒。從其岔處。上至耳尖一指半。闊一指一足。耳之輪綱上稍。自槽內與耳朵相隔竅孔。反勾而生起。稍稍增高加寬分以轉上過耳朵之上。彎至耳根上邊以上寬一足而邊陵向里。彎而下至耳葉外邊之半處以下漸減而細。不斷不沒。至於耳根底相對處以下綏然而為取焉(取之列切耳垂也)總說之。耳葉縱四指半。而直立。耳垂長五指。寬指半。而面向前。復言耳輪與髮際之邊。俱有高底進出曲彎折角美妙可愛。難以言辭可盡詮者也。凡此等處。當竭盡工力。隨宜而致其美妙。乃為合法。
首圍面三倍。如寶蓋適意。兩耳面相去。十有八布
【現代漢語翻譯】 現代漢語譯本： 指：畫像上所畫的手指大小。背面寬度約為半指。指尖與眉毛的中間對齊。鼻孔（洞門）寬度為一指。鼻孔內的孔（竅孔）為半指。都是圓形且不明顯。耳朵，俗稱耳樁，遮蓋並靠近鼻孔兩側。豎直方向半指，橫向一指，中間有凹陷。正對著小眼角。上部凸起呈圓形，下部凸起呈扁平狀，形狀像將開未開的花朵。鼻孔外側的耳槽橫向一指多一點。如果胎相偶合，那麼連線的深處可以分為兩指。加上輪廓的半指，總共是兩指半。耳朵內部上下，總的來說是四分之一指，也就是一足。分開來說，耳槽邊緣厚度為一足，向里彎曲沿著耳葉向下，直到距離底部根部一指的地方，斜對著耳朵處，轉而向上凸起，高度也是一足。形狀像耳朵。再次彎曲回落成為底根，暗中與耳朵根部相連。槽邊上部分成兩個岔，每個岔的厚度也是一足。其內部的枝條逐漸變細變尖，隱藏在耳輪邊緣之下。外部的枝條稍微漸漸散開消失。從分岔的地方向上到耳尖是一指半，寬度是一指多一點。耳朵的輪廓邊緣上部，從槽內與耳朵相隔的孔竅處，反向勾起並生長起來。稍微增加高度和寬度，然後轉向上方，經過耳朵的上方。彎曲到耳朵根部上方，以上寬度是一足，邊緣向里彎曲。彎曲向下到耳葉外側一半的地方以下，逐漸減小變細，不斷裂也不消失。直到耳朵根部底部相對的地方以下，緩緩地成為耳垂（取之列切，指耳垂）。總的來說，耳葉縱向四指半，並且直立。耳垂長五指，寬半指，並且面向前方。再說耳輪與髮際的邊緣，都有高低進出、彎曲折角，非常美妙可愛，難以用言辭完全表達。所有這些地方，都應當竭盡工力，根據情況來達到其美妙之處，才是合法的。
頭圍是面部寬度的三倍，像寶蓋一樣合適。兩耳之間的距離，是十八布（一種長度單位）。
【English Translation】 English version: Finger: The size of the finger as depicted in the image. The width of the back is about half a finger. The tip is aligned with the middle of the eyebrows. The width of the nostril (dong men) is one finger. The hole inside the nostril (qiao kong) is half a finger. Both are round and not obvious. The ear, commonly known as the ear pillar (er zhuang), covers and stands beside the nostril. It is half a finger vertically and one finger horizontally, with a depression in the middle. It faces the inner corner of the small eye. The upper part is convex and round, and the lower part is convex and flat, shaped like a flower that is about to bloom. The ear groove outside the nostril is a little more than one finger wide horizontally. If the fetal appearance is even, then the connected depth can be divided into two fingers. Adding the half finger of the outline, the total is two and a half fingers. The inside of the ear, top and bottom, is generally one-quarter of a finger, which is one zu. Separately speaking, the thickness of the ear groove edge is one zu, curving inward along the earlobe downwards, until it is one finger away from the bottom root, diagonally facing the ear, turning upwards and protruding, the height is also one zu. The shape is like an ear. It curves back down again to become the bottom root, secretly connected to the root of the ear. The upper part of the groove edge is divided into two forks, each fork also being one zu thick. The inner branch gradually becomes thinner and sharper, hiding under the edge of the ear helix. The outer branch gradually spreads out and disappears. From the fork, up to the tip of the ear is one and a half fingers, and the width is a little more than one finger. The upper part of the ear's outline edge, from the hole separated from the ear inside the groove, hooks up and grows upwards in the opposite direction. Slightly increase the height and width, and then turn upwards, passing over the top of the ear. It curves to the top of the ear root, the width above is one zu, and the edge curves inward. It curves down to half the place outside the earlobe, gradually decreasing and thinning below, without breaking or disappearing. Until the place opposite the bottom of the ear root, it slowly becomes the earlobe (qu zhi lie qie, referring to the earlobe). In general, the earlobe is four and a half fingers long vertically and stands upright. The earlobe is five fingers long, half a finger wide, and faces forward. Furthermore, the edge of the ear helix and the hairline have high and low, forward and backward, curved and angled, which are very beautiful and lovely, and difficult to fully express in words. In all these places, one should do their best to achieve its beauty according to the situation, which is lawful.
The head circumference is three times the width of the face, as suitable as a treasure cover. The distance between the two ears is eighteen bu (a unit of length).
指。復其背後間。相去十四指。合較周匝度。三十有六指。頸瓶廣八指。圓二十四指。
頭相規圓。觀之適意。似寶蓋頂。對髮際處圍繞四十五指。普邊增二指為純發之分。兩邊與耳邊齊。肉髻周十二指。其上無見髻相。寶髻高二指。週六指。桃形。金色。對兩耳洞門處。橫比之。逕十八指。畫像則十二指。耳背根彼此相去十四指。共計三十二指。而兩耳根盤各一指。鼻之高分得二指。共三十六指也。凡物之規圓者。其正中之橫逕分幾許。則其周圍之量。必得若許三分。佛面縱橫逕十二指。因對面之正中處。周圍應準三十六指也。故啟句曰首圍面三倍也。𩓐項規圓如瓶頸。廣度八指。巨週二十四指。喉下有三級紋。自頷根以下。比一足半處作上紋。由是以下。一指零一足處作中紋。由是以下。二指處作下紋。俱圓彎而兩梢漸細向上。合項之橫以為長分焉。
頸邊至肩甲。平量十二指。手長總四搩。臑長二十指。臂有十六指。巨周亦如此。肩尖圓且滿。根圍二十四。從起中指尖。手頭正一搩。掌縱應七指。廣分是五指。掌肉平飽滿。滋潤光滑赤。顯諸吉祥紋。螺輪華鉤飾。將指之長分。前面得五指。此指梢節中。食指之尖至。屈指之長分。比將矮半指。小梅指頭尖。至屈末半節。四皆具三節。甲蓋半節矣。
【現代漢語翻譯】 現代漢語譯本： 指：從背後量起，相距十四指。合計周圍的長度，是三十六指。頸項像瓶頸一樣，寬八指，圓周二十四指。 頭部輪廓圓潤，看起來令人愉悅，像寶蓋的頂部。從髮際線處環繞測量，是四十五指。普遍來說，邊緣增加二指作為純粹頭髮的部分。兩邊與耳朵邊緣對齊。肉髻的周長是十二指，上面沒有可見的髻相。寶髻高二指，周長六指，形狀像桃子，呈金色。對著兩個耳洞的位置，橫向比較，直徑十八指，畫像上則是十二指。耳朵背後的根部彼此相距十四指，總共三十二指。而兩個耳根的盤繞各一指。鼻樑的高度是二指，總共三十六指。凡是圓形的東西，其正中間的橫向直徑是多少，那麼它的周圍長度，必定是這個直徑的三倍。佛的面部縱向和橫向直徑都是十二指，因此對面部的正中處，周圍應該符合三十六指。所以開篇就說頭部周圍是面部的三倍。頸項圓潤像瓶頸，寬度八指，周長二十四指。喉嚨下面有三級紋路。從下巴根部以下，比一足半（約等於十二指）的位置作為上紋。從上紋以下，一指零一足（約等於十三指）的位置作為中紋。從中紋以下，二指的位置作為下紋。這三道紋路都是圓弧彎曲的，兩端逐漸變細向上，與頸項的橫向長度相合。 頸部邊緣到肩胛骨，平量是十二指。手的總長度是四搩（zhā，張開拇指和中指或食指的長度）。上臂長二十指，下臂長十六指，周長也是如此。肩膀尖端圓潤飽滿，根部周長二十四指。從中指尖端開始測量，手頭的長度正好是一搩。手掌的縱向長度應該是七指，寬度是五指。手掌的肉平坦飽滿，滋潤光滑呈紅色，顯現出各種吉祥的紋路，如螺紋、輪紋、華紋、鉤紋等。手指的長度，前面是五指，這個手指的末梢關節中，食指的尖端到達。彎曲手指的長度，比將（中指）矮半指。小指的指尖，到達屈指（無名指）末節的一半。四個手指都具有三節，指甲蓋佔半節。
【English Translation】 English version: Finger: Measuring from the back, the distance is fourteen fingers. The total circumference is thirty-six fingers. The neck is like a bottle neck, eight fingers wide, and twenty-four fingers in circumference. The head has a well-proportioned roundness, pleasing to the eye, like the top of a treasure canopy. Measuring around the hairline, it is forty-five fingers. Generally, adding two fingers to the edge accounts for the pure hair portion. Both sides are aligned with the ear edges. The circumference of the ushnisha (fleshy protuberance on the crown of the head) is twelve fingers, with no visible hair on top. The jewel ushnisha is two fingers high and six fingers in circumference, peach-shaped, and golden in color. Comparing horizontally at the ear holes, the diameter is eighteen fingers, while in paintings it is twelve fingers. The roots behind the ears are fourteen fingers apart, totaling thirty-two fingers. And the coils at the base of each ear are one finger each. The height of the nose is two fingers, totaling thirty-six fingers. For anything that is round, whatever its horizontal diameter at the center, its circumference will inevitably be three times that diameter. The vertical and horizontal diameter of the Buddha's face is twelve fingers, so the circumference at the center of the face should conform to thirty-six fingers. Therefore, the opening statement says the head circumference is three times the face. The neck is round like a bottle neck, eight fingers wide, and twenty-four fingers in circumference. Below the throat, there are three levels of lines. From below the root of the chin, the upper line is at one and a half 'feet' (approximately twelve fingers). From below the upper line, the middle line is at one finger and one 'foot' (approximately thirteen fingers). From below the middle line, the lower line is at two fingers. All three lines are curved arcs, gradually thinning towards the ends and joining the horizontal length of the neck. From the edge of the neck to the shoulder blade, the flat measurement is twelve fingers. The total length of the hand is four 'spans' (the distance between the thumb and middle or index finger when stretched). The upper arm is twenty fingers long, and the lower arm is sixteen fingers long, and the circumference is the same. The shoulder tips are round and full, with a root circumference of twenty-four fingers. Measuring from the tip of the middle finger, the length of the hand is exactly one 'span'. The longitudinal length of the palm should be seven fingers, and the width is five fingers. The flesh of the palm is flat and full, moist, smooth, and red, displaying various auspicious patterns, such as spiral patterns, wheel patterns, flower patterns, hook patterns, etc. The length of the fingers, the front is five fingers, in the middle of the distal phalanx of this finger, the tip of the index finger reaches. The length of the bent finger (ring finger) is half a finger shorter than the 'jiang' (middle finger). The tip of the little finger reaches half of the distal phalanx of the bent finger (ring finger). All four fingers have three phalanges, and the nail covers half a phalanx.
巨指長四指。其周亦如是。此指只兩節。甲遮如前矣。巨指食指根。相去為三指。小指根以下。四指半至基。
自頸喉之根外邊。橫比至肩頂。十二指零二足。而若自頸之正中。向兩旁橫量。則各十六指。肩頂凸處。圓美滿盈。闊四指。從肩頂以下。直至兩腋。各六指。從腋斜至肩膀邊九指。自肩至肘謂之臑。臑之長分。及其根之巨周。俱二十指。徑寬分得其三分之一。若垂手勢。則兩肩橫制邊。各加四指。自肘至腕曰臂。臂之長分。及其根之周量。皆十六指。寬得其三分之一。手頭。自中指尖至手腕也。長一搩。手肘三足零三分足之一。手腕二足零三分足之二(此兩分。畫像之所不用也)手掌縱七指。廣五指。平坦充滿。光滑色如丹砂。掌中心有千輻輪相。而其外圍繞。具右旋螺貝。吉祥字。蓮華。慈鉤。慧劍。等諸般福德相。紋細密深且真刻。普遍雜湊為嚴飾。將指。中指也。其指在掌面之長分五指。此指者。即指將指而言之也。食指。二拇指也。其長。至中指末節之半。屈指。無名指也。其長分。比將指矮半指。此三指之生根大概相齊。而中指根節微乎高。小指根。比中指根矮半指。而其梢。與屈指末節縫過一足。以上三指。各具三節。而自掌面觀之。節節長分一般。自背面。則將指上節長二指。中節
【現代漢語翻譯】 現代漢語譯本 巨指（大拇指）長四指，它的周長也像這樣。這個指頭只有兩節，指甲的遮蓋情況和前面一樣。巨指（大拇指）到食指的根部，相距三指。從小指根部以下，四指半到腳後跟。 從頸部喉嚨的根部外側，橫向比量到肩膀的頂端，是十二指零兩足。如果從頸部的正中，向兩旁橫向測量，則各是十六指。肩膀頂端凸起的地方，圓潤飽滿，寬四指。從肩膀頂端以下，直到兩腋下，各六指。從腋下斜到肩膀邊緣是九指。從肩膀到肘部叫做臑（上臂），臑（上臂）的長度，以及它根部的周長，都是二十指，直徑寬度是它的三分之一。如果手自然下垂，那麼兩肩的橫向寬度，各增加四指。從肘部到手腕叫做臂（前臂），臂（前臂）的長度，以及它根部的周長，都是十六指，寬度是它的三分之一。手頭，從中指尖到手腕的長度是一搩（zhá，張開拇指和中指或食指量長度，約合市尺五寸），手肘是三足零三分之一足，手腕是二足零三分之二足（這兩部分，畫像時不用）。手掌的縱向長度是七指，寬度是五指，平坦而充滿，光滑，顏色像丹砂。掌心有千輻輪相（chakra，法輪），而且它的外圍環繞著右旋螺貝（shankha，海螺），吉祥字（shrivatsa，吉祥結），蓮華（padma，蓮花），慈鉤（ankusha，像鉤），慧劍（khadga，寶劍）等各種福德相，紋路細密深刻而且真實，普遍散佈作為莊嚴的裝飾。將指（中指），也就是中指。這個手指在掌面的長度是五指。這個指頭，就是指將指（中指）而言的。食指，也就是二拇指。它的長度，到中指末節的一半。屈指（無名指），它的長度，比將指（中指）矮半指。這三個手指的根部大概對齊，而中指的根節稍微高一點。小指的根部，比中指的根部矮半指，而它的末梢，與屈指（無名指）的末節縫隙超過一足。以上三個手指，各具有三節，而從掌面觀察，節節的長度一般。從背面看，將指（中指）的上節長二指，中節
【English Translation】 English version The great finger (thumb) is four fingers long, and its circumference is also like this. This finger has only two segments, and the nail coverage is the same as before. The distance from the great finger (thumb) to the root of the index finger is three fingers. From below the root of the little finger, four and a half fingers to the heel. From the outside of the root of the neck's throat, horizontally measure to the top of the shoulder, which is twelve fingers and two feet. If measured horizontally from the center of the neck to both sides, it is sixteen fingers each. The protruding part of the shoulder top is round and full, four fingers wide. From below the shoulder top to both armpits, it is six fingers each. From the armpit diagonally to the edge of the shoulder is nine fingers. From the shoulder to the elbow is called 'bahu' (upper arm), the length of the 'bahu' (upper arm), and the circumference of its root, are both twenty fingers, and the diameter width is one-third of it. If the hand hangs down naturally, then the horizontal width of both shoulders increases by four fingers each. From the elbow to the wrist is called 'arm' (forearm), the length of the 'arm' (forearm), and the circumference of its root, are both sixteen fingers, and the width is one-third of it. The hand, from the tip of the middle finger to the wrist, is one 'span' (zhá, the length measured by opening the thumb and middle finger or index finger, about 5/10 of a meter), the elbow is three feet and one-third of a foot, and the wrist is two feet and two-thirds of a foot (these two parts are not used in portraits). The longitudinal length of the palm is seven fingers, and the width is five fingers, flat and full, smooth, and the color is like cinnabar. The center of the palm has a thousand-spoke wheel mark (chakra), and its periphery is surrounded by right-spiraling conch shells (shankha), auspicious marks (shrivatsa), lotuses (padma), merciful hooks (ankusha), wisdom swords (khadga), and other auspicious marks, the lines are fine, dense, deep, and real, and are universally scattered as solemn decorations. The 'jiang' finger (middle finger), that is, the middle finger. The length of this finger on the palm is five fingers. This finger refers to the 'jiang' finger (middle finger). The index finger, that is, the second thumb. Its length reaches half of the last segment of the middle finger. The 'qu' finger (ring finger), its length is half a finger shorter than the 'jiang' finger (middle finger). The roots of these three fingers are roughly aligned, and the root segment of the middle finger is slightly higher. The root of the little finger is half a finger shorter than the root of the middle finger, and its tip exceeds one foot from the gap of the last segment of the 'qu' finger (ring finger). The above three fingers each have three segments, and when viewed from the palm, the length of each segment is generally the same. When viewed from the back, the upper segment of the 'jiang' finger (middle finger) is two fingers long, the middle segment
長二指半。下節三指。手背一節長四指半。餘三指亦如是推度。而隨宜分為四節。指根巨周得其長制三分之二。指梢巨周得三分之一。巨指者。大拇指也。長周俱四指。只有兩節。其根比食指根矮三指。而自其根至手腕五指。手腕巨周十二指。寬四指。從掌基裡邊。至將指根。縱分七指。廣分。極寬處亦然。對生指處寬五指。掌基寬六指。諸指末節上半被爪甲蓋之。甲形如[瓦*甬]瓦。色如紅銅而明亮。其梢邊離肉分一麥。而色亮白如琉璃無垢也。巨指下節與食指根。及餘三指下節。俱以薄皮相連。如鵝王掌。表裡明瑩。並展不歉。指底面色與掌色同。指肚飽滿光滑。字紋從中起。自左向右旋繞。指甲根邊沿皮寬半麥之分。總言手長四搩。不露骨節。而柔和如意。屈伸悠然。猶如象鼻之彎轉焉。
項心臍乳間。帶半十二指。自乳尖至腋。平量六指矣。兩腋相去度。二十有五指。胸堂周圍繞。正五十六指。自從雙乳絣。十六指至臍。臍圓有折旋。深闊皆一指。此處腰圍繞。四十有八指 自咽喉至心窩。由是至肚臍。各間俱一搩零半指。畫像不加半指。乳尖闊二足。高滿足。其圓光寬一足。週三指。醬色。由是至兩腋各有六指。兩腋相去間。前胸後背各二十五指。腋下脅肋厚分各八指。對此處周圍六十六指。兩乳
【現代漢語翻譯】 現代漢語譯本： 二指半的長度（長二指半）。下節三指長（下節三指）。手背一節長四指半（手背一節長四指半）。其餘三指也按此推算（餘三指亦如是推度），並根據情況分為四節（而隨宜分為四節）。手指根部的周長是其長度的三分之二（指根巨周得其長制三分之二），手指末端的周長是其長度的三分之一（指梢巨周得三分之一）。巨指，也就是大拇指（巨指者。大拇指也），長和周長都是四指（長周俱四指），只有兩節（只有兩節）。其根部比食指根部矮三指（其根比食指根矮三指），從其根部到手腕是五指（而自其根至手腕五指）。手腕的周長是十二指（手腕巨周十二指），寬度是四指（寬四指）。從掌基內側到將要到手指根部的地方（從掌基裡邊。至將指根），縱向分為七指（縱分七指），橫向分，最寬的地方也是如此（廣分。極寬處亦然）。對著手指的地方寬五指（對生指處寬五指），掌基寬六指（掌基寬六指）。各個手指末節的上半部分被指甲蓋住（諸指末節上半被爪甲蓋之），指甲的形狀像[瓦甬]瓦（甲形如[瓦甬]瓦），顏色像紅銅一樣明亮（色如紅銅而明亮）。其末端邊緣離開肉一麥的距離（其梢邊離肉分一麥），顏色亮白如琉璃，沒有污垢（而色亮白如琉璃無垢也）。大拇指的下節與食指的根部，以及其餘三指的下節（巨指下節與食指根。及餘三指下節），都用薄皮相連（俱以薄皮相連），像鵝王的腳掌一樣（如鵝王掌），內外明亮（表裡明瑩），伸展時沒有不足（並展不歉）。手指底面的顏色與手掌的顏色相同（指底面色與掌色同），指肚飽滿光滑（指肚飽滿光滑），字紋從中間開始（字紋從中起），從左向右旋轉纏繞（自左向右旋繞）。指甲根部邊緣的面板寬半麥的距離（指甲根邊沿皮寬半麥之分）。總而言之，手長四搩（總言手長四搩），不露出骨節（不露骨節），柔和如意（而柔和如意），彎曲伸展悠然自得（屈伸悠然），就像象鼻的彎轉一樣（猶如象鼻之彎轉焉）。
從項心（項心）到臍（臍）到乳（乳）之間，大約十二指（間。帶半十二指）。從乳頭到腋窩（自乳尖至腋），平量是六指（平量六指矣）。兩腋窩之間的距離（兩腋相去度），是二十五指（二十有五指）。胸膛周圍（胸堂周圍繞），正好是五十六指（正五十六指）。從雙乳之間（自從雙乳絣），十六指到肚臍（十六指至臍）。肚臍圓潤有紋路（臍圓有折旋），深和寬都是一指（深闊皆一指）。此處腰部的周長（此處腰圍繞），是四十八指（四十有八指）。從咽喉到心窩（自咽喉至心窩），由此到肚臍（由是至肚臍），各處間隔都是一搩零半指（各間俱一搩零半指）。畫像上不加半指（畫像不加半指）。乳頭的寬度是二足（乳尖闊二足），高度足夠（高滿足）。其圓光寬度是一足（其圓光寬一足），周長三指（週三指），是醬色（醬色）。由此到兩腋窩各有六指（由是至兩腋各有六指）。兩腋窩相距（兩腋相去間），前胸後背各二十五指（前胸後背各二十五指）。腋窩下脅肋的厚度各是八指（腋下脅肋厚分各八指）。對此處周圍是六十六指（對此處周圍六十六指）。兩乳（兩乳）
【English Translation】 English version: The length of two and a half fingers (長二指半). The lower joint is three fingers long (下節三指). The back of the hand, one joint, is four and a half fingers long (手背一節長四指半). The remaining three fingers are estimated in the same way (餘三指亦如是推度), and appropriately divided into four joints (而隨宜分為四節). The circumference of the finger root is two-thirds of its length (指根巨周得其長制三分之二), and the circumference of the fingertip is one-third (指梢巨周得三分之一). The 'giant finger' is the thumb (巨指者. 大拇指也), with both length and circumference of four fingers (長周俱四指), and only two joints (只有兩節). Its root is three fingers shorter than the root of the index finger (其根比食指根矮三指), and from its root to the wrist is five fingers (而自其根至手腕五指). The circumference of the wrist is twelve fingers (手腕巨周十二指), and the width is four fingers (寬四指). From the inside of the palm base to where the finger roots will be (從掌基裡邊. 至將指根), it is divided into seven fingers lengthwise (縱分七指), and the width, at its widest point, is the same (廣分. 極寬處亦然). The width at the point where the fingers grow is five fingers (對生指處寬五指), and the palm base is six fingers wide (掌基寬六指). The upper half of the last joint of each finger is covered by the nail (諸指末節上半被爪甲蓋之), the shape of the nail is like [瓦甬] tile (甲形如[瓦甬]瓦), and the color is like bright red copper (色如紅銅而明亮). Its tip edge is separated from the flesh by the width of a barleycorn (其梢邊離肉分一麥), and the color is bright white like untainted lapis lazuli (而色亮白如琉璃無垢也). The lower joint of the thumb is connected to the root of the index finger, and the lower joints of the remaining three fingers (巨指下節與食指根. 及餘三指下節), are all connected by thin skin (俱以薄皮相連), like the webbed foot of a goose king (如鵝王掌), bright and clear inside and out (表裡明瑩), and without deficiency when extended (並展不歉). The color of the underside of the fingers is the same as the color of the palm (指底面色與掌色同), the finger pads are full and smooth (指肚飽滿光滑), and the 'character' patterns start from the middle (字紋從中起), spiraling from left to right (自左向右旋繞). The skin along the edge of the nail root is half a barleycorn wide (指甲根邊沿皮寬半麥之分). In short, the hand is four 'jie' long (總言手長四搩), without exposed joints (不露骨節), and soft and agreeable (而柔和如意), bending and stretching leisurely (屈伸悠然), like the bending and turning of an elephant's trunk (猶如象鼻之彎轉焉).
From the nape of the neck (項心) to the navel (臍) to the breasts (乳), it's about twelve fingers (間. 帶半十二指). From the nipple to the armpit (自乳尖至腋), the flat measurement is six fingers (平量六指矣). The distance between the two armpits (兩腋相去度) is twenty-five fingers (二十有五指). The circumference around the chest (胸堂周圍繞) is exactly fifty-six fingers (正五十六指). From between the two breasts (自從雙乳絣), sixteen fingers to the navel (十六指至臍). The navel is round with folds (臍圓有折旋), and both its depth and width are one finger (深闊皆一指). The circumference of the waist at this point (此處腰圍繞) is forty-eight fingers (四十有八指). From the throat to the pit of the stomach (自咽喉至心窩), and from there to the navel (由是至肚臍), the intervals are each one 'jie' and a half fingers (各間俱一搩零半指). The image does not add the half finger (畫像不加半指). The width of the nipples is two 'feet' (乳尖闊二足), and the height is sufficient (高滿足). The width of its halo is one 'foot' (其圓光寬一足), the circumference is three fingers (週三指), and it is dark brown (醬色). From there to each armpit is six fingers (由是至兩腋各有六指). The distance between the two armpits (兩腋相去間) is twenty-five fingers each for the front and back (前胸後背各二十五指). The thickness of the ribs under the armpits is eight fingers each (腋下脅肋厚分各八指). The circumference around this point is sixty-six fingers (對此處周圍六十六指). The two breasts (兩乳)
相去間一搩(胎偶加半指。畫像不用加處如前。后皆仿此)此處身之前後。各橫闊二十二指半。兩肋厚各滿搩。共計周圍六十九指。自乳尖以下二指處。身前後闊各二十指。肋厚各十指。共六十指。臍上比一指地。乃腰之極細處也。橫闊十五指。巨週四十五指。自乳至臍十六指。兩乳至兩肩各一搩。臍之闊深皆一指。其孔圓自左右旋向內之折。而不顯露。對此處身前後寬十六指。圍繞四十八指焉。
髀樞邊向里。平量二十四指。從臍至陰藏。滿搩加半指。陰藏如馬王。密囊有四指 髀樞(胯骨)之上際。與臍分之橫線下離四指。而下結連腿根兩胯。彼此兩外邊相去闊二十四指。周圍五十四指。自臍至陰藏一搩。對此處之闊二十五指。胯間為三角形。正中縱量八指。每角各方十指。其前角即按密藏處。后兩角即為兩臀尖處也。陽莖縱四指。其頂二指。週六指。向內縮藏不露。同馬王陰相。密囊縱垂五指。闊四指。而亦不令顯露。髀骰下邊之制與胯下齊。臂尖圓之處。縱廣俱八指。高分應三指焉。
股奘三十二。長二十五指。近膝圍繞度。二十有八指。連節膝四指。踝骨縱三指。鹿腨纖圓直。長二十五指。中間周圍繞。二十有一指。踝圍十四指。其邊寬二指。以下四指踵。凸闊得三指。足底豎一搩。厚分有二
【現代漢語翻譯】 現代漢語譯本： 從此處身體的前後，各橫向寬度為二十二指半（一搩：張開拇指和中指或食指之間的距離，此處指胎偶加半指。畫像不用加處，如前所述。後文皆仿此）。兩肋的厚度各為一搩。總計周圍六十九指。從乳尖以下二指處，身體前後寬度各為二十指。肋的厚度各為十指。總共六十指。臍上比一指的地方，是腰最細的地方。橫向寬度為十五指。周圍四十五指。從乳到臍十六指。兩乳到兩肩各一搩。臍的寬度和深度都是一指。其孔圓，從左右旋轉向內摺疊，而不顯露。對此處身體前後寬度為十六指。圍繞四十八指。
髀樞（胯骨）邊向里。平量二十四指。從臍至陰藏，滿一搩加半指。陰藏如馬王。密囊有四指。髀樞（胯骨）的上邊緣，與臍平分線的下方相離四指。向下連線腿根兩胯。彼此兩外邊相距二十四指。周圍五十四指。從臍到陰藏一搩。此處寬度為二十五指。胯間為三角形。正中縱向測量八指。每個角各方十指。其前角即按密藏處。后兩角即為兩臀尖處。陽莖縱向四指。其頂端二指。周圍六指。向內收縮隱藏不外露。如同馬王的陰相。密囊縱向垂五指。寬度四指。也不令其顯露。髀骰下邊的製作與胯下齊平。臂尖圓的地方。縱向和橫向都是八指。高度應分為三指。
股奘三十二，長二十五指。靠近膝蓋的圍繞度，二十八指。連線膝蓋的關節四指。踝骨縱向三指。鹿腨纖細圓直。長二十五指。中間周圍環繞，二十一指。踝圍十四指。其邊寬二指。以下四指是腳後跟。凸起寬度得三指。足底豎直一搩。厚度分為二指。
【English Translation】 English version: From this point, the front and back of the body each have a transverse width of twenty-two and a half fingers (a '搩' (jie): the distance between the thumb and middle or index finger when stretched open, here referring to '胎偶' (tai ou) plus half a finger. The image does not need to add this, as before. All subsequent measurements follow this). The thickness of each rib is a full '搩' (jie). The total circumference is sixty-nine fingers. From two fingers below the nipple, the front and back width of the body is twenty fingers each. The thickness of each rib is ten fingers. The total is sixty fingers. One finger above the navel is the narrowest part of the waist. The transverse width is fifteen fingers. The circumference is forty-five fingers. From the nipple to the navel is sixteen fingers. From each nipple to each shoulder is one '搩' (jie). The width and depth of the navel are both one finger. Its hole is round, rotating from left and right, folding inward, and not exposed. At this point, the front and back width of the body is sixteen fingers. The circumference is forty-eight fingers.
The side of the '髀樞' (bi shu) (hip bone) faces inward. The flat measurement is twenty-four fingers. From the navel to the '陰藏' (yin cang) (hidden genitals), it is a full '搩' (jie) plus half a finger. The '陰藏' (yin cang) is like the '馬王' (ma wang) (horse king). The '密囊' (mi nang) (secret scrotum) is four fingers. The upper edge of the '髀樞' (bi shu) (hip bone) is four fingers away from the horizontal line dividing the navel. Downward, it connects the roots of the legs and the two hips. The distance between the two outer sides is twenty-four fingers. The circumference is fifty-four fingers. From the navel to the '陰藏' (yin cang) is one '搩' (jie). The width at this point is twenty-five fingers. The area between the hips is triangular. The vertical measurement in the center is eight fingers. Each corner is ten fingers square. The front corner is where the '密藏' (mi cang) (secret genitals) is located. The two rear corners are the tips of the buttocks. The '陽莖' (yang jing) (penis) is four fingers long. Its tip is two fingers. The circumference is six fingers. It is retracted inward and hidden, not exposed. It is like the '陰相' (yin xiang) (genital appearance) of the '馬王' (ma wang) (horse king). The '密囊' (mi nang) (secret scrotum) hangs down five fingers vertically. The width is four fingers. It is also not allowed to be exposed. The construction of the lower side of the '髀骰' (bi tou) (femoral head) is level with the bottom of the hips. The round part of the arm tip. The vertical and horizontal dimensions are both eight fingers. The height should be divided into three fingers.
The '股奘' (gu zang) (thigh) is thirty-two, and twenty-five fingers long. The circumference near the knee is twenty-eight fingers. The joint connecting the knee is four fingers. The '踝骨' (huai gu) (ankle bone) is three fingers vertically. The '鹿腨' (lu chuan) (calf) is slender, round, and straight. It is twenty-five fingers long. The circumference in the middle is twenty-one fingers. The ankle circumference is fourteen fingers. Its edge is two fingers wide. Four fingers below is the heel. The width of the protrusion is three fingers. The sole of the foot is one '搩' (jie) vertically. The thickness is divided into two fingers.
指。四指俱三節。甲遮末半矣。將指惟二節。圍繞五指是。長度滿三指。食指亦如是。十六次八分。中屈及小指。大指厚六足。余漸止滿指。指根連縵網。趺高如龜背。掌平滿柔軟。滋潤色丹赤。輪螺吉祥字。諸妙相深微。如是如來相。一切福德備 兩股之當中奘分。巨週三十二指。闊分得其三分之一。根之闊一搩。週三搩。長里向二十五指。即二搩。依胎偶而言之也。近膝處圍繞二十八指。膝蓋骨豎四指。闊九指。巨周應得二十七指。而凸阜上均得一指。故作二十八指也。腨腓腸也。直且纖圓。如鹿王腨。其長分同股之量。當中巨週二十一指。腓梢巨周十四指。踝骨縱廣俱有三指。而不露。自踝後邊橫比之。攬筋寬二指。足踵縱分四指。其凸尖闊三指。盈滿規圓。足底長一搩。將(足以大拇指為將指)食二指。肚面長二指。共一搩二指。生指根處寬六指。腳心中寬五指。踵底寬四指。趺高飽滿似龜背。其生根。比踵之生根高半指。足底裡邊厚二指。向外漸薄。而至外邊厚分只一指。將指旁邊。及背面皆長三指。巨週五指。厚六足。食持長分與將指同。而厚分微淺。餘三指亦隨腳底漸次薄。而至於小指厚分只一滿指為止。其各長分。則以食指平分為十六分。以此十五份量中指。以中指分為八分。以此七份量屈指。以屈
【現代漢語翻譯】 現代漢語譯本： 指：四指都有三節，指甲遮蓋末節的一半。大拇指只有兩節。圍繞五指的是，長度達到三指。食指也像這樣。十六次八分，用於彎曲中指和小指。大拇指厚六足（計量單位），其餘手指逐漸減少到一滿指。手指根部相連有蹼。腳背高聳如龜背，腳掌平坦柔軟，滋潤且顏色丹紅。有輪狀螺紋和吉祥的紋路，各種微妙的相好深奧難測。如來就是這樣，具備一切福德。 兩股（大腿）的中間部分，周長有三十二指。寬度是周長的三分之一。根部的寬度是一拃（張開拇指和中指的距離），周長是三拃。從裡向外的長度是二十五指，也就是兩拃。這是依據胎兒的情況來說的。靠近膝蓋的地方，周長是二十八指。膝蓋骨豎直方向是四指，寬度是九指。膝蓋的周長應該是二十七指，但因為凸起的地方平均多出一指，所以說是二十八指。腨腓（小腿），也就是小腿肚子，筆直且纖細圓潤，像鹿王的腿。它的長度和大腿的長度相同。中間部分的周長是二十一指，小腿末端的周長是十四指。踝骨的縱向和橫向都是三指，但不外露。從踝骨後邊橫向比較，攬筋（跟腱）寬二指。腳後跟縱向是四指，凸起的尖端寬度是三指，飽滿圓潤。腳底的長度是一拃，大拇指和食指的肚面長度是二指，總共是一拃二指。腳趾根部寬六指，腳心寬五指，腳後跟底部寬四指。腳背高聳飽滿像龜背，它的根部比腳後跟的根部高半指。腳底內側厚二指，向外逐漸變薄，到外側只有一指厚。大拇指旁邊和背面都是三指長，周長是五指，厚度是六足。食指的長度和大拇指相同，但厚度稍微薄一些。其餘三指也隨著腳底逐漸變薄，到小指的厚度只有一滿指為止。各個手指的長度，用食指的長度平分為十六份，用這十五份來衡量中指的長度，用中指的長度分為八份，用這七份來衡量彎曲的手指（無名指）。
【English Translation】 English version: Fingers: All four fingers have three segments, with the nail covering half of the last segment. The thumb has only two segments. The circumference of the five fingers is such that the length reaches three fingers. The index finger is also like this. Sixteen times eight parts are used to bend the middle and little fingers. The thumb is six 'feet' (a unit of measurement) thick, and the remaining fingers gradually decrease to one full finger. The roots of the fingers are connected by webs. The instep is high like a turtle's back, the palm is flat and soft, moist and red in color. There are wheel-like spirals and auspicious marks, and all kinds of subtle marks are profound and immeasurable. This is what the Tathagata is like, possessing all blessings and virtues. The middle part of both thighs has a circumference of thirty-two fingers. The width is one-third of the circumference. The width of the root is one span (the distance between the outstretched thumb and middle finger), and the circumference is three spans. The length from the inside out is twenty-five fingers, which is two spans. This is according to the condition of the fetus. Near the knee, the circumference is twenty-eight fingers. The kneecap is four fingers vertically and nine fingers wide. The circumference of the knee should be twenty-seven fingers, but because the protruding part averages one finger more, it is said to be twenty-eight fingers. The 'shuan fei' (calf), that is, the calf muscle, is straight, slender, and round, like the leg of a deer king. Its length is the same as the length of the thigh. The circumference of the middle part is twenty-one fingers, and the circumference of the end of the calf is fourteen fingers. The ankle bone is three fingers in both length and width, but it is not exposed. Comparing horizontally from the back of the ankle bone, the 'lan jin' (Achilles tendon) is two fingers wide. The heel is four fingers vertically, and the protruding tip is three fingers wide, full and round. The length of the sole of the foot is one span, and the length of the belly of the thumb and index finger is two fingers, totaling one span and two fingers. The root of the toes is six fingers wide, the center of the foot is five fingers wide, and the bottom of the heel is four fingers wide. The instep is high and full like a turtle's back, and its root is half a finger higher than the root of the heel. The inside of the sole is two fingers thick, gradually thinning outwards, and only one finger thick on the outside. The side and back of the thumb are three fingers long, the circumference is five fingers, and the thickness is six 'feet'. The length of the index finger is the same as the thumb, but the thickness is slightly thinner. The remaining three fingers also gradually thin with the sole of the foot, and the thickness of the little finger is only one full finger. For the length of each finger, divide the length of the index finger equally into sixteen parts, use these fifteen parts to measure the length of the middle finger, divide the length of the middle finger into eight parts, and use these seven parts to measure the bent finger (ring finger).
指分為八分。以此七份量小指。巨周俱各以其長分比量。此四指。從底面觀之似兩節。而實三節。爪甲蓋其末節之半。色形及縵網俱同手指。足掌平滿柔軟。滋潤而色如丹砂。中心有輪相。其圍螺貝吉祥字等諸般妙紋具全。與手掌相同。收尾總結之曰。如是如來殊特妙相。皆悉如來宿因屢劫。積功修行力。以自然感獲一切福德。莊嚴全備。非但如世間紅福果報。人天尊貴容貌。所得比喻者也○經文大旨。依義詮解。準法具明。至於週身骨節脈絡。隱伏藏密。為粗為細。凸凹曲彎。增減各處。漸起稍落。不害均勻等。筆舌所難詮述者。則賴良師信徒之相得。授受之明爽。聰慧變通之功力也○右像法。乃是三世尊佛。彌陀。藥師。七如來。八十八佛。賢劫千佛等。凡離塵修行相者(亦謂之化身相)一概以此為準式。若夫無量壽。及嚧舍那。毗嚧等五部如來。一切受用五欲秘密相者(亦謂之報身相)則寶髻作五股金剛杵之上半節。其崇高之分。及巨周份量。俱同前說寶髻之份量。發攢高十指。肉髻含于其中。而其根巨周十二指。肉髻上邊處周十指。頂周八指。此兩節俱被金帶緊圍。余發編作四繩。從兩肩下垂。而其梢略過手肘。其餘尺寸形相。一一同前也○衣服莊嚴。則三尊等化身佛相。皆宜著上下法衣。五衣著下身。七衣
【現代漢語翻譯】 現代漢語譯本： 手指分為八份。用這七份的長度來測量小指。其餘各指的粗細都各自按照其長度比例來衡量。這四個手指，從底部觀察看起來像兩節，但實際上是三節。指甲覆蓋其末節的一半。顏色、形狀以及指間的縵網都與手指相同。足掌平坦飽滿柔軟，滋潤且顏色如丹砂。中心有輪相（Chakra，法輪），其周圍螺紋、貝紋、吉祥字等各種美妙紋路都齊全，與手掌相同。總結說，如來殊勝美妙的相貌，都是如來過去無數劫以來，積累功德修行所獲得的，自然感應到一切福德，莊嚴圓滿具備。不僅僅是世間紅色的福報果實，人天尊貴容貌所能比喻的。 經文的大意，依據義理來解釋，按照佛法來詳細說明。至於週身骨節脈絡，隱藏深密，或粗或細，凸凹彎曲，增減各處，漸起稍落，不損害均勻等等，是筆墨難以詮釋描述的。這就要依靠良師和虔誠信徒之間的相互理解，傳授接受的明瞭爽快，以及聰慧變通的功力了。 右邊的佛像法相，乃是三世尊佛（Three Buddhas of past, present and future），彌陀（Amitabha，阿彌陀佛），藥師（Bhaisajyaguru，藥師佛），七如來（Seven Tathagatas），八十八佛（Eighty-Eight Buddhas），賢劫千佛（Thousand Buddhas of the Bhadrakalpa）等，凡是脫離塵世修行之相（也稱為化身相，Nirmanakaya），一概以此作為標準樣式。至於無量壽（Amitayus，無量壽佛），以及嚧舍那（Locana，盧舍那佛），毗嚧（Vairocana，毗盧遮那佛）等五部如來（Five Tathagatas），一切受用五欲秘密之相（也稱為報身相，Sambhogakaya），那麼寶髻（Ratnakuta，寶髻佛）所戴的寶冠，其形狀是五股金剛杵的上半部分。其崇高的高度，以及粗細份量，都與前面所說的寶髻的份量相同。頭髮聚攏高十指，肉髻（Ushnisha，肉髻）包含在其中，而其根部粗細為十二指，肉髻上邊處粗細為十指，頂端粗細為八指。這兩節都被金帶緊緊圍繞。剩餘的頭髮編成四條繩子，從兩肩下垂，而其末梢略微超過手肘。其餘的尺寸形狀，一一與前面所說相同。 衣服莊嚴方面，三尊等化身佛相，都適宜穿著上下法衣。五衣穿在下身，七衣
【English Translation】 English version: The fingers are divided into eight parts. Use seven parts of this length to measure the little finger. The girth of the other fingers are each measured proportionally to their length. These four fingers, when viewed from the bottom, appear to have two segments, but in reality, they have three. The nail covers half of the last segment. The color, shape, and the interdigital webs are the same as the fingers. The soles of the feet are flat, full, soft, moist, and the color is like cinnabar. In the center, there is a Chakra (wheel mark), surrounded by conch patterns, shell patterns, auspicious characters, and other wonderful patterns, all complete, the same as the palms of the hands. In conclusion, the special and wonderful features of the Tathagata (Tathagata, 如來) are all due to the Tathagata's accumulation of merit and practice over countless kalpas (kalpa, 劫), naturally sensing all blessings, and being fully adorned. It is not just comparable to the red fruits of worldly blessings, or the noble appearances of humans and devas (deva, 天). The main idea of the scripture is explained according to its meaning and clarified in detail according to the Dharma (Dharma, 法). As for the bones, joints, and veins throughout the body, which are hidden and deep, whether thick or thin, convex or concave, curved, increased or decreased in various places, gradually rising and slightly falling, without harming uniformity, etc., these are difficult to explain and describe with pen and ink. This requires mutual understanding between a good teacher and devout believers, clear and refreshing transmission and reception, and the power of intelligent adaptation. The image Dharma (Dharma, 法) on the right is that of the Three Buddhas of past, present and future, Amitabha (Amitabha, 彌陀), Bhaisajyaguru (Bhaisajyaguru, 藥師), the Seven Tathagatas (Seven Tathagatas, 七如來), the Eighty-Eight Buddhas (Eighty-Eight Buddhas, 八十八佛), the Thousand Buddhas of the Bhadrakalpa (Thousand Buddhas of the Bhadrakalpa, 賢劫千佛), etc. All those who have an appearance of cultivating away from the world (also called Nirmanakaya, 化身相) should use this as the standard model. As for Amitayus (Amitayus, 無量壽), Locana (Locana, 嚧舍那), Vairocana (Vairocana, 毗盧) and other Five Tathagatas (Five Tathagatas, 五部如來), all those who enjoy the secret appearance of the five desires (also called Sambhogakaya, 報身相), then the crown worn by Ratnakuta (Ratnakuta, 寶髻) is the upper half of a five-pronged vajra (vajra, 金剛杵). Its sublime height and girth are the same as the previously mentioned Ratnakuta's measurements. The hair gathers ten fingers high, the Ushnisha (Ushnisha, 肉髻) is contained within it, and its base girth is twelve fingers, the girth at the top of the Ushnisha is ten fingers, and the girth at the top is eight fingers. Both of these sections are tightly surrounded by a golden belt. The remaining hair is braided into four ropes, hanging down from both shoulders, and its ends slightly exceed the elbows. The remaining dimensions and shapes are all the same as previously mentioned. In terms of clothing and adornment, the Nirmanakaya of the Three Honored Ones and others should all wear upper and lower Dharma robes. The five-piece robe is worn on the lower body, and the seven-piece robe
著上身。五部等報身佛相。以八件寶飾為莊嚴。何者為八件。一寶冠。即五佛冠也。二耳環。三項圈。四大瓔珞。五手釧。及手鐲。六腳鐲。七珍珠絡腋。八寶帶也。謂之大飾。耳垂上前臨優波羅華。冠左右下垂寶帶腳鐲上圍繞碎鈴戒指等。謂之小飾。隨宜妙繒。雲肩飄翻為上衣。雜色長短重裙為下裳○論座位則有備便之別。備者義制全備也。有通別二者之分。通者。即獅子寶座。諸佛及經函塔幢所通用也。別者。謂秘密五部主佛。各有宜用分別。如來部主毗盧佛。坐獅子王座。金剛部主阿閦佛。像王座。寶部主寶生佛。馬王座。蓮華部主彌陀佛。孔雀王座。羯磨部主不空佛。鵬鳥王座。若他佛及諸佛母。但知其所屬何部。則隨其部主而用之。詳其義制。則獅子喻無畏之相。像大力相。馬神足相。雀自在相。鵬無礙相。背光制。有云六拏具者。一曰伽噌拏。華云大鵬。乃慈悲之相也(鵬鳥與慈悲。梵名相近。故借其音而因以有形。表示無形之義。余皆仿此)二曰布啰拏。華云鯨魚。保護之相也。三曰那啰拏。華雲龍子。救度之相也。四曰婆啰拏。華云童男。福資之相也。五曰舍啰拏。華云獸王。自在之相也。六曰救啰拏。華云象王。善師之相也。是六件之尾語。俱是拏字。故曰六拏具。又以合為六度之義。其尺寸色飾
【現代漢語翻譯】 現代漢語譯本：著上身。五部等報身佛相，以八件寶飾為莊嚴。何者為八件？一寶冠（即五佛冠也），二耳環，三項圈，四大瓔珞，五手釧及手鐲，六腳鐲，七珍珠絡腋，八寶帶也。謂之大飾。耳垂上前臨優波羅華（utpala，青蓮花）。冠左右下垂寶帶，腳鐲上圍繞碎鈴戒指等，謂之小飾。隨宜妙繒，雲肩飄翻為上衣，雜色長短重裙為下裳。\n論座位則有備便之別。備者義制全備也。有通別二者之分。通者，即獅子寶座，諸佛及經函塔幢所通用也。別者，謂秘密五部主佛，各有宜用分別。如來部主毗盧佛（Vairocana），坐獅子王座。金剛部主阿閦佛（Akshobhya），像王座。寶部主寶生佛（Ratnasambhava），馬王座。蓮華部主阿彌陀佛（Amitabha），孔雀王座。羯磨部主不空成就佛（Amoghasiddhi），鵬鳥王座。若他佛及諸佛母，但知其所屬何部，則隨其部主而用之。詳其義制，則獅子喻無畏之相，像大力相，馬神足相，雀自在相，鵬無礙相。\n背光制，有云六拏具者。一曰伽噌拏（Garuna），華云大鵬，乃慈悲之相也（鵬鳥與慈悲，梵名相近，故借其音而因以有形，表示無形之義。余皆仿此）。二曰布啰拏（Purana），華云鯨魚，保護之相也。三曰那啰拏（Narana），華雲龍子，救度之相也。四曰婆啰拏（Bharana），華云童男，福資之相也。五曰舍啰拏（Sharana），華云獸王，自在之相也。六曰救啰拏（Kurana），華云象王，善師之相也。是六件之尾語，俱是拏字，故曰六拏具。又以合為六度之義。其尺寸色飾
【English Translation】 English version: Adorn the upper body. The Sambhogakaya Buddha images of the Five Families are adorned with eight precious ornaments. What are the eight? First, the jeweled crown (which is the Five Buddha Crown). Second, earrings. Third, a necklace. Fourth, large armlets. Fifth, bracelets and bangles. Sixth, anklets. Seventh, a pearl net covering the armpits. Eighth, a jeweled belt. These are called the 'great ornaments.' In front of the earlobes are utpala flowers (utpala, blue lotus). Jeweled ribbons hang down from the left and right of the crown, and small bells and rings surround the anklets. These are called the 'small ornaments.' Appropriately use fine silk, with cloud-like shoulder scarves fluttering as the upper garment, and multi-colored, long and short, heavy skirts as the lower garment.\nRegarding the seats, there are distinctions between complete and convenient. 'Complete' means that the meaning and structure are fully prepared. There are two divisions: common and specific. 'Common' refers to the lion throne, which is commonly used by all Buddhas, sutra boxes, stupas, and banners. 'Specific' refers to the five secret principal Buddhas of the families, each with their own appropriate distinctions. Vairocana (毗盧佛), the principal Buddha of the Tathagata family, sits on a lion king throne. Akshobhya (阿閦佛), the principal Buddha of the Vajra family, sits on an elephant king throne. Ratnasambhava (寶生佛), the principal Buddha of the Ratna family, sits on a horse king throne. Amitabha (阿彌陀佛), the principal Buddha of the Padma family, sits on a peacock king throne. Amoghasiddhi (不空成就佛), the principal Buddha of the Karma family, sits on a garuda king throne. If it is another Buddha or a Buddha Mother, simply know which family they belong to, and then use the throne of that family's principal Buddha. Examining their meaning and structure, the lion symbolizes fearlessness, the elephant symbolizes great strength, the horse symbolizes supernatural powers, the peacock symbolizes freedom, and the garuda symbolizes unobstructedness.\nThe halo design is said to have six 'Naga' ornaments. First is Garuna (伽噌拏), which in Chinese is the Great Garuda, symbolizing compassion (the sounds of 'Garuda' and 'compassion' are similar in Sanskrit, so the sound is borrowed and given a form to represent the formless meaning; the rest are similar). Second is Purana (布啰拏), which in Chinese is the whale, symbolizing protection. Third is Narana (那啰拏), which in Chinese is the dragon prince, symbolizing salvation. Fourth is Bharana (婆啰拏), which in Chinese is the young boy, symbolizing the resources of merit. Fifth is Sharana (舍啰拏), which in Chinese is the king of beasts, symbolizing freedom. Sixth is Kurana (救啰拏), which in Chinese is the elephant king, symbolizing a good teacher. The final word of these six ornaments is 'Na,' so they are called the six 'Naga' ornaments. They are also combined to represent the meaning of the six perfections (paramitas). Their dimensions and colors
。則西番書有上中下之分。且漢地舊有其式。故不具錄。所云便者。則隨便取用之辭。如蓮華座。月輪墊。是也(怒相用日輪)形規圓。或隨照跏趺之式亦可。座厚分十指。墊厚二指也。
佛說此經已。賢者舍利弗。及諸弟子。一切大眾。聞佛所說。皆大歡喜。信受奉行。
佛說造像量度經
右經梵名。舍思多(二合)羅(一)尼拘𡀩(二合)陀波哩曼那羅(二)佛陀波羅(二合)底麻(三)羅乞善(二合)那(引)麻(四)譯曰。舍思多(二合)羅。開示(謂經也)尼拘𡀩(二合)陀波哩曼那羅。縱廣平等。如無節樹。佛陀波羅(二合)底麻。佛像羅乞善(二合)那(引)麻相制名謂。順其辭而合貫之曰。開示佛像。縱廣平等。如無節樹。相制名謂經。今掇其義而約名之云。佛說造像量度經。按此經凡有三譯。一疏。而是本乃西天三藏達磨多啰。與亞哩弄(地名)譯師查巴建參同。在恭唐邑翻成者也。愚雖不肖。承諸善智師慈力。對勘諸經。以彼準此。修正其訛。填補其缺。但以辭達為務。至於纂述文義。以及附載同類編章。則悉遵時輪戒生二經。以為考正云爾。
造像量度經續補
烏朱穆秦奇渥溫 工布查布 述
一菩薩像
八大適子等。已成正覺。而由其往昔願力
【現代漢語翻譯】 現代漢語譯本：至於西番的著作，有上、中、下之分，而且漢地舊有其樣式，所以不在此詳細記錄。所說的『便』，就是隨便取用的意思，例如蓮花座、月輪墊等等（怒相用日輪）。形狀規則是圓形，或者可以依照結跏趺坐的姿勢。座的厚度分為十指，墊的厚度為二指。 佛說完這部經后，賢者舍利弗（Śāriputra），以及各位弟子、一切大眾，聽聞佛所說，都非常歡喜，信受奉行。 《佛說造像量度經》 右經的梵文名稱是：Śastāra-nikūṭa-parimaṇḍala-buddha-pratimā-lakṣaṇa-nāma（Śastāra：開示，指經；nikūṭa-parimaṇḍala：縱廣平等，如無節樹；buddha-pratimā：佛像；lakṣaṇa-nāma：相制名）。翻譯成中文的意思是：開示佛像縱廣平等，如無節樹，相制名謂的經。現在摘取其中的意義，簡略地命名為《佛說造像量度經》。按照記載，這部經共有三個譯本，一個是疏本，而現在這個版本是西天三藏達磨多啰（Dharmatara），與亞哩弄（地名）的譯師查巴建參（Tsaba Khenchen）一同在恭唐邑翻譯完成的。我雖然不才，承蒙各位善知識的慈悲力量，對照各部經典，以此為準則，修正其中的錯誤，填補其中的缺失，只以表達清楚意思為目標。至於纂述文義，以及附載同類編章，則完全遵照《時輪經》和《戒生經》這兩部經典，作為考證的標準。 《造像量度經續補》 烏朱穆秦奇渥溫（Ujumqin Qiwowen），工布查布（Gongbu Zhaba） 述 一、菩薩像 八大適子等，已經成就正覺，而由於他們往昔的願力。
【English Translation】 English version: As for the writings of the Western Regions, they are divided into upper, middle, and lower sections. Moreover, the Han lands already have their own styles, so they are not recorded in detail here. The term 'convenient' means to take and use as one pleases, such as lotus seats, moon wheel cushions, and so on (the wrathful aspect uses the sun wheel). The shape is regularly round, or it can follow the style of the lotus posture. The thickness of the seat is divided into ten fingers, and the thickness of the cushion is two fingers. After the Buddha finished speaking this sutra, the wise Śāriputra (舍利弗), along with all the disciples and the entire assembly, hearing what the Buddha said, were all very joyful, believed, accepted, and practiced it accordingly. 'The Buddha Speaks of the Image Measurement Sutra' The Sanskrit name of this sutra is: Śastāra-nikūṭa-parimaṇḍala-buddha-pratimā-lakṣaṇa-nāma (Śastāra: showing, referring to the sutra; nikūṭa-parimaṇḍala: length and width equal, like a knotless tree; buddha-pratimā: Buddha image; lakṣaṇa-nāma: name of characteristics). The meaning translated into Chinese is: 'Showing the Buddha image, length and width equal, like a knotless tree, the sutra named by characteristics.' Now, extracting the meaning from it and briefly naming it 'The Buddha Speaks of the Image Measurement Sutra.' According to records, this sutra has three translations, one is a commentary version, and this version is translated by the Western Region Tripitaka master Dharmatara (達磨多啰), together with the translator Tsaba Khenchen (查巴建參) from Yali Nong (亞哩弄, place name), in Gongtang County. Although I am not talented, I have received the compassionate power of all virtuous teachers, compared various sutras, and used this as the standard to correct the errors and fill in the omissions, with the sole aim of expressing the meaning clearly. As for compiling the meaning of the text and attaching similar chapters, I have completely followed the Kalachakra Tantra (時輪經) and the Vinaya Sutra (戒生經) as the standard for verification. 'Supplement to the Image Measurement Sutra' Written by Ujumqin Qiwowen (烏朱穆秦奇渥溫) and Gongbu Zhaba (工布查布) 1. Bodhisattva Image The Eight Great Suitable Sons, etc., have already attained perfect enlightenment, and due to their past vows.
。感化應身菩薩相者。彼像造法。南面正坐。與佛像無異。若夫陟位歷地之菩薩(位大乘五位也一資糧位。二加行位。三通達位亦名見道位四修習位。五究竟位也。地。即十地)宜置旁列。與侍奉至尊諸像相類其制身之縱廣。約等十搩。每搩十二指。共為百二十指。而為胎偶之增法。除非鼻準及頦下(各加半指)之外。可宜不加增處。不必加增。其必得加分處隨宜加分。各致其曲。而俱不可令彀半指(像傳有附載云。凡夫身量。豎八十四指。橫九十六指為止。縱廣不等。因其二萬一千六百業息故蓋一晝夜之吸呼二萬一千六百息也內分十二節蓋隨十二時也每節分得息千八百。菩薩自發心進步行道時。業息漸滅。而隨其滅幾數。以慧息遂長幾數。如是方得初地第三位歡喜地通達位則業息滅盡一節千八百而慧息長滿一節千八百以是形於外相。得縱廣相等百八指。如是漸進。踐至第九善慧地。每地兩息減增各一節。而形相各增二指。方至於第十法雲地境。即如前減增一節。此共滿十節。而形相指分共得百二十有四指。越盡十地而至究竟位極處。兩息余末二節。一減一長皆盡滿。而即得圓滿報身。則外相增一指。共算足滿百有二十五指之句。然而正傳中。則總略之如前。今亦從之)發攢高八指。頂尖寶嚴二指。面形似鳥卵。具喜
【現代漢語翻譯】 現代漢語譯本：關於感化應身菩薩（為感化眾生而示現不同身形的菩薩）的造像方法：菩薩像應面向南方端正坐著，與佛像沒有區別。至於那些已經提升到一定階位、經歷過各個階段的菩薩（大乘五位是指：一、資糧位，二、加行位，三、通達位，也叫見道位，四、修習位，五、究竟位。十地是指菩薩修行過程中的十個階段），應該將他們的像安放在旁邊排列，類似於侍奉至尊的諸位菩薩像。菩薩身形的縱向和橫向長度，大約等於十搩（一搩約為成人張開手時拇指尖到中指尖的距離），每搩十二指，總共一百二十指，這是爲了體現胎偶（指陰陽調和）的增法。除非是鼻尖和下巴下方（各增加半指），其他地方可以不增加。不必強行增加，必須增加的部分可以根據情況適當增加，各自達到其曲線的優美，但都不能超過半指（《像傳》附載說：凡人的身量，豎向八十四指，橫向九十六指為止，縱向和橫向不相等，這是因為有二萬一千六百業息的緣故，也就是一個晝夜的呼吸有二萬一千六百息，分為十二節，對應十二個時辰，每節有一千八百息。菩薩自從發心進步修行時，業息逐漸減少，隨著業息減少的數量，慧息也隨之增長相應的數量。這樣才能達到初地第三位，也就是歡喜地的通達位，這時業息完全滅盡一節的一千八百息，而慧息增長充滿一節的一千八百息，因此在外相上表現為縱向和橫向相等，都是一百零八指。像這樣逐漸進步，到達第九善慧地，每一地兩息的減增各一節，而形相各增加二指。到達第十法雲地的境界，就像前面所說的那樣減增一節，這樣總共滿了十節，而形相的指分總共得到一百二十四指。超越十地而到達究竟位的極處，兩息剩餘的末尾兩節，一減一長都完全滿了，就得到了圓滿報身，外相增加一指，總共算起來滿了百有二十五指。然而在正傳中，總的來說像前面所說的那樣。現在也按照正傳的說法）。髮髻高八指，頂端的寶珠裝飾高二指，面部形狀像鳥卵，具有喜悅之相。 English version: Regarding the creation of images of Bodhisattvas who manifest in various forms to influence and transform beings: The image of the Bodhisattva should be seated facing south, in a dignified manner, and should be no different from the image of a Buddha. As for those Bodhisattvas who have ascended to certain stages and experienced various levels (the five stages of Mahayana are: 1. Stage of Accumulation, 2. Stage of Preparation, 3. Stage of Insight, also known as the Stage of Seeing, 4. Stage of Cultivation, 5. Stage of Consummation. The Ten Bhumis refer to the ten stages in the Bodhisattva's path of practice), their images should be placed alongside, similar to the images of Bodhisattvas attending upon the Supreme One. The vertical and horizontal dimensions of the Bodhisattva's form should be approximately equal to ten spans (a span is roughly the distance from the tip of the thumb to the tip of the middle finger when the hand is outstretched), with twelve fingers per span, totaling one hundred and twenty fingers. This is to embody the principle of 'Tai Ou' (referring to the harmony of Yin and Yang) for augmentation. Unless it is the tip of the nose and below the chin (each increased by half a finger), other areas may not need to be increased. There is no need to force an increase; parts that must be increased can be increased appropriately according to the situation, each achieving its graceful curve, but none should exceed half a finger (the 'Image Transmission' states: The body measurement of ordinary people is eighty-four fingers vertically and ninety-six fingers horizontally, with unequal vertical and horizontal dimensions. This is because of the twenty-one thousand six hundred karmic breaths, which are the twenty-one thousand six hundred breaths in a day and night, divided into twelve sections corresponding to the twelve periods of the day, with each section having one thousand eight hundred breaths. When a Bodhisattva begins to progress on the path of practice, karmic breaths gradually decrease, and as the number of karmic breaths decreases, wisdom breaths increase by the corresponding number. Only in this way can one reach the third position of the first Bhumi, which is the Stage of Insight of the Joyful Bhumi, at which point the karmic breaths are completely extinguished by one thousand eight hundred breaths in one section, and the wisdom breaths increase to fill one thousand eight hundred breaths in one section. Therefore, the external appearance shows equal vertical and horizontal dimensions, both being one hundred and eight fingers. Progressing gradually like this, reaching the ninth Good Wisdom Bhumi, the decrease and increase of breaths in each Bhumi is one section each, and the form increases by two fingers each. Reaching the realm of the tenth Dharma Cloud Bhumi, it is like the aforementioned decrease and increase of one section, so that a total of ten sections are completed, and the finger divisions of the form total one hundred and twenty-four fingers. Transcending the Ten Bhumis and reaching the ultimate point of the Consummation Stage, the remaining two sections of the two breaths, one decreasing and one increasing, are completely filled, and the perfect Sambhogakaya is obtained, with the external appearance increasing by one finger, totaling one hundred and twenty-five fingers. However, in the main transmission, it is generally summarized as mentioned earlier. Now, we will also follow the main transmission). The hair knot is eight fingers high, the jewel ornament on the top is two fingers high, and the shape of the face is like a bird's egg, possessing an appearance of joy.
【English Translation】 English version: Regarding the creation of images of Bodhisattvas who manifest in various forms to influence and transform beings: The image of the Bodhisattva should be seated facing south, in a dignified manner, and should be no different from the image of a Buddha. As for those Bodhisattvas who have ascended to certain stages and experienced various levels (the five stages of Mahayana are: 1. Stage of Accumulation, 2. Stage of Preparation, 3. Stage of Insight, also known as the Stage of Seeing, 4. Stage of Cultivation, 5. Stage of Consummation. The Ten Bhumis refer to the ten stages in the Bodhisattva's path of practice), their images should be placed alongside, similar to the images of Bodhisattvas attending upon the Supreme One. The vertical and horizontal dimensions of the Bodhisattva's form should be approximately equal to ten spans (a span is roughly the distance from the tip of the thumb to the tip of the middle finger when the hand is outstretched), with twelve fingers per span, totaling one hundred and twenty fingers. This is to embody the principle of 'Tai Ou' (referring to the harmony of Yin and Yang) for augmentation. Unless it is the tip of the nose and below the chin (each increased by half a finger), other areas may not need to be increased. There is no need to force an increase; parts that must be increased can be increased appropriately according to the situation, each achieving its graceful curve, but none should exceed half a finger (the 'Image Transmission' states: The body measurement of ordinary people is eighty-four fingers vertically and ninety-six fingers horizontally, with unequal vertical and horizontal dimensions. This is because of the twenty-one thousand six hundred karmic breaths, which are the twenty-one thousand six hundred breaths in a day and night, divided into twelve sections corresponding to the twelve periods of the day, with each section having one thousand eight hundred breaths. When a Bodhisattva begins to progress on the path of practice, karmic breaths gradually decrease, and as the number of karmic breaths decreases, wisdom breaths increase by the corresponding number. Only in this way can one reach the third position of the first Bhumi, which is the Stage of Insight of the Joyful Bhumi, at which point the karmic breaths are completely extinguished by one thousand eight hundred breaths in one section, and the wisdom breaths increase to fill one thousand eight hundred breaths in one section. Therefore, the external appearance shows equal vertical and horizontal dimensions, both being one hundred and eight fingers. Progressing gradually like this, reaching the ninth Good Wisdom Bhumi, the decrease and increase of breaths in each Bhumi is one section each, and the form increases by two fingers each. Reaching the realm of the tenth Dharma Cloud Bhumi, it is like the aforementioned decrease and increase of one section, so that a total of ten sections are completed, and the finger divisions of the form total one hundred and twenty-four fingers. Transcending the Ten Bhumis and reaching the ultimate point of the Consummation Stage, the remaining two sections of the two breaths, one decreasing and one increasing, are completely filled, and the perfect Sambhogakaya is obtained, with the external appearance increasing by one finger, totaling one hundred and twenty-five fingers. However, in the main transmission, it is generally summarized as mentioned earlier. Now, we will also follow the main transmission). The hair knot is eight fingers high, the jewel ornament on the top is two fingers high, and the shape of the face is like a bird's egg, possessing an appearance of joy.
悅慈愛之容。目長三指。寬分一指。如蓮華瓣。取長四指。兩脾樞外邊相去十九指。天男相無髭(如將足十六歲童相)服飾同報身佛像。而輕健。以華鬘為絡腋焉。
(附)佛之受用身。為凈居天主。變化身。作穢土人師。菩薩之受生。亦莫不託於色欲兩界。天人二種(若隨類變化之應身不與)故論相者。一面二臂為本元。而秘密部所出。多面廣臂諸異相。或借外相示內義(如怖畏明王相。其九面為示大乘九部契經義等類)或為調伏諸異怪。故現非常相(如啰叉鬼王。因具十頭以自慢。時觀音大士。特變十一面喜怒並具之異相。而折絀彼傲氣等類是也。手足義亦然)亦可以類推也(時輪盛樂金剛使畏大悲觀音等。多面廣臂之數分法。諸家傳授互有所異。然其義理不忒。明其一。則餘者可推度而易知也)今單出一相。以為總軌之元式。如十一面千臂觀世音(功德尼式。番王式等。有番漢數樣。今擇一合本足證者述之)身量同佛立像。而臍密間添四指。通身白色。元正面縱分同佛面。廣十指。慈相。其右廂面藍色。左廂面紅色。此二面縱分同正面。而廣分只得其半。外添鼻準高分一指(畫像之謂也。若胎偶則橫分只作八指。凸且扁。此三面謂之法身三面)第二層正面豎橫同作八指。色黃白。悲相。髮際三指(兩眉微
【現代漢語翻譯】 現代漢語譯本 面容慈祥和藹。眼睛長三指，寬一指，像蓮花瓣。取四指長。兩肩胛骨外側相距十九指。天男相沒有鬍鬚（像將滿十六歲的童相），服飾與報身佛像相同，但更輕盈矯健，用華鬘作為絡腋裝飾。
（附）佛的受用身，是凈居天的天主。變化身，作為穢土的人師。菩薩的受生，也無不依託于**兩界，天人二種（如果隨類別變化的應身則不在此列）。所以論述佛像時，一面二臂是根本形式。而秘密部所出的，多面廣臂的各種異相，或者借用外在形象來顯示內在含義（例如怖畏明王相，他的九面是爲了顯示大乘九部契經的含義等），或者爲了調伏各種妖魔鬼怪，所以顯現非常之相（例如啰叉鬼王，因為有十個頭而自傲，當時觀音大士，特意變化出十一面，喜怒兼具的異相，來挫敗他的傲氣等。手足的含義也是如此）。也可以依此類推（時輪金剛、盛樂金剛、使畏金剛、大悲觀音等，多面廣臂的數量分法，各家傳授互有差異，但其義理沒有錯誤。明白其中一種，那麼其餘的就可以推測而容易理解）。現在單獨拿出一個形象，作為總的規範的原始形式。例如十一面千臂觀世音（功德尼式、番王式等，有藏漢多種樣式，現在選擇一個符合原本且證據充足的來描述），身量與佛的立像相同，但臍部到密處的距離增加四指。通身白色。原來的正面縱向長度與佛面相同，寬十指，是慈祥的面相。右側的面是藍色，左側的面是紅色，這兩個面的縱向長度與正面相同，但寬度只有正面的一半，外加鼻尖的高度一指（這是畫像的說法。如果是胎生，那麼橫向寬度只有八指，凸起且扁平。這三個面被稱為法身三面）。第二層正面豎向和橫向都做八指，顏色黃白色，是悲憫的面相。髮際線三指（兩眉微微
【English Translation】 English version A countenance of loving-kindness. Eyes three fingers in length, one finger in width, like lotus petals. Take four fingers in length. The distance between the outer edges of the two scapulae is nineteen fingers. The appearance of a heavenly male without a beard (like a boy about to turn sixteen), attire similar to that of a Sambhogakaya Buddha image, but lighter and more agile, with a garland of flowers as armlets.
(Attached) The Sambhogakaya of the Buddha is the lord of the Pure Abode Heavens. The Nirmanakaya acts as a teacher for people in impure lands. The rebirth of Bodhisattvas also invariably relies on the **two realms, the heavenly and human realms (the Nirmanakaya that transforms according to type is not included). Therefore, when discussing images, one face and two arms are the fundamental form. However, the various unusual appearances of multiple faces and numerous arms that originate from the secret tantras either borrow external forms to show inner meanings (such as the Bhairava Vajra image, whose nine faces are to show the meaning of the nine sections of Mahayana sutras, etc.), or manifest extraordinary appearances in order to subdue various demons and monsters (such as the Rakshasa Ghost King, who was arrogant because he had ten heads, at that time Avalokiteshvara Bodhisattva, specially transformed into an eleven-faced appearance with both joy and anger, to defeat his arrogance, etc. The meaning of hands and feet is also similar). It can also be inferred by analogy (the number of faces and arms of Kalachakra, Hevajra, Vajrabhairava, Mahakarunika, etc., varies among different lineages, but their meaning is not wrong. Understanding one of them, then the others can be inferred and easily understood). Now, a single image is taken as the original form of the general standard. For example, the Eleven-Faced Thousand-Armed Avalokiteshvara (the Gongdeni style, the Tibetan King style, etc., has several Tibetan and Han styles, now choose one that matches the original and has sufficient evidence to describe it), the body size is the same as the standing image of the Buddha, but the distance between the navel and the secret place is increased by four fingers. The whole body is white. The original frontal face has the same vertical length as the Buddha's face, and is ten fingers wide, with a compassionate appearance. The face on the right side is blue, and the face on the left side is red, these two faces have the same vertical length as the frontal face, but the width is only half of the frontal face, plus the height of the nose tip, which is one finger (this is the description of the painting. If it is born from a womb, then the horizontal width is only eight fingers, convex and flat. These three faces are called the three faces of the Dharmakaya). The second layer of the frontal face is eight fingers in both vertical and horizontal directions, the color is yellowish-white, and it has a compassionate appearance. The hairline is three fingers (the eyebrows are slightly
顰而無笑容)其右面正黃色。左面赤黃色。此二旁面縱分同正面。而廣只得其半。外邊添鼻分六麥分(胎偶則廣分六指。此三面謂之增長三面)第三層正面七指。色赤白。喜相(具微笑容)髮際同前而其右面綠色。左面紫色。此二面縱分同正面。而廣分只得其半外添鼻分五麥(胎偶則廣分作五指。此謂之報身三面以上三層。右三面皆作顰眉直視微怒相。左三面皆喜悅相)第四層單面。大怒明王相。豎橫平六指。青色。發之崇分亦然(發稍旋凝如獅子鬃鬣)頂上彌陀佛頭化身面相(紅色。或作金色)頸一指。面輪五指。髮際指半。肉髻一指。寶髻半指。每面分均分十二少分。依常制之各指。推捫比較。以度定各面之眉。目。鼻。口。及準頭等。直曲寬狹。除彌陀面外。餘十面皆俱三目(本教經曰目數千。又三十二)正面之兩耳。貼在旁面之腮上(以上為畫像之準也。胎偶則第二層三層正面之兩耳。俱各向前移一分。即前說元正面之廣分。胎偶作十指同義)知此一像。則一切具多面像者。可以依是推度矣。其廣臂之佈設法。自心窩而上比至六指處(胎偶則六指零半指處)從正中橫量各一搩。至兩腋豎繩。即作點記(上比肩頂三指。下比腋肢三指)再從兩邊之記號起。向外各去正五十指之地。畫圓圈作環記。所作諸手。雖伸
【現代漢語翻譯】 現代漢語譯本 （面部表情）皺著眉頭，沒有笑容。它的右面是正黃色，左面是赤黃色。這兩個側面的縱向尺寸與正面相同，而寬度只有正面的一半。外邊加上鼻子的寬度，分為六麥分（如果是在胎藏界曼荼羅中，寬度則分為六指）。這三個面被稱為增長三面。 第三層正面七指寬，顏色是赤白色，面帶喜悅的表情（帶著微笑）。髮際線與之前相同，而它的右面是綠色，左面是紫色。這兩個面的縱向尺寸與正面相同，而寬度只有正面的一半，外邊加上鼻子的寬度，分為五麥分（如果是在胎藏界曼荼羅中，寬度則分為五指）。這被稱為報身三面。以上三層，右邊的三個面都呈現皺眉直視、略帶憤怒的表情，左邊的三個面都呈現喜悅的表情。 第四層是單面，呈現大怒明王相，豎向和橫向都是六指寬，顏色是青色。頭髮的崇高部分也是如此（髮梢旋轉凝聚，像獅子的鬃毛）。頂上是阿彌陀佛的頭化身面相（紅色或金色），脖子一指寬，面輪五指寬，髮際線半指寬，肉髻一指寬，寶髻半指寬。每個面的劃分都均勻地分為十二少分。按照通常的規則，用各指進行推測和比較，以確定各個面的眉毛、眼睛、鼻子、嘴巴以及準頭等的直線、曲線、寬度和狹窄程度。除了阿彌陀佛的面部外，其餘十個面都具有三隻眼睛（本教經書說眼睛有數千只，又說有三十二隻）。正面的兩隻耳朵貼在旁邊面的臉頰上（以上是畫像的標準。如果是在胎藏界曼荼羅中，第二層和第三層正面的兩隻耳朵都向前移動一分，即前面所說的原本正面的寬度，在胎藏界曼荼羅中是十指，意義相同）。 瞭解了這個形象，那麼一切具有多面形象的造像，都可以依據這個來推測和衡量。關於廣臂的佈置方法，從心窩向上比到六指處（如果是在胎藏界曼荼羅中，則是六指零半指處），從正中橫向測量各一搩（zhā，張開兩手拇指到中指尖的距離），到兩腋下豎起繩子，就做上標記（向上比肩頂三指，向下比腋肢三指）。再從兩邊的記號開始，向外各去正五十指的地方，畫圓圈作為環記。所作的諸手，即使伸展
【English Translation】 English version (Facial expression) frowning without a smile. Its right side is true yellow, and its left side is reddish-yellow. The vertical dimensions of these two side faces are the same as the front face, while the width is only half of the front face. Add the width of the nose to the outside, dividing it into six 'mai fen' (if in the Garbhadhatu Mandala, the width is divided into six fingers). These three faces are called the 'Increasing Three Faces'. The front face of the third layer is seven fingers wide, and the color is reddish-white, with a joyful expression (with a slight smile). The hairline is the same as before, while its right side is green and its left side is purple. The vertical dimensions of these two faces are the same as the front face, while the width is only half of the front face, adding the width of the nose to the outside, dividing it into five 'mai fen' (if in the Garbhadhatu Mandala, the width is divided into five fingers). This is called the 'Reward Body Three Faces'. Above the three layers, the three faces on the right all show a frowning, staring, slightly angry expression, and the three faces on the left all show a joyful expression. The fourth layer is a single face, showing the appearance of the 'Great Wrathful Vidyaraja', with a vertical and horizontal width of six fingers, and the color is blue. The sublime part of the hair is also the same (the ends of the hair are swirling and condensed, like a lion's mane). On the top is the manifested face of Amitabha Buddha (red or gold), the neck is one finger wide, the face wheel is five fingers wide, the hairline is half a finger wide, the 'ushnisha' (cranial bump) is one finger wide, and the jeweled crown is half a finger wide. The division of each face is evenly divided into twelve small parts. According to the usual rules, use each finger to speculate and compare, in order to determine the straightness, curvature, width, and narrowness of the eyebrows, eyes, nose, mouth, and 'juntou' (tip of the nose) of each face. Except for the face of Amitabha Buddha, the remaining ten faces all have three eyes (the scriptures of the Bon tradition say that there are thousands of eyes, and also say that there are thirty-two). The two ears of the front face are attached to the cheeks of the side faces (the above is the standard for the image. If in the Garbhadhatu Mandala, the two ears of the front faces of the second and third layers are moved forward by one 'fen', which is the width of the original front face mentioned earlier, which is ten fingers in the Garbhadhatu Mandala, with the same meaning). Understanding this image, then all images with multiple faces can be inferred and measured based on this. Regarding the arrangement of the broad arms, from the heart upwards to the place of six fingers (if in the Garbhadhatu Mandala, it is six fingers and a half finger), measure horizontally from the center by one 'zha' (the distance from the tip of the thumb to the tip of the middle finger when the hand is stretched out), and erect a rope to the armpits to make a mark (three fingers upwards to the top of the shoulder, and three fingers downwards to the armpit). Then, starting from the marks on both sides, go outwards to a place of exactly fifty fingers, and draw a circle as a ring mark. The hands that are made, even if stretched
亦不得出此環記之外。手足雖多。根同生於一樞。其式約略似扇把橫軸所攔。適手舉者。余手從上向下排。適手垂者(里收者同)余手自下往上排(此式以經為徴。且天竺國赍來像軀。多見如是。今漢番同俗。不管適手之舉垂。但是余手。盡作由上向下者非是)千手者。法身八手。報身四十手。化身九百五十二手。共計滿千手也。即從前說環記起。向里次第各驀四指。復畫五層圓圈。於是從前說兩旁點記起。向外至於內圈。直拉絣線勻分六分(除卻身質所佔之分。兩邊各作三分。合算六分)第二層上兩邊各分作十二分。第三層各分十四分。第四層各分十六分。第五層各分作十八分。第六層(即前說外邊總括環圓記也)兩邊各分作二十分。而以為底盤境框。複次始作法身八臂。二適手當心合掌(兩掌不宜緊貼。中作虛之)余右第二手持白水晶念珠。左第二手執白蓮華。右第三手執金輪。第四手作施愿印。左第三手執弓箭。第四手持軍持(舊翻澡瓶。因其用而名之也。又有譯作胡瓶者。對華言之也。今合其名實而直翻之曰頂沃。其納口在腹。吐嘴在頂。頸長嘴小)除二適手。餘六臂。俱排開。而畫像不出內圈之外。胎偶亦依此推度之(內圈六分。即為此六也。手頭須排均勻安置。其持數珠蓮華之手。則對兩肩外邊。手頭向
里覆。而以指捻持之。執輪及弓箭手頭略舉之。餘二手頭略垂之)報身四十臂。從上向下排。右翼二十手。挨著次第。一擎執佛像(釋迦佛之像)二如意寶珠。三日精珠。四青優波羅華。五錫杖。六白色金剛杵。七利劍。八鐵鉤。九白拂。左翼二十手。亦挨著次第。一寶殿。二寶篋。三月精珠。四紅蓮華。五缽盂。六金剛鈴。七傍牌。八罥索。九楊柳枝。其左右第十兩手。合拱前面作等融印(對拱臍下四指處。右仰左俯。兩掌合。而以兩巨指相把之)復從右第十一手。挨次排下。十一賢瓶(腹大而圓。頸之長分有其腹豎向三分之二。口向外卷)十二寶山。十三髑髏杖。(髑髏在杖上頭)十四梵夾。十五鉞鈇。十六金剛鐵椎。十七作施無畏印。十八玉印。十九長槍。二十交杵。復從左第十一手。挨次排下。十一寶鏡。十二玉環。十三右旋白螺(身質右旋。其衽則反回左轉。按螺蟲骨身。通是左旋。而衽回右轉。今番僧寺廟。為樂器用者即是。謂之凡螺。亦謂逆轉螺。不為貴。傳云。螺身輒轉生螺。連轉五次者。即變右旋螺。謂之仙螺。亦謂順運螺。在處大有吉祥。世間甚為罕有)十四五彩疊云。十五蓮華心蕊。十六鐵金剛橛。十七禾穗。十八蒲萄。十九鋼叉。二十黃蓮華。此四十手。不出內頭一層圈外(兩翼各二十手。
【現代漢語翻譯】 現代漢語譯本 里覆，用手指捻著拿著。拿著輪和弓箭手頭稍微舉起，其餘二手頭稍微垂下）報身有四十隻手臂，從上到下排列。右翼二十隻手，挨著順序：第一隻手擎著佛像（釋迦佛之像），第二隻手拿著如意寶珠，第三隻手拿著日精珠，第四隻手拿著青優波羅華（Utpala，藍色蓮花），第五隻手拿著錫杖（Khakkhara，僧侶用的手杖），第六隻手拿著白色金剛杵（Vajra，一種法器），第七隻手拿著利劍，第八隻手拿著鐵鉤，第九隻手拿著白拂（拂塵）。 左翼二十隻手，也挨著順序：第一隻手拿著寶殿，第二隻手拿著寶篋（qiè，小箱子），第三隻手拿著月精珠，第四隻手拿著紅蓮華（Red Lotus），第五隻手拿著缽盂（bō yú，和尚用的碗），第六隻手拿著金剛鈴（Ghanta，一種鈴），第七隻手拿著傍牌（盾牌），第八隻手拿著罥索（juàn suǒ，捕獵工具），第九隻手拿著楊柳枝。左右兩邊第十隻手，合拱在前面，作出等融印（在肚臍下四指處相對拱起，右手仰著，左手俯著，兩掌合在一起，用兩個大拇指互相把住）。 再從右邊第十一隻手，挨著順序向下排列：第十一隻手拿著賢瓶（腹部大而圓，頸的長度有腹部豎向的三分之二，口向外卷），第十二隻手拿著寶山，第十三隻手拿著髑髏杖（dú lóu zhàng，骷髏在杖的頂端），第十四隻手拿著梵夾（書本），第十五隻手拿著鉞鈇（yuè fū，斧頭），第十六隻手拿著金剛鐵椎（chuí，錘子），第十七隻手作出施無畏印（Abhaya Mudra，表示無畏的手勢），第十八隻手拿著玉印，第十九隻手拿著長槍，第二十隻手拿著交杵（互相交叉的金剛杵）。 再從左邊第十一隻手，挨著順序向下排列：第十一隻手拿著寶鏡，第十二隻手拿著玉環，第十三隻手拿著右旋白螺（螺身向右旋轉，但邊緣卻反向左轉。通常螺蟲的骨身都是左旋，而邊緣迴向右轉。現在番僧寺廟裡，作為樂器使用的就是這種螺，叫做凡螺，也叫逆轉螺，不被認為是珍貴的。傳說螺身會不斷地生長螺，連續生長五次後，就會變成右旋螺，叫做仙螺，也叫順運螺，在任何地方都會帶來吉祥，世間非常罕見）。第十四隻手拿著五彩疊云，第十五隻手拿著蓮華心蕊，第十六隻手拿著鐵金剛橛（jué，樁子），第十七隻手拿著禾穗，第十八隻手拿著葡萄，第十九隻手拿著鋼叉，第二十隻手拿著黃蓮華（Yellow Lotus）。這四十隻手，都在內頭一層圈外（兩翼各有二十隻手）。
【English Translation】 English version Holding it with fingers. Holding the wheel and the archer's head slightly raised, the remaining two hands slightly lowered.) The Sambhogakaya (reward body) has forty arms, arranged from top to bottom. The right wing has twenty hands, arranged in order: the first hand holds a Buddha image (image of Shakyamuni Buddha), the second hand holds a Cintamani jewel (wish-fulfilling jewel), the third hand holds a sun essence pearl, the fourth hand holds a blue Utpala flower (blue lotus), the fifth hand holds a Khakkhara (staff of a monk), the sixth hand holds a white Vajra (diamond scepter), the seventh hand holds a sharp sword, the eighth hand holds an iron hook, and the ninth hand holds a white whisk. The left wing has twenty hands, also arranged in order: the first hand holds a jeweled palace, the second hand holds a jeweled casket, the third hand holds a moon essence pearl, the fourth hand holds a red lotus, the fifth hand holds a Patra (begging bowl), the sixth hand holds a Ghanta (bell), the seventh hand holds a shield, the eighth hand holds a snare, and the ninth hand holds a willow branch. The tenth hands on both the left and right sides are joined in front, forming the Samarasya Mudra (joined at four fingers below the navel, the right hand facing up, the left hand facing down, the palms joined together, and the two thumbs holding each other). Then, from the eleventh hand on the right side, arranged downwards in order: the eleventh hand holds a Kalasha (treasure vase, large and round belly, the length of the neck is two-thirds of the vertical length of the belly, the mouth curls outwards), the twelfth hand holds a jeweled mountain, the thirteenth hand holds a skull staff (the skull is on top of the staff), the fourteenth hand holds a Brahmi book, the fifteenth hand holds an axe, the sixteenth hand holds a Vajra hammer, the seventeenth hand makes the Abhaya Mudra (gesture of fearlessness), the eighteenth hand holds a jade seal, the nineteenth hand holds a spear, and the twentieth hand holds crossed Vajras. Then, from the eleventh hand on the left side, arranged downwards in order: the eleventh hand holds a jeweled mirror, the twelfth hand holds a jade ring, the thirteenth hand holds a dextrorotatory white conch (the body of the conch rotates to the right, but the edge turns back to the left. Usually, the bone body of the conch rotates to the left, but the edge turns back to the right. Now, in Tibetan monasteries, the conch used as a musical instrument is this type, called a common conch, also called a reverse-turning conch, which is not considered precious. Legend has it that the conch body will continuously grow conches, and after growing five times in a row, it will become a dextrorotatory conch, called a divine conch, also called a forward-turning conch, which brings auspiciousness wherever it is, and is very rare in the world). The fourteenth hand holds five-colored stacked clouds, the fifteenth hand holds a lotus heart stamen, the sixteenth hand holds an iron Vajra kila (peg), the seventeenth hand holds a grain ear, the eighteenth hand holds grapes, the nineteenth hand holds a steel fork, and the twentieth hand holds a yellow lotus. These forty hands are all outside the inner circle (twenty hands on each wing).
根同一樞。歷歷均勻展如扇把。其像如千臂俱全者。此二十手俱由上至下。只排一行。若不作化身諸手。則起第十一手。復始排作一行。而後層諸手。次第安排。互現前層諸手隙間)次作化身手九百五十二臂。照前所畫第二圈。兩邊直繩各有十二分。每分分作六分。除兩邊極下各一分不用外。其餘每分作一手。共得百有四十二手。複次第三圈。兩邊直繩各有十四分。每分分作六分。除兩邊極下各一分不用外。其餘每分作一手。共得百有六十六手。複次第四圈。兩邊各有十六分。如前分除之。共得一百九十手。又次第五圈。兩邊各有十八分。同前分除。共得二百一十四手。複次第六圈。兩邊各二十分。如前每分分作六分。而每分各作一手。則共得二百有四十手。合前諸手。是得滿千手也。此九百五十二手。悉作施愿印(手掌側仰之而少垂)掌中眼目。參差互見。一一分明(千手掌中。皆有一目)諸臂相皆極柔順圓好。如正開之蓮華。各不侵礙。數雖千名。而觀者自不覺其多矣。法身八手。形如常制。報身四十手微細於法身(諸手長分相同。其寬奘分。則此四十手。比前八手奘二十分之去一分。以是遞推。凡后層列手奘分。俱照前層諸手二十分之除去一分。只作十九分便得矣)胎偶者。其四十八手。但可收之無礙者。向前
【現代漢語翻譯】 現代漢語譯本 從同一個中心（根同一樞）出發，所有手臂歷歷分明，均勻地展開，像一把扇子（歷歷均勻展如扇把）。其形象如同具有千臂俱全者。這二十隻手都從上到下，只排列成一行（此二十手俱由上至下。只排一行）。如果不畫化身的手，那麼從第十一隻手開始，重新排列成一行，然後將其他的手分層安排，互相顯現在前一層手的空隙之間（若不作化身諸手。則起第十一手。復始排作一行。而後層諸手。次第安排。互現前層諸手隙間）。 接下來畫化身的手，共九百五十二臂，按照前面所畫的第二圈。兩邊的直線各有十二等分，每一等分又分成六小份。除去兩邊最下面的各一份不用外，其餘每一份畫一隻手，總共得到一百四十二隻手（次作化身手九百五十二臂。照前所畫第二圈。兩邊直繩各有十二分。每分分作六分。除兩邊極下各一分不用外。其餘每分作一手。共得百有四十二手）。 再次，第三圈，兩邊的直線各有十四等分，每一等分分成六小份。除去兩邊最下面的各一份不用外，其餘每一份畫一隻手，總共得到一百六十六隻手（複次第三圈。兩邊直繩各有十四分。每分分作六分。除兩邊極下各一分不用外。其餘每分作一手。共得百有六十六手）。 再次，第四圈，兩邊各有十六等分，按照前面的方法分份和去除，總共得到一百九十隻手（複次第四圈。兩邊各有十六分。如前分除之。共得一百九十手）。 又次，第五圈，兩邊各有十八等分，按照前面的方法分份和去除，總共得到二百一十四隻手（又次第五圈。兩邊各有十八分。同前分除。共得二百一十四手）。 再次，第六圈，兩邊各有二十等分，按照前面的方法將每一等分分成六小份，每一小份畫一隻手，那麼總共得到二百四十隻手（複次第六圈。兩邊各二十分。如前每分分作六分。而每分各作一手。則共得二百有四十手）。 將前面所有的手加起來，就得到了完整的千手（合前諸手。是得滿千手也）。這九百五十二隻手，都做施愿印（手掌側仰之而少垂），掌心中有眼睛，參差交錯地顯現，每一隻都分明可見（此九百五十二手。悉作施愿印(手掌側仰之而少垂)掌中眼目。參差互見。一一分明(千手掌中。皆有一目)）。 所有的手臂都極其柔順圓潤美好，像盛開的蓮花，彼此互不干擾（諸臂相皆極柔順圓好。如正開之蓮華。各不侵礙）。數量雖然有千，但觀看的人並不會覺得繁多（數雖千名。而觀者自不覺其多矣）。 法身（Dharmakaya）的八隻手，形狀如同通常的樣式（法身八手。形如常制）。報身（Sambhogakaya）的四十隻手比法身（Dharmakaya）的手稍微細小（報身四十手微細於法身）。（所有手的長度相同，但寬度不同，這四十隻手比前面的八隻手寬度減少二十分之一，以此類推，凡是後面層列的手的寬度，都按照前面層的手的寬度減少二十分之一，只做十九份就可以了）（諸手長分相同。其寬奘分。則此四十手。比前八手奘二十分之去一分。以是遞推。凡后層列手奘分。俱照前層諸手二十分之除去一分。只作十九分便得矣）。 胎藏界曼荼羅（Garbhadhatu Mandala）的四十八隻手，只要可以收攏而沒有妨礙的，就向前伸出（胎偶者。其四十八手。但可收之無礙者。向前）。
【English Translation】 English version Starting from the same center (Gen Doitsu Shu), all the arms are distinctly visible and evenly spread out like a fan (Rekireki Kin'itsu Ten Nyo Senba). Its image is like that of one with a complete set of a thousand arms. These twenty hands are all arranged in a single row from top to bottom (Kono Nijisshu Gu Yu Jo Shi Ge. Tada Narabe Ichigyo). If the manifested hands are not depicted, then starting from the eleventh hand, rearrange them into a row, and then arrange the other hands in layers, mutually appearing in the gaps between the hands of the previous layer (Moshi Saku Keshin Shoshu. Sunawachi Okosu Dai Juisshu. Mata Hajime Narabe Saku Ichigyo. Shikaranochi Kasane Shoshu. Daidai Anbai. Tagai Arawasu Zenso Shoshu Gekikan). Next, draw the manifested hands, a total of nine hundred and fifty-two arms, according to the second circle drawn earlier. The straight lines on both sides each have twelve equal divisions, and each division is further divided into six small parts. Except for the bottommost part on each side, which is not used, each of the remaining parts is drawn as a hand, for a total of one hundred and forty-two hands (Tsugi Saku Keshin Shu Kuhyakugojunihi. Terashite Zen Sho Ga Dai Nikan. Ryoben Jikijyo Kakuko Junibun. Maibun Waka Saku Rokubun. Nozoku Ryoben Gokuge Kakuippun Fuyo Gewai. Sono Yobun Maibun Saku Isshu. Tomo ni Eru Hyakuyonjunishu). Again, for the third circle, the straight lines on both sides each have fourteen equal divisions, and each division is divided into six small parts. Except for the bottommost part on each side, which is not used, each of the remaining parts is drawn as a hand, for a total of one hundred and sixty-six hands (Fukuji Dai Sankan. Ryoben Jikijyo Kakuko Jushibun. Maibun Waka Saku Rokubun. Nozoku Ryoben Gokuge Kakuippun Fuyo Gewai. Sono Yobun Maibun Saku Isshu. Tomo ni Eru Hyakurokujurokushu). Again, for the fourth circle, each side has sixteen equal divisions, and the parts are divided and removed as before, for a total of one hundred and ninety hands (Fukuji Dai Shikan. Ryoben Kakuko Jurokubun. Nyo Zen Bunjoze. Tomo ni Eru Hyakukyujisshu). Next, for the fifth circle, each side has eighteen equal divisions, and the parts are divided and removed as before, for a total of two hundred and fourteen hands (Otsugi Dai Gokan. Ryoben Kakuko Juhatsubun. Do Zen Bunjo. Tomo ni Eru Nihyakujushishu). Again, for the sixth circle, each side has twenty equal divisions, and each division is divided into six small parts as before, and each part is drawn as a hand, then a total of two hundred and forty hands are obtained (Fukuji Dai Rokkan. Ryoben Kaku Nijubun. Nyo Zen Maibun Waka Saku Rokubun. Shikarashite Maibun Kaku Saku Isshu. Sunawachi Tomo ni Eru Nihyakuyonjusshu). Adding up all the hands from before, the full thousand hands are obtained (Gappo Zen Shoshu. Kore Eru Man Senshu Nari). These nine hundred and fifty-two hands all make the gesture of granting wishes (Segan-in) (the palm is turned sideways and slightly lowered), with eyes in the palms, appearing staggered and clearly visible one by one (Kono Kuhyakugojunihi. Mina Saku Segan-in (Shusho Soku Aogu Kore Shosui). Shochu Genmoku. Sanshi Tagai Arawasu. Ichii Bunmyo (Senshu Shochu. Mina Ichi Moku)). All the arms are extremely soft, supple, round, and beautiful, like lotus flowers in full bloom, without interfering with each other (Shohi So Mina Gokujun Nyuwa Enko. Nyo Masa Hiraku Renge. Kaku Fu Shingai). Although the number is a thousand, the viewer does not feel that there are too many (Su Iku Senmyo. Shikaradomo Kansha Mizukara Fu Oboeru Sono Oshi). The eight hands of the Dharmakaya (Hosshin) are in the usual form (Hosshin Hasshu. Katachi Nyo Josei). The forty hands of the Sambhogakaya (Hojin) are slightly finer than the hands of the Dharmakaya (Hosshin) (Hojin Shijisshu Bisai Yu Hosshin). (All the hands have the same length, but the width is different; these forty hands are narrower than the previous eight hands by one-twentieth; by analogy, the width of the hands arranged in later layers is reduced by one-twentieth compared to the hands in the previous layers, so only nineteen parts are made) (Shoshu Chobun Sodo. Sono Kanjyo Bun. Sunawachi Kono Shijisshu. Kurabe Zen Hasshu Jyo Nijubun no Kyo Ippun. Kore o Mote Daishi. Fuda Ato Narabe Shu Jyo Bun. Tomo ni Terashite Zenso Shoshu Nijubun no Nozoku Ippun. Tada Saku Jujukubun Ben Eru Nari). The forty-eight hands of the Garbhadhatu Mandala (Taizokai Mandara), as long as they can be retracted without obstruction, should be extended forward (Taizo Gusha. Sono Shijuhasshu. Tada Osamu no Mujoke Mono. Kogai Mae).
隨宜收之。則后層諸手得䯳爽矣。故或舉。或垂。或伸。或屈。左右對偶。意自相應。蓋亦觀其執物之勢。隨宜佈置。不必盡以邊圈為度。惟從前往背面。層層次第。離空皆令均勻。則不礙於背光(單作法身八手者甚多。四十八手者已屬罕見。滿作千手者更少矣。蓋因不得其法。難作之故耳。本經雖有持明人依像修習時。不要務必待千臂全修之語。然而解義云。謂其千手乃為賢劫千位輪王。千眼即賢劫千佛焉。則面臂全具之功德自然大也)凡一切廣臂相。俱以此為元式其有多足者。則自兩元足外邊。起兩股根樞畫余足邊際。漸廣之以至於足指尖。其足趺與諸指。但得分明現見。即是八件寶飾。及衣服等。俱同報身佛像(三層面寶冠。下層者不宜遮過上面嘴唇以上)而以仁獸皮為絡腋(舊作黑鹿皮。未詳其義。按仁獸。梵云吉哩二合斯那二合薩𪢘。華翻黑脊。蓋因其毛皮而稱之耳。常見西番國歲貢物件。有此獸皮。形似山羊而小。毛短薄。色多微黃。脊毛純黑色。天性最慈。為人忘己。據使者言。捕時不事獵圍。惟二人執兵。尋其棲處。既望見。詐為相鬥狀。喊聲對罵。且作揮兵相擊勢。此獸見之。以為相害。遂欲解救。奔至隔立二人之間。至死不去。遂得而刺焉。本朝官譯名謂之仁獸。其披法。則毛向外。頭前尾后。
【現代漢語翻譯】 現代漢語譯本 應根據具體情況靈活處理，這樣後排的手臂才能顯得舒展。因此，有的舉起，有的垂下，有的伸直，有的彎曲，左右對稱，意態自然呼應。這大概也是觀察其執持法器的姿勢，根據具體情況進行佈置，不必完全以邊框為標準。只要從前往後，從背面到側面，層層排列，使各部分之間的空隙均勻，就不會遮擋背光。（單獨繪製法身八臂像的很多，四十八臂像已經很少見，畫滿千臂的就更少了。這大概是因為不得其法，難以繪製的緣故。本經雖然有持明者依據佛像修習時，不必務必等待千臂全部修成的說法，然而解釋經義時說，所謂的千手代表賢劫的千位輪王，千眼代表賢劫的千佛。那麼，面容和手臂全部具備的功德自然就更大了。） 所有廣臂像，都可以此為基本樣式。如果有多足的，就從兩隻基本腳的外側，畫出兩腿的根部樞紐，然後畫出其餘腳的邊緣，逐漸擴充套件到腳趾尖。腳背和各個腳趾，只要能夠清晰地顯現出來就可以了。至於八件寶飾以及衣服等，都與報身佛像相同（三層寶冠，下層不宜遮蓋過上面的嘴唇以上）。 而以仁獸皮作為絡腋（舊時寫作黑鹿皮，不清楚是什麼意思。按照仁獸的梵文是吉哩(二合)斯那(二合)薩𪢘，漢譯為黑脊，大概是因為其毛皮而得名。常見西番國每年進貢的物品中，有這種獸皮，形狀像山羊但較小，毛短而薄，顏色多為微黃色，脊背上的毛是純黑色的。這種動物天性最為慈悲，爲了別人而忘記自己。據使者說，捕捉它的時候不用圍獵的方法，只需要兩個人拿著武器，尋找它棲息的地方。找到后，假裝互相爭鬥，大聲對罵，並且做出揮舞武器互相攻擊的姿勢。這種獸看到后，以為有人要互相傷害，就想去解救，奔跑到兩人中間隔開他們，至死也不離開，因此就被刺殺了。本朝官方翻譯稱之為仁獸。其披法是毛朝外，頭在前尾在後。
【English Translation】 English version They should be arranged according to the circumstances, so that the hands in the back rows can appear relaxed and unconstrained. Therefore, some are raised, some are lowered, some are extended, and some are bent, with left and right symmetry and natural correspondence in intention. This is probably also observing the posture of holding objects and arranging them according to the specific situation, without necessarily taking the borders as the standard. As long as the layers are arranged from front to back and from back to side, making the spaces between each part uniform, it will not obstruct the backlight. (There are many depictions of the eight-armed Dharma body alone, and the forty-eight-armed images are already rare, and those with a thousand arms are even rarer. This is probably because they do not know the method and it is difficult to create. Although this sutra says that when a Vidyadhara practices according to the image, it is not necessary to wait for all the thousand arms to be fully completed, the explanation of the meaning says that the thousand hands represent the thousand Chakravartin kings of the Bhadrakalpa, and the thousand eyes represent the thousand Buddhas of the Bhadrakalpa. Then, the merit of having all the faces and arms is naturally greater.) All images with many arms can use this as the basic style. If there are many feet, then from the outside of the two basic feet, draw the root pivots of the two legs, and then draw the edges of the remaining feet, gradually expanding to the tips of the toes. The instep and each toe only need to be clearly visible. As for the eight precious ornaments and clothing, they are the same as the Sambhogakaya Buddha image (the lower layer of the three-layered crown should not cover above the upper lip). And use the skin of the 'benevolent animal' as a 'net for the armpits' (formerly written as 'black deer skin', the meaning of which is not clear. According to the Sanskrit of the 'benevolent animal' is 'kiri-sana-satva' (吉哩(二合)斯那(二合)薩𪢘), translated as 'black spine', probably named because of its fur. It is common to see this animal skin among the annual tributes from the Western Regions, shaped like a goat but smaller, with short and thin fur, mostly light yellow in color, and pure black fur on the back. This animal is the most compassionate by nature, forgetting itself for others. According to the envoys, when capturing it, they do not use hunting methods, but only two people holding weapons, looking for its habitat. Once found, they pretend to fight each other, shouting and cursing loudly, and making gestures of waving weapons to attack each other. When this animal sees it, thinking that someone is going to harm each other, it wants to rescue them, running to stand between the two people, never leaving until death, and thus it is stabbed to death. The official translation of this dynasty calls it the 'benevolent animal'. The method of wearing it is with the fur facing outwards, the head in front and the tail behind.
斜披左肩上。以頭皮遮著左乳。而將右邊後腿皮。從像之背後由右腋下。挽過至像之前。與右前腿皮。互相交盤縛之。此一件服飾。諸經典未見他像所用。惟獨觀音及慈氏菩薩像有之)兩足平立。兩胯外邊相去廣量作二十四指。
二九搩度
佛之畫像。及菩薩像量度。謂之十搩度。此九搩度者。自初地菩薩以下。總攝二種聖像之常制也(世間聖及出世聖)縱廣相等各九搩。每搩十二指。合滿百有八指。其分法。則面輪。自喉至心窩。由是至肚臍。至陰藏。各一搩。股與腨各二搩。共為八搩(九十六指)。髮際頸喉各三指。(共六指)膝蓋足趺各三指(共六指)合十二指。為一搩。通計九搩。此乃縱分之九搩百八指也。廣分起心間。平至兩腋左右各十指。兩手臑各十八指(共五十六指)兩臂各十四指(共二十八指)手頭各十二指(共二十四指)合共得百有八指。斯即廣分之度。而以搩分得九搩也。以右製爲格局。而諸賢聖又各稍有差別。謹列於左。
獨覺像(如十二辟支佛等)頭頂上微現肉髻。面目作于佛同。體肢之闊量周度。皆推模取準於前篇(后皆放此)。
羅漢像(十八大聖徒。十六阿羅漢等)頂無肉髻。相貌或老或少。或善或惡。以及豐孤俊醜。雅俗怪異。胖瘦高矮。動靜喜怒諸形。
【現代漢語翻譯】 現代漢語譯本 斜披左肩上，用頭皮遮蓋左乳，並將右邊後腿皮從佛像背後，由右腋下繞過至佛像之前，與右前腿皮互相交盤捆縛。這種服飾在其他經典中未見其他佛像使用，僅觀音（Avalokiteśvara，觀世音菩薩）及慈氏菩薩（Maitreya, 即彌勒菩薩）像有此種穿法。雙足平立，兩胯外側相距的寬度為二十四指。
二九搩度
佛的畫像以及菩薩像的量度，稱為十搩度。這裡的九搩度，是指從初地菩薩（the first Bhumi Bodhisattva）以下的，總括世間聖人和出世間聖人兩種聖像的常規制度。縱向和橫向相等，各為九搩，每搩十二指，總共一百零八指。其劃分方法是：面輪、從喉嚨到心窩、從心窩到肚臍、從肚臍到陰藏，各為一搩。大腿和小腿各為二搩，共為八搩（九十六指）。髮際、頸部、喉嚨各三指（共六指），膝蓋、足背各三指（共六指），合計十二指，為一搩。總計九搩。這是縱向劃分的九搩一百零八指。橫向劃分從心間開始，平至兩腋左右各十指，兩手肘各十八指（共五十六指），兩臂各十四指（共二十八指），手頭各十二指（共二十四指），合計共一百零八指。這就是橫向劃分的尺度，以搩來分則為九搩。以右述制度為格局，而諸位賢聖又各自稍有差別，謹列於左。
獨覺像（Pratyekabuddha，如十二辟支佛等）：頭頂上稍微顯現肉髻（Ushnisha，佛頂的肉瘤相）。面目與佛像相同。體肢的寬度和周長，都參照前面的篇章來推算（後面都照此辦理）。
羅漢像（Arhat，十八大聖徒、十六阿羅漢等）：頭頂沒有肉髻。相貌或老或少，或善或惡，以及豐滿或清瘦，俊美或醜陋，文雅或粗俗，怪異，胖瘦高矮，動態或靜態，喜悅或憤怒等各種形態。
【English Translation】 English version Draped diagonally over the left shoulder, with the scalp covering the left breast, and the skin of the right hind leg drawn from behind the image, under the right armpit, across to the front of the image, intertwined and bound with the skin of the right foreleg. This style of attire is not seen used by other images in various scriptures, only by Avalokiteśvara (觀世音菩薩, Guānshìyīn Púsà, the Bodhisattva of Compassion) and Maitreya (慈氏菩薩, Císhì Púsà, the future Buddha) images. Both feet stand flat, with a width of twenty-four fingers between the outer sides of the two hips.
Two Nine Span Proportions
The measurements for Buddha images and Bodhisattva images are called the 'Ten Span Proportions'. These 'Nine Span Proportions' refer to the standard system for holy images from the first Bhumi Bodhisattva (初地菩薩, chū dì Púsà) downwards, encompassing both worldly and other-worldly saints. The vertical and horizontal dimensions are equal, each being nine spans, with each span being twelve fingers, totaling one hundred and eight fingers. The division is as follows: the face, from the throat to the heart, from the heart to the navel, and from the navel to the hidden genitals, each is one span. The thighs and calves are each two spans, totaling eight spans (ninety-six fingers). The hairline, neck, and throat are each three fingers (totaling six fingers), and the knees and insteps are each three fingers (totaling six fingers), totaling twelve fingers, which is one span. In total, there are nine spans. This is the vertical division of nine spans, one hundred and eight fingers. The horizontal division starts from the heart, extending horizontally to the left and right armpits, each being ten fingers, the two upper arms are each eighteen fingers (totaling fifty-six fingers), the two arms are each fourteen fingers (totaling twenty-eight fingers), and the hands are each twelve fingers (totaling twenty-four fingers), totaling one hundred and eight fingers. This is the horizontal measurement, which is nine spans when divided by spans. Using the above system as a framework, the various sages and saints each have slight differences, which are listed on the left.
Pratyekabuddha Image (獨覺像, Dújué xiàng, such as the Twelve Pratyekabuddhas): A slight Ushnisha (肉髻, ròujì, cranial protuberance) is visible on the top of the head. The facial features are the same as those of the Buddha image. The width and circumference of the limbs are estimated and measured according to the previous chapter (the same applies hereafter).
Arhat Image (羅漢像, Luóhàn xiàng, the Eighteen Great Disciples, the Sixteen Arhats, etc.): There is no Ushnisha on the top of the head. The appearance may be old or young, good or evil, as well as plump or thin, handsome or ugly, refined or vulgar, strange, fat or thin, tall or short, dynamic or static, joyful or angry, in various forms.
色。赤黃白黑俱可。目正鼻端。最忌根肢缺傷。然亦隨其耦對。參差得宜為妙。此與前獨覺像並著僧衣者也。
佛母像。五行之真性。為五部佛母(亦謂明妃)或有佛菩薩被大慈力。以就世間之通情(眾生通情。惟母恩重且周)特化女相者。或善信女人女神發弘誓。行大乘愿滿成道者。俱通稱佛母(經傳雖有天女仙女之呼。然皆隨其當時所現之裝。有大小分之宜。其為像之尺寸。則更無有分別。予曾見一種尺寸書。有百二十五指。及百二十指等之分。猝見似乎有理。深詳之間有謬乖之論。且不得其梵本。未知何人集纂。難以考信。故闕之)其像作十六歲童女相。乳瓶廣八指。週三倍。胎偶則凸高分四指。堅實不傾(精氣足而不搖之相。因無慾故也)乳尖珠高闊各一指。雙瓶中間橫二指。發作半攢。崇六指。向後傾之。余發下垂。而梢過手肘。面形如芝麻(或作卵形)目縱三指。廣半指。似優波羅華瓣形。臂梢。脛梢。指尖。腰之極細處。俱比他像稍細。而肩頂亦作低二指。下身之廣闊分。比本制諸像。稍加寬厚。衣服莊嚴同菩薩像。而總用正大窈窕之相方可。
三八搩度
戒教王經云。一切威怒像。通作八搩度。謂忿怒明王。及惡相護法神。乃以慈力。為降服世間純陰毒種。特變猛烈之相者也。上
【現代漢語翻譯】 現代漢語譯本
色（顏色）。赤、黃、白、黑都可以。眼睛端正，鼻樑挺直。最忌諱的是身體有殘缺損傷。然而也要根據其配偶的情況，參差得宜才好。這與前面單獨的獨覺像以及穿著僧衣的像是一樣的。 佛母像。五行的真性，是五部佛母（也稱為明妃）。或者有佛菩薩以大慈悲的力量，爲了順應世間的常情（眾生最看重母親的恩情，而且母親的恩情普遍而深重），特別化現為女相。或者有善良的信女、女神發下宏大的誓願，修行大乘佛法，圓滿成就道果。都可以通稱為佛母（經典中雖然有天女、仙女的稱呼，但都是根據她們當時所顯現的裝束而定，有大小之分。至於佛像的尺寸，則沒有什麼分別。我曾經見過一種尺寸書，有百二十五指和百二十指等不同的分法，乍一看似乎有道理，但深入研究后發現有謬誤之處。而且沒有找到梵文原本，不知道是誰編輯的，難以考證，所以這裡不採用）。佛母像作成十六歲童女的形象。乳房的寬度為八指，周長為三倍。如果是懷有胎兒的，則乳房凸起的高度為四指。堅實而不傾斜（這是精氣充足而不動搖的象徵，因為沒有慾望的緣故）。乳頭的尖端，高度和寬度各為一指。兩個乳房中間的橫向距離為二指。頭髮梳成半個髮髻，高度為六指，向後傾斜。其餘的頭髮下垂，髮梢超過手肘。面部形狀像芝麻（或者作成卵形）。眼睛的長度為三指，寬度為半指，形狀像優波羅花的瓣。手臂的末端、小腿的末端、指尖、腰部最細的地方，都比其他的佛像稍微細一些。肩膀和頭頂也降低二指。下半身的寬度，比原本製作的佛像稍微寬厚一些。衣服的莊嚴程度與菩薩像相同。總而言之，要用端莊大方、窈窕美好的形象才可以。 三八搩度 《戒教王經》中說，一切威猛憤怒的佛像，都可以作成八搩度。指的是忿怒明王以及惡相護法神，他們是以慈悲的力量，爲了降服世間純陰的毒害，特別變化成猛烈的形象。
【English Translation】 English version
Color. Red, yellow, white, and black are all acceptable. The eyes should be straight, and the nose should be upright. The most taboo is any physical defect or injury. However, it should also be appropriate according to its counterpart, with variations as needed. This is the same as the Pratyekabuddha image alone and the image wearing monastic robes mentioned earlier. Buddha Mother Image. The true nature of the five elements, is the five Buddha Mothers (also known as Vidyārājñīs). Or there are Buddhas and Bodhisattvas who, with great compassionate power, in order to conform to the common feelings of the world (beings value the kindness of mothers most, and the kindness of mothers is universal and profound), specially manifest as female forms. Or there are virtuous female believers and goddesses who make great vows, practice Mahayana Buddhism, and fully achieve enlightenment. All can be generally called Buddha Mothers (although there are references to celestial maidens and goddesses in the scriptures, they are all based on the attire they manifested at the time, with differences in size. As for the dimensions of the Buddha image, there is no difference. I once saw a dimension book with divisions such as one hundred and twenty-five fingers and one hundred and twenty fingers, which seemed reasonable at first glance, but after in-depth study, I found errors. Moreover, I could not find the Sanskrit original, and I do not know who compiled it, making it difficult to verify, so I will not use it here). The Buddha Mother image is made in the image of a sixteen-year-old girl. The width of the breasts is eight fingers, and the circumference is three times that. If she is pregnant, the height of the breast protrusion is four fingers. Firm and not tilted (a symbol of sufficient essence and immovability, because there is no desire). The tip of the nipple is one finger high and wide. The horizontal distance between the two breasts is two fingers. The hair is combed into a half-bun, six fingers high, tilted backward. The rest of the hair hangs down, with the ends past the elbows. The face shape is like sesame (or oval). The length of the eyes is three fingers, and the width is half a finger, shaped like a petal of an Utpala flower. The ends of the arms, the ends of the calves, the fingertips, and the thinnest part of the waist are all slightly thinner than other Buddha images. The shoulders and the top of the head are also lowered by two fingers. The width of the lower body is slightly wider than the original Buddha images. The adornment of the clothes is the same as that of the Bodhisattva image. In short, it must be a dignified, generous, and graceful image. Three Eight Tāla Measures The Precept Teaching King Sutra says that all fierce and wrathful images can be made with eight tālas. This refers to the Wrathful Vidyārājas and the Dharma Protectors with fierce appearances, who use the power of compassion to subdue the purely yin poisons of the world, specially transforming into fierce forms.
品謂之明王(如十大明王)列于眾者即為護法(如大黑神等)內中雖亦少有分別。然格局則同作八搩。豎橫平等九十六指也。其分法。面輪頸。至心。至臍。至陰藏。各滿一搩(共四搩)股脛各十八指。合三十六指。共為三搩髮際膝蓋。足趺。各四指。合為一搩。通計八搩。是為縱分(指分得九十六)廣分從心間至兩腋左右各十指。兩手臑各十四指。兩臂及兩手頭各十二指。合共得九十六指。斯即廣分之度。而以搩分得八搩也。底座高一搩(蓮華十指。日輪二指。日月層疊者。各得一滿指。若有生靈。則其臥身區分作八指。而日輪作一指。華作三指。隨宜加減。而俱不出一搩也)蹲立而足尖向外。右踡左展(亦有反此者)二踵直對間空三搩(有齊踡蹲踞者。惟留四指)須得蓄威蘊怒。山臨岳發之勢方妙(奪怒相具九勢。身語意三門。各具其三。仙仙軒舉狀仡仡莊勇貌桓桓威武貌身之三也。大笑。叱吒。可畏。語之三也。慈悲。浩然。寂然。心之三也)面形男方女圓。三目大睜。紅且圓。顰蹙兩眉。頭髮豎立高一搩。上安頂嚴部主佛高四指。發眉髭鬍皆赤黃色。熾然作火焰之狀。張口呲牙。而捲舌。五髑髏為冠。冠高六指。橫四指(髑髏身高亦四指。其上寶嚴二指也)瓔珞莊嚴天衣同菩薩像。而虎皮為裙。蛇為絡腋(間
有宜乎別扮者。亦看其神之等差耳)背靠作烈火焰。此格內亦有二種。一微露和悅容(明王多用斯相)目長二指。寬指半。上下牙齒間空亦指半。通身不露骨筋脈絡。腹垂遮股節。約三分之二(謂之夜剎怒相)二甚怒大惡相(護法多用斯相)眼目縱廣平等二指。上下牙齒相去亦二指。鼻孔反豁。手足筋悉皆暴露。指甲尖似虎爪(謂之羅剎怒相)別有無上教經所載。中圍輪王佛像(時輪。喜金剛。上樂明王等)亦可為奮怒相屬(謂之仙人怒相)然而中土自來未經流傳。故不更述(大略起于發攢。一切體肢量度。悉同佛報身相。而雙眉微顰。三目長三指。寬十麥分。張口上下牙齒相去只得二麥分。髑髏為冠。而以五十新頭為絡腋鬘。女相則隨髑髏為鬘象皮為衣有用人皮者。骨鏤五印。骨珠瓔珞以為莊嚴此間所說衣鬘以嚴乃無上教一切明王護法怒相之通用者也)。
四護法像
一切護法神。總歸於男女二宗。男宗以大黑神為首。女宗以福女天為首(亦名功德天女。此乃據無上教而言也。若依通教。則屬於主守國土神一天下有八大守土神)印土西番番僧諸剎。莫不以斯二尊為先。其造像之尺寸。則既明於前章矣(前說護法大怒相者。即此類也。二位並青色。黑神右手執鉤刀。左手摯顱器。福女右手揮劍。左手同上
【現代漢語翻譯】 現代漢語譯本：還有適合其他裝扮的，也要看其神靈的等級差別罷了。)背靠作烈火焰。這種格局內也有兩種。一是稍微顯露出和悅的容貌(明王多用這種相貌)，眼睛長二指，寬半指。上下牙齒間的空隙也是半指。全身不露出骨頭筋脈。腹部下垂遮蓋住大腿根部，大約三分之二(這叫做夜叉怒相)。二是極其憤怒的大惡相(護法多用這種相貌)，眼目縱向和橫向相等都是二指。上下牙齒相距也是二指。鼻孔朝上張開。手足的筋都暴露出來。指甲尖像老虎的爪子(這叫做羅剎怒相)。另外還有無上教經書所記載的，中圍輪王佛像(時輪(Kalachakra)，喜金剛(Hevajra)，上樂明王(Chakrasamvara)等)，也可以歸為奮怒相(這叫做仙人怒相)。然而中土自來沒有流傳，所以不再敘述(大略起于髮髻，一切身體肢體的量度，都和佛的報身相相同。而雙眉稍微皺起，三隻眼睛長三指，寬十麥分。張口上下牙齒相距只有二麥分。用頭蓋骨做成頭冠，用五十個新頭做成絡腋鬘。女相則用頭蓋骨做成鬘，像皮做成衣服，有用人皮的。骨頭雕刻成五印，骨珠瓔珞用來裝飾，這裡所說的衣鬘裝飾是無上教一切明王護法怒相的通用裝飾)。
四、護法像
一切護法神，總歸於男女二宗。男宗以大黑神(Mahakala)為首。女宗以福女天(Lakshmi)為首(也叫功德天女(Shri Devi)，這是根據無上教而言的。如果按照通教，則屬於主守國土神，天下有八大守土神)。印土(India)西番(Tibet)的番僧(Tibetan monks)諸剎，沒有不以這兩尊為先的。其造像的尺寸，已經在前章說明了(前面說的護法大怒相，就是指這類。二位都是青色。黑神右手拿著鉤刀，左手拿著顱器。福女右手揮舞劍，左手同上)。
【English Translation】 English version: There are also those suitable for other adornments, and it also depends on the different ranks of the deities.) The back is supported by raging flames. Within this category, there are also two types. One is a slight revelation of a harmonious countenance (often used by Vidyarajas), with eyes two fingers long and half a finger wide. The gap between the upper and lower teeth is also half a finger. The entire body does not reveal bones, tendons, or veins. The abdomen hangs down, covering about two-thirds of the thigh joints (this is called the Yaksha wrathful appearance). The second is an extremely wrathful and evil appearance (often used by Dharma Protectors), with eyes and pupils equal in length and width, both two fingers. The distance between the upper and lower teeth is also two fingers. The nostrils are turned upwards. The tendons of the hands and feet are all exposed. The tips of the fingernails resemble tiger claws (this is called the Rakshasa wrathful appearance). There are also the Mandala Wheel King Buddha images (Kalachakra, Hevajra, Chakrasamvara, etc.) recorded in the Anuttarayoga Tantra scriptures, which can also be classified as wrathful appearances (this is called the Sage's wrathful appearance). However, it has not been transmitted in China since ancient times, so it will not be further described (roughly starting from the hair knot, all measurements of the body and limbs are the same as the Sambhogakaya of the Buddha. However, the eyebrows are slightly furrowed, the three eyes are three fingers long and ten barleycorns wide. The distance between the upper and lower teeth when the mouth is open is only two barleycorns. Skulls are used as crowns, and fifty fresh heads are used as garlands. The female form uses skulls as garlands, elephant skin as clothing, and sometimes human skin. Bones are carved into five seals, and bone bead necklaces are used as adornments. The clothing and garland adornments mentioned here are commonly used for all Vidyarajas and Dharma Protectors in the Anuttarayoga Tantra).
Four, Dharma Protector Images
All Dharma Protectors are generally classified into male and female lineages. The male lineage is headed by Mahakala (Great Black Deity). The female lineage is headed by Lakshmi (Goddess of Fortune) (also known as Shri Devi (Glorious Goddess), according to the Anuttarayoga Tantra. According to the common teachings, they belong to the deities who protect the land, and there are eight great land-protecting deities in the world). In the monasteries of India, Tibet, and Tibetan monks, these two deities are always given precedence. The dimensions of their images have already been explained in the previous chapter (the great wrathful appearance of the Dharma Protectors mentioned earlier refers to this type. Both are blue in color. Mahakala holds a hooked knife in his right hand and a skull cup in his left hand. Lakshmi wields a sword in her right hand, and her left hand is the same as above).
。亦有黑神作官扮者)其餘則西域約稱曰道八十八神(八大天。八大龍。八大曜。二十八宿。四大天王。九大怖畏。十五鎮方天。八大守土神)東土通尊護法二十諸天。其內雖有互見(如世間三尊及帝釋。已入八大天中。復入鎮方神之類)然亦因現各異。不得認為重複也(神通妙用。分而百千。合而爲一。統攝既殊。因見自別。未可執一而論也)今取像傳所載數尊。並遵中土風俗。參考而述之。以便於後世興福家云(內中大底中土罕見者。各位名下。俱注其相)○其應入九搩格局者。大梵天(鎮上方神)大自在天(鎮東北方)那啰延天(亦算鎮方神。青色微怒相顰目睜目而不張口也善扮右手擎執金輪。左手觸胯執寶杖。以上謂之世間三尊)欲自在天(即魔王天。賢劫千佛之弟。琢磨千兄速成道者。紅色善相。左手執弓。右手執箭作武扮)帝釋天主(鎮東方神。以上乃八天中五位也)多聞天王。持國天王。辯才天女。功得天女。韋駝天童。堅固地神。菩提樹神。鬼子母天。摩利支天。日宮天子。月宮天女。水天(鎮西方神。白色善相。兩手持蛇索)娑竭啰龍王。風天(鎮西北方神。綠色善相。手執風旗)○其應入八搩格局者。增長天王。廣目天王。金剛密跡。散脂大將。火天(鎮東南方神。紅色善相。頭髮連鬢。鬍鬚俱
【現代漢語翻譯】 現代漢語譯本： 也有黑神裝扮成官吏的），其餘西域大致稱之為道八十八神（八大天、八大龍、八大曜、二十八宿、四大天王、九大怖畏、十五鎮方天、八大守土神）。東土普遍尊奉護法二十諸天。其中雖然有互相重疊的情況（如世間三尊及帝釋，已列入八大天中，又列入鎮方神之類），但也是因為顯現各異，不能認為是重複的（神通妙用，分則百千，合則為一，統攝不同，因緣所見自然有別，不可執一而論）。現在選取影象傳記所記載的幾位神祇，並遵照中土風俗，參考描述，以便後世祈福之家使用（其中大體上中土罕見的神祇，各位名下都註明其相貌）。 應歸入九搩格局的有：大梵天（Mahabrahma）（鎮上方神），大自在天（Maheshvara）（鎮東北方），那啰延天（Narayana）（也算鎮方神，青色微怒相，皺眉睜眼但不張口，右手擎執金輪，左手觸胯執寶杖，以上稱為世間三尊），欲自在天（Kama-ishvara）（即魔王天，賢劫千佛之弟，琢磨千兄速成道者，紅色善相，左手執弓，右手執箭作武扮），帝釋天主（Indra）（鎮東方神，以上是八大天中的五位），多聞天王（Vaishravana），持國天王（Dhritarashtra），辯才天女（Sarasvati），功德天女（Lakshmi），韋馱天童（Skanda），堅牢地神（Prithvi），菩提樹神（Bodhivriksha），鬼子母天（Hariti），摩利支天（Marici），日宮天子（Suryadeva），月宮天女（Chandradevi），水天（Varuna）（鎮西方神，白色善相，兩手持蛇索），娑竭羅龍王（Sagara-nagaraja），風天（Vayu）（鎮西北方神，綠色善相，手執風旗）。 應歸入八搩格局的有：增長天王（Virudhaka），廣目天王（Virupaksha），金剛密跡（Vajrapani），散脂大將（Samjina），火天（Agni）（鎮東南方神，紅色善相，頭髮連鬢，鬍鬚俱全）。
【English Translation】 English version: There are also black deities who act as officials.) The rest are generally referred to in the Western Regions as the Eighty-Eight Gods of the Tao (Eight Great Devas, Eight Great Nagas, Eight Great Luminaries, Twenty-Eight Constellations, Four Great Heavenly Kings, Nine Great Terrors, Fifteen Direction-Protecting Devas, Eight Great Earth-Protecting Gods). In the Eastern Lands, the Twenty Devas who protect the Dharma are universally revered. Although there are overlaps within them (such as the Three Worldly Revered Ones and Indra, who are already included in the Eight Great Devas and also listed among the Direction-Protecting Gods), they appear differently, so they should not be considered duplicates (the wondrous functions of spiritual powers, when divided, are hundreds and thousands; when combined, they are one; their governance differs, and what is seen through causes and conditions is naturally distinct; one should not insist on a single view). Now, I select several deities recorded in image biographies and, following the customs of the Central Lands, describe them for the benefit of families who seek blessings in later generations (among them, those deities rarely seen in the Central Lands have their appearances noted under their names). Those who should be included in the nine-span format are: Mahabrahma (鎮上方神, God who guards the upper direction), Maheshvara (鎮東北方, God who guards the northeast direction), Narayana (亦算鎮方神, also considered a God who guards a direction, with a blue, slightly angry appearance, frowning and opening his eyes but not opening his mouth, holding a golden wheel in his right hand and a jeweled staff touching his hip in his left hand; these are called the Three Worldly Revered Ones), Kama-ishvara (即魔王天, also known as the Demon King, the younger brother of the Thousand Buddhas of the Auspicious Aeon, who encourages his thousand brothers to quickly achieve enlightenment, with a red, benevolent appearance, holding a bow in his left hand and an arrow in his right hand, acting as a warrior), Indra (帝釋天主, God who guards the eastern direction; these are five of the Eight Great Devas), Vaishravana (多聞天王), Dhritarashtra (持國天王), Sarasvati (辯才天女), Lakshmi (功德天女), Skanda (韋馱天童), Prithvi (堅牢地神), Bodhivriksha (菩提樹神), Hariti (鬼子母天), Marici (摩利支天), Suryadeva (日宮天子), Chandradevi (月宮天女), Varuna (水天, God who guards the western direction, with a white, benevolent appearance, holding a snake rope in both hands), Sagara-nagaraja (娑竭羅龍王), Vayu (風天, God who guards the northwest direction, with a green, benevolent appearance, holding a wind banner in his hand). Those who should be included in the eight-span format are: Virudhaka (增長天王), Virupaksha (廣目天王), Vajrapani (金剛密跡), Samjina (散脂大將), Agni (火天, God who guards the southeast direction, with a red, benevolent appearance, with hair connected to his sideburns and a full beard).
赤黃具寶冠耳環手釧。著縵衣。右手持念珠。左手持澡瓶)閻摩啰王。啰剎鬼王(鎮西南方神。青色惡相。右手執利刀。左手持賊人首級)阿修啰王(亦算鎮方神。黑綠色。武扮。右手執利劍。左手執圓盾)持瞢財王(鎮北方神。黃色善相。武扮。而載寶冠。右手執寶杖。左手持財囊活鼠狼口吐珍寶者)金翅鳥王(人面。鳥嘴。牛角。腰以上人身。以下鳥體。頭面青色。𩓐頸至胸紅色。而兩手合掌于胸前。肚腹白色。腰以下黃色。翅尾綠藍交雜。兩角間嚴以侔尼寶珠。及具耳環項圈。瓔珞臂釧。雙翅展而欲舉之狀)六。搩制吉祥王菩薩(即邪引天也。乃八大天之一。又算鎮方神數又為八大守土神之一。白色善相。像頭而左牙拆。右手執鉞。左手拏帶葉蘿蔔。身量尺寸見於下)以此三十六尊。可為兼舉一切護法總要。而八部鬼神無一不被總統也(八部鬼神者。一天。二龍。三夜剎。四香陰。五非天。六大鵬。七疑神。八腹行。復有言八部鬼眾者。一香陰。二啖精。三甄卵。四餓鬼。五諸龍。六臭鬼。七夜剎。八啰剎。此乃世間鬼神之總略也)六搩制者。豎橫平等。以六搩為度。一名侏儒量。即諸矮身像度也。今惟錄吉祥王菩薩一尊。豎橫各六搩。指分得七十二。其分法。則面輪一搩(象鼻不在分內)以下至心窩。肚臍。
【現代漢語翻譯】 現代漢語譯本： 赤黃色，佩戴寶冠、耳環和手鐲的閻摩啰王（Yamaraja，掌管死亡的神）。身穿縵衣（僧侶的袈裟），右手持念珠，左手持澡瓶。 啰剎鬼王（Rakshasa，鎮守西南方的神。青色，面容兇惡。右手執利刀，左手提著賊人的首級）。 阿修啰王（Asura，也算是鎮守一方的神。黑綠色，武士裝扮。右手執利劍，左手執圓盾）。 持瞢財王（Dzambala，鎮守北方的神。黃色，面容慈善，武士裝扮，頭戴寶冠。右手執寶杖，左手持財囊，活鼠狼口中吐出珍寶）。 金翅鳥王（Garuda，人面鳥嘴，有牛角。腰部以上是人身，以下是鳥的身體。頭面青色，從頸部到胸部是紅色。雙手合掌于胸前，肚腹白色，腰部以下是黃色。翅膀和尾巴是綠色和藍色交織。兩角之間裝飾著牟尼寶珠，並佩戴著耳環、項圈、瓔珞和臂釧。雙翅展開，呈欲飛之狀）。 六搩制吉祥王菩薩（Vinayaka，即邪引天，也是八大天之一，又算是鎮守一方的神，也為八大守土神之一。白色，面容慈善，像頭而左邊的牙齒斷裂。右手執鉞，左手拿著帶葉的蘿蔔。身量尺寸見下文）。 以此三十六尊像，可以作為總括一切護法的綱要。而八部鬼神沒有一個不被統領（八部鬼神包括：一天，二龍，三夜叉，四乾闥婆，五阿修羅，六迦樓羅，七緊那羅，八摩睺羅伽。另有說法八部鬼眾包括：一乾闥婆，二畢舍遮，三鳩槃荼，四餓鬼，五諸龍，六臭鬼，七夜叉，八羅剎。這些是世間鬼神的總括）。 六搩制，是指豎和橫相等，以六搩作為度量單位。也稱為侏儒量，即矮小身像的度量標準。現在只記錄吉祥王菩薩一尊，豎和橫各六搩，指分得七十二。其分法是，面輪一搩（象鼻不在分內），以下到心窩、肚臍。
【English Translation】 English version: Yamaraja (the Lord of Death), reddish-yellow in color, adorned with a jeweled crown, earrings, and bracelets. He wears a 'man'i' garment (a monk's robe), holds prayer beads in his right hand, and a water flask in his left. Rakshasa King (a guardian deity of the southwest, blue-green in color with a fierce countenance, holding a sharp sword in his right hand and the head of a thief in his left). Asura King (also considered a guardian deity, dark green in color, dressed as a warrior, holding a sword in his right hand and a round shield in his left). Dzambala (a guardian deity of the north, yellow in color with a benevolent countenance, dressed as a warrior, wearing a jeweled crown, holding a jeweled staff in his right hand and a treasure bag in his left, with a live mongoose spitting out jewels from its mouth). Garuda (a being with a human face and a bird's beak, with bull's horns. The upper body is human, and the lower body is that of a bird. The head and face are blue-green, and the neck to the chest is red. The hands are clasped together at the chest, the abdomen is white, and the lower body is yellow. The wings and tail are a mix of green and blue. A 'mani' jewel adorns the space between the horns, and he wears earrings, a necklace, an 'yingluo' (a type of necklace), and armlets. The wings are spread as if about to take flight). Vinayaka (also known as Xiyintian, one of the Eight Great Devas, and also considered a guardian deity and one of the Eight Great Earth-Protecting Deities. He is white in color with a benevolent countenance, has an elephant head with a broken left tusk, holds a battle-axe in his right hand, and a radish with leaves in his left. The body measurements are described below). These thirty-six deities can be considered a summary of all Dharma protectors. None of the Eight Classes of Gods and Spirits are not governed by them (the Eight Classes of Gods and Spirits include: Devas, Nagas, Yakshas, Gandharvas, Asuras, Garudas, Kinnaras, and Mahoragas. Another version of the Eight Classes of Ghostly Beings includes: Gandharvas, Pisacas, Kumbhandas, Pretas, Nagas, Putanas, Yakshas, and Rakshasas. These are the general categories of worldly gods and spirits). 'Six-tala' measurement refers to equal vertical and horizontal dimensions, using six 'talas' as the unit of measurement. It is also known as dwarf measurement, which is the standard for measuring short-statured images. Now, only Vinayaka is recorded, with a vertical and horizontal measurement of six 'talas' each, divided into seventy-two finger-widths. The method of division is that the face is one 'tala' (not including the elephant trunk), and from below that to the pit of the heart and the navel.
陰藏。各十指。而以搩分得二搩有半。足之股脛各一搩。膝蓋。足踵。各三指。湊成半搩。通計共為六搩。指分七十二指。此縱分之量度也。廣分胸膛橫一搩。兩手頭各一搩。兩臂各十指。兩臑各八指。合成三搩。通計亦是六搩七十二指。而為廣分之量度也(凡此格局分法。諸家互有不同。且多訛傳。今細加校勘。悉正其誤)。
五威儀式(兼載須知補遺)
威儀。言手印。幖幟。坐住勢。及一切莊嚴也。東方金剛部主不動如來。藍色。手印于圖樣中釋迦佛手印同。謂之降魔印。幖幟則五股金剛杵。豎置左掌上。而大拇無名二指捻持之。南方寶部主寶生如來。黃色。手印右手作于圖樣中救度母右手同。謂之施愿印。左手如前正定印(即如釋迦左手)幖幟麻尼珠置左掌上。西方蓮華部主彌陀如來。紅色。手印同圖樣中無量壽佛。謂之禪定印。亦謂等持印。幖幟紅蓮華。北方羯磨部主不空如來。綠色。手印左手如前正定。右手胸前。或乳傍。手掌向外略揚之。謂之施無畏印。幖幟五色交杵。捻執左掌上(五色交杵。上五峰紅。下五峰白。左五峰綠。右五峰黃。中心藍色)中央如來部主毗嚧如來。白色。手印二拳收胸前。左拳入右拳內把之。而二巨指並豎。二食指尖相依。謂之最上菩提印。具幖幟者。則二手等
【現代漢語翻譯】 現代漢語譯本 陰藏（指身體的隱秘部位）。各有十個手指。用搩（zhā，古代長度單位，約等於中指到拇指的距離）來分，得到二搩半。腿和脛各一搩。膝蓋和腳後跟各三指。湊成半搩。總計共為六搩。手指共七十二指。這是縱向的量度。橫向的量度，胸膛橫向一搩。兩手頭各一搩。兩臂各十指。兩臑（nào，指上臂）各八指。合成三搩。總計也是六搩七十二指。這是橫向的量度。（凡是這種格局分法，各家互有不同，而且多有訛傳。現在仔細加以校勘，全部改正其錯誤）。
五威儀式（兼載須知補遺）
威儀，指的是手印、幖幟（biāo zhì，標誌）、坐住的姿勢，以及一切莊嚴的裝飾。東方金剛部主不動如來，藍色。手印與圖樣中釋迦佛的手印相同，稱為降魔印。幖幟是五股金剛杵，豎立放置在左掌上，用大拇指和無名指捻持它。南方寶部主寶生如來，黃色。手印右手與圖樣中救度母的右手相同，稱為施愿印。左手如之前的正定印（即如釋迦的左手）。幖幟是麻尼珠放置在左掌上。西方蓮華部主彌陀如來，紅色。手印與圖樣中無量壽佛相同，稱為禪定印，也稱為等持印。幖幟是紅蓮華。北方羯磨部主不空如來，綠色。手印左手如之前的正定印，右手在胸前或乳房旁邊，手掌向外略微揚起，稱為施無畏印。幖幟是五色交杵，捻執在左掌上（五色交杵，上面五個峰是紅色，下面五個峰是白色，左邊五個峰是綠色，右邊五個峰是黃色，中心是藍色）。中央如來部主毗盧如來，白色。手印是兩個拳頭收在胸前，左拳放在右拳內握住，兩個大拇指並豎，兩個食指尖端相依，稱為最上菩提印。具有幖幟的，則是兩手等
【English Translation】 English version The hidden parts (referring to the private parts of the body). Each has ten fingers. Measured by 'jie' (zhā, an ancient unit of length, approximately the distance from the middle finger to the thumb), it is two and a half 'jie'. The thigh and shin are each one 'jie'. The knee and heel are each three fingers. Adding up to half a 'jie'. The total is six 'jie'. There are seventy-two fingers in total. This is the longitudinal measurement. For the transverse measurement, the chest is one 'jie' across. The heads of both hands are each one 'jie'. Both arms are each ten fingers. Both upper arms (nào, referring to the upper arm) are each eight fingers. Adding up to three 'jie'. The total is also six 'jie' and seventy-two fingers. This is the transverse measurement. (Regarding this pattern of division, different schools have different interpretations, and there are many errors in transmission. Now, after careful collation, all errors have been corrected).
'Five Dignities Ritual' (including supplementary notes)
'Dignities' refers to hand gestures, 'biao zhi' (biāo zhì, emblems), sitting postures, and all solemn adornments. The Lord of the Eastern Vajra family is Akshobhya Buddha, blue in color. The hand gesture is the same as that of Shakyamuni Buddha in the illustration, called the 'Demon-Subduing Mudra'. The emblem is a five-pronged vajra, placed upright on the left palm, held by the thumb and ring finger. The Lord of the Southern Ratna family is Ratnasambhava Buddha, yellow in color. The hand gesture of the right hand is the same as that of Tara in the illustration, called the 'Wish-Granting Mudra'. The left hand is like the previous Samadhi Mudra (i.e., like Shakyamuni's left hand). The emblem is a mani jewel placed on the left palm. The Lord of the Western Padma family is Amitabha Buddha, red in color. The hand gesture is the same as that of Amitayus Buddha in the illustration, called the 'Meditation Mudra', also called the 'Equanimity Mudra'. The emblem is a red lotus. The Lord of the Northern Karma family is Amoghasiddhi Buddha, green in color. The hand gesture is the left hand like the previous Samadhi Mudra, the right hand in front of the chest or beside the breast, the palm slightly raised outward, called the 'Fearless Mudra'. The emblem is a five-colored crossed vajra, held in the left palm (the five-colored crossed vajra, the top five prongs are red, the bottom five prongs are white, the left five prongs are green, the right five prongs are yellow, and the center is blue). The Lord of the Central Tathagata family is Vairocana Buddha, white in color. The hand gesture is two fists held in front of the chest, the left fist held inside the right fist, the two thumbs upright, the tips of the two index fingers touching each other, called the 'Supreme Bodhi Mudra'. Those with emblems, then both hands etc.
持如無量壽佛。去其寶瓶而安金輪是也。此五佛頂嚴。各作五股金剛。以具五部之義。或作麻尼珠頂嚴亦得(須知不可執泥)以上五印。略為諸佛手印之總綱(如造多佛像。而不知其手印者。內分五數為一𤳖通用此五印。是古來傳授。若有餘零。則以下說別印補之)其有以左手作拳。巨指尖平入右拳內握之。起立當心。謂之毗盧大智印。不空佛施無畏印如前。而大拇無名二指相捻(大藏秘要。誤作大小二指)餘三指豎如幡相。乳傍手頭向外覆之。謂拔濟眾生印。又釋迦佛大乘法輪印。同圖樣中文殊菩薩手印(除去兩邊之華今釋迦佛以此手印造者。人多誤識為彌勒佛因其手印相同故也)又右手胸前揚掌。而巨食二指相捻。作畫策指示之狀。謂之說法印。右手作施無畏同前。而左拳執袈裟角。傾垂作如鹿耳于當心。謂之授記印。又期克印者(一名禁伏印。怒相多用)中指無名指並屈。以巨指掩之。食指微豎。小指作鉤。此等甚多。詳載大藏密要(維揚福國寺僧元度所集)等經傳(化身像多用空手印。報身多用兼幖幟。然亦不可執泥)凡作一切印。手指俱須柔順。一一相隨。如新開華瓣。不宜作硬拙礙眼○八大適子者。一大智文殊菩薩(杏黃色。幟。梵夾收卷亦可)二大慈彌勒菩薩(色同上軍持)三大悲觀音菩薩(白色蓮華
【現代漢語翻譯】 現代漢語譯本 持如無量壽佛（Amitābha Buddha，阿彌陀佛）。去掉其寶瓶而安上金輪就是了。這五佛頂嚴，各自做成五股金剛杵，以具備五部的含義。或者做成摩尼寶珠頂嚴也可以（須知不可執著）。以上五印，略為諸佛手印的總綱（如塑造眾多佛像，而不知道其手印的，內部分為五數為一類，通用這五印，是古來傳授。若有剩餘零散的，則以下所說的其他手印補充）。 其中有以左手作拳，大拇指尖平放入右拳內握住。舉起立於當胸。稱之為毗盧大智印（Vairocana's Great Wisdom Mudra）。不空佛（Amoghasiddhi Buddha）施無畏印如前所述，而大拇指與無名指相捻（《大藏秘要》誤作大拇指與食指），其餘三指豎起如幡相。在乳房旁邊手頭向外覆之，稱之為拔濟眾生印。 又釋迦佛（Shakyamuni Buddha）大乘法輪印，同圖樣中文殊菩薩（Manjusri Bodhisattva）的手印（除去兩邊的華，今釋迦佛以此手印塑造的佛像，人們多誤認為是彌勒佛（Maitreya Buddha），因為其手印相同）。又右手在胸前揚掌，而大拇指與食指相捻，作畫策指示之狀，稱之為說法印。右手作施無畏印同前，而左拳執袈裟角，傾垂作如鹿耳于當心，稱之為授記印。 又期克印（Tarjani Mudra）者（一名禁伏印，怒相多用），中指無名指並屈，以大拇指掩之，食指微豎，小指作鉤。此等甚多，詳細記載於《大藏密要》（維揚福國寺僧元度所集）等經傳（化身像多用空手印，報身多用兼幖幟，然而也不可執著）。凡是做一切手印，手指都必須柔順，一一相隨，如新開的花瓣，不宜做得僵硬笨拙礙眼。 八大適子（Eight Great Bodhisattvas）者：一大智文殊菩薩（杏黃色，幟：梵夾收卷也可以），二大慈彌勒菩薩（顏色同上，軍持），三大悲觀音菩薩（Avalokiteśvara Bodhisattva，白色蓮華）
【English Translation】 English version Holding like Amitābha Buddha (Amitābha Buddha). Removing its treasure vase and placing a golden wheel is it. These Five Buddha Crown Ornaments, each made with five-pronged vajras, to embody the meaning of the Five Families. Or, making them into Mani jewel crown ornaments is also acceptable (one must know not to be attached). The above five mudras are briefly the general outline of the hand gestures of all Buddhas (such as when sculpting many Buddha images and not knowing their hand gestures, internally divide into groups of five, commonly using these five mudras, which is a tradition passed down from ancient times. If there are any remaining, then supplement with the other mudras mentioned below). Among them, there is one where the left hand makes a fist, with the tip of the thumb placed flatly into the right fist and held. Raising it and placing it at the chest. This is called Vairocana's Great Wisdom Mudra. Amoghasiddhi Buddha's fearlessness-bestowing mudra is as described before, with the thumb and ring finger touching (the 'Great Treasury of Esoteric Teachings' mistakenly states the thumb and index finger), and the remaining three fingers raised like a banner. Beside the breast, with the hand facing outwards, covering it, this is called the Mudra of Rescuing Sentient Beings. Also, Shakyamuni Buddha's Great Vehicle Dharma Wheel Mudra is the same as the hand gesture of Manjusri Bodhisattva in the illustration (removing the flowers on both sides; now, many people mistakenly identify Buddha images sculpted with this hand gesture as Maitreya Buddha, because their hand gestures are the same). Also, the right hand raises the palm in front of the chest, with the thumb and index finger touching, making a gesture of drawing plans and indicating, this is called the Teaching Mudra. The right hand makes the fearlessness-bestowing mudra as before, while the left fist holds the corner of the kasaya robe, drooping down like deer ears at the chest, this is called the Prediction Mudra. Also, the Tarjani Mudra (also called the Subduing Mudra, often used in wrathful appearances), the middle finger and ring finger are bent together, covered by the thumb, the index finger slightly raised, and the little finger made into a hook. There are many of these, detailed in scriptures such as the 'Great Treasury of Esoteric Teachings' (compiled by the monk Yuan Du of Fuguosi Temple in Yangzhou) (Transformation Body images often use empty hand gestures, Reward Body images often use emblems, but one must not be attached). Whenever making any mudra, the fingers must all be soft and compliant, each following the other, like newly opened flower petals, and should not be made stiff, clumsy, or unsightly. The Eight Great Bodhisattvas: First, Great Wisdom Manjusri Bodhisattva (apricot yellow, emblem: a sutra scroll can also be rolled up), Second, Great Compassion Maitreya Bodhisattva (color same as above, kundika), Third, Great Compassion Avalokiteśvara Bodhisattva (white lotus)
)四大行普賢菩薩(紅色。或淺藍色。或白色。如意寶)五大勢密主菩薩(綠色。金剛杵)六大力空藏菩薩(藍色劍)七大愿地藏菩薩(黃色鮮果)八大勇除障菩薩(白色。寶瓶。右為多見錯誤故。因取通用一式。類載於此。若欲用雙幟。則便取於他典可也即文殊加寶劍彌勒加龍華樹枝之類)○十二辟支佛者。一消煩。二明積。三無畏。四勇調。五利慧。六山勝。七大聲。八鱗角。九除毒。十示神。十一獅子吼。十二速意(出普明成就儀。緣覺像頭頂上肉髻微現者。為其不數正量之說也。正作連發三指。而周其三倍。微偏近枕骨。禪宗語錄第八祖佛陀難提。頂有肉髻者。蓋是此類也)○十八聖徒者。一上行第一聖摩訶迦葉。二多聞第一聖阿難陀。三智慧第一聖舍利弗。四解空第一聖須菩提。五說法第一聖富樓那。六神通第一聖目犍連。七論議第一聖迦旃延。八天眼第一聖阿那律。九持戒第一聖優波離。十密行第一聖啰睺羅(以上稱十大弟子)十一化俗第一聖優陀夷。十二火定第一聖索伽怛。十三苦觀第一聖婆的性呵。十四樂靜第一聖憍梵缽提。十五謹慎第一聖佛弟難陀。十六獅子吼第一聖阿說示。十七正辯第一聖婆摩羅夫。十八初度第一聖阿若憍陳如。是十八聖徒。皆數聲聞。出毗尼十萬品。今時知者極希。故特拈出
【現代漢語翻譯】 現代漢語譯本 四大行普賢菩薩（紅色，或淺藍色，或白色，持如意寶） 五大勢密主菩薩（綠色，持金剛杵） 六大力空藏菩薩（藍色，持劍） 七大愿地藏菩薩（黃色，持鮮果） 八大勇除障菩薩（白色，持寶瓶。右邊這種畫法多見錯誤，因此取通用的一種樣式，類似地記載在這裡。如果想要用雙幟，那麼可以從其他典籍中選取，例如文殊菩薩加寶劍，彌勒菩薩加龍華樹枝之類。） ○十二辟支佛：一、消煩，二、明積，三、無畏，四、勇調，五、利慧，六、山勝，七、大聲，八、鱗角，九、除毒，十、示神，十一、獅子吼，十二、速意（出自《普明成就儀》。緣覺像頭頂上的肉髻微微顯現，是因為他們不被算作正量的說法。正確畫法是連發三指，並且環繞其三倍，稍微偏向枕骨。禪宗語錄中第八祖佛陀難提，頭頂有肉髻，大概就是此類。） ○十八聖徒：一、上行第一聖摩訶迦葉（Mahākāśyapa），二、多聞第一聖阿難陀（Ānanda），三、智慧第一聖舍利弗（Śāriputra），四、解空第一聖須菩提（Subhūti），五、說法第一聖富樓那（Pūrṇa），六、神通第一聖目犍連（Maudgalyāyana），七、論議第一聖迦旃延（Kātyāyana），八、天眼第一聖阿那律（Aniruddha），九、持戒第一聖優波離（Upāli），十、密行第一聖羅睺羅（Rāhula）（以上稱為十大弟子） 十一、化俗第一聖優陀夷（Udāyi），十二、火定第一聖索伽怛（Sogata），十三、苦觀第一聖婆的性呵（Bhadrika），十四、樂靜第一聖憍梵缽提（Gavāmpati），十五、謹慎第一聖佛弟難陀（Nanda），十六、獅子吼第一聖阿說示（Aśvajit），十七、正辯第一聖婆摩羅夫（Vāmarava），十八、初度第一聖阿若憍陳如（Ājñātakauṇḍinya）。這十八聖徒，都屬於聲聞。出自《毗尼十萬品》，現在知道的人極少，所以特地提出來。
【English Translation】 English version The Four Great Practices Samantabhadra Bodhisattva (red, or light blue, or white, holding a wish-fulfilling jewel). The Five Great Powerful Secret Master Bodhisattvas (green, holding a vajra). The Six Great Strength Akasagarbha Bodhisattva (blue, holding a sword). The Seven Great Vow Ksitigarbha Bodhisattva (yellow, holding fresh fruit). The Eight Great Courageous Obstacle-Removing Bodhisattva (white, holding a treasure vase. The depiction on the right is often incorrect, so a common style is taken and recorded here. If you want to use double banners, you can take them from other texts, such as Manjushri Bodhisattva adding a treasure sword, Maitreya Bodhisattva adding a Dragon Flower tree branch, and so on.) ○ The Twelve Pratyekabuddhas: 1. Eliminating Afflictions, 2. Illuminating Accumulation, 3. Fearlessness, 4. Courageous Taming, 5. Sharp Wisdom, 6. Mountain Victory, 7. Great Voice, 8. Scale Horn, 9. Removing Poison, 10. Showing Divinity, 11. Lion's Roar, 12. Swift Intention (From the 'Puming Accomplishment Ritual'. The slight appearance of the ushnisha on the head of the Pratyekabuddha image is due to the saying that they are not counted as a definite quantity. The correct depiction is three fingers of connected hair, surrounding it three times, slightly biased towards the occipital bone. In the Zen Buddhist records, the eighth ancestor Buddhanandi has an ushnisha on his head, which is probably of this type.) ○ The Eighteen Saints: 1. Foremost in Practice, the Venerable Mahākāśyapa (Mahākāśyapa), 2. Foremost in Learning, the Venerable Ānanda (Ānanda), 3. Foremost in Wisdom, the Venerable Śāriputra (Śāriputra), 4. Foremost in Understanding Emptiness, the Venerable Subhūti (Subhūti), 5. Foremost in Preaching, the Venerable Pūrṇa (Pūrṇa), 6. Foremost in Superpowers, the Venerable Maudgalyāyana (Maudgalyāyana), 7. Foremost in Debate, the Venerable Kātyāyana (Kātyāyana), 8. Foremost in Heavenly Eye, the Venerable Aniruddha (Aniruddha), 9. Foremost in Discipline, the Venerable Upāli (Upāli), 10. Foremost in Secret Practice, the Venerable Rāhula (Rāhula) (The above are called the Ten Great Disciples). 11. Foremost in Converting the Laity, the Venerable Udāyi (Udāyi), 12. Foremost in Fire Samadhi, the Venerable Sogata (Sogata), 13. Foremost in Observing Suffering, the Venerable Bhadrika (Bhadrika), 14. Foremost in Enjoying Quietude, the Venerable Gavāmpati (Gavāmpati), 15. Foremost in Caution, the Venerable Nanda (Nanda), 16. Foremost in Lion's Roar, the Venerable Aśvajit (Aśvajit), 17. Foremost in Correct Eloquence, the Venerable Vāmarava (Vāmarava), 18. Foremost in First Conversion, the Venerable Ājñātakauṇḍinya (Ājñātakauṇḍinya). These eighteen saints all belong to the Śrāvakas. They are from the 'Vinaya Ten Myriad Sections', and very few people know about them now, so they are specially mentioned.
以示後人(其列位次第。舍利目連二尊。手執振錫缽盂。站世尊兩傍西域來式也以次十六尊兩邊列坐。而以陳如迦葉二尊為左右領首。普明就儀言。緣覺聲聞印幟莫定。振錫缽盂等看其隨宜云云。則用等持。施愿。施無畏說法。合掌等印。及執持振錫。缽盂。梵夾。念珠。澡瓶。清拂。蠅塵。如意。拄杖等。俱可也)十六羅漢。詳法住記。與三藏教乘二法數(按西番十六羅漢像。俱有手印幖幟。並載公案。然總未得其梵本。故未敢錄)○聲聞。羅漢。雖居九搩之度。眼目長分只作二指。而寬分隨其面相之所宜○人間轉輪王身量。亦是縱廣平等九搩。目分同上(長二指。寬一指)類乎帝釋等天像。而其分別。惟可使具髻須。或作得老容。若作天男相。則不可也。因人王有老有衰。而天神止死不改童容故也(出阿思陀二合仙子像傳)○庶人身體。豎里向三搩半。以指分八十四指。橫量四搩九十六指(或反此者)所以謂之縱廣不等。不具量度之相也(出無垢光論蓋言其大概耳)今時竟有以為緣覺聲聞像法。應隨庶人身量之說者。何其謬之甚哉。夫世間福德報獲輪王之身。尚且得九搩度。及具三十二相(經云。諸相雖具。不如佛相之顯明焉)何況三生修具。漏盡脫塵以證聖果者乎。是知當從前說九搩度以為準制矣(遵黃冒祖庭
斗率山寺祖傳準量法也)○佛相坐式所云金剛跏趺者。即圖樣內釋迦之坐相是也。左股上置右足。而左足入于右股下。謂之菩薩跏趺。兩足少展而足脛左上右下。相交於二膝下者。謂之蓮華跏趺。如圖樣內救度佛母坐法。謂之右舒相。反者左舒。左踡而右膝直立其邊。謂之勇猛跏趺。坐高座而兩足下伸者。謂之善跏趺(余見明王像章)○凡言善相者。其相貌莊嚴。俱同菩薩相。言惡相者。同明王相。官扮者。著大領寬袂袍。寶帶朝靴。善相寶冠。忿怒相則用髑髏冠。武扮者。身著鎧甲。寶帶朝靴。頭或盔或冠。看隨其宜也○大黑神像。或用六搩度者有之。然今不從○發攢雖云菩薩作整攢。佛母作半攢。然嘗見西域諸像。佛母有作整攢者。菩薩亦有作半攢者○一切諸像。用純金色亦佳○佛法未入中土之前。已有諸方神像(如竉神龍王等類)相貌莊嚴。自仍舊制亦得。曾見西天佛子第五代傳。引五隅總持經曰凡為鬼神貴乎方俗云云。
右所列格局制度。皆悉從經傳考校詳定興福之家。但以欽遵莫違。則理義不忒。而功德具勝。若夫神佛菩薩。具大慈悲。善巧方便。隨類應化。就緣收生。是其微機妙用。不可思議。豈得以是為等量哉。
六妄造誡
若不具尺寸之過惡如何。則出戒大教王經曰。口面(一○
【現代漢語翻譯】 現代漢語譯本 斗率山寺祖傳準量法也)○佛相坐式所云金剛跏趺（Vajra posture，金剛坐）者，即圖樣內釋迦牟尼（Sakyamuni）之坐相是也。左股上置右足，而左足入于右股下，謂之菩薩跏趺（Bodhisattva posture，菩薩坐）。兩足少展而足脛左上右下，相交於二膝下者，謂之蓮華跏趺（Lotus posture，蓮花坐）。如圖樣內救度佛母（Tara）坐法，謂之右舒相。反者左舒。左踡而右膝直立其邊，謂之勇猛跏趺（Heroic posture，勇猛坐）。坐高座而兩足下伸者，謂之善跏趺（Auspicious posture，吉祥坐）（余見明王像章）。○凡言善相者，其相貌莊嚴，俱同菩薩相。言惡相者，同明王相。官扮者，著大領寬袂袍，寶帶朝靴，善相寶冠。忿怒相則用髑髏冠（Skull crown，骷髏冠）。武扮者，身著鎧甲，寶帶朝靴，頭或盔或冠，看隨其宜也○大黑神（Mahakala）像，或用六搩度者有之，然今不從○發攢雖云菩薩作整攢，佛母作半攢，然嘗見西域諸像，佛母有作整攢者，菩薩亦有作半攢者○一切諸像，用純金色亦佳○佛法未入中土之前，已有諸方神像（如竉神龍王等類）相貌莊嚴，自仍舊制亦得。曾見西天佛子第五代傳，引五隅總持經曰凡為鬼神貴乎方俗云云。
右所列格局制度，皆悉從經傳考校詳定興福之家。但以欽遵莫違，則理義不忒，而功德具勝。若夫神佛菩薩，具大慈悲，善巧方便，隨類應化，就緣收生，是其微機妙用，不可思議。豈得以是為等量哉。
六妄造誡
若不具尺寸之過惡如何。則出戒大教王經曰。口面(一○ English version This is the traditional measurement method of Doushuai Mountain Temple.) ○ The 'Vajra posture' (Jin Gang Jia Fu) mentioned in the Buddha image sitting style refers to the sitting posture of Sakyamuni (Shijia Muni) in the drawing. Placing the right foot on the left thigh, and the left foot under the right thigh, is called the 'Bodhisattva posture' (Pu Sa Jia Fu). Slightly extending both feet with the lower legs crossed, left above and right below, under the two knees, is called the 'Lotus posture' (Lian Hua Jia Fu). As shown in the sitting posture of Tara (Jiu Du Fo Mu) in the drawing, it is called the right relaxing posture. The opposite is the left relaxing posture. Bending the left leg and having the right knee upright beside it is called the 'Heroic posture' (Yong Meng Jia Fu). Sitting on a high seat with both feet extended downwards is called the 'Auspicious posture' (Shan Jia Fu) (see more in the Ming Wang image chapter). ○ Generally, those described as having 'auspicious appearances' have solemn appearances, all like Bodhisattvas. Those described as having 'evil appearances' are like Ming Wangs (Wisdom Kings). Those in official attire wear wide-sleeved robes with large collars, jeweled belts, court boots, and auspicious jeweled crowns. Wrathful appearances use skull crowns (Du Lou Guan). Those in military attire wear armor, jeweled belts, court boots, and either helmets or crowns on their heads, as appropriate. ○ The image of Mahakala (Da Hei Shen) sometimes uses six 'zha' (a unit of measurement), but this is not followed now. ○ Although it is said that Bodhisattvas have their hair in a full bun and Buddha Mothers have it in a half bun, I have seen images in the Western Regions where Buddha Mothers have full buns and Bodhisattvas have half buns. ○ It is also good to use pure gold for all images. ○ Before Buddhism entered China, there were already images of gods from various regions (such as the Dragon King, etc.) with solemn appearances, and it is permissible to retain the old system. I once saw the fifth generation of Buddha's disciples in the Western Heaven quoting the 'Five Corners Dharani Sutra', saying that ghosts and gods value local customs.
The above-listed patterns and systems have all been carefully examined and determined from scriptures to bring prosperity to families. If they are respectfully followed without deviation, the principles will not be wrong, and the merits will be complete. As for Buddhas, Bodhisattvas, who possess great compassion and skillful means, they transform according to the type of being and receive beings according to their affinities. Their subtle mechanisms and wonderful functions are inconceivable. How can these be measured equally?
Six Admonitions Against False Creations
What are the faults of not having the correct dimensions? The 'Great Teaching King Sutra' says: 'Mouth and face (10
【English Translation】 English version This is the traditional measurement method of Doushuai Mountain Temple.) The 'Vajra posture' (Vajra posture, 金剛跏趺) mentioned in the Buddha image sitting style refers to the sitting posture of Sakyamuni (Sakyamuni, 釋迦牟尼) in the drawing. Placing the right foot on the left thigh, and the left foot under the right thigh, is called the 'Bodhisattva posture' (Bodhisattva posture, 菩薩跏趺). Slightly extending both feet with the lower legs crossed, left above and right below, under the two knees, is called the 'Lotus posture' (Lotus posture, 蓮花跏趺). As shown in the sitting posture of Tara (Tara, 救度佛母) in the drawing, it is called the right relaxing posture. The opposite is the left relaxing posture. Bending the left leg and having the right knee upright beside it is called the 'Heroic posture' (Heroic posture, 勇猛跏趺). Sitting on a high seat with both feet extended downwards is called the 'Auspicious posture' (Auspicious posture, 善跏趺) (see more in the Ming Wang image chapter). Generally, those described as having 'auspicious appearances' have solemn appearances, all like Bodhisattvas. Those described as having 'evil appearances' are like Ming Wangs (Wisdom Kings). Those in official attire wear wide-sleeved robes with large collars, jeweled belts, court boots, and auspicious jeweled crowns. Wrathful appearances use skull crowns (Skull crown, 髑髏冠). Those in military attire wear armor, jeweled belts, court boots, and either helmets or crowns on their heads, as appropriate. The image of Mahakala (Mahakala, 大黑神) sometimes uses six 'zha' (a unit of measurement), but this is not followed now. Although it is said that Bodhisattvas have their hair in a full bun and Buddha Mothers have it in a half bun, I have seen images in the Western Regions where Buddha Mothers have full buns and Bodhisattvas have half buns. It is also good to use pure gold for all images. Before Buddhism entered China, there were already images of gods from various regions (such as the Dragon King, etc.) with solemn appearances, and it is permissible to retain the old system. I once saw the fifth generation of Buddha's disciples in the Western Heaven quoting the 'Five Corners Dharani Sutra', saying that ghosts and gods value local customs.
The above-listed patterns and systems have all been carefully examined and determined from scriptures to bring prosperity to families. If they are respectfully followed without deviation, the principles will not be wrong, and the merits will be complete. As for Buddhas, Bodhisattvas, who possess great compassion and skillful means, they transform according to the type of being and receive beings according to their affinities. Their subtle mechanisms and wonderful functions are inconceivable. How can these be measured equally?
Six Admonitions Against False Creations
What are the faults of not having the correct dimensions? The 'Great Teaching King Sutra' says: 'Mouth and face (10
自人中根至頦尖為口面)頸(二)及腨(三)俱長為極惡(言三處皆過量分也)主人失本業。被遣外流落。腮邊(一)胸膺(二)脅(三)齊塌愈甚忌(言三處皆不盈滿也)常遇破敗難。所為不適意。額顱(一)鼻(二)乳瓶(三)並歪是大過。奉者不長久。爭訟被令墮。脊旁(一)胯(二)股肉(三)皆平不盈報。或損壽命限。恒逢盜賊惱。頂蓋(一)背光(二)座(三)咸小狹窄愆。恩人多負義。福衰壽不堅(以上乃三會成咎所謂極惡也。若犯其一二雖不為極惡。亦是大過)眼耳鼻嘴唇額頦腮等處。不明或不正定遭種種辜。反目急喘狀。猶如驚動勢飄蕩離故鄉。所作常不利。手印幖幟錯。憂愁相纏綿。別有宜戒者。一一叵盡言。智者須謹慎。因果不爽故。相勉莫莽鹵。欽遵準量度。
𩒰恒辣(二合)子仙所作像傳曰。造像慎忌三病俱湊之過。眼(一)鼻(二)手指(三)俱短。或口面(一)𩓐頸(二)足腨(三)皆長。或額顱(一)耳葉(二)胸膛(三)俱狹窄也(一本胸膛作鼻子)犯則必出不測之大禍。而永不寧。豎橫不等者。主田蠶被災。身體肢根中有歪斜。則子弟多出僂攣躄缺之殘疾。鼻塌出謬愎。一切相中眼目最為要。股根瘦者。[乃/女]胎多廢半途圓處不圓。滿處不滿者。果谷屢不收。其餘小
【現代漢語翻譯】 現代漢語譯本： 從人中到下巴尖為口面，頸部，以及小腿都過長，這是極惡之相（指這三處都超過正常比例）。主人會失去原有的事業，被流放異地，生活困苦。腮邊，胸部，脅部都塌陷，這是非常不吉利的（指這三處都不飽滿）。常常遭遇失敗和困難，所做的事情都不順心如意。額頭，鼻子，乳房都歪斜，這是很大的過失。供奉者不能長久，容易發生爭訟，甚至被判刑。脊椎旁邊，胯部，大腿的肌肉都平坦沒有肉，預示著壽命可能會減損，經常遇到盜賊侵擾。頭頂，背光，座位都顯得狹小，這是缺陷。受過恩惠的人常常會背叛，福運衰退，壽命不長久（以上是三種情況同時出現造成的惡果，稱為極惡。如果只犯其中一兩種，雖然不算是極惡，也是很大的過失）。眼睛、耳朵、鼻子、嘴唇、額頭、下巴、腮幫等處，如果不明亮或者不正，必定會遭遇各種災禍。眼睛反白，呼吸急促，就像受到驚嚇一樣，會飄蕩流離，離開故鄉，所做的事情常常不利。手印和標誌錯誤，憂愁會纏繞不休。還有其他需要戒備的地方，不能一一盡述。有智慧的人必須謹慎，因為因果報應是真實不虛的。互相勉勵，不要魯莽行事，要欽佩並遵循正確的標準。
𩒰恒辣(二合)子仙所作像傳中說：造像時要謹慎避免三種病態同時出現的情況。眼睛、鼻子、手指都短小，或者口面、頸部、小腿都過長，或者額頭、耳垂、胸膛都狹窄（有的版本中胸膛寫作鼻子）。如果犯了這些，必定會發生意想不到的大禍，並且永無寧日。豎立和橫向的比例不協調，預示著田地和蠶桑會遭受災害。身體和肢體中有歪斜，那麼子孫後代多會出現駝背、攣縮、跛足、殘缺等殘疾。鼻子塌陷的人，性格謬誤固執。一切相貌中，眼睛最為重要。大腿根部瘦弱的人，容易流產，難以保住胎兒。應該圓潤的地方不圓潤，應該飽滿的地方不飽滿，預示著糧食收成不好。其他細微之處……
【English Translation】 English version: From the philtrum to the tip of the chin being the mouth and face, the neck, and the calves all being excessively long, this is an extremely evil countenance (meaning these three areas are all disproportionately long). The owner will lose their original profession, be exiled to a foreign land, and live a difficult life. The cheeks, chest, and ribs all being sunken, this is extremely inauspicious (meaning these three areas are all not full). One will often encounter failures and difficulties, and things will not go as desired. The forehead, nose, and breasts all being crooked is a great fault. Those who make offerings will not last long, and disputes will easily arise, even leading to imprisonment. The sides of the spine, the hips, and the muscles of the thighs all being flat and without flesh indicate that one's lifespan may be reduced, and one will frequently encounter thieves. The crown of the head, the halo, and the seat all appearing small and narrow are defects. Those who have received kindness will often betray, fortune will decline, and lifespan will not be long (the above refers to the evil consequences of all three situations occurring simultaneously, called extreme evil. If only one or two of these are present, although not considered extreme evil, it is still a great fault). If the eyes, ears, nose, lips, forehead, chin, cheeks, etc., are not bright or not straight, one will certainly encounter various disasters. Eyes turning white and rapid breathing, as if frightened, indicate wandering and leaving one's hometown, and things will often be unfavorable. Incorrect hand gestures and symbols will cause endless worries. There are other things to be wary of, which cannot be fully described. Wise people must be cautious, because the law of cause and effect is real and unfailing. Encourage each other, do not act rashly, and admire and follow the correct standards.
The Image Transmission written by 𩒰恒辣(two combined characters)zi Xian says: When creating images, be careful to avoid the situation where three morbidities occur simultaneously. The eyes, nose, and fingers are all short, or the mouth and face, neck, and calves are all excessively long, or the forehead, earlobes, and chest are all narrow (in some versions, 'chest' is written as 'nose'). If these are violated, unexpected disasters will certainly occur, and there will never be peace. If the vertical and horizontal proportions are not coordinated, it indicates that fields and sericulture will suffer disasters. If there is crookedness in the body and limbs, then descendants will mostly have hunchbacks, contractions, lameness, and other disabilities. A person with a sunken nose has a mistaken and stubborn character. Among all appearances, the eyes are the most important. A person with thin thighs is prone to miscarriage and difficulty in maintaining the fetus. Where it should be round, it is not round; where it should be full, it is not full, indicating that the grain harvest will be poor. Other minor details...
處不合尺寸。則失物破財。像有拆斷。則嗣族衰敗。裂文應起盜賊。又阿思陀(二合)仙子像傳云。量度不準像。正神不受寓。反別邪魔鬼。為所依而住。駁善助不祥。任意縱其欲。云云。所以是等之形像。宜重修理。或改造。先作阿哩伽(二合)儀軌。徙靈光。乃擇日而塑像。所有舊像木偶者。凈綿或凈布纏繞。以凈香油合密漬之。以火然化。而沈其灰于清淵。石泥等胎者。曠野凈處。掘地仞許深窖。而謹藏之。若系金銀銅鐵等像。則可镕化。仍復合用于新像胚質。主掌是事者。乃已獲仙位之人方可。若凡夫為之。則恐不利於本身也(上一則亦出𩒰怛辣二合子仙像傳。所言已獲仙位之人者。謂實受灌頂而究竟修練。咒數圓滿者。乃指持明士人也。中土少有。或番僧中得之。若必用中土僧人。亦須道高德重。民贍神欽之士。若凡夫不能感動鬼神。所以或恐招禍也)右論特為佛菩薩之像。而他像次之。其所說罪辜之事。則明知故犯為極惡。不知而犯者。亦以為大過。其於過惡相反。即是吉利(譬如豎橫平等。田蠶多收之類)當其善惡果報者。像前事奉持明人為上首。而功德主與工人次之。以及鄰里鄉黨。俱有沾蒙也。近時有工家稱梵式宗。乃其所為佛像。輒作長頸縮腮。狹胸寬目。所為羅漢像。眼目與佛相同處頗多。蓋
【現代漢語翻譯】 現代漢語譯本 尺寸不合規格，會導致失物破財。佛像有斷裂，則家族衰敗。佛像表面有裂紋，應提防盜賊。阿思陀（Asita，一位仙人）仙子像傳中說，量度不準確的佛像，正神不會依附，反而會有邪魔鬼怪依附其中，助長不祥，任意放縱慾望。因此，這些佛像應該重新修理或改造。先舉行阿哩伽（Argha，供養）儀軌，轉移靈光，然後選擇吉日塑造佛像。所有舊的木偶佛像，用乾淨的棉布或布纏繞，用乾淨的香油混合蜂蜜浸泡，然後點火焚化，將其灰燼沉入清澈的深淵。石泥等材質的佛像，在曠野乾淨的地方，挖掘一仞（古代長度單位）深的坑，小心地埋藏。如果是金銀銅鐵等材質的佛像，則可以熔化，仍然可以用於新的佛像胚胎。主持這件事的人，必須是已經獲得仙位的人才可以。如果凡夫俗子來做，恐怕對自己不利。（上一則也出自𩒰怛辣（Tantra）子仙像傳。所說的已獲得仙位的人，是指真正接受灌頂並且已經完成修煉，咒語數量圓滿的人，指的是持明士人。中原地區很少有，或許在番僧中可以找到。如果一定要用中原地區的僧人，也必須是道德高尚、受人尊敬的人。如果凡夫俗子不能感動鬼神，所以恐怕會招致災禍。）以上論述特指佛菩薩的佛像，其他佛像次之。其中所說的罪過之事，明知故犯是極惡，不知而犯也算是大過。如果過惡相反，就是吉利（比如豎橫平等，田蠶豐收之類）。當善惡果報產生時，佛像前的事奉以持明人為首，功德主和工匠次之，以及鄰里鄉黨，都會受到恩澤。近來有些工匠自稱梵式宗，他們所做的佛像，總是長頸縮腮，狹胸寬目。他們所做的羅漢像，眼目與佛像相同的地方很多，大概是...
【English Translation】 English version If the dimensions are incorrect, it will lead to loss of property and wealth. If the statue is broken, the descendants will decline. Cracks on the statue indicate the rise of thieves. The image transmission of the Asita (a sage) fairy states that if the measurements of the statue are inaccurate, the righteous deities will not reside within it. Instead, evil spirits and demons will dwell there, fostering misfortune and indulging desires. Therefore, such statues should be repaired or rebuilt. First, perform the Argha (offering) ritual to transfer the spiritual light, and then choose an auspicious day to sculpt the statue. All old wooden statues should be wrapped in clean cotton or cloth, soaked in a mixture of pure fragrant oil and honey, then set on fire and the ashes submerged in a clear abyss. Statues made of stone or clay should be carefully buried in a clean, open field in a pit about a ren (ancient unit of length) deep. If the statues are made of gold, silver, copper, or iron, they can be melted down and reused for the new statue's core. The person in charge of this matter must be someone who has attained the status of a sage. If an ordinary person does it, it may be detrimental to themselves. (The previous passage also comes from the Tantra fairy statue transmission. The 'person who has attained the status of a sage' refers to someone who has truly received initiation and completed their practice, with the number of mantras fulfilled, referring to a Vidyadhara.) Such individuals are rare in the Central Plains, perhaps found among Tibetan monks. If a monk from the Central Plains must be used, they must be of high moral character and respected by the people. If an ordinary person cannot move the spirits, they may invite disaster. The above discussion specifically refers to statues of Buddhas and Bodhisattvas, with other statues being secondary. The sins mentioned within, knowingly committing them is extremely evil, and unknowingly committing them is also considered a great fault. If the evil is reversed, it is auspicious (such as vertical and horizontal equality, abundant harvests of fields and silkworms). When good and bad karmic results arise, the offerings before the statue are led by the Vidyadhara, followed by the patrons and artisans, and the neighbors and community will also receive blessings. Recently, some artisans claim to be of the Brahmanical style, and the Buddha statues they make often have long necks, shrunken cheeks, narrow chests, and wide eyes. The Arhat statues they make have many similarities in the eyes and features to the Buddha statues, probably because...
流源疏闊。失迷口傳之故耳。
七徙靈略
阿哩伽(二合)儀軌者。即徙靈光之法也。凡重葺之舉。先不作此法。而冒昧妄動者。即犯毀像廢塔之罪。若當時幸遇持明士。準阿哩伽儀軌徙靈光。則彼自有廣略作法。若用別僧。則先備改修之一切應用物件。至於巧工等齊畢。然後擇日。而期辰前一日。按其各宗則例。作銷災吉祥道場。奉齋本宇佛祖天神。至於土地諸祠。及濟一切貧乏。皆被豐足。禱祝之際。專發至誠虔心。健立志量。且思且誦曰。
我等誠心通明力 如來威神加持力 法界清凈叵思力 以此真正大勢力 諸愿為善功德事 無礙自成盡如意
(畢。壇主拈香。掌罄者鳴罄。三拜起。眾胡跪合掌。壇主高聲祝云)。
(某甲)率領眾等。實發道心。至誠仰啟覺聰。俯垂鑑證。今特為重葺聖像。因具足福德瑞祥。以寶壇勝境鞏固。而供用資糧增長。廣攝遐邇不偏。普脫苦惱患難。教化熾盛無邊際。眾生歡樂永平安。所以敢舉改容事。竭盡施主(某等)力。恭奉如來遺留敕。欽遵古德通畫一。明日穀旦徙靈光。慈悲準允錫利益(作樂。觀作欣然即許之想遂唪誦別讚頌等。照平素常例。令竟之)次日(即正日也)齋濟道場同昨日。而唱諦力畢(即我等誠心云云六句
【現代漢語翻譯】 流派的源頭變得疏遠而淺薄，這是因為口頭傳承的失誤和迷失所導致的。
七次遷移靈光之略法
阿哩伽（Ariga，二合表示梵語連讀）儀軌，就是遷移靈光的方法。凡是重修佛像或佛塔的舉動，如果事先不按照此法進行，而冒昧地擅自行動，就犯了毀壞佛像和廢棄佛塔的罪過。如果當時有幸遇到持明士（Vidyadhara，持有真言咒語的修行者），按照阿哩伽儀軌遷移靈光，那麼他自然會有詳細或簡略的作法。如果使用其他僧人，那麼首先要準備好改修所需的一切應用物件，直到巧匠等人員全部到位。然後選擇吉日。在吉日的前一天，按照各個宗派的慣例，設立消除災難、祈求吉祥的道場，供奉本寺的佛祖和天神，以及土地神等，並且賙濟一切貧困的人，使他們都得到豐足。在祈禱祝願的時候，要專心致志地發出真誠的虔誠之心，堅定地樹立志向，並且思考和誦唸：
我等誠心通明力， 如來威神加持力， 法界清凈叵思力， 以此真正大勢力， 諸愿為善功德事， 無礙自成盡如意。
（完畢。壇主拈香，掌罄者鳴罄，三拜起。眾人胡跪合掌，壇主高聲祝願說：）
（某甲）率領眾人，真實地發起道心，至誠地仰望並祈請覺聰（Buddha's wisdom，佛的智慧），俯首垂憐並鑑察證明。現在特地爲了重修聖像，祈求具備充足的福德和吉祥，使寶壇和殊勝的境界得以鞏固，並且使供養的資糧增長，廣泛地攝受遠近的人而不偏頗，普遍地使眾生脫離痛苦和患難，使教化熾盛無邊無際，使眾生歡樂永遠平安。所以才敢于舉行改容的事情，竭盡施主（某等）的力量，恭敬地奉行如來遺留的敕令，欽佩地遵循古代賢德們統一的規範。明日吉日遷移靈光，慈悲地準許並賜予利益。（奏樂，觀想佛菩薩欣然允許的樣子，於是唪誦其他的讚頌等，按照平時的慣例，使其結束。）第二天（也就是正日），齋戒和賙濟的道場與昨天相同。唱誦諦力完畢（也就是『我等誠心』云云六句）。
【English Translation】 The source of the lineage has become distant and shallow, due to errors and losses in oral transmission.
A Brief Account of the Seven Transfers of Spiritual Light
The Ariga (a Sandhi) ritual is the method for transferring spiritual light. Whenever undertaking the renovation of Buddha images or stupas, if this method is not followed beforehand, and one rashly acts without authorization, one commits the sin of destroying Buddha images and abandoning stupas. If one is fortunate enough to encounter a Vidyadhara (one who holds mantras) at that time, and transfers the spiritual light according to the Ariga ritual, then he will naturally have detailed or abbreviated methods for performing the ritual. If other monks are used, then first prepare all the necessary items for the renovation, until the skilled craftsmen and others are all in place. Then choose an auspicious day. On the day before the auspicious day, according to the customs of each sect, establish a Dharma assembly for eliminating disasters and praying for auspiciousness, offering sacrifices to the Buddhas and deities of the temple, as well as the local deities, and providing for all the poor, so that they are all satisfied. During the prayers and wishes, focus wholeheartedly on generating sincere devotion, firmly establish aspirations, and contemplate and recite:
'With our sincere and enlightened power, The Tathagata's majestic and empowering power, The inconceivable power of the pure Dharma realm, With this truly great power, May all wishes for virtuous and meritorious deeds, Be accomplished effortlessly and completely as desired.'
(Completed. The altar master offers incense, the one holding the chime rings it, bows three times and rises. The assembly kneels on one knee, palms together, and the altar master loudly proclaims:)
'(So-and-so) leads the assembly, genuinely generating the aspiration for enlightenment, sincerely looking up to and requesting Awakened Wisdom (Buddha's wisdom), bowing and beseeching compassion and witnessing. Now, especially for the renovation of the sacred image, we pray for the possession of sufficient merit and auspiciousness, so that the precious altar and the supreme realm may be consolidated, and the resources for offerings may increase, widely embracing those near and far without partiality, universally liberating beings from suffering and hardship, making the teachings flourish without limit, and making beings joyful and eternally peaceful. Therefore, we dare to undertake the matter of renovation, exhausting the strength of the patrons (so-and-so), respectfully upholding the Tathagata's bequeathed decree, admiringly following the unified norms of the ancient sages. Tomorrow, on the auspicious day, we will transfer the spiritual light, mercifully granting and bestowing benefits.' (Play music, visualize the Buddhas and Bodhisattvas happily granting permission, and then chant other praises, etc., according to the usual practice, bringing it to a conclusion.) The next day (that is, the actual day), the Dharma assembly for fasting and providing is the same as yesterday. The recitation of the power of truth is completed (that is, the six lines beginning with 'With our sincere heart').
也)用一明亮鏡。壇主拱執像前。向像影對照。祝辭同前。而其中明日穀旦四字。改作今日此時四字讀之。作樂時。壇主念惹(引)吽(引)婆母(二合)和(引○且誦且觀作彼在像之智慧靈忽然離像猶若鳳雛之解卵㲉。即如流星孛入于鏡中之想。復以紅色凈袱蒙裹。時一人亦拏一凈袱。齊蒙像面。且誦安住咒)唵。蘇巴啦(二合)底思茶(二合)跋阇啰(二合)耶。婆(引)訶(引○從此。彼鏡不側不倒。上下不錯。正置於凈處。以後凡禮拜供養事。輒作鏡前。而不可作于殘像前。至新像既成。而作安住之時刻。其鏡蒙袱。總不得啟開)。
本錄云。作徙靈之緣。為敗像重新。及改修質相不佳之像。而其經過慶贊者(質。本體也。質不佳。言材料不好。相不佳。不合尺寸也)或為舊地有所不便之處。因擇地遷移之類。必叵不動故是也。其正作之時。則人心合同。而財用備齊之期也。據此則除他故外。但疑其相之不佳。若不犯三病會成過格。且未露不祥之形跡。而資用力劣。則未可輕動。不過課誦大乘經典。[言*奉]持神明真言。以厭彼未萌之咎。及滅其人心之疑。或將大寶樓閣總持書寫於牆壁。亦能鎮災致福。
八裝藏略(安像總持附)
顯密兩教。俱有裝藏之說。而悉言用舍利。中具二種。
【現代漢語翻譯】 現代漢語譯本：也用一面明亮的鏡子。壇主雙手合十，捧著佛像到鏡子前，對著鏡中的佛像影子，唸誦和之前一樣的祝辭。但是，其中『明日穀旦』（明日吉日）四個字，要改成『今日此時』四個字來讀。在做法樂的時候，壇主要念誦『惹(引)吽(引)婆母(二合)和(引)』，並且一邊唸誦一邊觀想，想像佛像中的智慧靈性忽然離開佛像，就像小鳳凰破殼而出一樣，又像流星一樣飛入鏡子中。然後用紅色的乾淨布把鏡子蒙起來。同時，另一個人也拿著一塊乾淨的布，一起矇住佛像的面部，並且唸誦安住咒：『唵。蘇巴啦(二合)底思茶(二合)跋阇啰(二合)耶。婆(引)訶(引)』。從此以後，這面鏡子不能傾斜、不能倒置、上下位置不能顛倒，要端正地放置在乾淨的地方。以後凡是禮拜供養的事情，都要在鏡子前進行，而不能在殘破的佛像前進行。等到新的佛像製作完成，在進行安住儀式的時候，這面蒙著布的鏡子，無論如何都不能打開。 本錄中說，進行轉移靈性的原因是，舊的佛像需要重新修繕，或者要修改那些質地或相貌不好的佛像（質，指本體，質地不好，指材料不好；相，指相貌，相貌不好，指不符合尺寸規格）。或者因為舊的地方有些不方便，因此選擇新的地方遷移等等，一定是有不得已的原因才會這樣做。而真正進行儀式的時候，需要人心齊一，並且財物準備齊全。根據這些說法，那麼除了其他原因外，只是懷疑佛像的相貌不好，如果不是犯了『三病』，沒有超出規格，並且沒有顯露出不祥的形跡，而且資金和人力不足，那麼就不能輕易地移動佛像。可以誦讀大乘經典，奉持神明的真言，用來消除那些尚未顯現的災禍，以及消除人們心中的疑慮。或者將《大寶樓閣總持》書寫在墻壁上，也能鎮壓災禍，帶來福氣。 八、裝藏略（附安像總持） 顯教和密教，都有裝藏的說法，都說要用到舍利（佛陀或高僧火化后的遺物），舍利有兩種。
【English Translation】 English version: Also, use a bright mirror. The altar master holds the image with both hands in front of the mirror, facing the image's reflection. The prayer is the same as before, but the phrase 'tomorrow's auspicious day' is changed to 'today, this moment'. During the music, the altar master recites '惹(引)吽(引)婆母(二合)和(引)' while visualizing the wisdom spirit suddenly leaving the image, like a phoenix chick breaking out of its egg, and like a shooting star entering the mirror. Then, cover it with a clean red cloth. At the same time, another person also takes a clean cloth and covers the face of the image, reciting the stabilization mantra: '唵。蘇巴啦(二合)底思茶(二合)跋阇啰(二合)耶。婆(引)訶(引)'. From then on, this mirror must not be tilted, inverted, or have its top and bottom reversed. It must be placed upright in a clean place. In the future, all acts of worship and offering should be performed in front of the mirror, and not in front of the damaged image. When the new image is completed and the stabilization ceremony is performed, the mirror covered with cloth must not be opened under any circumstances. The record states that the reason for transferring the spirit is for the renovation of a damaged image, or to modify an image with poor quality or appearance (quality refers to the substance, poor quality means the material is not good; appearance refers to the features, poor appearance means it does not meet the size specifications). Or because the old location is inconvenient, so a new location is chosen for relocation, etc. It must be a last resort to do so. When the ceremony is actually performed, it requires unity of mind and complete preparation of materials. According to these statements, then, apart from other reasons, if one only suspects that the image's appearance is not good, if it does not violate the 'three defects', does not exceed the specifications, and does not show ominous signs, and if funds and manpower are insufficient, then one should not move the image lightly. One can recite the Mahayana scriptures and uphold the divine mantras to eliminate those disasters that have not yet manifested, and to dispel doubts in people's minds. Or writing the 'Maharatnakuta Dharani' on the walls can also suppress disasters and bring blessings. Eight. Brief Introduction to Consecration (with Attachment of Image Stabilization Dharani) Both Exoteric and Esoteric Buddhism have the practice of consecration, and both say that relics (śarīra) (remains of the Buddha or eminent monks after cremation) should be used. There are two types of relics.
或曰四種法身舍利作第一。生身舍利次之。故西土風俗多用法身舍利。即五部大陀啰尼以為上首。一切經咒文辭是也。五大陀啰尼者。一佛頂尊勝咒(此咒世人多知之)二佛頂放無垢光明咒(在大藏忠字函)三正法秘密篋印咒(同上)四菩提場莊嚴咒(不字函)五十二因緣咒也(此亦知者多。一名因緣法頌。而維字函造塔功德經等出處不一。有譯漢者。有以漢文音之。而未譯語者)內有雜用安種字一文處。乃是五部元主如來。與六大菩薩之根本明靈種字也。
頂上肉髻內oṃ 。項喉內āḥ 。心間衷traṃ 。臍孔內hūṃ saṃ 。密處hri 。額上kaṃ 。以上有[巾亭]木。則順書[巾亭]木前面。無[巾*亭]木。則書于紙。而安中畿分藏各正位處。畫像則就梵絣居中書之。又二目上二kṣiṃ 字。兩耳上兩jriṃ 字。鼻上中間khaṃ 。舌根當口raṃ 。此五根種字(與齋問saṃ 字滿六根)皆書于草創之素底各處。以被彩粉涂蓋。其㡧像之藏。亦應作如是。若已成者。則書于背面亦可。藏有五方之分。其中畿之藏。則頂上種字下。安楞嚴總持。項喉種字下或傍。安音聲字母。心間種字下或傍。安一切智咒。臍間二種字上下及其周圍。安金剛壽命心咒。密藏種字下。安鞏
【現代漢語翻譯】 現代漢語譯本： 有人說，四種法身舍利最為殊勝，生身舍利次之。因此，西土的風俗多用的是法身舍利，即以五部大陀羅尼為首，一切經咒文辭都是。五大陀羅尼是：一、佛頂尊勝咒（這個咒世人大多知道）；二、佛頂放無垢光明咒（在大藏忠字函）；三、正法秘密篋印咒（同上）；四、菩提場莊嚴咒（不字函）；五、十二因緣咒（這個知道的人也很多，又名因緣法頌，而維字函的造塔功德經等出處不一，有的已經翻譯成漢語，有的用漢字音譯，而沒有翻譯成語言）。其中有雜用安種字的一段文字，那是五部元主如來與六大菩薩的根本明靈種字。
頂上肉髻內書寫oṃ（種子字）。項喉內書寫āḥ（種子字）。心間書寫traṃ（種子字）。臍孔內書寫hūṃ saṃ（種子字）。密處書寫hri（種子字）。額上書寫kaṃ（種子字）。以上如果有[巾亭]木，就順著書寫在[巾亭]木的前面。如果沒有[巾*亭]木，就寫在紙上，然後安放在中畿分藏的各個正位處。如果是畫像，就寫在梵絣的居中位置。另外，兩眼上寫兩個kṣiṃ（種子字），兩耳上寫兩個jriṃ（種子字），鼻上中間寫khaṃ（種子字），舌根當口寫raṃ（種子字）。這五個根的種字（與齋問的saṃ字合起來是六根），都寫在草創的素底各處，以便被彩粉涂蓋。其㡧像的藏，也應該這樣做。如果已經完成了，那麼寫在背面也可以。藏有五方的劃分，其中畿的藏，就在頂上種字的下面，安放楞嚴總持；項喉種字的下面或旁邊，安放音聲字母；心間種字的下面或旁邊，安放一切智咒；臍間兩種字的上下及其周圍，安放金剛壽命心咒；密藏種字的下面，安放鞏
【English Translation】 English version: Some say that the four kinds of Dharma-body relics are the most supreme, followed by the physical-body relics. Therefore, the customs of the Western Lands mostly use Dharma-body relics, which are headed by the Five Great Dharanis, and all sutra mantras and texts are included. The Five Great Dharanis are: 1. The Ushnishavijaya Dharani (this mantra is widely known by the world); 2. The Buddha-Ushnisha Immaculate Light Dharani (in the 'Zhong' character box of the Great Treasury); 3. The Secret Casket Seal Dharani of the Correct Dharma (same as above); 4. The Bodhimanda Adornment Dharani (in the 'Bu' character box); 5. The Twelve Nidanas Dharani (this is also known by many, also called the 'Verse of the Law of Dependent Origination,' and the Sutra of Merit of Building Stupas, etc., in the 'Wei' character box, have different sources; some have been translated into Chinese, some are transliterated with Chinese characters, and some have not been translated into language). Within it, there is a passage that mixes and uses the 'seed syllables,' which are the fundamental, bright, and spiritual seed syllables of the Five Original Lords, the Tathagatas, and the Six Great Bodhisattvas.
Write oṃ (seed syllable) inside the fleshy protuberance on the crown of the head. Write āḥ (seed syllable) inside the neck and throat. Write traṃ (seed syllable) in the heart. Write hūṃ saṃ (seed syllables) inside the navel. Write hri (seed syllable) in the secret place. Write kaṃ (seed syllable) on the forehead. If there is a [巾亭] wood above, then write it in front of the [巾亭] wood. If there is no [巾*亭] wood, then write it on paper and place it in the correct position of the central 'Ji' division of the treasury. If it is a painting, then write it in the center of the Brahma cloth. Also, write two kṣiṃ (seed syllables) above the two eyes, two jriṃ (seed syllables) above the two ears, khaṃ (seed syllable) in the middle above the nose, and raṃ (seed syllable) at the root of the tongue in the mouth. These seed syllables of the five roots (together with the saṃ syllable of the 'Zhai Wen,' making up the six roots) are all written in various places on the original plain base, so that they can be covered with colored powder. The treasury of the 㡧 image should also be made in this way. If it is already completed, then it can also be written on the back. The treasury has a division of the five directions, and the treasury of the central 'Ji' should place the Shurangama Dharani below the seed syllable on the crown of the head; place the sound alphabet below or beside the seed syllable of the neck and throat; place the Sarvajna Mantra below or beside the seed syllable in the heart; place the Vajra Longevity Heart Mantra above and below and around the two seed syllables in the navel; and place the 'Gong' below the seed syllable in the secret treasury.
固善住咒。其四方之藏。則前面佛頂尊勝。右邊無垢光明。後面秘密篋印。左邊菩提場莊嚴。此四咒之尾續。及中畿之下。俱安十二因緣總持。其下正中墊財神天地輪。座內安護法善神之真言。及一切吉祥頌偈(若護法像之座位內。則惟用吉祥偈)是等咒語。或用全部總持。或用小總持。或惟心咒。或用心中心。或本尊心咒。至於種字一文。堅固子一粒為止咒數亦不拘多少。只度。
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其腔量之寬狹而為之。若甚小之像。及衷實者。不用藏亦得。從印土來鉝麻像。不宜補添藏(鉝麻。番語。即白銅也。或曰響銅。西域有此銅山。昔迦葉佛親游斯山加持而授記之曰。當來。迦牟尼佛出世時。彼教下人采茲銅作像。禮拜供養者。獲無量功德云云。其試法。近處夰置個真堅固子。則即吸取焉。或觸之則輒粘。蓋同氣相感故耳夰音泉放也)。
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按天地輪有兩種。一前藏達賴剌麻宗派例。字頭向內。即此式是也。合用天輪在上。而地輪在下。乃尊卑通道之理也。一後藏班臣佛宗派例。字頭向外。而合用地輪在上
【現代漢語翻譯】 現代漢語譯本： 固善住咒（一種咒語）。其四方的藏（指佛像內部空間），則前面是佛頂尊勝（佛頂尊勝咒），右邊是無垢光明（無垢光明咒），後面是秘密篋印（秘密篋印陀羅尼），左邊是菩提場莊嚴（菩提場莊嚴咒）。這四個咒語的尾續，以及中畿之下，都安放十二因緣總持（十二因緣總持咒）。其下正中墊著財神天地輪（一種象徵財富和宇宙的法器）。座內安放護法善神的真言（護法善神的咒語），以及一切吉祥頌偈（吉祥的讚頌詩句）（如果護法像的座位內，則只用吉祥偈）。這些咒語，或者用全部總持，或者用小總持，或者只用心咒，或者用心中心，或者本尊心咒。至於種字（種子字，代表佛或菩薩的梵文字母）一文，堅固子（一種堅固的種子）一粒為止，咒數也不拘多少，只求達到（目的）。 其腔量（指佛像內部空間）的寬窄而為之。如果很小的像，以及衷實者（指內心虔誠的人），不用藏也可以。從印土（印度）來的鉝麻像（一種用鉝麻製成的佛像），不宜補添藏（鉝麻，番語，即白銅也，或曰響銅。西域有此銅山，昔迦葉佛親游斯山加持而授記之曰：當來，迦牟尼佛出世時，彼教下人采茲銅作像，禮拜供養者，獲無量功德云云。其試法，近處夰置個真堅固子，則即吸取焉，或觸之則輒粘，蓋同氣相感故耳夰音泉放也）。 按天地輪有兩種。一前藏**剌麻宗派例。字頭向內。即此式是也。合用天輪在上。而地輪在下。乃尊卑通道之理也。一後藏班臣佛宗派例。字頭向外。而合用地輪在上。
【English Translation】 English version: The mantra of firmly abiding. For the treasures of its four directions: in front, the Ushnishavijaya (Ushnishavijaya Dharani); on the right, Immaculate Light (Immaculate Light Dharani); behind, the Secret Casket Seal (Guhyagarbha Mudra Dharani); on the left, the Adornment of the Bodhi Field (Adornment of the Bodhi Field Dharani). The concluding parts of these four mantras, and below the central region, all place the Summary of the Twelve Nidanas (Twelve Nidanas Dharani). Below that, in the very center, place the Vaishravana (God of Wealth) Heaven and Earth Wheel (a ritual implement symbolizing wealth and the universe). Inside the seat, place the true words of the Dharma Protector Good Deities (mantras of the Dharma Protector Good Deities), and all auspicious verses (auspicious verses of praise) (if it is within the seat of the Dharma Protector image, then only use auspicious verses). These mantras, either use the complete summary, or use the small summary, or only use the heart mantra, or use the heart-center mantra, or the principal deity's heart mantra. As for the seed syllable (Bija, a Sanskrit letter representing a Buddha or Bodhisattva), up to one grain of the firm seed (a firm seed), the number of mantras is not fixed, only seeking to achieve (the purpose). The width of its cavity (referring to the internal space of the Buddha image) is determined accordingly. If it is a very small image, and for those who are truly sincere (referring to those with sincere hearts), it is also acceptable not to use the treasure chamber. Images made of 'lipma' (a type of metal) that come from India are not suitable for adding treasures (lipma, in the Tibetan language, means white copper, or resonant copper. There is a copper mountain in the Western Regions. In the past, Kashyapa Buddha personally visited this mountain, blessed it, and prophesied: 'In the future, when Shakyamuni Buddha appears in the world, people of his teachings will mine this copper to make images. Those who prostrate and make offerings will obtain immeasurable merit.' The method of testing it is to place a genuine firm seed nearby, and it will immediately be attracted to it, or if touched, it will stick, because they are of the same nature). According to the traditions, there are two types of Heaven and Earth Wheels. One is according to the tradition of the **Lama sect of the Front Tibet. The head of the character faces inward. This is the style. It is appropriate to use the Heaven Wheel above and the Earth Wheel below. This is the principle of respecting the superior and inferior. The other is according to the tradition of the Panchen Buddha sect of the Rear Tibet. The head of the character faces outward, and it is appropriate to use the Earth Wheel above.
。天輪在下。蓋合地天泰卦之義也。兩樣俱可用。因其機在字頭之向方故云。
以上通用之制度。如胎偶之腔量甚廣。則附用大寶廣博樓閣善住秘密總持(息字函)等。一切吉祥真言。竭力安之更佳。藏中所用真言。或梵字。或漢文。皆宜橫書。盡容於一行內。其餘行另書他咒。或本咒前行。週而復始。惟不可一首總持。半途間斷。折回來往復書。書字和用椒汁。則被蟲不食云。或欲此外附安經卷整夾亦得。大乘經律論安在心間以上。小乘經律論則安心間以下。俱額向上豎置之(或有堅固子並裝。則與鬱金華同包束。置小凈盒內。連盒隨宜處安置。即所謂生身舍利者也。乃戒定慧之所熏修。甚不易得。其色有三。骨舍利色白。發舍利色黑。肉舍利色赤。獲聖果者皆有。惟佛舍利槌擊不破。弟子舍利。固分不及。又通稱靈骨。或曰內分有二。一謂行道舍利。或翔空。或發光。一謂入定舍利。閉其靈形。不可得見。又骸骨與尸炭。謂身種舍。發爪及衣服拂珠等。被氣所熏之物件。謂毛絮舍利。然斯二種。聖凡通具。惟本人之像中可用。若論通用之說。則傳所云凡夫身體所出者不得用。建立相反者不得用。穢污者不得用。其真聖實仙之身體所出者。不輕易得。且難識別其是否。故惟用法身舍利。為便而佳也)今錄全藏
【現代漢語翻譯】 現代漢語譯本：天輪在下方，這暗合了地天泰卦的意義。這兩種方法都可以使用，因為其關鍵在於字頭所指向的方向，所以這樣說。
以上是通用的方法。如果胎偶的腔體空間很大，那麼可以附加大寶廣博樓閣善住秘密總持（息字函）等一切吉祥真言，盡力安放會更好。藏中所用的真言，無論是梵文還是漢文，都應該橫向書寫，儘量容納在一行內。其餘的行可以另寫其他的咒語，或者在本咒的前面繼續書寫，週而復始。但是，不可以一首總持咒語寫到一半就中斷，然後折返回來書寫。書寫文字時和入椒汁，這樣可以防止蟲子啃食。或者想要在此外附上經卷整夾也可以。大乘的經、律、論安放在心間以上的位置，小乘的經、律、論則安放在心間以下的位置，都使書寫文字向上豎立放置。（或者有堅固子一起裝藏，那麼就和鬱金華一同包裹，放置在小凈盒內，連同盒子一起隨意安置在合適的地方，這就是所謂的生身舍利。這是由戒、定、慧所熏修而成的，非常不容易得到。它的顏色有三種：骨舍利是白色的，發舍利是黑色的，肉舍利是紅色的。獲得聖果的人都有舍利。只有佛的舍利用錘子敲打也不會破碎，弟子的舍利堅固程度不如佛的舍利。又通稱為靈骨。或者說內部分為兩種：一種是行道舍利，或者在空中飛翔，或者發出光芒；一種是入定舍利，封閉其靈形，不可得見。另外，骸骨和尸炭，稱為身種舍；頭髮、指甲以及衣服、拂珠等被氣所薰染的物件，稱為毛絮舍利。然而這兩種，聖人和凡人都具有。只有本人的畫像中可以使用。如果說通用的說法，那麼傳承中所說的凡夫身體所出的東西不能使用，建立相反的東西不能使用，污穢的東西不能使用。真正的聖人、實在的仙人的身體所出的東西，不容易得到，而且難以識別其真假。所以，最好只用法身舍利，這樣方便而且好。）現在記錄全藏。
【English Translation】 English version: The celestial wheel is below, which implies the meaning of the Tai hexagram (peace) of earth and heaven. Both methods can be used, because the key lies in the direction pointed to by the beginning of the characters, hence the saying.
The above is the general method. If the cavity of the 'embryo couple' (referring to a statue or image) is very large, then it is better to attach all auspicious mantras such as the 'Great Treasure Vast and Extensive Pavilion Well-Dwelling Secret Total Retention' (息字函 - 'Xi' character box), and try to place them as much as possible. The mantras used in the 'treasure' (藏 - referring to the act of consecrating an image), whether in Sanskrit or Chinese, should be written horizontally, trying to fit within one line. The remaining lines can be used to write other mantras, or continue writing before the main mantra, repeating cyclically. However, one cannot interrupt a complete Dharani (總持 - total retention) halfway and then fold back to continue writing. When writing, mix with pepper juice to prevent insects from eating it. Or, if you want to attach scripture rolls, that is also acceptable. Mahayana Sutras, Vinaya (律 - monastic discipline), and Shastras (論 - treatises) are placed above the heart, while Hinayana Sutras, Vinaya, and Shastras are placed below the heart, all with the writing facing upwards vertically. (Or, if there are 'firm seeds' (堅固子), they are wrapped together with turmeric flowers, placed in a small clean box, and the box is placed in a suitable place as needed. This is the so-called 'living body relics' (生身舍利), which are cultivated by Sila (戒 - precepts), Samadhi (定 - concentration), and Prajna (慧 - wisdom), and are very difficult to obtain. Its color has three types: bone relics are white, hair relics are black, and flesh relics are red. Those who have attained the holy fruit all have relics. Only the Buddha's relics cannot be broken by hammering, and the disciples' relics are not as solid as the Buddha's relics. They are also commonly called 'spiritual bones' (靈骨). Or it is said that internally there are two types: one is 'walking the path relics' (行道舍利), which either fly in the air or emit light; the other is 'entering Samadhi relics' (入定舍利), which close their spiritual form and cannot be seen. In addition, skeletons and charred corpses are called 'body seed relics' (身種舍); hair, nails, and objects such as clothing and fly-whisks that have been薰染 (xunran - influenced) by Qi (氣 - vital energy) are called 'fluff relics' (毛絮舍利). However, both saints and ordinary people possess these two types. They can only be used in the image of the person themselves. If we talk about the general saying, then the tradition says that things produced from the bodies of ordinary people cannot be used, things that establish the opposite cannot be used, and impure things cannot be used. Things produced from the bodies of true saints and real immortals are not easy to obtain, and it is difficult to identify their authenticity. Therefore, it is best to only use Dharma body relics (法身舍利), as it is convenient and good.) Now recording the entire canon.
之要略。以為後人擬推之式。其用梵字。因其源從梵天處所。流傳人間。且佛敕原文。具大攝受。凡見者。聞者。念者。觸者。書寫。讀誦。佩帶。禮拜。供養。右繞者。咸獲利益。番漢傳集。同作如此稱讚故也。不熟梵者。以番字及漢文書之(梵番左始。漢文右起)慎勿脫落錯誤點竄(一切西番藏咒。皆用板印者。圖其甚便也)不論其文。或自尾向上。或從頭往下。緊捲之。以凈糊封口(不得用皮角膠等物)形如爆竹。記其上下。不可顛倒。倒則犯火災(出將達大師傳)卷畢。以黃絹裹之。始終要潔凈。持八闕齋為妙(書藏及裝藏日)或當時忌葷酒。禁氣惱等。一切不祥之事。發喜悅良善心。口誦十二因緣咒。或梵或漢。不能者默持他咒。或唸佛名號。譯漢因緣咒曰(見五異譯中。取義凈法師譯)。
諸法從緣起 如來說是因 彼法因緣盡 是大沙門說
按此頌。大小二乘。顯密教俱有之。全包三藏深義。凡作善事。持誦此偈。則獲無量功德。於是用五寶(金。銀珍珠。珊瑚。青金石)五甘露(蜂蜜。石蜜。乳。酪。酥油)五藥(菖蒲。仙人掌一種草根苦蔘。烏賊。藤梨[山/干])五穀(稻。大麥。小麥。綠豆。白芝麻)五香(白檀。沉香。肉豆寇。龍腦香。鬱金香即香紅華也)細末合一處。復
【現代漢語翻譯】 現代漢語譯本： 以上是主要內容的概括，作為後人擬定和推演的模式。使用梵文的原因在於它源自梵天（Brahmā，印度教的創造神）之處，流傳於人間。而且佛陀親自宣說的原文，具有強大的攝受力。凡是見到、聽到、唸誦、接觸、書寫、讀誦、佩戴、禮拜、供養、右繞（順時針繞行）的人，都能獲得利益。藏族和漢族傳承彙集，都如此稱讚。不熟悉梵文的人，可以用藏文字母和漢字書寫（藏文和藏語從左開始，漢字從右開始），務必不要脫落、錯誤、點竄（所有藏傳佛教的咒語，都用木板印刷，是爲了方便）。無論其文字是自尾向上，還是從頭向下，緊緊捲起來，用乾淨的漿糊封口（不得使用皮革或動物膠等物）。形狀像爆竹。記住其上下方向，不可顛倒，顛倒則會引發火災（出自將達大師的傳記）。捲好后，用黃色絲綢包裹。始終要保持潔凈。最好持八關齋戒（在書寫、收藏以及裝藏之日）。或者當時忌諱葷腥酒肉，禁止生氣惱怒等一切不祥之事，發起喜悅良善之心。口誦十二因緣咒，或者用梵文，或者用漢文。不能唸誦的，可以默持其他咒語，或者唸誦佛的名號。翻譯成漢語的因緣咒是（見五種不同的譯本中，選取義凈法師的譯本）：
『諸法從緣起，如來說是因，彼法因緣盡，是大沙門說。』
按：此頌，大小乘佛教、顯宗和密宗都有。完全包含了三藏的深刻含義。凡是做善事，持誦此偈，就能獲得無量功德。於是用五寶（金、銀、珍珠、珊瑚、青金石），五甘露（蜂蜜、石蜜、乳、酪、酥油），五藥（菖蒲、仙人掌一種草根苦蔘、烏賊、藤梨[山/干]），五穀（稻、大麥、小麥、綠豆、白芝麻），五香（白檀、沉香、肉豆蔻、龍腦香、鬱金香即香紅華），磨成細末混合在一起，再……
【English Translation】 English version: These are the essential points, intended as a model for later generations to emulate and expand upon. The use of Sanskrit is due to its origin in the abode of Brahmā (the Hindu god of creation), from where it spread to the human realm. Moreover, the original text spoken by the Buddha himself possesses great power of attraction and reception. All who see, hear, recite, touch, write, read, wear, prostrate to, make offerings to, or circumambulate (clockwise) it will receive benefits. Tibetan and Han Chinese traditions both gather and praise it in this way. Those unfamiliar with Sanskrit may write it in Tibetan script and Han characters (Tibetan script and language start from the left, while Han characters start from the right). Be careful not to omit, mistake, or alter anything (all Tibetan Buddhist mantras are printed using woodblocks for convenience). Regardless of whether the text runs from the end upwards or from the beginning downwards, roll it up tightly and seal the opening with clean paste (do not use leather or animal glue). The shape should resemble a firecracker. Remember the top and bottom orientation, and do not invert it, as inversion may cause a fire (from the biography of Master Jiangda). After rolling, wrap it in yellow silk. Always maintain cleanliness. It is best to observe the Eight Precepts (on the day of writing, storing, and consecrating). Or at that time, abstain from meat and alcohol, and avoid anger and other inauspicious things, generating a joyful and virtuous mind. Recite the Twelve Links of Dependent Origination mantra, either in Sanskrit or Chinese. Those who cannot recite it may silently hold other mantras or recite the names of the Buddhas. The Chinese translation of the Dependent Origination mantra is (see the five different translations, selecting the translation by the Dharma Master Yijing):
'All dharmas arise from conditions; the Tathagata (如來，another name for Buddha) says they have a cause. When the conditions for those dharmas cease, this is what the great Shramana (沙門，a renunciate or ascetic) teaches.'
Note: This verse is found in both the Mahayana (大乘，Greater Vehicle) and Hinayana (小乘，Lesser Vehicle) traditions, as well as in both the exoteric and esoteric schools. It completely encompasses the profound meaning of the Tripitaka (三藏，the three baskets of Buddhist scriptures). All who perform good deeds and recite this verse will obtain immeasurable merit. Therefore, use the five precious substances (gold, silver, pearl, coral, lapis lazuli), the five nectars (honey, rock sugar, milk, yogurt, clarified butter), the five medicines (sweet flag, a type of cactus, Sophora Flavescens (苦蔘，a type of herb), cuttlefish, Actinidia kolomikta (藤梨，a type of vine)), the five grains (rice, barley, wheat, mung bean, white sesame), and the five fragrances (white sandalwood, agarwood, nutmeg, borneol camphor, turmeric, which is fragrant red flower), grind them into fine powder and mix them together, then...
曬乾之。以少分涂于天地二輪間。多分再加諸般香面。以窒一切空枵。為其不散不朽。不生蟲蛀。堅固之本也○按[巾亭]木。乃塔幢所必須。于像則非必用之物。然像之甚大者。用之更妙。其法如系現采。則先擇珍產(栴檀。沉速。檜。柏等。無毒。無刺。而疆健者)若系購買。亦須重價易之或以禮善求。不可強索盜取。既得之。則記其本末而陰乾之。作時本末不可顛倒(本往下。末向上。為正)長分勘新像之量。亦作百二十五指為度(言如來之像也。若他像亦以此推度)臍際分以上作圓而稍細。以下作方。尖不宜太銳。但得似塔之形乃妙。下根作五股半杵形(畫作亦可)以朱粉涂之。所書之字。金為上彩粉為中。墨為下(他處亦如是差別)頂之一指入于寶髻內。項際下。即安手主心木。形圓。臍際下八指處。安足主心木。形方。足之主心木以下。梵[巾亭]餘四指。為密藏處。則內分之百二十五指自不差矣。
(附)經云。聖像已成。即為人天共仰無上福田矣。而複用安住(即安像法)者。加被慧尊冥熏之力。神靈功德俱倍恒常焉。其法。同前徙靈章中演說。遇大持明仙士。則彼自然能遵如來安像三昧經(在大藏止字函)或廣。或略。隨宜而為。不待言外。叵不塞責之作。則上齋下施普濟同悅吉祥道場
【現代漢語翻譯】 現代漢語譯本 曬乾它，用少量塗抹在天地二輪（chakra）之間，大部分再加入各種香料和麵粉，用來填塞一切空虛之處，這是爲了使其不散落、不腐朽、不生蟲蛀，是堅固的根本。按照[巾亭]木（central pillar），是塔幢所必須的，對於佛像則不是必須之物。然而，對於非常大的佛像，使用它會更妙。其方法是，如果是現在採伐，那麼首先選擇珍貴的木材（如栴檀（chandana，檀香）、沉速（agaru，沉香的一種）、檜（hinoki cypress）、柏（cypress）等，無毒、無刺且堅固的），如果是購買，也需要用高價購買，或者用禮貌和善意去請求，不可強行索取或盜取。得到之後，要記住它的根部和末端，然後陰乾它。製作時，根部和末端不可顛倒（根部向下，末端向上，為正確）。長度要根據新佛像的尺寸來確定，也以一百二十五指為標準（指的是如來佛像，如果是其他佛像，也可以以此來推算尺寸）。從肚臍以上的部分做成圓形且稍細，以下的部分做成方形。尖端不宜太銳利，只要像塔的形狀就好。下根做成五股半杵形（畫出來也可以），用硃砂粉塗抹它。所寫的字，用金為上，彩粉為中，墨為下（其他地方也是如此區分）。頂部的一指插入寶髻（ushnisha）內，頸項下，就安放手主心木，形狀為圓形。肚臍下八指處，安放足主心木，形狀為方形。足的主心木以下，梵[巾亭]剩餘四指，作為密藏之處，這樣內部劃分的一百二十五指就不會有差錯了。
（附）經中說，聖像一旦完成，就成為人天共同仰望的無上福田了。而再使用安住（即安像法），是加持慧尊（wisdom deity）冥熏的力量，使神靈功德都倍增恒常。其方法，與前面徙靈章中演說的一樣。遇到大持明仙士（great vidyadhara），那麼他自然能夠遵循如來安像三昧經（在《大藏經》止字函中），或者詳細，或者簡略，根據情況而定。不必多說。不可做不負責任的事情，要上供齋飯，下佈施，普遍使大眾喜悅，建立吉祥道場。
【English Translation】 English version Dry it. Apply a small portion between the two wheels of heaven and earth (chakra). Add most of it to various fragrant powders and flour to fill all emptiness, so that it does not scatter, decay, or become infested with insects; this is the foundation of its firmness. According to [巾亭] wood (central pillar), it is necessary for stupas and towers, but not essential for statues. However, for very large statues, using it is even more wonderful. The method is, if it is freshly harvested, then first choose precious wood (such as chandana (sandalwood), agaru (a type of agarwood), hinoki cypress, cypress, etc., which are non-toxic, thornless, and strong). If purchasing, it must also be bought at a high price, or requested with politeness and kindness; do not forcibly demand or steal it. Once obtained, remember its root and end, and then dry it in the shade. When making it, the root and end must not be reversed (root downwards, end upwards, is correct). The length should be determined according to the size of the new statue, also taking one hundred and twenty-five fingers as the standard (referring to the statue of Tathagata; if it is another statue, the size can also be estimated accordingly). Make the part above the navel round and slightly thinner, and the part below square. The tip should not be too sharp, just resembling the shape of a tower is fine. Make the lower root in the shape of a five-pronged half-vajra (it can also be drawn), and coat it with cinnabar powder. For the written characters, gold is the best, colored powder is medium, and ink is the lowest (the same distinction applies elsewhere). Insert one finger of the top into the ushnisha (寶髻), and below the neck, place the hand principal heartwood, which is round in shape. Eight fingers below the navel, place the foot principal heartwood, which is square in shape. Below the foot principal heartwood, the remaining four fingers of the Brahma [巾亭] serve as a secret storage place, so that the internal division of one hundred and twenty-five fingers will not be inaccurate.
(Appendix) The sutra says that once a sacred image is completed, it becomes an unsurpassed field of merit revered by humans and gods. Furthermore, using the establishment (i.e., the method of installing the image) is to bless the power of the wisdom deity's (慧尊) unseen influence, so that the spiritual merit is doubled and constant. The method is the same as described in the previous chapter on transferring the spirit. If you encounter a great vidyadhara (大持明仙士), then he will naturally be able to follow the Tathagata's Samadhi Sutra on Establishing Images (in the '止' letter box of the Tripitaka), either in detail or briefly, depending on the circumstances. There is no need to say more. Do not do irresponsible work; offer food and alms above, give charity below, universally delight the masses, and establish an auspicious mandala.
。效前徙靈章作。而若其創造之像。則初祝之辭中重葺二字。改唸創造二字。敢舉改容事五字。改唸今瑞像已成五字。徙靈光三字。改唸安住像三字。次日。即照徙靈正日之法作。而其重葺像。則作樂時。壇主親捧先所收靈之鏡。去其蒙帳。對像照之。謹誦惹(引)吽(引)婆母(二合)和(引)而觀作其智慧靈光從鏡中瞥然出。而入潤于像身之想。誦唵蘇巴啦(云云咒亦同)若創造之像。則作樂時。壇主默觀作自清凈法界被本尊為首。一切聖會招住凝融入于像身之想。且誦安住像咒曰(即安像總持)。
唵薩哩(二合)瓦怛他(引)伽怛麻你沙怛第巴嘚入嚩(二合)剌入嚩(二)剌達哩(二合)麻達睹[咻-木+(一/旦)]哩(二合)鞞娑(引)賀(引)
且誦且撒華米于像上(鮮華。或稻米)遂念招住凝融四字真言(即惹引吽引婆母二合和引四字也)唸誦畢開光真言曰。
唵拶克(二合)芻拶克(二合)芻薩滿怛拶克(二合)芻尾刷達尼娑(引)賀(引)
請永住咒。
唵蘇巴啦(二合)底思(二合)茶跋阇啰(二合)耶娑(引)賀(引○觀作永住。本像寶胎。以慈遍臨眾生。保護攝受之想)
遂唪誦別讚頌等。照著平素常例。而令竟之。當日會中。佛工為上客。而必厚
【現代漢語翻譯】 現代漢語譯本： 效仿之前的遷靈章法來做。至於如果是創造的佛像，那麼最初祝禱的辭文中，將『重葺』二字，改爲念誦『創造』二字。將『敢舉改容事五字』，改爲念誦『今瑞像已成五字』。將『徙靈光』三字，改爲念誦『安住像』三字。第二天，就按照遷靈正日的方法來做。如果是重葺的佛像，那麼在做法樂的時候，壇主親自捧著先前所收靈氣的鏡子，去掉鏡子上的蒙帳，對著佛像照。恭敬地誦唸惹（ra，引）吽（hum，引）婆母（bham，二合）和（ho，引），觀想智慧靈光從鏡中一閃而出，融入佛像的身體。誦唸唵蘇巴啦（om subala，云云咒語也相同）。如果是創造的佛像，那麼在做法樂的時候，壇主默默觀想，從自身清凈法界，被本尊為首的一切聖眾招請安住，凝結融入佛像的身體。並且誦唸安住像咒語（即安像總持）： 唵薩哩（am sarva，二合）瓦怛他（va tathā，引）伽怛麻你沙怛第巴嘚入嚩（gatmaniṣṭhatipādye jvala，二合）剌入嚩（jvala，二）剌達哩（ratdari，二合）麻達睹[咻-木+(一/旦)]哩（dharmadhatu，二合）鞞娑（ve svā，引）賀（hā，引） 並且誦唸，並且向佛像上撒鮮花或稻米。於是唸誦招住凝融四字真言（即惹引吽引婆母二合和引四字）。唸誦完畢，唸誦開光真言： 唵拶克（om cak，二合）芻拶克（ṣu cak，二合）芻薩滿怛拶克（ṣu samanta cak，二合）芻尾刷達尼娑（ṣur viśodhani svā，引）賀（hā，引） 請永住咒： 唵蘇巴啦（om subala，二合）底思（tis，二合）茶跋阇啰（ṭha vajra，二合）耶娑（ya svā，引）賀（hā，引）（觀想佛像永遠安住，如同寶胎一樣，以慈悲遍臨眾生，保護攝受他們）。 於是唪誦其他的讚頌等等，照著平時通常的慣例，來完成儀式。當日法會中，佛像工匠作為上賓，一定要厚待他們。
【English Translation】 English version: Follow the previous chapter on transferring the spirit. As for the creation of a Buddha image, in the initial prayer, change the words 'rebuilding' to reciting 'creation'. Change 'dare to perform the five acts of changing appearance' to reciting 'now the auspicious image is complete'. Change the three words 'transfer the spiritual light' to reciting 'abide in the image'. The next day, proceed according to the method for the proper day of transferring the spirit. If it is a rebuilt image, then during the performance of music, the altar master personally holds the mirror that previously collected the spiritual energy, removes the cover from the mirror, and shines it on the image. Reverently recite Ra (引), Hum (引), Bham (二合), Ho (引), and visualize the light of wisdom flashing out from the mirror and merging into the body of the image. Recite Om Subala (and so on, the mantra is the same). If it is a newly created image, then during the performance of music, the altar master silently visualizes, from his own pure Dharmadhatu (法界), all the holy assembly headed by the principal deity being invited to abide, condensing and merging into the body of the image. And recite the mantra for abiding in the image (i.e., the Dharani (總持) for establishing the image): Om Sarva Tathāgata-mniṣṭhatipādye Jvala Jvala Dharmadhatuve Svāhā And recite, and scatter fresh flowers or rice on the image. Then recite the four-syllable true words for inviting, abiding, condensing, and merging (i.e., the four syllables Ra Hum Bham Ho). After finishing the recitation, recite the mantra for consecration: Om Cakṣu Cakṣu Samanta Cakṣur Viśodhani Svāhā Please recite the mantra for eternal abiding: Om Subala Tiṣṭha Vajraya Svāhā (Visualize the image abiding forever, like a precious womb, compassionately embracing all beings, protecting and receiving them). Then chant other praises, etc., following the usual custom, to complete the ritual. On that day, the Buddha image artisans are treated as honored guests and must be treated generously.
資謝之。傳云。凡像神靈喜住有二因。一具足量度。二工師歡悅。其不宜慎之乎。此方嘗見裝藏。捶銀造心肝等。五藏六府。及竭力所獲財寶珍物者。其念非不佳也。然無所憑據。且常招小人。令彼獲無間之罪。彼此兩生畏悔之心。依愚不用為妙。及開光不作佛事。而用烏雞等物。蓋非出內典者。宜永禁之可矣。
右二條。乃章佳國師語錄中節取者也。
九造像福
二乘(大小)兩教(顯密)演示造像功德甚多。今惟就造像本經中節取兩則。亦足以勸發凈信善心矣。唐于闐三藏法師提云般若等。奉制譯出大乘造像功德經云佛言天主。諸有曾經作佛像者。皆於過去已得解脫。在天眾中尚復無有。況于余處。唯有北方毗沙門子那履沙娑。曾於往昔造菩薩像。以斯福故。后得為王。名頻婆娑羅。復因見我。今得生天。有大勢力。永離惡道。優樓頻螺迦葉。伽耶迦葉。那提迦葉。並曾於往世修故佛堂。由此因緣。永得解脫。憍梵波提。昔作牛身。追求水草。右繞精舍。食諸草竹。因見尊容。發歡喜心。乘茲福故。今得解脫。尸毗羅。曾持寶蓋。供養佛像。阿㝹樓馱。然一支燈。亦以供養。輸鞞那。曾掃佛堂。阿婆么那。于佛像前。然燈施明。難陀比丘。愛重尊儀。香水洗沐。有如是等無量諸阿羅漢。皆悉曾
【現代漢語翻譯】 現代漢語譯本： 資謝之（Zixie zhi，人名，此處指某位大師）。傳言說，凡是神靈的畫像，喜歡居住在具備兩個條件的處所：一是尺寸比例符合規範，二是工匠心懷喜悅。這難道不應該謹慎對待嗎？此地（指作者所在地）常見裝藏（zhuangzang，指在佛像內部裝入經文、聖物等）的做法，捶打銀子製作心肝等五臟六腑，以及竭盡全力獲取的財寶珍物。他們的心念並非不好。然而，這樣做沒有任何經典依據。而且常常招致小人，使他們獲得無間地獄（無間，指沒有間斷的痛苦）的罪業。彼此雙方都會產生畏懼和後悔之心。依我看來，不用這些做法才是最好的。還有開光（kaiguang，指為佛像賦予靈性的儀式）時不舉行佛事，卻使用烏雞等物，這都不是出自佛教經典的做法，應該永遠禁止。
以上兩條，是從章嘉國師（Zhangjia Guoshi，清代著名藏傳佛教領袖）的語錄中節選出來的。
九、造像之福
二乘（Ercheng，指聲聞乘和緣覺乘，小乘）和兩教（Liangjiao，指顯教和密教）都闡述了造像的功德非常多。現在只從《造像本經》中節選兩則，也足以勸發清凈的信心和善良的心念。唐朝于闐（Yutian，古國名，位於今新疆一帶）的三藏法師提云般若（Tiyun Banruo）等奉皇帝的命令翻譯出的《大乘造像功德經》中說，佛說：『天主（Tian zhu，指帝釋天）啊，所有曾經制作佛像的人，都在過去已經得到解脫。在天眾之中尚且沒有這樣的人，更何況在其他地方。只有北方的毗沙門天王（毘沙門，Vaishravana，佛教護法神）的兒子那履沙娑（Nalishasha），曾經在過去製造菩薩像，因為這個福報，後來得以成為國王，名叫頻婆娑羅（頻婆娑羅，Bimbisara，古印度摩揭陀國國王）。又因為見到我（指佛陀），現在得以昇天，有很大的勢力，永遠脫離惡道。優樓頻螺迦葉（優樓頻螺迦葉，Uruvilva-kashyapa）、伽耶迦葉（伽耶迦葉，Gaya-kashyapa）、那提迦葉（那提迦葉，Nadi-kashyapa），都曾經在往世修繕破舊的佛堂，因為這個因緣，永遠得到解脫。憍梵波提（憍梵波提，Gavampati），過去做牛的時候，爲了尋找水草，右繞精舍（精舍，vihara，佛教寺院），吃精舍周圍的草和竹子，因為看見佛的尊容，生起歡喜心，憑藉這個福報，現在得以解脫。尸毗羅（Shibila），曾經手持寶蓋，供養佛像。阿㝹樓馱（阿㝹樓馱，Aniruddha），點燃一支燈，也用來供養。輸鞞那（Shubina），曾經打掃佛堂。阿婆么那（Apamana），在佛像前，點燈施明。難陀比丘（Nanda Bhikkhu），愛重佛的尊容，用香水洗浴。像這樣無量無數的阿羅漢（阿羅漢，Arhat），都曾經…』
【English Translation】 English version: Zixie zhi (a name, referring to a master here). It is said that images of deities like to reside in places that meet two conditions: first, the dimensions and proportions are in accordance with the standards; second, the artisans are joyful. Shouldn't this be treated with caution? Here (referring to the author's location), the practice of 'zhuangzang' (referring to the practice of filling the inside of a Buddha statue with scriptures, sacred objects, etc.) is commonly seen, hammering silver to make the heart, liver, and other internal organs, as well as treasures and precious objects obtained with great effort. Their intentions are not bad. However, there is no scriptural basis for doing so. Moreover, it often attracts petty people, causing them to incur the sin of Avici hell (Avici, referring to uninterrupted suffering). Both sides will develop fear and regret. In my opinion, it is best not to use these practices. Also, when performing 'kaiguang' (referring to the ritual of endowing a Buddha statue with spirituality), not performing Buddhist rituals but using black chickens and other things is not a practice from Buddhist scriptures and should be permanently prohibited.
The above two articles are excerpts from the recorded sayings of Zhangjia Guoshi (a famous Tibetan Buddhist leader of the Qing Dynasty).
Nine, The Merit of Making Images
Both the Two Vehicles (Ercheng, referring to the Sravaka Vehicle and the Pratyekabuddha Vehicle, Hinayana) and the Two Teachings (Liangjiao, referring to Exoteric and Esoteric Buddhism) expound that the merit of making images is very great. Now, only two excerpts from the 'Sutra on the Merit of Making Images' are enough to encourage pure faith and good thoughts. In the 'Mahayana Sutra on the Merit of Making Images,' translated by the Tripitaka Master Tiyun Banruo of Yutian (an ancient kingdom located in present-day Xinjiang) of the Tang Dynasty and others under the emperor's order, the Buddha said: 'Lord of the Gods (Tian zhu, referring to Indra), all those who have ever made Buddha images have already attained liberation in the past. Among the heavenly beings, there are not even such people, let alone in other places. Only Nalishasha, the son of the Northern Heavenly King Vaishravana (毘沙門, Vaishravana, a Buddhist guardian deity), once made a Bodhisattva image in the past. Because of this merit, he later became a king named Bimbisara (頻婆娑羅, Bimbisara, the king of Magadha in ancient India). And because he saw me (referring to the Buddha), he is now able to be reborn in heaven, has great power, and is forever free from evil paths. Urvilva-kashyapa (優樓頻螺迦葉, Uruvilva-kashyapa), Gaya-kashyapa (伽耶迦葉, Gaya-kashyapa), and Nadi-kashyapa (那提迦葉, Nadi-kashyapa) all repaired old Buddhist halls in their past lives. Because of this cause, they will forever attain liberation. Gavampati (憍梵波提, Gavampati), when he was an ox in the past, in order to find water and grass, circled the vihara (精舍, vihara, Buddhist monastery) to the right, eating the grass and bamboo around the vihara. Because he saw the Buddha's dignified appearance, he developed a joyful heart. Relying on this merit, he is now able to attain liberation. Shibila (尸毗羅, Shibila) once held a jeweled canopy to offer to the Buddha image. Aniruddha (阿㝹樓馱, Aniruddha) lit a lamp and also used it as an offering. Shubina (輸鞞那, Shubina) once swept the Buddhist hall. Apamana (阿婆么那, Apamana) lit a lamp and provided light in front of the Buddha image. Nanda Bhikkhu (難陀比丘, Nanda Bhikkhu) loved and respected the Buddha's dignified appearance and bathed him with fragrant water. Like these countless Arhats (阿羅漢, Arhat), all once...'
于佛像之所。薄申供養。乃至極下如那伽波羅。于像座前。以少許黃丹。畫一像身。而為供養。由此福故。皆永離苦。而得解脫。天主。若復有人。能於我法未滅盡來。造佛像者。于彌勒初會。皆得解脫。若有眾生。非但為已而求出離。乃為欲得無上菩提。造佛像者。當知此則為三十二相之因。能令其人速致成佛。(又)答。彌勒菩薩言。彌勒。諦聽諦聽。善思念之。當爲汝說。若有凈信善男子善女人。于佛功德專精繫念。常觀如來威德自在。具足十力。四無所畏。十八不共法。大慈大悲。一切智智。三十二種大人之相。八十隨形好。一一毛孔。皆有無量異色光明。百千億種殊勝福德莊嚴成就。無量智慧明瞭通達。無量三昧。無量法忍。無量陀羅尼。無量神通。如是等一切功德皆無有量。離眾過失。無與等者。此人如是諦念思惟。深生信樂。依諸相好而作佛像。功德廣大。無量無邊不可稱數。彌勒。若有人以眾雜彩而為繢飾。或復镕鑄金銀銅鐵鉛錫等物。或有雕刻栴檀香等。或複雜以真珠螺貝錦繡織成。丹土白灰。若泥若木。如是等物。隨其力分而作佛像。乃至極小如一指大。能令見者知是尊容。其人福報。我今當說。彌勒。如是之人。于生死中雖複流轉。終不生在貧窮之家。亦不生於邊小國土。下劣種姓孤獨之家。
【現代漢語翻譯】 現代漢語譯本： 在佛像所在的地方，略微地供養，乃至最下等，比如那伽波羅（Nāgapāla，護法龍天），在佛像座前，用少許黃丹，畫一個佛像的身軀，以此作為供養。因為這個福報，都能永遠脫離痛苦，而得到解脫。天主（Deva，天神之主），如果又有人，能在我的佛法未滅盡之前，建造佛像，在彌勒（Maitreya，未來佛）初次聚會時，都能得到解脫。如果有眾生，不僅僅爲了自己而求得解脫，而是爲了獲得無上菩提（Anuttara-samyak-sambodhi，無上正等正覺），建造佛像，應當知道這便是三十二相（Lakṣaṇa，佛的三十二種殊勝的身體特徵）的原因，能讓這個人迅速成就佛果。 （又）彌勒菩薩（Maitreya Bodhisattva，未來佛）回答說：彌勒，仔細聽，仔細聽，好好地思考，我將為你解說。如果有清凈信仰的善男子善女人，對於佛的功德專心致志地繫念，常常觀想如來的威德自在，具足十力（Daśabala，佛的十種力量），四無所畏（catu vaiśāradyāni，佛的四種無畏），十八不共法（Avenika-dharma，佛的十八種不與其他修行者共通的功德），大慈大悲，一切智智（Sarvajnana，對一切事物和一切道理的智慧），三十二種大人之相（Lakṣaṇa，佛的三十二種殊勝的身體特徵），八十隨形好（Anuvyañjana，佛的八十種較小的身體特徵），每一個毛孔，都有無量異色的光明，百千億種殊勝福德莊嚴成就，無量智慧明瞭通達，無量三昧（Samadhi，禪定），無量法忍（Dharma-ksanti，對佛法的忍耐和接受），無量陀羅尼（Dharani，總持，記憶和理解佛法的能力），無量神通（Abhijñā，超自然能力），像這樣的一切功德都無有窮盡，遠離各種過失，沒有可以與之相比的。這個人像這樣仔細地念誦思惟，深深地產生信樂，依靠各種相好而製作佛像，功德廣大，無量無邊不可稱數。彌勒，如果有人用各種雜色來繪製裝飾，或者熔鑄金銀銅鐵鉛錫等物，或者雕刻栴檀香等，或者複雜地用真珠螺貝錦繡織成，丹土白灰，無論是泥土還是木頭，像這樣的物品，根據自己的能力來製作佛像，乃至極小如一指大小，能讓看見的人知道這是尊貴的容貌，這個人的福報，我現在將要說。彌勒，像這樣的人，在生死之中雖然反覆流轉，最終不會出生在貧窮的家庭，也不會出生在邊遠小國，下賤種姓孤獨的家庭。
【English Translation】 English version: In the place of a Buddha image, offer a small offering. Even the lowest, such as a Nāgapāla (guardian dragon deity), in front of the image's seat, use a little yellow cinnabar to draw the body of an image as an offering. Because of this merit, they will all be permanently freed from suffering and attain liberation. Lord of the Devas (Deva, lord of the gods), if there is someone who can create Buddha images before my Dharma is completely extinguished, they will all be liberated at the first assembly of Maitreya (future Buddha). If there are sentient beings who seek liberation not only for themselves but also to attain Anuttara-samyak-sambodhi (unsurpassed perfect enlightenment), by creating Buddha images, know that this is the cause of the thirty-two marks (Lakṣaṇa, the thirty-two auspicious bodily marks of a Buddha), enabling that person to quickly attain Buddhahood. (Also) Maitreya Bodhisattva (future Buddha) replied: Maitreya, listen carefully, listen carefully, and contemplate well. I will explain it to you. If there are virtuous men and virtuous women with pure faith, who single-mindedly focus their thoughts on the merits of the Buddha, constantly contemplating the majestic and sovereign power of the Tathagata (Buddha), possessing the ten powers (Daśabala, the ten powers of a Buddha), the four fearlessnesses (catu vaiśāradyāni, the four kinds of fearlessness of a Buddha), the eighteen unique qualities (Avenika-dharma, the eighteen qualities unique to a Buddha), great loving-kindness and great compassion, all-knowing wisdom (Sarvajnana, wisdom of all things), the thirty-two marks of a great man (Lakṣaṇa, the thirty-two auspicious bodily marks of a Buddha), the eighty minor marks (Anuvyañjana, the eighty minor marks of a Buddha), each pore having immeasurable light of different colors, adorned and accomplished with hundreds of thousands of billions of kinds of supreme merits, immeasurable wisdom, clear understanding, immeasurable Samadhi (meditative absorption), immeasurable Dharma-ksanti (patience and acceptance of the Dharma), immeasurable Dharani (retention, the ability to remember and understand the Dharma), immeasurable Abhijñā (supernatural powers), all such merits are immeasurable, free from all faults, and without equal. If such a person recites and contemplates in this way, deeply generating faith and joy, and makes Buddha images based on the various marks and qualities, the merit is vast, immeasurable, boundless, and uncountable. Maitreya, if someone uses various mixed colors to paint and decorate, or melts and casts gold, silver, copper, iron, lead, tin, and other materials, or carves sandalwood and other fragrances, or intricately weaves with pearls, shells, brocade, and embroidery, red earth, white ash, whether it be clay or wood, with such materials, according to their ability, they make Buddha images, even as small as a finger, enabling those who see it to know that this is a venerable appearance, I will now speak of the blessings of this person. Maitreya, such a person, although repeatedly transmigrating in samsara (cycle of birth and death), will ultimately not be born into a poor family, nor will they be born in a remote small country, or a low-caste lonely family.
又亦不生迷戾車等。商估販貨屠膾等家。乃至不生卑賤技巧。不凈種族。外道苦行邪見等家。除因願力。並不生彼。是人常生轉輪聖王有大勢力種姓之家。或生凈行婆羅門富貴自在無過失家。所生之處。常遇諸佛。承事供養。或得為王。能持正法。以法教化。不行非道。或作轉輪聖王。七寶成就。千子具足。騰空而行。化四天下。盡其壽命。自在豐樂。或作帝釋。夜摩天王。兜率天王。化樂天王。他化自在天王。人天快樂。靡不皆受。如是福報。相續不絕。所生之處。常作丈夫。不受女身。亦復不受黃門三形卑賤之身。所受之身。無諸醜惡。目不盲眇。耳不聾瞆鼻不曲戾。口不喎斜。唇不下垂。亦不𩓀澀。齒不疏缺。不黑不黃。舌不短急。項無瘤癭。形不傴僂。色不斑駁。臂不短促。足不𤼣跛不甚瘦。不甚肥。亦不太長。亦不太短。如是一切不可喜相。悉皆無有。其身端正。面貌圓滿。發紺青色。軟澤光凈。唇如丹果。目若青蓮。舌相廣長。齒白齊密。發言巧妙能令聞者無不喜悅。臂肘𦟛長。掌平坦厚。腰脾充實。胸臆廣大。手足柔軟。如兜羅綿。諸相具足。無所缺減。如那羅延天。有大筋力。彌勒。譬如有人。墮圊廁中。從彼得出。刮除糞穢。凈水洗沐。以香涂身。著新潔衣。如是此人。比在廁中猶未得出。凈穢香
臭。相去幾何。此事懸隔。無有等倍。彌勒。若有人于生死中。能發信心造佛形。像比未造時。相去懸隔。亦復如是。當知此人。在在所生。凈除業障。種種技術。無師自解。雖生人趣。得天六根。若生天中。超越眾天。所生之處。無諸疾苦。無疥癩。無癰疽。不為鬼魅之所染著。無有癲狂干痟等病。癘瘧癥瘕。惡瘡隱疾。吐痢無度。飲食不消。舉體痠疼。半身痿躄如是等病四百四種。皆悉無有。亦復不為毒藥兵杖。虎狼師子。水火怨賊。如是橫緣之所傷害。常得無畏。不犯諸罪。彌勒。若有眾生。宿造惡業。當受種種諸苦惱事。所謂枷鎖杻械。打罵燒炙。剝皮拔髮。反系高懸。乃至或被分解支節。若發信心造佛形像。如是苦報皆悉不受。若寇賊侵擾。城邑破壞。惡星變怪。饑饉疾疫。如是之處不生其中。若言生者。斯則妄說。爾時彌勒菩薩摩訶薩復白佛言。世尊。如來常說善不善業皆不失壞。若有眾生作諸重罪。當生卑賤種姓之家。貧窮疾苦。壽命夭促。后發信心造佛形像。此眾罪報。為更當受。為不受耶。佛告彌勒菩薩言。彌勒。汝今諦聽。當爲汝說。若彼眾生作諸罪已。發心造像。求哀懺悔。決定自新。誓不重犯。先時所作。皆得銷滅。我今為汝廣明此事。彌勒。譬若有人宿行慳吝。以是緣故。受貧窮苦。無諸
【現代漢語翻譯】 現代漢語譯本 『臭』（指惡業的果報）與（造佛像的功德）『相去幾何』？（兩者之間的差距）『此事懸隔』（非常遙遠），『無有等倍』（無法用倍數來衡量）。 彌勒（Maitreya，即彌勒菩薩）。如果有人在生死輪迴中，能夠發起信心，『造佛形像』（塑造佛像），那麼（此人）造像前和造像后的功德相比，『相去懸隔』（差距非常遙遠），也是如此（無法衡量）。 應當知道，這個人，『在在所生』（無論轉生到哪裡），都能『凈除業障』（清除過去的業障），各種『種種技術』（技藝），『無師自解』（無需老師教導就能自然領悟）。即使『雖生人趣』（即使轉生到人間），也能得到『天六根』（如同天人般敏銳的六根）。如果『若生天中』（轉生到天界），則能『超越眾天』（超越其他天人）。 （此人）『所生之處』（無論轉生到哪裡），『無諸疾苦』（沒有各種疾病痛苦），『無疥癩』（沒有疥瘡和癩病），『無癰疽』（沒有癰和疽等惡瘡），『不為鬼魅之所染著』（不會被鬼怪迷惑或附身），『無有癲狂干痟等病』（沒有癲癇、精神失常等疾病），『癘瘧癥瘕』（沒有麻風病、瘧疾、癥瘕等疾病），『惡瘡隱疾』（沒有惡性瘡瘍和難以啟齒的疾病），『吐痢無度』（沒有無休止的嘔吐和腹瀉），『飲食不消』（沒有消化不良），『舉體痠疼』（沒有全身痠痛），『半身痿躄』（沒有半身不遂），『如是等病四百四種』（像這樣的四百零四種疾病），『皆悉無有』（全部都沒有）。 （此人）『亦復不為毒藥兵杖』（也不會受到毒藥和武器的傷害），『虎狼師子』（不會受到老虎、狼和獅子的傷害），『水火怨賊』（不會受到水災、火災和盜賊的傷害），『如是橫緣之所傷害』（不會受到這些意外災禍的傷害），『常得無畏』（常常感到無所畏懼），『不犯諸罪』（不會觸犯各種罪行）。 彌勒（Maitreya）。如果有些眾生，『宿造惡業』（過去造作了惡業），本應『當受種種諸苦惱事』（承受各種痛苦和煩惱的事情），例如『所謂枷鎖杻械』（戴上枷鎖和手銬腳鐐），『打罵燒炙』（遭受毆打、辱罵、燒傷和烤炙），『剝皮拔髮』（被剝皮和拔頭髮），『反系高懸』（被反綁起來高高懸掛），甚至『乃至或被分解支節』（甚至被肢解）。如果（此人）發起信心『造佛形像』（塑造佛像），『如是苦報皆悉不受』（這樣的苦報全部都不會承受）。 如果遇到『寇賊侵擾』（盜賊侵擾），『城邑破壞』（城市被摧毀），『惡星變怪』（不祥的星象變化），『饑饉疾疫』（饑荒和瘟疫），（此人）『如是之處不生其中』（不會出生在這些地方）。『若言生者，斯則妄說』（如果說會出生在這些地方，那就是妄語）。 這時，彌勒菩薩摩訶薩（Maitreya Bodhisattva-Mahasattva）再次對佛說：『世尊（World-Honored One，佛的尊稱），如來（Tathagata，佛的稱號）常說善業和不善業都不會消失。如果有些眾生造作了各種重罪，本應出生在卑賤的種姓之家，貧窮困苦，壽命短促。後來發起信心塑造佛像，這些罪報，是仍然要承受，還是不再承受呢？』 佛告訴彌勒菩薩說：『彌勒（Maitreya），你現在仔細聽，我為你解說。如果那些眾生造作了各種罪業之後，發心造像，懇求哀憫懺悔，決心改過自新，發誓不再重犯，那麼先前所造作的罪業，都能消除滅盡。我現在為你詳細說明這件事。』 『彌勒（Maitreya），譬如有人過去行為慳吝，因為這個緣故，遭受貧窮困苦，沒有各種（資財）。』
【English Translation】 English version 『How far apart』 are 『stench』 (referring to the retribution of evil deeds) and (the merit of making Buddha images)? 『This matter is separated』 (very distant), 『there is no equal multiple』 (cannot be measured by multiples). Maitreya (Maitreya, i.e., Maitreya Bodhisattva). If someone in the cycle of birth and death can generate faith and 『make Buddha images』 (sculpt Buddha images), then compared to the merit before and after making the image, 『the distance is separated』 (the gap is very far), and it is also like this (immeasurable). It should be known that this person, 『wherever he is born』 (wherever he is reborn), can 『purify karma』 (clear past karma), all kinds of 『various techniques』 (skills), 『understand without a teacher』 (can naturally understand without a teacher). Even if 『born in the human realm』 (even if reborn in the human realm), he can obtain 『heavenly six senses』 (six senses as keen as those of heavenly beings). If 『born in heaven』 (reborn in heaven), he can 『surpass all heavens』 (surpass other heavenly beings). 『Wherever he is born』 (wherever he is reborn), 『there are no sufferings』 (there are no various diseases and sufferings), 『no scabies』 (no scabies and leprosy), 『no carbuncles』 (no carbuncles and other malignant sores), 『not contaminated by ghosts』 (will not be confused or possessed by ghosts), 『no epilepsy and other diseases』 (no epilepsy, mental disorders, and other diseases), 『leprosy, malaria』 (no leprosy, malaria, etc.), 『malignant sores』 (no malignant sores and unspeakable diseases), 『unlimited vomiting』 (no endless vomiting and diarrhea), 『indigestion』 (no indigestion), 『body aches』 (no body aches), 『hemiplegia』 (no hemiplegia), 『such as these four hundred and four kinds of diseases』 (like these four hundred and four kinds of diseases), 『all are without』 (all are without). 『Also not harmed by poison and weapons』 (will not be harmed by poison and weapons), 『tigers, wolves, lions』 (will not be harmed by tigers, wolves, and lions), 『water, fire, enemies』 (will not be harmed by floods, fires, and thieves), 『such unexpected causes of harm』 (will not be harmed by these unexpected disasters), 『always fearless』 (always feel fearless), 『do not commit all sins』 (will not commit various sins). Maitreya (Maitreya). If some sentient beings, 『accumulated evil karma』 (accumulated evil karma in the past), should 『receive all kinds of suffering』 (endure all kinds of suffering and troubles), such as 『so-called shackles』 (wearing shackles and handcuffs), 『beating, scolding, burning』 (suffering beatings, scolding, burns, and roasting), 『skinning, hair pulling』 (being skinned and having hair pulled), 『tied up high』 (being tied up and hung high), even 『even being dismembered』 (even being dismembered). If (this person) generates faith and 『makes Buddha images』 (sculpts Buddha images), 『such suffering will not be received』 (such suffering will not be endured). If encountering 『bandits invading』 (bandits invading), 『cities destroyed』 (cities destroyed), 『ominous star changes』 (ominous star changes), 『famine and plague』 (famine and plague), (this person) 『will not be born in such places』 (will not be born in these places). 『If it is said that they are born, then it is false』 (If it is said that they will be born in these places, then it is false). At this time, Maitreya Bodhisattva-Mahasattva (Maitreya Bodhisattva-Mahasattva) said to the Buddha again: 『World-Honored One (World-Honored One, the Buddha's honorific title), the Tathagata (Tathagata, the Buddha's title) often says that good and evil karma will not disappear. If some sentient beings commit various serious sins and should be born into humble families, poor and suffering, with short lives. Later, they generate faith and sculpt Buddha images, will these retributions still be endured, or will they no longer be endured?』 The Buddha told Maitreya Bodhisattva: 『Maitreya (Maitreya), listen carefully now, I will explain it to you. If those sentient beings, after committing various sins, generate the intention to make images, earnestly repent, and resolve to reform, vowing not to repeat the offenses, then the sins committed earlier can be eliminated. I will now explain this matter to you in detail.』 『Maitreya (Maitreya), for example, if someone in the past was stingy, because of this reason, they suffer poverty and have no (wealth).』
財寶。資用匱乏。忽遇比丘先入滅定。從定初起。即以飲食恭敬奉施。此人施已。永舍貧窮。凡有所須。悉如其意。彌勒。彼貧窮人先世惡業。及所得報。今何在耶。彌勒菩薩言。世尊。由施食故。先世惡業。皆悉滅盡。永離貧窮。大富充足。佛言。彌勒。如汝所言。當知此人亦復如是。由造像故。彼諸惡業永盡無餘。所應受報。皆不復受。彌勒。業有三種。一者現受。二者生受。三者后受。此三種業中。一一皆有定與不定。若人信心造佛形像。唯現定業少分容受。余皆不受。爾時彌勒菩薩摩訶薩復白佛言。世尊。如來常說有五種業最為深重。決定墮于無間地獄。所謂殺父害母。殺阿羅漢。以惡逆心出佛身血。破和合僧。若有眾生先作此罪。後於佛所生凈信心。造佛形像。此人為更墮于地獄。為不墮耶。佛告彌勒菩薩言。彌勒。我今為汝重說譬喻。如或有人手執強弓。于樹林中向上射葉。其箭徹往曾無所礙。若有眾生犯斯逆罪。後作佛像。誠心懺悔。得無根信。我想微薄。雖墮地獄。還即出離。如箭不停。此亦如是。又如比丘得神足通。從海此岸到于彼岸。周旋四州無能礙者。此人亦爾。由先所犯暫墮地獄。非彼宿業所能為礙。爾時彌勒菩薩摩訶薩復白佛言。世尊。諸佛如來。是法性身。非色相身。若以色相為佛身者
。難陀比丘。與轉輪聖王。皆應是佛。以悉具有諸相好故。或有眾生壞佛法身。法說非法。非法說法。后發信心而造佛像。此之重罪為亦銷滅。為不得滅。佛告彌勒菩薩言。彌勒。若彼眾生法說非法。非法說法。唯以口言。而不壞見。後生信樂。造佛形像。此先惡業。但于現身而受輕報。不墮惡道。然于生死未即解脫。爾時彌勒菩薩摩訶薩復白佛言。世尊。若有人盜佛塔物。盜僧祇物。四方僧物。現前僧物。自用與人。如已物想。世尊常說用佛塔物。及僧物者。其罪甚重。然彼眾生作是罪已。深自悔責。起凈信心而造佛像。如是等罪。為滅不耶。佛告彌勒菩薩言。彌勒。若彼眾生曾用此物。后自省察。深懷愧悔。依數酬倍。誓更不犯。我今為汝說一譬喻。如有貧人先多負債。忽遇伏藏。得無量寶。還其債已。長有餘財。當知此人亦復如是。酬倍彼物。又造佛像。免諸苦患。永得安樂。爾時彌勒菩薩摩訶薩復白佛言。世尊。如佛所說。于佛法中犯波羅夷。不名為生。或復有人作斯罪已。發心憶念諸佛功德而造佛像。于佛法中得再生不。又於今生第二第三第四生中。獲證法不。佛告彌勒菩薩言。彌勒。譬如有人生被五縛。若得解脫。如鳥出網。至無礙處。此人亦爾。若發信心。唸佛功德而造佛像。一切業障皆得消除。于生
【現代漢語翻譯】 現代漢語譯本： 難陀比丘（Nanda Bhikkhu）和轉輪聖王（Chakravartin），是否都應被認為是佛？因為他們都完全具備各種殊勝的相好。 或者，如果有些眾生破壞佛法之身，將正法說成非法，將非法說成正法，之後生起信心而建造佛像，這種嚴重的罪業是能夠被消除，還是不能被消除？ 佛告訴彌勒菩薩（Maitreya Bodhisattva）說：『彌勒，如果那些眾生將正法說成非法，將非法說成正法，只是口頭上說說，而沒有從根本上顛倒見解，之後生起信心和喜悅，建造佛的形像，那麼這種先前的惡業，只會讓他們在今生受到較輕的報應，不會墮入惡道。然而，他們還不能立即從生死輪迴中解脫。』 當時，彌勒菩薩摩訶薩（Maitreya Bodhisattva-Mahasattva）又對佛說：『世尊，如果有人盜取佛塔（Buddha Stupa）的財物，盜取僧眾（Sangha）的財物，包括十方僧眾的財物和現前僧眾的財物，自己使用或送給他人，認為就像是自己的東西一樣。世尊您常說，使用佛塔的財物和僧眾的財物，罪過非常嚴重。然而，如果這些眾生犯下這種罪行后，深深地自我悔恨，生起清凈的信心而建造佛像，那麼這些罪業能夠被消除嗎？』 佛告訴彌勒菩薩說：『彌勒，如果那些眾生曾經使用過這些財物，後來自我反省，深深地感到慚愧和後悔，按照數量加倍償還，並且發誓不再犯同樣的錯誤。我現在為你講一個比喻。比如有一個窮人，先前欠了很多債，忽然發現了一個寶藏，得到了無量的財寶，還清了債務后，還有剩餘的財富。你應該知道，這個人也是如此，加倍償還了那些財物，又建造了佛像，就能免除各種痛苦和災難，永遠得到安樂。』 當時，彌勒菩薩摩訶薩又對佛說：『世尊，正如佛所說，在佛法中犯下波羅夷（Parajika，斷頭罪），不能算作是真正的出家修行人。或者，如果有人犯下這種罪行后，發心憶念諸佛的功德而建造佛像，那麼在佛法中還能重新獲得出家的資格嗎？又在今生、第二生、第三生、第四生中，能夠證得佛法嗎？』 佛告訴彌勒菩薩說：『彌勒，譬如有一個人，生來就被五花大綁，如果能夠得到解脫，就像鳥兒從網中飛出，到達沒有阻礙的地方。這個人也是如此，如果發起信心，憶念佛的功德而建造佛像，一切的業障都能夠消除，在生生世世中』
【English Translation】 English version: Nanda Bhikkhu (Nanda Bhikkhu) and Chakravartin (Chakravartin), should they both be considered Buddhas? Because they both fully possess all the excellent marks and qualities. Or, if some beings destroy the body of the Buddha's Dharma, say that the true Dharma is not Dharma, and say that what is not Dharma is Dharma, and then generate faith and build Buddha images, can this grave sin be eliminated, or can it not be eliminated? The Buddha told Maitreya Bodhisattva (Maitreya Bodhisattva), 'Maitreya, if those beings say that the true Dharma is not Dharma, and say that what is not Dharma is Dharma, only with their mouths, and do not fundamentally reverse their views, and then generate faith and joy, and build Buddha images, then this previous evil karma will only cause them to receive lighter retribution in this life, and they will not fall into evil paths. However, they will not be immediately liberated from the cycle of birth and death.' At that time, Maitreya Bodhisattva-Mahasattva (Maitreya Bodhisattva-Mahasattva) again said to the Buddha, 'World Honored One, if someone steals the property of a Buddha Stupa (Buddha Stupa), steals the property of the Sangha (Sangha), including the property of the Sangha of the ten directions and the property of the Sangha present, and uses it themselves or gives it to others, thinking it is like their own property. World Honored One, you often say that using the property of the Buddha Stupa and the property of the Sangha is a very serious offense. However, if these beings commit this offense and then deeply repent, generate pure faith, and build Buddha images, can these offenses be eliminated?' The Buddha told Maitreya Bodhisattva, 'Maitreya, if those beings have used these things, and later reflect on themselves, deeply feel ashamed and regretful, repay double the amount, and vow never to commit the same mistake again. I will now tell you a parable. For example, a poor person who previously owed a lot of debt suddenly discovers a treasure, obtains immeasurable wealth, and after paying off the debt, still has remaining wealth. You should know that this person is also like this, repaying double the amount of those things, and also building Buddha images, can avoid all kinds of suffering and disasters, and forever obtain peace and happiness.' At that time, Maitreya Bodhisattva-Mahasattva again said to the Buddha, 'World Honored One, as the Buddha said, committing Parajika (Parajika, a defeat) in the Buddha's Dharma cannot be considered a true monastic practitioner. Or, if someone commits this offense and then resolves to remember the merits of all the Buddhas and build Buddha images, can they regain the qualification to be a monastic in the Buddha's Dharma? And in this life, the second life, the third life, and the fourth life, can they attain the Dharma?' The Buddha told Maitreya Bodhisattva, 'Maitreya, for example, a person who is born is tied up with five ropes, if they can be liberated, it is like a bird flying out of a net and reaching a place without obstacles. This person is also like this, if they generate faith, remember the merits of the Buddha, and build Buddha images, all karmic obstacles can be eliminated, in life after life'
死中速出無礙。彌勒當知。乘有三種。所謂聲聞乘。獨覺乘。及以佛乘。此人隨於何乘而起愿樂。即於此乘而得解脫。若但為成佛。不求余報。雖有重障而得速滅。雖在生死而無苦難。乃至當證無上菩提。獲清凈土。具諸相好。所得壽命。常無有盡。爾時會中有未發大乘心者。皆生疑念。如來過去為造佛像。為不作耶。設若作者。云何壽命而有限極。有病有苦。所居國土多諸穢濁。不得清凈。時波斯匿王。承佛威神。即從座起。長跪合掌。白佛言。世尊。我見如來諸根相好。及以種族。皆悉第一。其心決定。無有所疑。然佛世尊。曾於一時。被佉陀羅木刺傷其足。又於一時遇提婆達多。推山迸石。傷足出血。昔復一時。唱言有病。命遣耆婆。調下痢藥。又一時中。曾患背痛。令摩訶迦葉誦七菩提分。所苦得除。復於一時。曾有所患。使阿難陀往婆羅門家。乞求牛乳。往復一時。于婆羅村中三月安居。唯食馬麥。復曾一時。乞食不得。空缽而還。如世尊言。若有人作佛像者。所有業障皆得除滅。離眾苦惱。無諸疾病。世尊往昔為曾作像。為不曾作。若於昔時作佛像者。何因而有如是等事。佛告波斯匿王言。諦聽諦聽。善思念之。當爲大王分別解說。大王。我于往世為求菩提。以眾寶栴檀彩畫等事而作佛像。過此會中人天
【現代漢語翻譯】 現代漢語譯本： 死後迅速脫離障礙。彌勒（Maitreya，未來佛）應當知道，乘（Yana，交通工具，比喻運載眾生到達解脫的教法）有三種，即聲聞乘（Śrāvakayāna，聽聞佛法而修行的乘）、獨覺乘（Pratyekabuddhayāna，獨自覺悟的乘）以及佛乘（Buddhayāna，引導眾產生佛的乘）。此人隨於哪種乘而發起願望和喜好，即於此乘而得解脫。若僅僅爲了成佛，不求其他果報，即使有很重的業障也能迅速消滅，即使身處生死輪迴之中也沒有苦難，乃至最終證得無上菩提（Anuttara-samyak-sambodhi，無上正等正覺），獲得清凈佛土（Buddhakṣetra，佛所居住的國土），具足各種殊勝的相好（Lakṣaṇa-vyāñjana，佛的特徵和美好品質），所得壽命，永遠沒有窮盡。當時法會中有些尚未發起大乘心（Mahāyāna-citta，追求普度眾生的心）的人，都產生了疑問：如來（Tathāgata，佛的稱號）過去是造過佛像，還是沒有造過呢？如果造過，為什麼壽命會有期限，有疾病有痛苦，所居住的國土多是污穢混濁，不得清凈呢？
這時波斯匿王（Prasenajit，古印度拘薩羅國國王），憑藉佛的威神力，立即從座位上站起來，長跪合掌，對佛說：『世尊（Bhagavan，佛的尊稱），我見如來的諸根相好，以及種族出身，都是第一等的，我的內心對此非常確定，沒有什麼疑惑。然而佛世尊，曾經有一次，被佉陀羅木（khadira，一種樹木）的刺扎傷了腳。又有一次遇到提婆達多（Devadatta，佛陀的堂弟，後背叛佛教），推山上的石頭，迸出的石頭擊傷了佛的腳，導致出血。過去還有一次，佛宣稱自己生病了，命令耆婆（Jivaka，名醫）調製治療痢疾的藥物。又一次，佛曾患背痛，讓摩訶迦葉（Mahākāśyapa，佛的大弟子）誦七菩提分（sapta bodhyanga，七種覺悟的因素），痛苦才得以消除。還有一次，佛曾生病，讓阿難陀（Ānanda，佛的侍者）去婆羅門（Brahmin，印度教祭司）家乞求牛奶。還有一次，在婆羅村中三個月安居，只吃馬麥。還曾有一次，乞食沒有得到食物，空著缽回來。如果像世尊所說，如果有人造佛像，所有的業障都能消除滅盡，遠離各種苦惱，沒有各種疾病。世尊往昔是曾經造過佛像，還是不曾造過呢？如果在過去造過佛像，為什麼會有這些事情發生呢？』
佛告訴波斯匿王說：『仔細聽，仔細聽，好好思考，我會為大王分別解說。大王，我在往世爲了追求菩提，用各種寶物、栴檀（candana，一種香木）、彩畫等來製作佛像，超過了這次法會中的人天。』 English version: After death, one quickly escapes obstacles. Maitreya (the future Buddha) should know that there are three types of Yana (vehicle, a metaphor for teachings that carry beings to liberation): the Śrāvakayāna (the vehicle of those who hear and practice the teachings), the Pratyekabuddhayāna (the vehicle of solitary Buddhas), and the Buddhayāna (the vehicle that leads beings to Buddhahood). Whichever Yana a person aspires to and delights in, they will attain liberation through that Yana. If one seeks only to become a Buddha, without seeking other rewards, even heavy karmic obstacles can be quickly eliminated, and even while in the cycle of birth and death, there will be no suffering, until one ultimately attains Anuttara-samyak-sambodhi (unsurpassed perfect enlightenment), obtains a pure Buddhakṣetra (Buddha-field, the land where a Buddha resides), possesses all the excellent Lakṣaṇa-vyāñjana (marks and characteristics of a Buddha), and the lifespan obtained will be eternally without end. At that time, some in the assembly who had not yet generated the Mahāyāna-citta (the mind of seeking to liberate all beings) all had doubts: Did the Tathāgata (a title of the Buddha) create Buddha images in the past, or did he not? If he did, why is his lifespan limited, why does he experience illness and suffering, and why is the land he dwells in mostly impure and defiled, not pure?
At that time, King Prasenajit (king of Kosala in ancient India), relying on the Buddha's majestic power, immediately rose from his seat, knelt with palms together, and said to the Buddha: 'Bhagavan (a respectful title for the Buddha), I see that the Tathāgata's faculties and characteristics, as well as his lineage, are all the best. My mind is certain about this, and I have no doubts. However, the Buddha, on one occasion, was pricked in the foot by a thorn from a khadira (a type of tree) tree. On another occasion, he encountered Devadatta (the Buddha's cousin, who later betrayed Buddhism), who pushed a rock down the mountain, and the rock struck the Buddha's foot, causing bleeding. In the past, there was also a time when the Buddha declared that he was ill and ordered Jivaka (a famous physician) to prepare medicine for dysentery. Also, on one occasion, the Buddha suffered from back pain and had Mahākāśyapa (one of the Buddha's chief disciples) recite the sapta bodhyanga (seven factors of enlightenment), which relieved the pain. On another occasion, the Buddha was ill and sent Ānanda (the Buddha's attendant) to a Brahmin (Hindu priest) family to beg for milk. Also, on one occasion, he stayed in the village of Bharadvaja for three months, eating only horse barley. And there was also a time when he could not obtain food while begging and returned with an empty bowl. If, as the Bhagavan says, if someone makes a Buddha image, all karmic obstacles will be eliminated, and they will be free from all suffering and illness, did the Bhagavan create Buddha images in the past, or did he not? If he created Buddha images in the past, why did these things happen?'
The Buddha said to King Prasenajit: 'Listen carefully, listen carefully, and contemplate well. I will explain it to the King in detail. O King, in past lives, in order to seek Bodhi, I made Buddha images with various treasures, candana (sandalwood), paintings, and other things, exceeding the number of humans and devas in this assembly.'
【English Translation】 English version: After death, one quickly escapes obstacles. Maitreya (the future Buddha) should know that there are three types of Yana (vehicle, a metaphor for teachings that carry beings to liberation): the Śrāvakayāna (the vehicle of those who hear and practice the teachings), the Pratyekabuddhayāna (the vehicle of solitary Buddhas), and the Buddhayāna (the vehicle that leads beings to Buddhahood). Whichever Yana a person aspires to and delights in, they will attain liberation through that Yana. If one seeks only to become a Buddha, without seeking other rewards, even heavy karmic obstacles can be quickly eliminated, and even while in the cycle of birth and death, there will be no suffering, until one ultimately attains Anuttara-samyak-sambodhi (unsurpassed perfect enlightenment), obtains a pure Buddhakṣetra (Buddha-field, the land where a Buddha resides), possesses all the excellent Lakṣaṇa-vyāñjana (marks and characteristics of a Buddha), and the lifespan obtained will be eternally without end. At that time, some in the assembly who had not yet generated the Mahāyāna-citta (the mind of seeking to liberate all beings) all had doubts: Did the Tathāgata (a title of the Buddha) create Buddha images in the past, or did he not? If he did, why is his lifespan limited, why does he experience illness and suffering, and why is the land he dwells in mostly impure and defiled, not pure?
At that time, King Prasenajit (king of Kosala in ancient India), relying on the Buddha's majestic power, immediately rose from his seat, knelt with palms together, and said to the Buddha: 'Bhagavan (a respectful title for the Buddha), I see that the Tathāgata's faculties and characteristics, as well as his lineage, are all the best. My mind is certain about this, and I have no doubts. However, the Buddha, on one occasion, was pricked in the foot by a thorn from a khadira (a type of tree) tree. On another occasion, he encountered Devadatta (the Buddha's cousin, who later betrayed Buddhism), who pushed a rock down the mountain, and the rock struck the Buddha's foot, causing bleeding. In the past, there was also a time when the Buddha declared that he was ill and ordered Jivaka (a famous physician) to prepare medicine for dysentery. Also, on one occasion, the Buddha suffered from back pain and had Mahākāśyapa (one of the Buddha's chief disciples) recite the sapta bodhyanga (seven factors of enlightenment), which relieved the pain. On another occasion, the Buddha was ill and sent Ānanda (the Buddha's attendant) to a Brahmin (Hindu priest) family to beg for milk. Also, on one occasion, he stayed in the village of Bharadvaja for three months, eating only horse barley. And there was also a time when he could not obtain food while begging and returned with an empty bowl. If, as the Bhagavan says, if someone makes a Buddha image, all karmic obstacles will be eliminated, and they will be free from all suffering and illness, did the Bhagavan create Buddha images in the past, or did he not? If he created Buddha images in the past, why did these things happen?'
The Buddha said to King Prasenajit: 'Listen carefully, listen carefully, and contemplate well. I will explain it to the King in detail. O King, in past lives, in order to seek Bodhi, I made Buddha images with various treasures, candana (sandalwood), paintings, and other things, exceeding the number of humans and devas in this assembly.'
之數。以斯福故。雖在生死未盡諸惑。然所受身堅如金剛。不可損壞。大王。我念過去于無量劫生死之中造佛形像。爾時尚有貪瞋等無量煩惱而共相應。然未曾於一念之間。以罪業故有四大不調。及惡鬼神諸少病苦。所須之物莫不充備。況我於今已得阿耨多羅三藐三菩提。而有如是不如意事。大王。若我昔時曾作佛像。今有殘業受斯報者。我復云何作無畏說。言造佛像。決定能盡諸惡業耶。大王。我於過去。給施無量飲食財寶。云何今時乞求不得。而食馬麥。儻令此事而有實者。云何我于無量經中。種種讚歎檀波羅蜜。說其福業終不虛也。大王。我是真實語者。不誑語者。我若欺誑況餘人乎。大王。我已久斷一切惡業。能捨難捨。能行難行。所捨身命過百千億。已造無量諸佛形像。已悔無量諸罪惡業。豈得有斯毀傷病苦。食啖馬麥。飢渴等事。若曾得勝果。今還退失。何假勸修此眾福善。大王。諸佛如來常身法身。為度眾生。故現斯事非為實也。傷足患背。乞乳服藥。乃至涅槃。以其舍利分佈起塔。皆是如來方便善巧。令諸眾生見如是相。大王。我於世間現如是眾患事者。欲示眾生業報不失。令生怖畏。斷一切罪。修諸善行。然後了知常身法身。壽命無限。國土清凈。大王。諸佛如來無有虛妄。純一大悲。智慧善巧。
【現代漢語翻譯】 現代漢語譯本： 這樣的數量。因為這種福德的緣故，即使還在生死輪迴中，各種迷惑尚未斷盡，但所受的身體卻堅固如金剛，不可損壞。大王，我回憶過去在無量劫的生死輪迴中塑造佛像，那時我還有貪嗔等無量的煩惱與我相應。然而，我從未在一念之間，因為罪業的緣故而有四大不調，以及惡鬼神帶來的輕微病苦。我所需要的物品沒有不充足完備的。更何況我現在已經證得了阿耨多羅三藐三菩提（Anuttara-samyak-sambodhi，無上正等正覺），卻有這樣不如意的事情。大王，如果我過去曾經塑造佛像，現在還有殘餘的業報而遭受這樣的果報，那我又怎麼能作無畏的宣說，說塑造佛像，決定能夠斷盡一切惡業呢？大王，我在過去，佈施了無量的飲食財寶，為什麼現在乞求卻得不到，而只能吃馬麥呢？如果這件事是真的，那我又怎麼能在無量的經典中，種種讚歎檀波羅蜜（Dāna-pāramitā，佈施波羅蜜），說它的福德果報終究不會虛假呢？大王，我是說真實話的人，不說謊話的人，我如果欺騙，更何況是其他人呢？大王，我已經很久斷除了一切惡業，能夠捨棄難以捨棄的，能夠行持難以行持的。我所捨棄的身命超過百千億。我已經塑造了無量的諸佛形像，已經懺悔了無量的罪惡業。怎麼會有這樣的毀傷病苦，吃馬麥，飢渴等事呢？如果曾經得到殊勝的果報，現在又退失了，又何必勸人修習這些眾多的福德善行呢？大王，諸佛如來是常身法身，爲了度化眾生，所以顯現這些事情，並非是真實的。受傷足，患背痛，乞求乳汁服藥，乃至涅槃（Nirvana，寂滅），以及將舍利分佈各地建塔，都是如來的方便善巧，讓眾生見到這樣的表相。大王，我在世間顯現這樣的眾多患病的事情，是想向眾生顯示業報不會落空，使他們產生畏懼，斷除一切罪惡，修習各種善行，然後才能了知常身法身，壽命無限，國土清凈。大王，諸佛如來沒有虛妄，只有廣大的慈悲，以及善巧的智慧。
【English Translation】 English version: Such is the number. Because of this merit, even though still in the cycle of birth and death, and all delusions are not yet exhausted, the body received is as firm as diamond, indestructible. Great King, I recall in the past, during countless kalpas (aeons) of birth and death, I created Buddha images. At that time, I still had limitless afflictions such as greed and anger associated with me. However, I never, not even for a single moment, experienced the imbalance of the four elements (earth, water, fire, wind) due to sinful karma, nor minor illnesses caused by evil ghosts and spirits. Everything I needed was always abundant and complete. How much more so now that I have attained Anuttara-samyak-sambodhi (unsurpassed perfect enlightenment), yet I have such undesirable things happening. Great King, if I had made Buddha images in the past, and now I am receiving such retribution due to remaining karma, how could I make fearless declarations, saying that creating Buddha images can definitely exhaust all evil karma? Great King, in the past, I gave limitless food, drink, wealth, and treasures. Why is it that now I cannot obtain what I seek and must eat horse barley? If this were true, how could I have praised Dāna-pāramitā (perfection of giving) in countless sutras, saying that its meritorious rewards are ultimately not in vain? Great King, I am one who speaks truthfully, one who does not lie. If I were to deceive, what about others? Great King, I have long severed all evil karma, able to give up what is difficult to give up, able to practice what is difficult to practice. The lives I have given up exceed hundreds of thousands of millions. I have created countless Buddha images, and I have repented for countless sinful deeds. How could I have such injuries, illnesses, suffering, eating horse barley, hunger, and thirst? If I had once attained superior results, and now I have regressed, why would I encourage the cultivation of these numerous meritorious deeds? Great King, the Tathagatas (Buddhas) are of the eternal body and Dharma body. To liberate sentient beings, they manifest these events, but they are not real. Injured feet, back pain, begging for milk and taking medicine, even Nirvana (final liberation), and the distribution of relics to build stupas (pagodas), are all skillful means of the Tathagatas, allowing sentient beings to see such appearances. Great King, my manifestation of such numerous afflictions in the world is to show sentient beings that karmic retribution is not lost, causing them to generate fear, cut off all sins, cultivate all good deeds, and then realize the eternal body and Dharma body, with limitless lifespan and pure lands. Great King, the Tathagatas (Buddhas) are without falsehood, purely great compassion, and skillful wisdom.
故能如是種種示現。是時波斯匿王聞此說已。歡喜踴躍。與無量百千眾生。皆發阿耨多羅三藐三菩提心。爾時彌勒菩薩摩訶薩復白佛言。世尊。有諸女人。志意狹小。多懷嫉恚。輕薄諂曲。有恨不捨。知恩不報。設求菩提。莫能堅守。常欲誑惑一切眾生。亦復為他之所誑惑。世尊。若此女人造佛形像。如是諸業得除滅不。當來得作勇健丈夫求佛果不。得生知恩報恩人不。得具智慧大慈悲不。于生死法能厭離不。除因願力。得更不受女人之身。如瞿曇彌及佛母摩耶夫人不。佛告彌勒菩薩言。彌勒。若有女人能造佛像。永不復受女人之身。設受其身。則為女寶。尊勝第一。然諸女人有五種德。此女所得出過諸女。何等為五。一者生孕子息。二者種族尊貴。三者稟性貞良。四者質相殊絕。五者姿容美正。彌勒。一切女人。有八種因緣。恒受女身。云何為八。一者愛好女身。二者貪著女欲。三者口常讚美女人容質。四者心不正真。覆藏所作。五者厭薄自夫。六者念重他人。七者知人有恩。而已背逆。八者邪偽莊飾。欲他迷戀。若能永斷如是八事。而造佛像。乃至成佛常作丈夫更受女身。無有是處彌勒。有四種因緣。令諸男子受女人身。何等為四。一者以女人聲。輕笑喚佛。及諸菩薩一切聖人。二者于凈持戒人。以誹謗心說言犯
【現代漢語翻譯】 現代漢語譯本 因此能夠這樣種種示現。當時波斯匿王（Prasenajit，拘薩羅國國王）聽了這些話后，歡喜踴躍，與無量百千眾生，都發起了阿耨多羅三藐三菩提心（anuttara-samyak-sambodhi-citta，無上正等正覺之心）。 這時彌勒菩薩摩訶薩（Maitreya Bodhisattva-Mahāsattva，未來佛）又對佛說：『世尊，有些女人，心胸狹窄，多懷嫉妒怨恨，輕浮虛偽，心懷怨恨不肯放下，知恩不報。如果她們求菩提（bodhi，覺悟），也不能堅守。常常想要欺騙迷惑一切眾生，也常常被他人所欺騙迷惑。』 『世尊，如果這些女人塑造佛的形像，這些罪業能夠消除嗎？將來能夠轉產生為勇敢健壯的男子，求得佛果（Buddha-phala，成佛的果位）嗎？能夠轉生為知恩報恩的人嗎？能夠具備智慧和大慈悲心嗎？對於生死輪迴能夠厭離嗎？除了因地發願的力量，能夠不再受女人之身，像瞿曇彌（Gotami，佛陀的姨母）和佛母摩耶夫人（Maya，釋迦牟尼佛的生母）那樣嗎？』 佛告訴彌勒菩薩說：『彌勒，如果有女人能夠塑造佛像，就永遠不再受女人之身。即使受了女身，也是女中之寶，尊貴殊勝第一。然而，女人們有五種美德，這個女人所得的超過其他女人。哪五種呢？一是生育子嗣，二是種族尊貴，三是稟性貞潔善良，四是資質相貌殊勝絕倫，五是姿態容貌美好端正。』 『彌勒，一切女人，有八種因緣，恒常受女身。哪八種呢？一是愛好女身，二是貪戀女欲，三是口中常常讚美女人容貌姿色，四是心不正直真誠，隱瞞所作所為，五是厭惡輕視自己的丈夫，六是思念看重其他男人，七是明知別人有恩于自己，反而背叛違逆，八是用邪門歪道來裝飾自己，想要迷惑他人。如果能夠永遠斷除這八件事，而塑造佛像，乃至成佛，常常作丈夫身，不再受女身，沒有這樣的道理。 『彌勒，有四種因緣，使男子受女人身。哪四種呢？一是用女人的聲音，輕慢嘲笑佛以及諸菩薩（Bodhisattva，覺悟有情）一切聖人。二是對清凈持戒的人，以誹謗心說他們犯戒。
【English Translation】 English version Therefore, they are able to manifest in various ways. At that time, King Prasenajit (King of Kosala) heard this and rejoiced greatly. Together with countless hundreds of thousands of beings, he generated the mind of Anuttara-samyak-sambodhi (unsurpassed perfect enlightenment). Then, Maitreya Bodhisattva-Mahāsattva (the future Buddha) said to the Buddha, 'World Honored One, there are women who are narrow-minded, often harboring jealousy and resentment, frivolous and deceitful, holding onto grudges, and ungrateful. If they seek Bodhi (enlightenment), they cannot remain steadfast. They constantly desire to deceive and confuse all beings, and they are also deceived and confused by others.' 'World Honored One, if these women create Buddha images, can these karmas be eradicated? In the future, can they be reborn as brave and strong men, seeking the fruit of Buddhahood (Buddha-phala, the fruit of becoming a Buddha)? Can they be reborn as people who know and repay kindness? Can they possess wisdom and great compassion? Can they renounce the cycle of birth and death? Apart from the power of vows made in the past, can they avoid being reborn as women, like Gotami (Buddha's aunt) and Buddha's mother, Maya (mother of Shakyamuni Buddha)?' The Buddha told Maitreya Bodhisattva, 'Maitreya, if a woman can create a Buddha image, she will never again be reborn as a woman. Even if she is born as a woman, she will be a treasure among women, the most honored and supreme. However, women have five virtues, and this woman will attain more than other women. What are the five? First, the ability to bear children; second, noble lineage; third, virtuous and kind nature; fourth, extraordinary qualities and appearance; and fifth, beautiful and upright demeanor.' 'Maitreya, all women have eight causes and conditions that lead to constant rebirth as women. What are the eight? First, fondness for the female body; second, attachment to female desires; third, constantly praising the appearance and beauty of women; fourth, insincere heart, concealing one's actions; fifth, disliking and despising one's own husband; sixth, cherishing and valuing other men; seventh, knowing that others have been kind to oneself, yet betraying and defying them; eighth, using perverse and deceptive adornments to infatuate others. If one can permanently abandon these eight things and create Buddha images, even until becoming a Buddha, one will always be a man and never again be reborn as a woman. There is no such possibility.' 'Maitreya, there are four causes and conditions that cause men to be reborn as women. What are the four? First, using a woman's voice to mock and ridicule the Buddha and all Bodhisattvas (enlightened beings) and all sages. Second, speaking ill of those who purely uphold the precepts with a slanderous mind, saying that they have violated them.'
戒。三者好行諂媚。誑惑於人。四者見他勝已。心生嫉妒。若有丈夫行此四事。命終之後。必受女身。復經無量諸惡道苦。若深發信心。悔先所作。而造佛像。則其罪皆滅。必更不受女人之報。彌勒。有四種因緣。令諸男子受黃門身。何等為四。一者殘害他形。乃至畜生。二者于持戒沙門。瞋笑謗毀。三者情多貪慾。故心犯戒。四者親犯戒人。復勸他犯。若有男子先行此事。後起信心。造佛形像。乃至成佛不受斯報。常作丈夫。諸根具足。彌勒。有四種業。能令丈夫受二形身。一切人中最為其下。何等為四。一者于尊敬所而有烝穢。二者于男子身非處染著。三者即于自己而行欲事。四者炫賣女色而與他人。若有眾生曾行此事。深自咎責。悔先所犯。起凈信心。造佛形像。乃至成佛不受此身。彌勒。復有四緣。令諸男子其心常生女人愛慾。樂他於己行丈夫事。何等為四。一者或嫌或戲。謗毀於人。二者樂作女人衣服莊飾。三者于親族女行淫穢事。四者實無勝德。妄受其禮。以此因緣令諸丈夫起于如是別異煩惱。若悔先犯。更不造新。心生信樂。作佛形像。其罪既滅。此心亦息。彌勒。有五種慳。能壞眾生。何等為五。一者慳惜所住鄰邑。由此當於曠野中生。二者慳惜所居宅宇。當作蟲身恒居糞穢。三者慳惜端正好色。當
【現代漢語翻譯】 現代漢語譯本 戒。有三種行為是喜歡諂媚，用虛假的話語迷惑他人。四是看到別人勝過自己，心中產生嫉妒。如果男子做了這四件事，死後必定會轉生為女性，還要經歷無數惡道的痛苦。如果能深深地發起信心，懺悔以前所做的事情，並且建造佛像，那麼他的罪業都會消滅，必定不會再受女身之報。 彌勒（Maitreya，未來佛）。有四種因緣，會讓男子轉生為黃門（eunuch，指失去效能力的男性）。是哪四種呢？一是殘害其他眾生的形體，乃至畜生。二是對持戒的沙門（shramana，佛教出家修行者）嗔怒、嘲笑、誹謗。三是情慾過多，故意違犯戒律。四是自己違犯戒律，還勸他人也違犯。如果男子以前做過這些事，後來生起信心，建造佛的形像，乃至成佛都不會再受這種果報，常常是大丈夫之身，諸根完具。 彌勒。有四種業，能讓男子受二形身（hermaphrodite，陰陽人）。在一切人中最為低下。是哪四種呢？一是在尊敬之處行淫穢之事。二是對男子之身在不應發生性行為的地方產生染著。三是自己對自己進行性行為。四是出賣女色給他人。如果眾生曾經做過這些事，深深地責備自己，懺悔以前所犯的罪過，生起清凈的信心，建造佛的形像，乃至成佛都不會再受這種身體。 彌勒。還有四種因緣，會讓男子心中常常生起對女人的愛慾，喜歡別人對自己行丈夫之事。是哪四種呢？一是或者嫌棄或者戲弄，誹謗他人。二是喜歡穿女人的衣服，打扮成女人的樣子。三是對親族中的女子行淫穢之事。四是實際上沒有勝妙的德行，卻妄自接受別人的禮敬。因為這些因緣，會讓男子生起這樣的特殊煩惱。如果懺悔以前所犯的罪過，不再造新的罪業，心中生起信樂，建造佛的形像，罪業就會消滅，這種心念也會止息。 彌勒。有五種慳吝，能毀壞眾生。是哪五種呢？一是慳吝所居住的村落，因此會生在曠野之中。二是慳吝所居住的房屋，會變成蟲子，一直住在糞便污穢之中。三是慳吝端正美好的容色，會...
【English Translation】 English version Precepts. The third is to be fond of flattery and to deceive others with false words. The fourth is to feel jealous when seeing others surpass oneself. If a man commits these four acts, after death, he will surely be reborn as a woman and will have to endure countless sufferings in evil realms. If he deeply generates faith, repents of what he has done before, and builds a Buddha statue, then all his sins will be extinguished, and he will surely not receive the retribution of being a woman again. Maitreya (the future Buddha). There are four causes and conditions that cause men to be born as eunuchs (referring to men who have lost their sexual ability). What are the four? First, harming the bodies of other beings, even animals. Second, being angry, laughing at, and slandering monks (shramanas, Buddhist renunciates) who uphold the precepts. Third, having excessive lust and deliberately violating the precepts. Fourth, violating the precepts oneself and also encouraging others to violate them. If a man has done these things before, and later generates faith and builds a Buddha image, he will not receive this retribution even upon becoming a Buddha, and will always be a great man with all faculties complete. Maitreya. There are four karmas that can cause a man to be born with two sexual organs (hermaphrodite). He is the lowest among all people. What are the four? First, engaging in obscene acts in a place of respect. Second, developing attachment to inappropriate sexual acts with a male body. Third, engaging in sexual acts with oneself. Fourth, selling women for sexual purposes to others. If a being has ever done these things, deeply blames himself, repents of the sins he has committed, generates pure faith, and builds a Buddha image, he will not receive this body even upon becoming a Buddha. Maitreya. There are also four causes and conditions that cause a man to constantly have love and desire for women in his heart, and to enjoy others performing male acts on him. What are the four? First, slandering others, either out of dislike or jest. Second, enjoying wearing women's clothing and dressing up as a woman. Third, engaging in obscene acts with female relatives. Fourth, falsely accepting the respect of others when one actually has no superior virtues. Because of these causes and conditions, men will develop such special afflictions. If one repents of the sins committed before, no longer creates new sins, generates faith and joy in the heart, and builds a Buddha image, the sins will be extinguished, and this mind will also cease. Maitreya. There are five kinds of stinginess that can destroy sentient beings. What are the five? First, being stingy with the village where one lives, therefore one will be born in a wilderness. Second, being stingy with the house where one lives, one will become an insect and always live in filth and excrement. Third, being stingy with one's beautiful appearance, one will...
感醜惡不如意形。四者慳惜所有資財。當受貧窮衣食乏少。五者慳惜所知之法。當有頑鈍畜生等報。若悔已先業。造佛尊儀。則永離慳心。無前所受。彌勒。復有五緣。令諸眾生生邊夷之處。及無佛法時。何者為五。一者於三寶良田。不生凈信。二者背實虧理。妄行教誡。三者不如理實。而有教授。四者破和合僧令成二部。五者極少乃至破二比丘令不和合。若永斷斯業。造佛形像。則常遇佛興。恒聞法要。彌勒。眾生復有五種因緣。常被於人之所厭逐。乃至至親亦不喜見。云何為五。一者兩舌。二者惡口。三者多諍。四者多瞋。五者巧說相似之言。以行誹謗。后若發心造佛形像。悔先惡業。誓不重作。其所作罪。並得除滅。為一切人之所愛敬。何以故。諸佛有無量無邊勝福德故。無量無邊大智慧故。無量無邊三昧解脫等種種希有功德法故。善男子。假使有人。以三千大千國土抹為微塵。復碎彼塵。一一塵分。等彼三千大千國土微塵之數。有如是等碎微塵數三千大千國土。設復有人。取一碎塵。以神通力。往于東方。一剎那頃。過彼所碎微塵數三千大千國土。第二第三後後剎那。皆亦如是。乃至終彼碎塵數劫。彼諸劫中所有剎那。一一剎那各為一劫。經爾許劫。剎那剎那。皆度如前碎微塵數三千大千國土。如是畢已。乃
【現代漢語翻譯】 現代漢語譯本 感到醜陋不如意的外形。四者，吝惜所有的資財，當受貧窮衣食缺乏的果報。五者，吝惜自己所知的佛法，當有愚笨的畜生等果報。如果懺悔以往的罪業，建造佛像，就能永遠脫離慳吝之心，免除之前所受的果報。 彌勒（Maitreya，未來佛），又有五種因緣，令眾生出生在邊遠地區以及沒有佛法的時代。哪五種呢？一是對於佛、法、僧三寶良田，不生清凈的信心。二是違背真實道理，胡亂進行教誡。三是不如實地進行教授。四是破壞和合僧團，令其分裂成兩部分。五是哪怕只是破壞兩個比丘之間的關係，令他們不和合。如果永遠斷除這些惡業，建造佛像，就能常常遇到佛出世，恒常聽聞佛法要義。 彌勒（Maitreya，未來佛），眾生又有五種因緣，常常被人厭惡驅逐，甚至至親也不喜歡見到。哪五種呢？一是兩舌（挑撥離間）。二是惡口（言語粗暴）。三是多爭（喜歡爭論）。四是多嗔（容易發怒）。五是巧言令色，用相似的言語來進行誹謗。如果之後發心建造佛像，懺悔之前的惡業，發誓不再重犯，那麼所造的罪業，都能得到消除，為一切人所愛戴尊敬。為什麼呢？因為諸佛有無量無邊的殊勝福德，無量無邊的大智慧，無量無邊的三昧解脫等種種稀有功德法。 善男子，假設有人，將三千大千世界（trichiliocosm，佛教宇宙觀中的一個大世界）磨成微塵，又將這些微塵打碎，每一粒塵埃的數量，都等於三千大千世界的微塵數。有如此之多的碎微塵數的三千大千世界。假設又有人，取一粒碎塵，以神通力，往東方去，在一個剎那（ksana，極短的時間單位）間，經過的碎微塵數的三千大千世界，等於之前所碎的微塵數的三千大千世界。第二、第三以及之後的每一個剎那，都像這樣。乃至窮盡這些碎塵數劫（kalpa，極長的時間單位）。這些劫中所有的剎那，每一個剎那都算作一劫。經過如此之多的劫，每一個剎那，都像之前那樣，度過碎微塵數的三千大千世界。像這樣結束之後，才
【English Translation】 English version Feeling ugly and unsatisfactory in form. Fourth, being stingy with all possessions will result in poverty and lack of food and clothing. Fifth, being stingy with the Dharma one knows will result in dullness and rebirth as animals. If one repents of past karma and makes images of the Buddha, one will be forever free from stinginess and avoid the consequences of previous actions. Maitreya (the future Buddha), there are also five causes that lead sentient beings to be born in border regions and in times when there is no Buddha-dharma. What are these five? First, not generating pure faith in the fields of merit of the Three Jewels (Triratna, Buddha, Dharma, Sangha). Second, turning away from truth and reason, and giving false teachings. Third, not teaching according to truth and reason. Fourth, breaking up the harmonious Sangha (community of monks) into two factions. Fifth, even causing disharmony between two Bhikkhus (monks). If one permanently cuts off these actions and makes images of the Buddha, one will always encounter the arising of Buddhas and constantly hear the essentials of the Dharma. Maitreya (the future Buddha), sentient beings also have five causes that lead them to be constantly disliked and rejected by others, even by close relatives. What are these five? First, double-tongued speech (speaking divisively). Second, harsh speech (abusive language). Third, much contention (fondness for arguing). Fourth, much anger (easily angered). Fifth, skillfully using deceptive words to slander. If one later resolves to make images of the Buddha, repents of past misdeeds, and vows not to repeat them, the sins committed will be eliminated, and one will be loved and respected by all. Why? Because the Buddhas have immeasurable and boundless supreme merit, immeasurable and boundless great wisdom, immeasurable and boundless Samadhi (state of meditative consciousness), liberation, and various rare meritorious Dharmas. Good man, suppose someone were to grind the trichiliocosm (a great world system in Buddhist cosmology) into dust, and then break up that dust, with each particle of dust equal in number to the dust of the trichiliocosm. There are so many crushed dust particles of the trichiliocosm. Suppose someone were to take one crushed particle of dust and, with supernatural power, go to the east, passing in one ksana (an extremely short unit of time) the crushed dust number of trichiliocosm equal to the previously crushed dust number of trichiliocosm. The second, third, and subsequent ksanass are all like this. Even to the end of these crushed dust number of kalpas (an extremely long unit of time). In all the ksanass in these kalpas, each ksana is counted as one kalpa. After so many kalpas, in each ksana, one passes through the crushed dust number of trichiliocosm as before. After this is completed, then
下此塵。是人還來更取一塵。復往東方。過前一倍。下塵而返。至第三塵。倍于第二。如是次第轉倍於前。乃至盡此碎微塵數。如說東方。南西北方皆亦如是。是人四方所經之處。一切國土盡抹為塵。此諸微塵。一切眾生共校計籌量。容可知數。于如來身一毛孔分所有功德。不可知也。何以故。諸佛如來所有功德。無有限量不思議故。善男子。假使如前微塵等數舍利弗等所有智慧。不及如來一念之智。何以故。如來於唸唸中。常能出現過前塵數三昧解脫陀羅尼等。種種無量勝功德故。諸佛功德。一切聲聞辟支佛。于其名字亦不能知。是故若有凈信之心。造佛形像。一切業障莫不除滅。所獲功德無量無邊。乃至當成阿耨多羅三藐三菩提。永拔眾生一切苦惱。云云。是經惟示造如來佛像之勝功德。其一切諸像。皆依此次第而推度之。或曰。畫傳並未另載別像校量之說。夫因現感應隨類變化。像雖殊異。然莫非如來之示現。又何疑焉。
【現代漢語翻譯】 現代漢語譯本： 放下這粒塵土。這個人回來再取一粒塵土，然後往東方去，經過之前一倍的距離，放下塵土再返回。到第三粒塵土時，距離是第二粒塵土的一倍。像這樣依次以前面的距離為倍數，直到用盡所有碎微塵的數量。就像說東方一樣，南、西、北方也都是這樣。這個人四方所經過的地方，一切國土都被抹為塵土。這些微塵，一切眾生共同計算籌量，或許可以知道數量。但是如來（Tathagata，佛的稱號）身上一毛孔所具有的功德，是無法知道的。為什麼呢？因為諸佛如來所有的功德，都是不可思議的。善男子，假設有像前面微塵數量一樣多的舍利弗（Sariputra，佛陀的十大弟子之一）等人的智慧，也比不上如來一念之間的智慧。為什麼呢？因為如來在每一個念頭中，都能顯現出超過前面塵土數量的三昧（Samadhi，佛教的定境）、解脫（Moksha，佛教的解脫境界）、陀羅尼（Dharani，總持，記憶和理解佛法的能力）等等，種種無量殊勝的功德。諸佛的功德，一切聲聞（Sravaka，聽聞佛法而修行的弟子）、辟支佛（Pratyekabuddha，緣覺，不依師教而自己覺悟的人）連他們的名字都不能知道。因此，如果有人有清凈的信心，建造佛的形像，一切業障沒有不消除滅的，所獲得的功德無量無邊，乃至最終成就阿耨多羅三藐三菩提（Anuttara-samyak-sambodhi，無上正等正覺，最高的覺悟），永遠拔除眾生的一切苦惱。
以上所說，這部經只是爲了顯示建造如來佛像的殊勝功德。其他一切諸像，都可以依照這次第來推度。或者有人說，畫傳中並沒有另外記載其他佛像的功德校量之說。實際上，因為現前的感應隨著種類而變化，佛像雖然殊異，但沒有不是如來的示現。又有什麼可懷疑的呢？ English version: He drops this speck of dust. This person returns to take another speck of dust, and then goes to the east, passing a distance twice as far as before, drops the dust and returns. When he reaches the third speck of dust, the distance is twice that of the second speck of dust. In this way, he successively doubles the distance from the previous one, until he uses up all the number of fine dust particles. Just as it is said about the east, the south, west, and north are all the same. Everywhere this person passes in the four directions, all the lands are smeared into dust. These dust particles, if all sentient beings jointly calculate and measure them, perhaps their number can be known. However, the merits possessed by a single pore of hair on the body of the Tathagata (Tathagata, title of the Buddha) cannot be known. Why? Because all the merits of all Buddhas Tathagatas are inconceivable. Good man, suppose there are as many Sariputras (Sariputra, one of the Buddha's ten great disciples) and others as there are dust particles mentioned earlier, their wisdom is still not comparable to a single thought of the Tathagata. Why? Because in every thought, the Tathagata can manifest more Samadhis (Samadhi, Buddhist meditative state), Mokshas (Moksha, Buddhist state of liberation), Dharanis (Dharani, total retention, the ability to remember and understand the Dharma), etc., than the number of dust particles mentioned earlier, all kinds of immeasurable and supreme merits. The merits of the Buddhas, all Sravakas (Sravaka, disciples who practice by listening to the Dharma), Pratyekabuddhas (Pratyekabuddha, Solitary Buddhas, those who attain enlightenment on their own without a teacher) cannot even know their names. Therefore, if someone has pure faith and builds an image of the Buddha, all karmic obstacles will be eliminated, and the merits obtained will be immeasurable and boundless, and eventually they will achieve Anuttara-samyak-sambodhi (Anuttara-samyak-sambodhi, unsurpassed perfect enlightenment, the highest enlightenment), and forever eradicate all the sufferings of sentient beings.
What has been said above, this sutra is only to show the supreme merits of building images of the Tathagata Buddha. All other images can be inferred according to this order. Or someone may say that there is no separate record in the illustrated biographies of the measurement of merits for other Buddha images. In reality, because the present responses change according to the type, although the Buddha images are different, none of them are not manifestations of the Tathagata. What else is there to doubt?
【English Translation】 English version: He drops this speck of dust. This person returns to take another speck of dust, and then goes to the east, passing a distance twice as far as before, drops the dust and returns. When he reaches the third speck of dust, the distance is twice that of the second speck of dust. In this way, he successively doubles the distance from the previous one, until he uses up all the number of fine dust particles. Just as it is said about the east, the south, west, and north are all the same. Everywhere this person passes in the four directions, all the lands are smeared into dust. These dust particles, if all sentient beings jointly calculate and measure them, perhaps their number can be known. However, the merits possessed by a single pore of hair on the body of the Tathagata (Tathagata, title of the Buddha) cannot be known. Why? Because all the merits of all Buddhas Tathagatas are inconceivable. Good man, suppose there are as many Sariputras (Sariputra, one of the Buddha's ten great disciples) and others as there are dust particles mentioned earlier, their wisdom is still not comparable to a single thought of the Tathagata. Why? Because in every thought, the Tathagata can manifest more Samadhis (Samadhi, Buddhist meditative state), Mokshas (Moksha, Buddhist state of liberation), Dharanis (Dharani, total retention, the ability to remember and understand the Dharma), etc., than the number of dust particles mentioned earlier, all kinds of immeasurable and supreme merits. The merits of the Buddhas, all Sravakas (Sravaka, disciples who practice by listening to the Dharma), Pratyekabuddhas (Pratyekabuddha, Solitary Buddhas, those who attain enlightenment on their own without a teacher) cannot even know their names. Therefore, if someone has pure faith and builds an image of the Buddha, all karmic obstacles will be eliminated, and the merits obtained will be immeasurable and boundless, and eventually they will achieve Anuttara-samyak-sambodhi (Anuttara-samyak-sambodhi, unsurpassed perfect enlightenment, the highest enlightenment), and forever eradicate all the sufferings of sentient beings.
What has been said above, this sutra is only to show the supreme merits of building images of the Tathagata Buddha. All other images can be inferred according to this order. Or someone may say that there is no separate record in the illustrated biographies of the measurement of merits for other Buddha images. In reality, because the present responses change according to the type, although the Buddha images are different, none of them are not manifestations of the Tathagata. What else is there to doubt?