T45n1899_中天竺舍衛國祇洹寺圖經

大正藏第 45 冊 No. 1899 中天竺舍衛國祇洹寺圖經

No. 1899

祇洹圖經序

蓋聞。蒼生敬福之肇歸真之基起立支提。景仰塔像其績實皇矣。至如給孤布黃金于祇陀之園。優填雕栴檀于牟尼之像。建乎爪發兩塔衣影二臺。並皆如來在日既見成軌。且夫真身無形因感。故彰感既有差池。形應亦有殊。若乃心路隔絕則真儀無應。至諴精誠則變動天地。昔者平仲憂大旱。自焚火起而雨至。杞婦哭梁殖之尸。莒城為之崩。由是觀之神依物感。豈曰虛哉。釋教東漸咸歸風化。形像塔廟每懸競列。洎乎像末之運。法教衰替人情浮薄製造無范。輕慢於是乎生。禮敬於是乎廢粵。若有覺人號曰南山教主澄照大師。利見震旦應肇律主。天地同其大德。日月合厥重光。玄關幽鍵感而遂通。遠源浚波酌而不竭。龍鬼歸仰天人擎足烏乎。我祖之麗德豈可得稱乎。而泛愛不捨物。恐後世造塔廟無所表彰。竊據靈感制祇洹圖經雙卷矣。叔世懷道之士無有出乎玉關。超乎蒼嶺系索攀杙之勞。宛然如視聖蹟者匪此經之益耶。當大宋之歷雖律風勃興此經既喪矣。我大智律師邂逅遇乎日域將至矣。方今漢地再有斯書。吾國之為也(余)偶雖得乎一本繕脫湮滅書誤絡繹。每披卷未嘗不喟然而嘆矣。頃載有故移

【現代漢語翻譯】現代漢語譯本 No. 1899

祇洹圖經序

聽說，民眾敬奉福報，始於建立支提（佛塔、聖地），作為歸真的基礎。景仰佛塔和佛像，其功績實在偉大啊！例如，給孤獨長者（Anāthapiṇḍika）在祇陀（Jeta）的園林中鋪黃金以購買土地，優填王（Udayana）雕刻栴檀木製作牟尼（釋迦牟尼佛，Śākyamuni）的佛像。建立爪塔和發塔，以及衣影二塔。這些都是如來佛（Tathāgata）在世時已經形成的規範。而且，真身無形，因感應而顯現。感應既然有差異，形像的顯現也有不同。如果心路隔絕，那麼真實的儀容就不會有感應。至誠的精誠可以變動天地。過去，平仲（春秋時期齊國賢人）憂慮大旱，自焚而火起，天降大雨。杞梁妻哭梁殖的屍體，莒城因此崩塌。由此看來，神依附於事物而產生感應，難道是虛假的嗎？佛教東傳，大家都歸順於教化。佛像和塔廟，到處懸掛陳列。到了末法時代，佛法衰落，人心浮躁，製造佛像沒有規範，輕慢之心因此產生，禮敬之心因此廢棄。如果有一位覺悟之人，被稱為南山教主澄照大師，他應運而生，振興律宗。他的大德與天地相同，他的光芒與日月相合。玄妙的關竅，幽深的機鍵，因感應而通達。遙遠的源頭，深邃的波濤，取之不盡，用之不竭。龍鬼歸順仰慕，天人擎起雙足。啊！我們祖師的美德，怎麼能夠稱頌完畢呢？他泛愛一切，不捨棄任何事物，恐怕後世建造塔廟沒有可以遵循的表彰，於是私下依據靈感，製作了《祇洹圖經》雙卷。末世懷有道義的人，無需走出玉門關，超越蒼茫的山嶺，經歷繫繩攀木的勞苦，就能宛如親眼看到聖蹟，這難道不是這部經書的益處嗎？當大宋朝的歷法推行時，雖然律宗的風氣蓬勃興起，但這部經書已經遺失了。我們大智律師（Dàzhì）偶然在日本遇到了它，並將它帶回。如今漢地再次擁有這部書。我們國家（余）雖然偶然得到了一本，但繕寫脫落，湮滅書寫錯誤接連不斷。每次翻開書卷，沒有不感慨嘆息的。不久前，因為某種原因，移...

【English Translation】 English version No. 1899

Preface to the Illustrated Sutra of Jetavana

It is said that the reverence for blessings by the populace originates from the establishment of Stupas (Chityas) (Buddhist pagodas, sacred sites) as the foundation for returning to truth. The admiration for pagodas and Buddha images is indeed a great achievement! For example, Anāthapiṇḍika (the Giver to the Poor) spread gold on the ground of Jeta (Prince Jeta)'s garden to purchase the land, and King Udayana carved sandalwood to create the image of Muni (Śākyamuni Buddha). The establishment of the Nail Pagoda and the Hair Pagoda, as well as the two pagodas of clothing and shadow, were all established norms seen during the lifetime of the Tathāgata (Thus Come One). Moreover, the true body is formless, manifesting through interaction. Since interactions vary, the manifestations of form also differ. If the path of the mind is cut off, then the true appearance will not have any response. Sincere devotion can move heaven and earth. In the past, Ping Zhong (a wise man from the State of Qi during the Spring and Autumn period) worried about the great drought, and self-immolated, causing fire to rise and rain to fall. The wife of Qi Liang cried over the body of Liang Zhi, causing the city of Ju to collapse. From this, it can be seen that the spirit relies on things to produce a response; how can it be said to be false? As Buddhism spread eastward, everyone submitted to its teachings. Images and pagodas were hung and displayed everywhere. As the Dharma declined in the latter age, people's minds became frivolous, and there were no standards for making images, leading to disrespect and the abandonment of reverence. If there is an enlightened person, known as Master Cheng Zhao, the Patriarch of Nanshan, he arose in response to the times to revive the Vinaya School. His great virtue is the same as heaven and earth, and his radiance is in harmony with the sun and moon. The mysterious gateway and the profound key become accessible through interaction. The distant source and the deep waves are inexhaustible. Dragons and ghosts submit and admire, and gods and humans lift their feet in reverence. Alas! How can the beautiful virtues of our patriarch be fully praised? He loves all things universally and does not abandon anything, fearing that future generations will build pagodas without anything to follow, so he secretly created the Illustrated Sutra of Jetavana in two volumes based on inspiration. Those who cherish the Dao in the degenerate age do not need to go out of Yumen Pass or cross the vast mountains, enduring the labor of tying ropes and climbing trees, to see the sacred sites as if they were right before their eyes. Is this not the benefit of this sutra? When the calendar of the Great Song Dynasty was implemented, although the Vinaya School flourished, this sutra was lost. Our lawyer Dazhi (Great Wisdom) happened to encounter it in Japan and brought it back. Now the Han land has this book again. Although our country (I) happened to obtain a copy, it was full of omissions, erasures, and writing errors. Every time I open the scroll, I cannot help but sigh. Not long ago, for some reason, moved...

偶乎石清水神宮寺大乘律院。苾芻實長謂余云。經坊之中祇洹圖經舊本全者有焉。京兆書堂未有此經。以命剞劂氏壽梓布遐邇。請安一語于卷首(余)云。吁咈我鄙陋之言何贅乎聖策矣。長云。寶珠觸于按劍良馬羸乎駔阓者為無因而至故也。嗚乎何遜謙之甚哉(余)感斯言遂不得固辭。操翰書焉。　旹

天和元年龍集辛酉臘朔。久修園律院比丘宗覺(直)謹識。

中天竺舍衛國祇洹寺圖經序

唐干封二年季春終。南山釋氏感靈所出。

夫寺塔之基其源遠矣。自賢劫創啟諸佛告成。引四生而開三聖。引五乘而會一極。莫不以革俗為出有之本。通理為入空之致。故使權圖匪定而義實斯顯。所以道場別住。木石土宇周徼短長。院坊小大僧佛位殊故。設定斯別凡聖性異故。禮供分倫重門洞開啟三七之嘉謂。林池交映引四八之康途。表稱既彰其尊亦穆。故十方清信歸跡雲集。九界靈祇投誠霧結。至於六師異道傾影覆之威奇。四俗懷生得真教之雅趣。斯並古佛之行事故。蟻窟而猶存。流施不窮致來聖。而同襲然即世相不停。陵谷交資能事斯復。故接非常。今則大野丘墟同黍離之永嘆。遺基茫昧顧寒露而深凄。自告隱兩河歸真雙樹。法流振旦方聞勝蹤。而法勇法盛之儔。道邃道生之侶憤發精爽。慷慨未聞視

死若生。追蹤高軌既達故地。止見遺塵。雅相雖繁終傳往跡。莫若面睹用啟幽心。但以昔緣未絕冥威有從天人及殊聞。義便舉敢以所述。用陳幽鏡遂蒙照示圖而傳之。自大聖入寂以來千六百歲。祇園興廢經二十返。增損備缺事出當機。故使圖傳紛綸藉以定斷。其中高者三度殊絕。自余締構未足稱言。隋初魏郡靈裕法師名行夙彰。風操貞遠撰述寺誥具引祇洹。然以人代寂寥經籍罕備法律通會緣敘未倫。然則布金留樹重閣層門七日而騰架于千畝。鐘鑌而各聲于百院。語斯大然事𩣵常經。莫非統機之緣天人助其成務。通感之義龍鬼贊其神功。昔聞輪皇建塔一時而興八萬。大士化物大室納于兩儀。豈惟人謀乃䈴玄承草創。今則無從此所傳者。生在初天即南天王之大將八之一也。見始及終止過晦朔。親受遺寄弘護在懷。慈濟無蒙非其視聽。流此圖經傳之後葉。庶或見者知有所歸。輒錄由來無昧宗緒。余以祇洹本寺主久所居二十五年。一期化跡七處八會之鴻業形不從於此園。五部四含之玄藉法多從於斯寺。由是搜采群篇特事通敘。但以出沒不同懷鉛未即。忽于覺悟感此幽靈。積年沈鬱霈然頓寫。然夫冥隱微顯。備聞前絕於寶搜神之錄。劉慶幽明之篇。祖臺志怪之書。王琰冥祥之記。廣張往往未若指掌。流俗佌璅之儔或生果論。未達

通方之臣昌斯傳不足以聞。又有旌異述異之作冥報顯報之書。額敘煩攝光問古今。余即所列事等文宣天王之錄。亦同建安石佛之作。覺夢雖異不足懷疑。恨以八十位年情爽頓絕面藉指授耳。聆曲誨及至修疏十不存一。紬絡圖傳發未聞想。諸同儔恕其梗概之云爾。

祇樹給園圖(敘某園寺伽藍別作精舍。大有因緣致不遑廣引)

經律大明寺之基趾。八十頃地百二十院準的。東西近有十里。南北七百餘步。如近有傳云。昔佛在時須達祇園同共造立經中跡致。如前所聞經二百年。則當此土周姬第十三主平王之三十一年也。被燒都盡其故何耶。祇陀太子保愛此園。須達逼買不辭金費。太子情吝殷殷重悔。須達志堅確乎不動。太子見其不吝黃金情欣供養。告長者曰。吾自造寺不假于卿。須達不許。太子立愿。樹金不須可以供養。后若荒廢愿樹還生恰至被燒。屋宇都盡所立樹者如本不殊。須達昔為凡時。賣肉得財居賤。出貴常愿荒儉。雖獲巨富財由穢心。以此造寺終遭煨燼。太子力凈心。樹生業行雖虧不思議也。於後四百年有稱育迦王。依地而起十不及一。經千百年被賊燒燼。經十三年有王六師迦者。依前重造屋宇狀麗皆寶莊嚴。一百年後惡王壞之為殺人場。四天王及娑竭羅龍王忿之。以大石壓殺毀者。九十年荒無人

【現代漢語翻譯】通曉各方面情況的臣子昌斯所傳達的資訊不足以採信。還有表彰奇異、記述奇異之事的《冥報顯報》之類的書籍，內容繁雜，廣泛詢問古今之事。我所列舉的事蹟等同於文宣天王（孔子）的記錄，也類似於建安石佛的創作。夢境的覺醒雖然不同，但不足以懷疑。遺憾的是，我已八十歲高齡，精神衰弱，無法當面請教，只能依靠指點。聽到的教誨，等到整理成疏，十不存一。研究圖傳，產生了前所未聞的想法。希望各位同仁能夠諒解我只能概括地敘述。

祇樹給孤獨園圖（敘述某個園寺伽藍另外建造精舍，有很大的因緣，以至於沒有時間廣泛引用）

經律大明寺的地基，有八十頃土地，一百二十個院落。東西方向近十里，南北方向七百多步。根據近來的傳說，過去佛陀在世時，須達（Sudatta，給孤獨長者）和祇園（Jetavana）共同建造了這座寺廟，經中有記載。根據之前聽到的說法，大約在二百年後，相當於此地周朝姬姓第十三位君主平王（King Ping of Zhou）的三十一年。寺廟被燒燬，原因是什麼呢？祇陀太子（Prince Jeta）珍愛這座園林，須達強行購買，不惜花費黃金。太子心懷吝惜，深深後悔。須達意志堅定，毫不動搖。太子見他不吝惜黃金，心中欣喜，願意供養，告訴長者說：『我自己建造寺廟，不需要你的幫助。』須達不同意。太子立下誓願：樹木上的黃金不需要，可以用來供養。以後如果荒廢，希望樹木還能生長，恰好在被燒燬時。房屋都燒燬了，但所立的樹木和原來一樣沒有變化。須達過去還是凡人的時候，賣肉得到錢財，地位低賤，希望荒廢節儉。雖然獲得了巨大的財富，但財富來自污穢的心，因此建造的寺廟最終遭遇焚燬。太子心地純凈，樹木生長，業力行為雖然有虧，但不可思議。之後四百年，有育迦王（King Yuka）依據原址重建，規模不及原來的十分之一。經過一千多年，被盜賊燒燬。經過十三年，有王六師迦（King Shishuka），依據原來的樣子重建，房屋華麗，都用寶物裝飾。一百年後，惡王摧毀了它，作為殺人場所。四大天王（Four Heavenly Kings）和娑竭羅龍王（Sagara Dragon King）對此感到憤怒，用大石頭壓死了破壞者。九十年間，荒無人煙。

【English Translation】 The information conveyed by Chang Si, a minister versed in all matters, is insufficient to be trusted. There are also books like 'Records of Hidden Retribution and Manifest Retribution' that praise the extraordinary and record the strange, with complex content and extensive inquiries into ancient and modern affairs. The events I have listed are equivalent to the records of King Wenxuan (Confucius), and also similar to the creations of the Stone Buddha of Jian'an. Although the awakening in dreams is different, it is not enough to doubt. Unfortunately, I am eighty years old, my mind is weak, and I cannot ask for guidance in person, but can only rely on instructions. The teachings I have heard, by the time I organize them into a commentary, only one in ten remains. Studying the diagrams and transmissions, I have generated previously unheard-of ideas. I hope that my colleagues will forgive me for only being able to provide a general overview.

Picture of Jetavana Vihara (Describing a separate construction of a monastery in a certain garden, with great causes and conditions, so there is no time for extensive citations)

The foundation of the Jinglü Daming Temple has eighty qing of land and one hundred and twenty courtyards. It is nearly ten li from east to west and more than seven hundred steps from north to south. According to recent legends, in the past when the Buddha was alive, Sudatta (Anathapindika) and Jeta jointly built this temple, as recorded in the scriptures. According to what I heard before, about two hundred years later, it was equivalent to the thirty-first year of King Ping of Zhou, the thirteenth ruler of the Ji surname in this land. The temple was burned down. What was the reason? Prince Jeta cherished this garden, and Sudatta forcibly bought it, sparing no expense of gold. The prince felt stingy and deeply regretted it. Sudatta's will was firm and unwavering. Seeing that he did not spare gold, the prince was pleased and willing to make offerings, telling the elder: 'I will build the temple myself, and I do not need your help.' Sudatta disagreed. The prince made a vow: the gold on the trees is not needed, it can be used for offerings. If it is abandoned in the future, I hope the trees will still grow, just as when it was burned down. The houses were all burned down, but the trees that were planted were the same as before. Sudatta, when he was still a mortal, earned money by selling meat, his status was low, and he hoped for waste and frugality. Although he obtained great wealth, the wealth came from a defiled mind, so the temple he built eventually suffered incineration. Prince Jeta's mind was pure, the trees grew, and although his karmic actions were flawed, it is inconceivable. Four hundred years later, King Yuka rebuilt it based on the original site, but the scale was less than one-tenth of the original. After more than a thousand years, it was burned down by thieves. After thirteen years, King Shishuka rebuilt it according to the original appearance, the houses were magnificent and decorated with treasures. A hundred years later, an evil king destroyed it and used it as a killing field. The Four Heavenly Kings and Sagara Dragon King were angered by this and crushed the destroyers with large stones. For ninety years, it was deserted.

物。忉利天王令第二子下為人正。又依地花造飾嚴好。過佛在時經百五十年。魔天王燒滅。則當此土漢末獻帝時二十九年。以事往徴顯宗已。后和安桓靈之代西域往來行人踵接。則見天王葺構之作祇樹載茂之緣。后雖有者脫基至於今日。荒涼而已寺名祇樹給孤獨園(依寺誥中凡有十名。一曰寺也。二曰凈住舍。三曰法同舍。四曰出世舍。五曰精舍。六曰清凈園。七曰金剛凈剎。八曰寂滅道場。九曰遠離處。十曰親近處也)。此上十名依經釋相。各有其致如彼誥中。今依諸經初造此園。其地南北周徼八十餘頃。東西長列在舍衛城南五六里許(檢諸傳記里步或差。良是初起之後造延役不故愿。行季者隨見便敘。致令曲士時居。疑因雖有多說定在城南。可通照也)大院有二。西方大院僧佛所居名曰道場。或金剛場其基出地別置階陛。四面龕窟並安神怪。守護此場院。大墻有三重。高可二丈施步檐。椓廡相架朱粉相暉。案寺誥云。外面重院。墻外表三歸依止外護相。內一重院。墻內表三寶因果歸鏡相。內院高出外院。五尺以表三寶因果出過五道故也。余有佛法寶僧院堂房多少。圖繢相狀類例殊倫。梵王天王之別座。野鬼餓鬼之殊室。具繕供待常以八王之與六齊。財施法施隨時少食之與大食各有其致。廣文如彼。

此寺大

【現代漢語翻譯】現代漢語譯本此[物]，忉利天王（Trayastrimsa-deva-raja，三十三天之王）令其第二子下生為人，匡正世事。又依據[地花]建造裝飾，使其莊嚴美好，超過佛陀在世之時。經過一百五十年後，魔天王將其燒燬。這相當於中土漢朝末年獻帝在位的第二十九年。根據以往之事推斷，顯宗之後，和帝、安帝、桓帝、靈帝年間，西域往來行人絡繹不絕，因此得見天王修葺建造之功，以及祇樹（Jetavana，祇陀林）繁茂的因緣。後來雖有人修繕，但地基也已脫落，直至今日，只剩一片荒涼。寺名祇樹給孤獨園（Anathapindika-arama，意為無依者之園）。（依據寺廟誥文中，共有十個名稱：一曰寺，二曰凈住舍，三曰法同舍，四曰出世舍，五曰精舍，六曰清凈園，七曰金剛凈剎，八曰寂滅道場，九曰遠離處，十曰親近處。）以上十個名稱依據經典解釋其含義，各有其深意，如誥文中所述。如今依據諸經，最初建造此園，其地南北周長八十餘頃，東西長列，位於舍衛城（Sravasti）南五六里左右（查閱各種傳記，里步或有差異，這是因為最初建造之後，不斷擴建，沒有按照最初的願望。後世之人隨意見聞便加以敘述，導致一些見識淺薄之人居住於此，產生疑惑。雖然說法眾多，但可以確定在城南，可以通盤考慮）。大院有二，西方大院是僧人和佛陀居住的地方，名為道場，或金剛場，其地基高出地面，另設臺階。四面都有龕窟，並安放神怪，守護此道場。大墻有三重，高約二丈，設有步檐，房屋相互連線，硃紅粉白相互輝映。按照寺廟誥文所說，外面重院，墻外象徵三歸依止外護之相；內一重院，墻內象徵三寶因果歸鏡之相；內院高於外院五尺，以象徵三寶因果超出五道輪迴。其餘還有佛法寶僧院堂房多少，圖畫的形狀和種類各不相同。梵王（Brahma-raja，大梵天王）、天王（Deva-raja，天王）的別座，野鬼、餓鬼的特殊居室，都已完備修繕，常以八王（八位國王）和六齊（六位大臣）的供養來對待，財施和法施，隨時提供少食和大食，各有其深意，詳細內容如誥文所述。此寺大...

【English Translation】 English version The [object]. Trayastrimsa-deva-raja (King of the Thirty-Three Heavens) ordered his second son to descend and become a righteous man. Furthermore, based on [earth flowers], it was constructed and adorned to be magnificent and beautiful, surpassing the time when the Buddha was alive. After one hundred and fifty years, the Mara-deva-raja (Demon King) burned it down. This corresponds to the twenty-ninth year of Emperor Xian of the late Han Dynasty in China. Based on past events, after Emperor Xian, during the reigns of Emperors He, An, Huan, and Ling, travelers from the Western Regions came and went in an endless stream, thus witnessing the merits of the Deva-raja's (Heavenly King's) repairs and construction, as well as the flourishing conditions of Jetavana (Jeta's Grove). Although there were later repairs, the foundations have also fallen off, and to this day, only desolation remains. The temple is named Anathapindika-arama (Garden of Anathapindika). (According to the temple edict, there are ten names in total: 1. Temple, 2. Pure Dwelling, 3. Dharma-Sharing Dwelling, 4. World-Transcending Dwelling, 5. Vihara, 6. Pure Garden, 7. Vajra Pure Kshetra, 8. Nirvana Bodhimanda, 9. Place of Seclusion, 10. Place of Proximity.) The above ten names are explained according to the scriptures, each with its profound meaning, as described in the edict. Now, according to the scriptures, this garden was initially built, with a circumference of over eighty qing (a unit of area) from north to south, and a long east-west alignment, located about five or six li (a unit of distance) south of Sravasti (City of Abundance). (Checking various records, the li and bu (another unit of distance) may vary, because after the initial construction, it was continuously expanded, not according to the original intention. Later generations described it as they saw and heard, leading to some narrow-minded people living here and creating doubts. Although there are many different accounts, it can be determined that it is south of the city, which can be considered comprehensively.) There are two large courtyards. The western courtyard is where the monks and the Buddha reside, called the Bodhimanda (Enlightenment Ground), or Vajra Ground, with its foundation raised above the ground and separate steps. There are niches on all four sides, with deities and monsters placed to protect this courtyard. There are three layers of large walls, about two zhang (a unit of height) high, with eaves, and the houses are connected to each other, with vermilion and white colors complementing each other. According to the temple edict, the outer courtyard symbolizes the refuge in the Three Jewels and the protection of external forces; the inner courtyard symbolizes the cause and effect of the Three Jewels reflected in a mirror; the inner courtyard is five chi (a unit of length) higher than the outer courtyard, symbolizing that the cause and effect of the Three Jewels transcend the five realms of existence. There are also various halls and rooms in the Sangharama (monastery) for the Buddha, Dharma, and Sangha, with different shapes and types of paintings. Separate seats for Brahma-raja (Great Brahma King) and Deva-raja (Heavenly King), and special rooms for wild ghosts and hungry ghosts, all have been completely repaired. They are usually treated with the offerings of the Eight Kings and the Six Qi (Six Ministers), with material offerings and Dharma offerings, providing small meals and large meals at any time, each with its profound meaning, as detailed in the edict. This temple is large...

院但列三門於三方。北方不開。案裕師聖蹟記。寺開東北二門。繞祇洹院有十八寺。又案寺誥云。祇洹一所四門通徹。十字交過據今上圖。北方無門以事詳之。則前後起造制度各別隨時聞見。即而列之不足疑怪。此之圖經最初布金繩之作也。南面三門中央大門。有五間三重高樓映奪者。祇陀太子所造。此三重者表三空門。明於佛法三空也。為本創入佛理衣為初宗。故立三重表三空也。門外渠水飛橋北跨亦有五道。雕飾之異特非人有。東西二門三重同上俱有三間。門外飛橋三道亙入外有林樹。清凈旋繞及至三邊花樹。接見者發於敬重深心入。大中門左右院巷門戶當對水樹交加。大院東門對於中道東西通徹。此門高大出諸院表。上下重沓一十二重。橫閣布地十七門。莊飾之奇挺冠空野。四方道俗初來禮覲未敢北面。多歷此門在。

院已方乃謁現。案寺誥云。此門宏壯者表始信入道之處也。其門重閣表裡素畫作大梵王像天帝釋像。四大天王人王大鬼王神龍王諸像。所以圖其形相者。表同影響通護三寶之住持也。大院西門其狀未聞。行事在於無常故使相量不顯也。大門之東自分七院。南畔西第一院名他方白衣菩薩之院。院開北門其內有堂。花樹充滿。每有他方俗士菩薩遠來朝覲初止此中。後方見佛其院中有頗梨師子。兜

【現代漢語翻譯】現代漢語譯本在祇洹精舍的院墻上，南、東、西三面各設有三座門，唯獨北面沒有門。根據裕師《聖蹟記》記載，祇洹精舍開有東北兩座門。圍繞祇洹精舍共有十八座寺院。又根據寺院的誥文記載，祇洹精舍有一座四通八達的寺院，四面都有門，形成十字交叉的格局。但根據現在的圖紙，北方沒有門。仔細考證此事，可知前後建造的制度各有不同，隨著時代的變化，人們的見聞也不同，因此所記載的內容有所差異，不足為怪。這張圖經是最初布金繩時的作品。南面的三座門中，中央的大門有五間三層的高樓，光彩奪目，是祇陀太子（Jetakumāra）所建造。這三重樓象徵著三空門，闡明佛法中的三空之理。因為最初創立佛理衣，作為最初的宗旨，所以建立三重樓來象徵三空。門外的渠水上有飛橋橫跨，也有五道。橋上的雕飾非常奇特，不是人力所能完成的。東西兩座門的三重樓與中央大門相同，都有三間。門外的飛橋有三道，橫跨到外面，外面有樹林，清凈而環繞。來到這三邊，花樹繁茂，見到的人都會心生敬重，發深心進入。大中門左右的院巷門戶，與水樹交相輝映。大院的東門正對著中道，東西通透。此門高大，超出其他院落，上下重疊共有十二重，橫向的閣樓鋪滿地面，共有十七道門。裝飾的奇特，在空曠的郊野顯得格外突出。四方的僧人和俗人初來禮拜時，不敢面向北方，大多從此門進入。進入院落後才能謁見佛像。根據寺院的誥文記載，這座宏偉的門象徵著開始相信並進入佛道的地方。門上的重閣內外都畫著大梵天王像（Mahābrahmā），帝釋天像（Śakra），四大天王像（Caturmahārājakayikas），人王，大鬼王，神龍王等畫像。之所以畫這些畫像，是爲了表明他們如同影子一般，共同護持三寶的住持。大院的西門，其形制沒有記載。因為世事無常，所以它的形制不為人所知。大門以東分為七個院落。南邊西側的第一個院落名為他方白衣菩薩之院。院落開有北門，裡面有殿堂，花樹繁茂。每當有其他地方的在家菩薩遠道而來朝拜時，最初都住在這裡，之後才能見到佛。這個院落里有一隻頗梨（Sphatika）獅子，兜（Tusita）。

【English Translation】 English version On the walls of the Gīvana Monastery, three gates are set up on the south, east, and west sides, but there is no gate on the north side. According to Yushi's 'Records of Holy Sites,' the Gīvana Monastery has two gates in the northeast. There are eighteen monasteries surrounding the Gīvana Monastery. According to the monastery's edict, the Gīvana Monastery has a monastery that is accessible in all directions, with gates on all four sides, forming a cross-shaped pattern. However, according to the current map, there is no gate in the north. Upon careful examination, it can be seen that the construction systems before and after are different, and people's knowledge varies with the times, so the recorded content is different, which is not surprising. This map is the work of the initial distribution of gold ropes. Among the three gates on the south side, the central gate has a five-bay, three-story high building, which is dazzling and was built by Jetakumāra (祇陀太子). This three-story building symbolizes the three empty gates, clarifying the three emptinesses in Buddhism. Because the Buddhist robe was first created as the initial purpose, a three-story building was built to symbolize the three emptinesses. Outside the gate, there is a flyover spanning the canal, also with five paths. The carvings on the bridge are very peculiar and cannot be accomplished by human power. The three-story buildings of the east and west gates are the same as the central gate, all with three bays. The flyover outside the gate has three paths, spanning to the outside, where there are forests, clean and surrounding. Arriving at these three sides, the flowers and trees are lush, and those who see them will feel respect and enter with deep hearts. The courtyard lanes and portals on the left and right of the central gate are in harmony with the water and trees. The east gate of the large courtyard faces the middle road and is transparent from east to west. This gate is tall and exceeds other courtyards, with twelve layers stacked on top of each other, and horizontal pavilions covering the ground, with seventeen gates in total. The decoration is peculiar and stands out in the open suburbs. Monks and laypeople from all directions dare not face north when they first come to worship, and mostly enter through this gate. After entering the courtyard, one can visit the Buddha statue. According to the monastery's edict, this magnificent gate symbolizes the place where one begins to believe and enter the Buddhist path. The heavy pavilions on the gate are painted with images of Mahābrahmā (大梵天王像), Śakra (帝釋天像), Caturmahārājakayikas (四大天王像), human kings, great ghost kings, and dragon kings. The reason for painting these images is to show that they, like shadows, jointly protect the maintenance of the Triple Gem. The shape of the west gate of the large courtyard is not recorded. Because things are impermanent, its shape is not known. The east of the gate is divided into seven courtyards. The first courtyard on the west side of the south is called the Courtyard of Lay Bodhisattvas from Other Lands. The courtyard has a north gate, with halls and lush flowers and trees inside. Whenever lay bodhisattvas from other places come to worship from afar, they first live here before they can see the Buddha. There is a Sphatika (頗梨) lion in this courtyard, Tusita (兜).

率天王手自作之。形如拳大。至時口出妙音如命命鳥。音中說八萬波羅蜜。諸菩薩聞法登位地。每至臘月八日。舍衛城中士女各執香華來聽法音。及命命鳥金翅鳥子鹓鶵鳳凰皆來相。人及諸鳥或得初果。及入大乘法眼凈者。次小巷北一院名他方菩薩之院。門勒南開其內堂房林樹如前。中有健槌。是散脂大將所造作一銅龍。屃石蓮花日出花開日沒花合[門@祚]。至時花合[門@祚]諸葉皆動猶若風吹。龍即出聲維那聽音。即鳴揵捶。

西院之東南畔一院。名比丘尼來請教授之院。一門北[門@祚]對東門街。一門東[門@祚]內有堂樹。如西院中。每月晦望尼來請教誡時依住於此院。有剎干高三丈許。阿修羅王所造。其剎干有鳳口衘銅鈴。尼若來時鈴即自鳴。不如法者鈴即惡鳴。罵詈以丑詞有精進事。出聲讚歎又說六度諸法。

次以巷北一院名教誡比丘尼院。內有堂樹門對南開。一門東開如前院相。每月二時受尼往教誡。

前西北有一大院。名他方諸佛之院。為通化故時來此中。內有林池花樹充滿。東西二門對大街開。大梵天王化作十二方石。清凈光潔佛坐上。中有摩尼天鼓。時至自鳴。和修吉龍王所造。其聲遠聞。下至水際上至有頂。地獄人聞離苦生天亦有入果。小乘人聞得至大乘。初發心者得

【現代漢語翻譯】現代漢語譯本率天王親手製作它，形狀如拳頭般大小。到時，口中會發出美妙的聲音，如同命命鳥（Jīvmjīvaka，一種鳥）的叫聲。聲音中宣說八萬波羅蜜（Pāramitā，到彼岸），諸菩薩聽聞佛法后證得果位。每到臘月八日，舍衛城（Śrāvastī，古印度城市）中的男女老少各自拿著香和花來聽聞佛法之音。以及命命鳥、金翅鳥（Garuḍa，一種神鳥）的幼鳥、鹓鶵（yuān chú，古代傳說中的一種鳥）、鳳凰都來朝拜。人和各種鳥類有的證得初果（Sotāpanna，須陀洹），有的進入大乘（Mahāyāna，佛教宗派）法眼清凈的境界。其次，小巷北邊有一個院子，名叫他方菩薩之院。門朝南開，裡面的殿堂房屋和樹林與之前的院子相似。院子中間有一個健槌，是散脂大將（Sañjaya，佛教護法神）所造作的一條銅龍。銅龍下面是屃（xì，傳說中的一種動物）形的石蓮花，日出時花開，日落時花合攏。到花合攏的時候，所有的葉子都會動，好像被風吹一樣。銅龍就會發出聲音，維那（Vihan，寺院中負責敲擊法器的僧人）聽到聲音后，就敲擊揵捶（法器）。西院的東南邊有一個院子，名叫比丘尼來請教授之院。一個門朝北開，對著東邊的街道。一個門朝東開，裡面有殿堂和樹木，和西院中的情況一樣。每個月的最後一天和十五，比丘尼（Bhikkhunī，女性出家人）來請求教誡的時候，就住在這個院子里。院子里有一根剎干，大約三丈高，是阿修羅王（Asura，一種神）所造。剎幹上有鳳凰口銜著銅鈴。比丘尼來的時候，鈴就會自己鳴響。不如法的時候，鈴就會發出難聽的聲音，罵人，說一些難聽的話；有精進修行的事情，鈴就會發出聲音讚歎，並且宣說六度（Ṣaṭpāramitā，六種到彼岸的方法）等佛法。其次，小巷北邊有一個院子，名叫教誡比丘尼院。裡面有殿堂和樹木，門朝南開。一個門朝東開，和之前的院子一樣。每個月兩次接受比丘尼前來請求教誡。之前西北邊有一個大院子，名叫他方諸佛之院。爲了方便教化，諸佛會時常來到這裡。院子里有樹林、池塘，種滿了花草樹木。東西兩個門都對著大街開。大梵天王（Mahābrahmā，一種神）化作十二方石，清凈光潔，佛就坐在上面。院子中間有一個摩尼天鼓，時間到了就會自己鳴響，是和修吉龍王（Vasuki，一種龍王）所造。鼓聲傳得很遠，下到水際，上到有頂天。地獄中的人聽到鼓聲，就能脫離痛苦，升到天上，也有人因此證得果位。小乘（Hināyāna，佛教宗派）修行人聽到鼓聲，可以轉入大乘。剛開始發菩提心的人，可以得到...

【English Translation】 English version The King of Śrāvastī personally crafted it, its shape resembling the size of a fist. When the time comes, it emits a wondrous sound like that of a Jīvamjīvaka bird (a type of bird). Within the sound, it expounds the eighty-thousand Pāramitās (perfections). Bodhisattvas (enlightenment beings) who hear the Dharma (teachings) attain positions of enlightenment. Every year on the eighth day of the twelfth month, men and women of Śrāvastī (an ancient Indian city) each hold incense and flowers to listen to the sound of the Dharma. And the Jīvamjīvaka birds, the young of Garuḍa (a divine bird), yuān chú birds (a legendary bird), and phoenixes all come to pay homage. People and various birds, some attain the first fruit (Sotāpanna), and some enter the pure Dharma eye of the Mahāyāna (Great Vehicle). Next, north of the small lane is a courtyard called the Courtyard of Bodhisattvas from Other Lands. The gate faces south, and the halls, rooms, and trees inside are similar to the previous courtyard. In the middle of the courtyard is a mallet, and a copper dragon crafted by the Great General Sañjaya (a Buddhist guardian deity). Below the copper dragon is a stone lotus flower in the shape of a bixi (a mythical creature), the flower opens at sunrise and closes at sunset. When the flower closes, all the leaves move as if blown by the wind. The dragon then emits a sound, and the Vihan (a monk responsible for striking instruments in a monastery) hears the sound and strikes the 揵捶 (a percussion instrument). To the southeast of the west courtyard is a courtyard called the Courtyard Where Bhikkhunīs Come to Request Instruction. One gate faces north, towards the east street. One gate faces east, inside there are halls and trees, similar to the west courtyard. On the last day and fifteenth day of each month, when the Bhikkhunīs (female monastics) come to request instruction, they reside in this courtyard. There is a flagpole about three zhang (丈，a unit of length) tall, made by the Asura King (a type of deity). On the flagpole, a phoenix holds a copper bell in its mouth. When the Bhikkhunīs come, the bell rings on its own. If they are not in accordance with the Dharma, the bell makes an unpleasant sound, scolding and using ugly words; if there are diligent practices, the bell emits a sound of praise and expounds the Six Pāramitās (six perfections) and other Dharmas. Next, north of the small lane is a courtyard called the Courtyard for Instructing Bhikkhunīs. Inside there are halls and trees, the gate faces south. One gate faces east, similar to the previous courtyard. Twice a month, it receives Bhikkhunīs who come to request instruction. Previously, to the northwest was a large courtyard called the Courtyard of Buddhas from Other Lands. For the sake of universal transformation, the Buddhas often come here. The courtyard has forests, ponds, and is filled with flowers and trees. The east and west gates both face the main street. The Great Brahma King (a type of deity) transforms into twelve square stones, pure and bright, and the Buddha sits on them. In the middle of the courtyard is a Mani celestial drum, which sounds on its own when the time comes, made by the Vasuki Dragon King (a dragon king). The sound of the drum travels far, down to the edge of the water and up to the highest heaven. People in hell who hear the sound can escape suffering and ascend to heaven, and some also attain enlightenment. Practitioners of the Hināyāna (Smaller Vehicle) who hear the sound can enter the Mahāyāna. Those who have just aroused the Bodhi mind can attain...

入七地。他方佛院巷北又分二院。西邊一院名佛香庫院。門向西對大街開。其中天童所執。次東一院名諸仙之院。門向南辟堂樹充滿。中有一部天樂三千種。七寶所成一一皆有七寶人擎持此樂。仙人若集諸樂自鳴奏神仙曲。佛入仙院為說法時。諸七寶人便奏六度四諦之曲。諸五通仙我慢山崩。或得三果或入初地不可具說。其樂聲聞一四天下。維衛佛時香山中摩利大仙所造。佛去世後文殊持來清冷山中。釋迦佛出持詣祇洹。如來滅度此樂自飛往清冷山金剛窟中。上七院者並在大門之東東門之西。其中渠流交過通徹清潔。復廣觀毗傾仰忘告勞疲。南面東門如上三重。直北跨橋有烏頭門。五道亙入又至五門方達中街。

東門之東自分九院。初南西有一院。名大梵天王之院。東西二門中有天螺一十二枚。諸梵集時先止此中。解脫衣常裳嚴飾。欲參佛前螺即自鳴。聲聞三千大千世界。梵王欲問六度四諦。螺如所會便為吐音。諸聞聲便集佛所。又院內有玉池。池內有金蓮花。中復有十三天童。擎螺蕊常含佛至花開。佛涅槃后大梵天王將歸天上。

次東一院名知時之院。其門西開諸院。維那看相觀時在於斯院。其內曾有漏克院。中復有黃金須彌山海水。山中奇事不可述盡。上有金城。白銀七寶以為樓橧。高三丈餘。大梵

【現代漢語翻譯】現代漢語譯本：進入七地（菩薩修行果位的第七個階段）。他方佛院的巷子北邊又分為兩個院落。西邊的一個院落名為佛香庫院。門朝西開，正對著大街。其中有天童（天上的童子）負責執掌。東邊的一個院落名為諸仙之院。門朝南開，庭院中樹木繁茂。院中有一部天樂，共有三千種樂器。這些樂器由七寶（金、銀、琉璃、玻璃、硨磲、赤珠、瑪瑙）製成，每件樂器都有七寶人擎持演奏。仙人聚集時，各種樂器會自動演奏神仙樂曲。佛陀進入仙院說法時，這些七寶人便會演奏六度（佈施、持戒、忍辱、精進、禪定、智慧）和四諦（苦、集、滅、道）的樂曲。諸位具有五神通的仙人，我慢之心頓時崩塌，有的證得三果（須陀洹果、斯陀含果、阿那含果），有的進入初地（菩薩修行果位的第一個階段），不可一一盡述。這些樂器的聲音能傳遍一個四天下（佛教宇宙觀中的一個世界）。這是在維衛佛（過去七佛之一）時期，香山中的摩利大仙所製造的。佛陀去世后，文殊菩薩將其帶到清涼山（五臺山）中。釋迦牟尼佛出世后，又將其帶到祇洹精舍（釋迦牟尼佛在世時常住的精舍）。如來佛滅度后，這些樂器自己飛往清涼山金剛窟中。以上七個院落都在大門的東邊和東門的西邊。其中有水渠交錯流通，非常清潔。可以盡情觀賞，忘記勞累。南面的東門如上面所說的三重門。正北跨過橋樑有烏頭門。五條道路橫貫進入，又經過五重門才到達中街。東門東邊又分為九個院落。首先，南邊西邊有一個院落，名為大梵天王之院。東西兩門中有天螺十二枚。諸位梵天聚集時，先在此院中停留。脫下世俗的衣裳，穿上莊嚴的服飾。想要參見佛陀時，天螺便會自動鳴響，聲音傳遍三千大千世界（佛教宇宙觀中的廣大世界）。梵天想要詢問六度四諦時，天螺會根據所問的內容發出相應的聲音。聽到螺聲的人便會聚集到佛陀所在之處。院內還有一個玉池，池中有金蓮花。花中有十三位天童，擎著螺蕊，常含著佛陀，直到蓮花開放。佛陀涅槃后，大梵天王將這些天螺帶回天上。東邊第二個院落名為知時之院。院門朝西開向各個院落。維那（寺院中負責管理僧眾事務的僧人）在此院中觀察天象，掌握時辰。院內曾經有漏克院（古代計時機構），院中還有黃金須彌山（佛教宇宙觀中的山）和海水。山中的奇特景象無法完全描述。山上有金城，用白銀和七寶建造樓閣，高三丈多。大梵天王（佛教中的護法神）...

【English Translation】 English version: Entering the Seventh Ground (the seventh stage of Bodhisattva practice). North of the alley of the Other-Worldly Buddha Courtyard, there are two more courtyards. The western courtyard is named the Incense Storehouse Courtyard of the Buddha. Its gate faces west, opening onto the main street. Heavenly children are in charge of managing it. The eastern courtyard is named the Courtyard of the Various Immortals. Its gate faces south, and the courtyard is filled with lush trees. Inside is a set of celestial music with three thousand instruments. These instruments are made of the Seven Treasures (gold, silver, lapis lazuli, crystal, tridacna, red pearl, and agate), and each instrument is held and played by a Seven-Treasure Person. When immortals gather, the various instruments automatically play divine melodies. When the Buddha enters the Immortal Courtyard to preach the Dharma, these Seven-Treasure People play melodies of the Six Perfections (dāna, śīla, kṣānti, vīrya, dhyāna, prajñā) and the Four Noble Truths (duḥkha, samudaya, nirodha, marga). The pride of the various immortals with the Five Supernatural Powers collapses, some attain the Three Fruits (Sotāpanna, Sakadāgāmin, Anāgāmin), and some enter the First Ground (the first stage of Bodhisattva practice), which cannot be fully described. The sound of these instruments can be heard throughout a Four-World Universe (a world system in Buddhist cosmology). This was created by the Great Immortal Marici in Fragrant Mountain during the time of the Buddha Vipassi (one of the past seven Buddhas). After the Buddha passed away, Mañjuśrī Bodhisattva brought it to Mount Qingliang (Mount Wutai). When Śākyamuni Buddha appeared in the world, he brought it to Jetavana Monastery (a monastery where Śākyamuni Buddha often stayed during his lifetime). After the Tathāgata passed away, these instruments flew by themselves to the Vajra Cave in Mount Qingliang. The above seven courtyards are all located east of the main gate and west of the east gate. Among them, canals flow through, clear and clean. One can fully enjoy the scenery and forget fatigue. The east gate on the south side is like the triple gate mentioned above. Directly north, crossing the bridge, is the Wutou Gate. Five roads run through and lead to the middle street after passing through five gates. East of the east gate, there are nine more courtyards. First, there is a courtyard in the south and west, named the Courtyard of the Great Brahmā King. There are twelve celestial conch shells in the east and west gates. When the various Brahmās gather, they first stop in this courtyard. They take off their worldly clothes and put on solemn attire. When they want to see the Buddha, the conch shells automatically sound, and the sound is heard throughout the Three Thousand Great Thousand Worlds (a vast world system in Buddhist cosmology). When the Brahmā Kings want to ask about the Six Perfections and the Four Noble Truths, the conch shells will emit corresponding sounds according to the questions asked. Those who hear the sound of the conch shells will gather where the Buddha is. There is also a jade pond in the courtyard, and there are golden lotus flowers in the pond. There are thirteen heavenly children in the flowers, holding the stamen of the conch shells, constantly containing the Buddha until the lotus flowers bloom. After the Buddha entered Nirvana, the Great Brahmā King took these conch shells back to heaven. The second courtyard to the east is named the Courtyard of Knowing the Time. The gate of the courtyard faces west towards the various courtyards. The Karmadāna (a monastic officer in charge of monastic affairs) observes the celestial phenomena and keeps track of the time in this courtyard. There used to be a water clock courtyard (an ancient timekeeping mechanism) in the courtyard, and there was also a golden Mount Sumeru (a mountain in Buddhist cosmology) and seawater. The strange sights in the mountain cannot be fully described. There is a golden city on the mountain, with pavilions built of silver and the Seven Treasures, more than three zhang (approximately 10 meters) high. The Great Brahmā King (a protective deity in Buddhism)...

天王第三子所造。四角四樓四面合十二門。四中門上亦皆有樓。其四樓內各有寶人。時至即出卻歒打一鼓。於斯城上露處已有一十二人。各執白拂唱午時至。南門即開馬從中出。時過即縮門便還閉隨十二時。獸之出沒其例亦爾。夜中別有多人行更一一分明。佛臨涅槃山動出聲。所作時節並皆不著。寶人涕泣或有手摺。滅度之後經十二年。大梵天王收歸天。彌勒下生還來本處。二院之北有一大院。即於此大院更分為四院。初西南畔一院名魔王施物之院。門向東開。魔天初下先且入此院中內有一鐘。七楞七角摩尼寶作受三十萬㪶。人天大集祇洹之時。馬星比丘令喜見魔子擊鐘。聲聞大千界魔王聞之。即領八百億魔天子。下又有百億魔王。亦同時至擎寶獻佛。地獄者皆即離苦。此鐘器是星宿劫前古佛所作。佛去世後龍收入海。又次東一院名大佛像院。門向西辟。于中莊嚴堂宇寶城花果池林言不能述。兩院北畔復有兩院。次西一院名龍王之院。門向東辟中有大堂。又內一琉璃寶瓶。瓶內善七金雞。龍至便鳴聲聞三億里。娑竭龍王來時七雞俱鳴。自余龍至但一雞鳴。其瓶內外映徹。金雞形如此山雞音如笙聲。諸龍聞者嗔心便歇。如來臨滅諸雞飛去。迦葉結集二雞還來。阿難涅槃飛去不返。昔日諸大龍王來覲佛者在先詣此院中。舍

【現代漢語翻譯】現代漢語譯本這是天王（Deva King）第三個兒子建造的城市。它有四個角，每個角上有一座樓，四面共有十二個門。四個中央的門上也都建有樓。每個樓內都有一位寶人（precious being）。當時間到達時，他們就會出來敲鼓。在這座城市的露天處，有十二個人，每個人都拿著白拂（white whisk）唱報午時已到。南門隨即打開，馬匹從中出來。時間過去後，門就會關閉，隨著十二個時辰的變化而變化。野獸的出沒也是如此。夜晚另有其他人巡邏，時間劃分得非常清楚。佛陀（Buddha）臨近涅槃（Parinirvana）時，山搖地動，發出聲響。寶人們的動作和時間並不一致，有的寶人哭泣，有的甚至折斷了手臂。佛陀滅度（passed away）十二年後，大梵天王（Mahabrahma）將這座城市收回天界。彌勒佛（Maitreya Buddha）下生時，它還會回到原來的地方。第二座院子的北面有一個大院子，這個大院子又分為四個小院子。首先是西南方向的院子，名為魔王施物之院（Court of Mara's Offerings），門朝東開。魔天（Mara）初次降臨時，會先進入這個院子。院內有一口鐘，有七個棱角，由摩尼寶（Mani jewel）製成，可以容納三十萬斛（hu，古代容量單位）。當人天（humans and devas）聚集在祇洹（Jetavana）時，馬星比丘（Bhikkhu）讓喜見魔子（Mara's son）敲鐘。聲音傳遍大千世界（Great Chiliocosm），魔王（Mara）聽到后，就帶領八百億魔天子（Mara's sons）降臨。此外還有百億魔王也同時到來，擎著寶物獻給佛陀。地獄（Naraka）中的眾生都得以脫離苦難。這口鐘是星宿劫（constellation kalpa）之前，古佛（ancient Buddha）所造。佛陀去世后，龍（Naga）將它收入海中。東邊的院子名為大佛像院（Great Buddha Image Court），門朝西開。院內裝飾著華麗的殿宇、寶城、花果池林，難以用語言描述。這兩座院子的北面還有兩座院子。西邊的院子名為龍王之院（Dragon King's Court），門朝東開，院內有一座大殿，殿內有一個琉璃寶瓶（crystal vase）。瓶內養著七隻金雞。龍到來時，金雞就會鳴叫，聲音傳遍三億里。娑竭龍王（Sagara Naga King）到來時，七隻雞都會鳴叫。其他龍到來時，只有一隻雞鳴叫。寶瓶內外晶瑩剔透，金雞的形狀像山雞，聲音像笙的聲音。眾龍聽到后，嗔恨心就會平息。如來（Tathagata）臨近滅度時，所有的雞都飛走了。迦葉（Kasyapa）結集（recitation）時，有兩隻雞飛了回來。阿難（Ananda）涅槃時，它們又飛走了，一去不返。過去，各大龍王（Naga Kings）前來覲見佛陀時，都會先到這座院子里。

【English Translation】 English version This was built by the third son of the Deva King (Tian Wang). It has four corners, each with a tower, and twelve doors on all four sides. The four central doors also have towers. Within each of the four towers is a precious being (Bao Ren). When the time arrives, they emerge and strike a drum. In the open space of this city, there are twelve people, each holding a white whisk (Bai Fu) and chanting that it is noon. The south gate then opens, and horses emerge from it. When the time passes, the gate closes, changing with the twelve periods of the day. The appearance and disappearance of beasts follow the same pattern. At night, other people patrol, dividing the time very clearly. When the Buddha (Fo) approached Parinirvana (Niepan), the mountains shook and made sounds. The actions of the precious beings and the time are not consistent; some precious beings weep, and some even break their arms. Twelve years after the Buddha passed away (Miedu), Mahabrahma (Da Fantian Wang) took this city back to the heavens. When Maitreya Buddha (Mile Fo) descends, it will return to its original place. North of the second courtyard is a large courtyard, which is further divided into four smaller courtyards. First, there is the courtyard in the southwest direction, named the Court of Mara's Offerings (Mowang Shiwu Zhi Yuan), with the door facing east. When Mara (Mo Tian) first descends, he will first enter this courtyard. Inside the courtyard is a bell with seven edges, made of Mani jewel (Moni Bao), capable of holding 300,000 hu (an ancient unit of volume). When humans and devas (Ren Tian) gather at Jetavana (Qihuan), Bhikkhu Maseng (Ma Xing Biqiu) has Mara's son (Xijian Mozi) strike the bell. The sound spreads throughout the Great Chiliocosm (Da Qian Shijie), and when Mara (Mowang) hears it, he leads eight hundred billion Mara's sons (Mo Tianzi) to descend. In addition, there are one hundred billion Mara Kings who also arrive at the same time, holding treasures to offer to the Buddha. Beings in hell (Diyu) are all freed from suffering. This bell was made by an ancient Buddha (Gu Fo) before the constellation kalpa (Xingxiu Jie). After the Buddha passed away, the Naga (Long) took it into the sea. The courtyard to the east is named the Great Buddha Image Court (Da Fo Xiang Yuan), with the door facing west. Inside the courtyard are decorated magnificent halls, treasure cities, flower and fruit ponds and forests, which are difficult to describe in words. North of these two courtyards are two more courtyards. The courtyard to the west is named the Dragon King's Court (Longwang Zhi Yuan), with the door facing east. Inside is a large hall, and inside the hall is a crystal vase (Liuli Baoping). Seven golden chickens are kept inside the vase. When a dragon arrives, the golden chickens will crow, and the sound will travel 300 million li. When Sagara Naga King (Suojie Longwang) arrives, all seven chickens will crow. When other dragons arrive, only one chicken will crow. The vase is crystal clear inside and out, the shape of the golden chickens is like mountain chickens, and the sound is like the sound of a sheng (a Chinese wind instrument). When the dragons hear it, their anger will subside. When the Tathagata (Rulai) approached Parinirvana, all the chickens flew away. When Kasyapa (Jiaye) performed the recitation (Jieji), two chickens flew back. When Ananda (Anan) entered Nirvana, they flew away again and never returned. In the past, when the great Naga Kings (Longwang) came to pay homage to the Buddha, they would first go to this courtyard.

其龍相乃至佛所。又有玉磬三重。龍大集時富蘭比丘令摩那斯龍子打之。聲聞大千世界。其中龍王各持寶物來供于佛。磬是星宿劫中娑竭龍王所作。佛滅度後龍收入宮。

又次東一所名[打-丁+復]殿之院。其院向西開門。院內所有花樹如前。次北有一大院名居士之院。門向南巷開中有一堂。諸居士俗等初入伽藍。先止此院有四銅鐘。各重三千斤形如此土周敬王之所鑄者。四邊皆有白銀隱起之像。又作如來為太子時。槃馬角力諸像。鐘鼻鑄銅龍形。有仙人騎背上。手執金槌向下擊鐘。聲聞一閻浮提。四時分音春如天琴聲。中說聲聞四諦法。夏如天笙聲。中說菩薩六度及菩薩四諦法。秋冬二時如天雷聲。中說諸佛初成道法。其鐘大是四大天王各造一口。祇洹本院地下鬼神藏之有緣。便現諸居士等聞鐘聲者。即解如來所說法要。春得三果夏得地前四十心。秋冬證得二地。居士院北別有兩院。西畔一院名文殊師利菩薩之院。其門向南巷開。此大菩薩時處其此中。內有佛堂具足莊嚴。花池林竹天人集會。弘揚正化度脫有緣。有大鐘臺並有大鼓銀口金面。文殊為諸菩薩說六度者鼓說六度。余法亦爾。其鼓從他化天來此供養。佛涅槃后還返天上振。聲聞三千大千世界。地獄聞者離苦解脫。文殊菩薩院東一所名為僧庫院。門

【現代漢語翻譯】現代漢語譯本：其龍的形象乃至佛陀所在之處。又有玉磬三重。龍族大集會時，富蘭比丘讓摩那斯（Manas，意為『意』）龍子敲擊玉磬。磬聲響徹大千世界。其中的龍王各自拿著寶物來供養佛陀。這磬是星宿劫中娑竭（Sāgara，意為『海』）龍王所造。佛陀滅度后，龍族將磬收入龍宮。

又往東有一處名為[打-丁+復]殿的院落。這院落朝西開門。院內所有的花樹和之前描述的一樣。再往北有一個大院落，名為居士院。門朝南巷開，中間有一座堂。諸位居士、俗人等初入伽藍（Saṃghārāma，意為『僧院』），先住在這院落里。有四口銅鐘，每口重三千斤，形狀和此土周敬王所鑄的鐘相似。四邊都有白銀製成的隱起影象。又鑄有如來（Tathāgata，意為『如來』）為太子時，槃馬角力等影象。鐘鼻鑄成銅龍的形狀，有仙人騎在龍背上，手執金槌向下敲擊鐘。鐘聲響徹一閻浮提（Jambudvīpa，意為『贍部洲』）。四個時辰發出不同的聲音：春天如天琴聲，其中宣說聲聞四諦法；夏天如天笙聲，其中宣說菩薩六度及菩薩四諦法；秋冬兩季如天雷聲，其中宣說諸佛初成道法。這鐘是大四大天王各自造一口。祇洹（Jetavana，意為『祇樹給孤獨園』）本院的地下鬼神將鐘藏起來，有緣之人便能聽到。諸位居士等聽到鐘聲，就能理解如來所說的法要。春天能證得三果，夏天能證得地前四十心，秋冬能證得二地。居士院北邊另有兩座院落。西邊的院落名為文殊師利（Mañjuśrī，意為『妙吉祥』）菩薩院。門朝南巷開。這位大菩薩時常在此處。院內有佛堂，具足莊嚴，有花池、林竹，天人散花。文殊師利菩薩弘揚正法，度脫有緣之人。有一座大鐘臺，並有大鼓，銀口金面。文殊師利菩薩為諸菩薩說六度時，敲擊鼓聲宣說六度，其餘法門也是如此。這鼓是從他化自在天（Paranirmita-vasavartin，意為『他化自在天』）來到此地供養的。佛陀涅槃后，鼓返回天上，振動鼓聲響徹三千大千世界。地獄中的眾生聽到鼓聲，就能離苦解脫。文殊菩薩院東邊有一處名為僧庫院。門

【English Translation】 English version: Its dragon form extends to where the Buddha is. There are also triple jade chimes. When the dragons gather in great numbers, Bhikkhu Purna instructs the dragon son Manas (meaning 'mind') to strike them. The sound reverberates throughout the great chiliocosm. The dragon kings within each bring treasures to offer to the Buddha. These chimes were made by the dragon king Sāgara (meaning 'ocean') during the Star Constellation Kalpa. After the Buddha's Parinirvana, the dragons took the chimes back into their palace.

Further east is a courtyard called [打-丁+復] Hall. This courtyard faces west. All the flowers and trees within the courtyard are as previously described. Further north is a large courtyard called the Lay Followers' Courtyard. The gate opens to the south alley, and in the middle is a hall. Lay followers and ordinary people who newly enter the Sangharama (meaning 'monastery') first stay in this courtyard. There are four bronze bells, each weighing three thousand catties, shaped like those cast by King Zhou Jing of this land. All four sides have raised images made of silver. There are also images of the Tathāgata (meaning 'Thus Gone One') as a prince, wrestling with Panma, and other scenes. The bell's nose is cast in the shape of a bronze dragon, with an immortal riding on its back, holding a golden mallet and striking the bell downwards. The sound reverberates throughout Jambudvīpa (meaning 'Rose-apple Continent'). The four times of day produce different sounds: in spring, like the sound of a heavenly zither, proclaiming the Four Noble Truths for the Sravakas; in summer, like the sound of a heavenly sheng (a type of Chinese mouth organ), proclaiming the Six Perfections of the Bodhisattvas and the Four Noble Truths for the Bodhisattvas; in autumn and winter, like the sound of heavenly thunder, proclaiming the Dharma of the Buddhas' initial enlightenment. These bells were each made by one of the Four Great Heavenly Kings. The earth spirits beneath the Jetavana (meaning 'Jeta's Grove') Monastery hid them, and those with affinity can hear them. Lay followers who hear the bell's sound can understand the Dharma taught by the Tathagata. In spring, they can attain the Third Fruit; in summer, they can attain the forty minds before the Bhumi; in autumn and winter, they can attain the Second Bhumi. North of the Lay Followers' Courtyard are two other courtyards. The western courtyard is called the Mañjuśrī (meaning 'Gentle Glory') Bodhisattva Courtyard. The gate opens to the south alley. This great Bodhisattva often resides here. Within the courtyard is a Buddha hall, fully adorned, with flower ponds, bamboo groves, and heavenly beings scattering flowers. Mañjuśrī Bodhisattva propagates the true Dharma and liberates those with affinity. There is a large bell tower and a large drum with a silver mouth and a golden face. When Mañjuśrī Bodhisattva speaks the Six Perfections to the Bodhisattvas, the drum sounds, proclaiming the Six Perfections, and so on for other Dharmas. This drum came from the Paranirmita-vasavartin (meaning 'Controlling What is Created by Others') Heaven to be offered here. After the Buddha's Parinirvana, the drum returned to heaven, its sound reverberating throughout the great chiliocosm. Beings in hell who hear the drum's sound are liberated from suffering. East of the Mañjuśrī Bodhisattva Courtyard is a place called the Monks' Storehouse Courtyard. The gate

向南巷開。僧家財寶資具並積藏中(自上至此。大門之東大巷之南都了)大門之西又有七院。最南東邊第一名菩薩四諦之院。內有大堂門向北巷林池充滿。諸菩薩等詳述四諦。詞理博約有空縛解。凡聖通塞並集其中。諸院學宗例此不備廣述。院有金鐘三重。鼻有九龍形。至時龍口多吐雲氣。鐘即自鳴聲如天琴聞二十里。和修吉龍王所造施。昔拘樓秦佛因地時。佛工巧師自運思造。愿我當來得金色身。恒令此鐘供養諸佛。

次小巷北一院名菩薩十二因緣之院。門向南巷堂樹莊嚴中無有鐘。有金猶子如小倭子。至時作聲如天箜篌。音中所說菩薩四諦十二因緣無常苦空。其聲遍滿舍衛城。若欲止時以物約口。其聲便止此猶子。是摩那斯龍王所造。如來欲涅槃時。㺃子眼中血沷出唱言。奇哉世尊卻後三月。當涅槃最先唱告信。人天聞咸懷悲悼。

次菩薩四諦院。院西又有一院。名緣覺十二因緣之院。東對菩薩四諦院。堂樹同之門向北巷。中有金鐘形如三個牛角。小頭相連上有崑崙子形作金鐘鼻。至時微風吹動聲聞八里。此迦葉佛時毗沙門天王所造。每至四月八日鐘能誦迦葉佛涅槃經。四眾成聽。

次小巷北一院名緣覺四諦之院。門向南開。緣覺性人樂聞二法。佛隨根性而為說之。中有大堂林池清凈。此極幽

【現代漢語翻譯】現代漢語譯本朝向南邊的巷子敞開。僧侶的財物、珍寶、資生用具都積存在其中（從上面到這裡，大門以東、大巷以南的情況都敘述完畢了）。大門以西還有七個院落。最南邊東側第一個叫做菩薩四諦之院（Bodhisattva Four Noble Truths Courtyard）。院內有大堂，門朝向北邊的巷子，林木水池遍佈。諸位菩薩等詳細闡述四諦（Four Noble Truths）。言辭義理廣博而精要，有關於空性、束縛、解脫的論述。凡夫和聖人的通達與閉塞都彙集于其中。各個院落的學習宗旨都與此類似，不再詳細敘述。院裡有三口金鐘。鐘的鼻子上雕有九條龍的形狀。到了一定時間，龍口會吐出雲氣，鐘便會自己鳴響，聲音如同天上的琴聲，能傳到二十里遠。這是和修吉龍王（Vasuki Dragon King）所製造並捐贈的。過去拘樓秦佛（Krakucchanda Buddha）在因地修行時，一位佛的工巧師自己構思建造了它，發願說：『愿我將來得到金色身，永遠讓這口鐘供養諸佛。』

其次，小巷北邊有一座院落，名叫菩薩十二因緣之院（Bodhisattva Twelve Nidanas Courtyard）。門朝向南邊的巷子，殿堂樹木莊嚴。院中沒有鐘，但有一個金猶子，形狀像個小倭人。到了一定時間，它會發出聲音，如同天上的箜篌。聲音中所述說的是菩薩的四諦（Four Noble Truths）、十二因緣（Twelve Nidanas）、無常、苦、空。聲音遍滿舍衛城（Sravasti）。如果想要停止聲音，用東西堵住它的嘴，聲音就會停止。這個金猶子是摩那斯龍王（Manasvin Dragon King）所製造的。如來（Tathagata）將要涅槃時，猶子的眼中流出血來，唱道：『奇哉！世尊將在三個月后涅槃。』它最先唱告了這個訊息，信徒和天人聽聞后都感到悲傷。

其次是菩薩四諦院（Bodhisattva Four Noble Truths Courtyard）。院西邊又有一座院落，名叫緣覺十二因緣之院（Pratyekabuddha Twelve Nidanas Courtyard）。東邊與菩薩四諦院相對。殿堂樹木與菩薩四諦院相同，門朝向北邊的巷子。院中有金鐘，形狀像三個牛角，小頭相連，上面有崑崙子的形狀作為金鐘的鼻子。到了一定時間，微風吹動，聲音能傳到八里遠。這是迦葉佛（Kasyapa Buddha）時期毗沙門天王（Vaisravana）所建造的。每到四月八日，鐘能誦讀迦葉佛涅槃經，四眾弟子都來聽聞。

其次，小巷北邊有一座院落，名叫緣覺四諦之院（Pratyekabuddha Four Noble Truths Courtyard）。門朝南開。緣覺根性的人喜歡聽聞二法。佛陀根據他們的根性為他們宣說。院中有大堂，林木水池清凈，這裡極其幽靜。

【English Translation】 English version It opens towards the south alley. The monks' wealth, treasures, and necessities are all stored within (from above to here, the situation east of the main gate and south of the main alley has been described). West of the main gate, there are seven more courtyards. The first one on the southernmost east side is called the Bodhisattva Four Noble Truths Courtyard. Inside, there is a grand hall with its door facing the north alley, filled with forests and ponds. The Bodhisattvas elaborately explain the Four Noble Truths. The words and principles are broad and concise, with discussions on emptiness, bondage, and liberation. The understanding and obstruction of ordinary beings and sages are all gathered within. The learning principles of each courtyard are similar to this, so they will not be described in detail. There are three golden bells in the courtyard. The nose of the bell is shaped like nine dragons. When the time comes, the dragons' mouths will emit clouds, and the bell will ring on its own, its sound like a celestial zither, audible for twenty li. This was made and donated by the Vasuki Dragon King. In the past, when Krakucchanda Buddha was on the path of cultivation, a craftsman of the Buddha conceived and built it himself, vowing: 'May I attain a golden body in the future, and may this bell always be offered to all Buddhas.'

Next, north of the small alley is a courtyard called the Bodhisattva Twelve Nidanas Courtyard. The door faces the south alley, and the hall and trees are solemn. There is no bell in the courtyard, but there is a golden 'Youzi' (a type of mythical creature), shaped like a small Japanese person. When the time comes, it will make a sound like a celestial Konghou (Chinese harp). The sound speaks of the Bodhisattva's Four Noble Truths, Twelve Nidanas, impermanence, suffering, and emptiness. The sound fills the city of Sravasti. If you want to stop the sound, block its mouth with something, and the sound will stop. This golden Youzi was made by the Manasvin Dragon King. When the Tathagata was about to enter Nirvana, blood spurted from the Youzi's eyes, and it sang: 'Amazing! The World-Honored One will enter Nirvana in three months.' It was the first to announce this news, and the believers and devas were filled with sorrow upon hearing it.

Next is the Bodhisattva Four Noble Truths Courtyard. West of the courtyard is another courtyard called the Pratyekabuddha Twelve Nidanas Courtyard. It faces the Bodhisattva Four Noble Truths Courtyard to the east. The hall and trees are the same as the Bodhisattva Four Noble Truths Courtyard, and the door faces the north alley. There is a golden bell in the courtyard, shaped like three connected ox horns, with the shape of a Kunlun child as the nose of the bell. When the time comes, a gentle breeze will blow, and the sound can be heard for eight li. This was made by Vaisravana during the time of Kasyapa Buddha. Every year on the eighth day of the fourth month, the bell can recite the Nirvana Sutra of Kasyapa Buddha, and the fourfold assembly comes to listen.

Next, north of the small alley is a courtyard called the Pratyekabuddha Four Noble Truths Courtyard. The door opens to the south. People of Pratyekabuddha nature like to hear the two dharmas. The Buddha preaches to them according to their nature. There is a grand hall in the courtyard, and the forests and ponds are pure. This place is extremely secluded.

棲之處中。有銅合鑊鐘。人扣發聲聞齊百里。造此院時掘地所獲。地神堅牢子之所施也。此四院北有一大院。名無學人問法之院門向北巷。諸大阿羅漢來問法者同集其中。有大佛堂極望。高顯林池交灌見者欽。重佛來說以為常。唯有一竹鐘。形相如鈴。本是乾闥婆王所造。鐘鼻有金崑崙。手自提槌。至時便扣聲如人琴聞止當院。音中所說十二部經每春花敷。舍衛城中諸童子等悉來觀聽。受五欲樂聞法獲果。

又小巷北東西自分二院。西畔一院名學人住止聽法之院。門向南巷。堂池林映如上不殊。大梵天王造天箜篌。純用銀置此院中。至時忉利天吹聲至非想。諸天聖人聞說六度。凡夫聞如箜篌聲。舍衛城中諸淫女等多未觀聽。得五欲樂由獲樂。故悟初聖道。

次東一院名佛油庫院。東隔大街對佛香庫。沙彌所執四部獻油。供養佛者咸集其中。西門之西自分六院。南初東第一院名他名他方三乘學人八聖道之院。東西二門堂房林池眾具備足。有鐘一口可容二十石。形如此土晉州出者。身有八楞下有一百二十角。角有一百二十寶珠。鐘形三分。下分黃金作口紺琉璃隱起。中分白銀頗梨隱起。上分瑪瑙天金雜作。鼻上金作象形二頭。又作三十三天形。其天居象頭上。天形五尺以綠頗梨作戴銀天冠。天人手中各執白拂

【現代漢語翻譯】現代漢語譯本：棲身之處中，有一銅製的合鑊鐘。人敲擊它，聲音能傳遍百里。建造這座寺院時，挖掘土地所得，是地神堅牢子（Earth deity, a protector of the land）所施捨的。這四座寺院的北面有一座大寺院，名為無學人問法之院，院門朝向北巷。諸位大阿羅漢（Arhat, enlightened beings who have attained nirvana）前來問法的人都聚集在那裡。有一座極其壯觀的大佛堂，高聳顯眼，林木水池交相輝映，見到的人都欽佩敬重。佛經常來這裡說法，這已成為慣例。只有一口竹鐘，形狀像鈴鐺。原本是乾闥婆王（Gandharva King, a celestial musician）所造。鐘的頂部有金製的崑崙（Kunlun, a mythical mountain），他親手拿著槌子。到時間就敲擊，聲音像人彈奏的琴聲，只能在寺院內聽到。聲音中所宣說的都是十二部經（Twelve categories of Buddhist scriptures）。每到春天花開時，舍衛城（Shravasti, a major city in ancient India）中的孩子們都來觀看聆聽，享受五欲之樂，聽聞佛法，獲得果報。又在小巷的北面，東西方向分為兩座寺院。西邊的一座寺院名為學人居住聽法之院，院門朝向南巷。殿堂、水池、樹林相互輝映，與之前的寺院沒有什麼不同。大梵天王（Mahabrahma, a high-ranking deity）製造了天上的箜篌（Kinnari, a celestial musician），完全用銀製成，放置在這座寺院中。到時間，忉利天（Trayastrimsa Heaven, the second heaven in the desire realm）會吹奏箜篌，聲音能傳到非想非非想處天（Neither perception nor non-perception, the highest realm in the formless realm）。諸位天人和聖人聽到后，會聽聞六度（Six perfections）。凡夫俗子聽到的就像箜篌的聲音。舍衛城中的許多婦女兒童都來觀看聆聽，享受五欲之樂，因為快樂而領悟了初果聖道。東邊的一座寺院名為佛油庫院。東面隔著大街，與佛香庫相對。沙彌（Sramanera, a novice monk）負責拿著四種油來供養。供養佛的人都聚集在那裡。西門以西，又分為六座寺院。南邊第一座，東邊第一座寺院，名為他方三乘學人八聖道之院。東西兩邊都有門，殿堂、房屋、樹林、水池等各種設施都完備充足。有一口鐘，可以容納二十石（Dan, a unit of volume）的容量。形狀像這個地方晉州（Jin Zhou, a place in ancient China）所產的鐘。鐘身有八個棱角，下面有一百二十個角。每個角上都有一百二十顆寶珠。鐘的形狀分為三部分。下部分用黃金做成鐘口，用紺琉璃（Indigo lapis lazuli）裝飾，隱隱隆起。中間部分用白銀和頗梨（Crystal）裝飾，隱隱隆起。上部分用瑪瑙和天金等材料混合製成。鐘的頂部用金子做成兩頭大象的形狀。又做了三十三天（Trayastrimsa Heaven, the second heaven in the desire realm）的形狀。諸天居住在大象的頭上。天人的形狀有五尺高，用綠色的頗梨做成，戴著銀色的天冠。天人手中各自拿著白色的拂塵。

【English Translation】 English version: Within the dwelling place, there is a copper cauldron bell. When struck, its sound can be heard for a hundred li (a unit of distance). It was obtained when the ground was dug during the construction of this monastery, bestowed by the earth deity, Strong and Firm Son (Earth deity, a protector of the land). To the north of these four monasteries is a large monastery called the 'Hall Where Those Beyond Learning Inquire About the Dharma,' its gate facing the north alley. All the great Arhats (Arhat, enlightened beings who have attained nirvana) who come to inquire about the Dharma gather there. There is a magnificent Buddha hall, towering and prominent, with forests and ponds intertwined, inspiring reverence in those who see it. The Buddha regularly comes here to expound the Dharma, which has become a custom. There is only a bamboo bell, shaped like a bell. It was originally made by the Gandharva King (Gandharva King, a celestial musician). At the top of the bell is a golden Kunlun (Kunlun, a mythical mountain), who personally holds a mallet. When the time comes, he strikes it, and the sound is like a zither played by a person, heard only within the monastery. What is spoken in the sound are the twelve divisions of the scriptures (Twelve categories of Buddhist scriptures). Every spring when the flowers bloom, the children of Shravasti (Shravasti, a major city in ancient India) all come to watch and listen, enjoying the pleasures of the five desires, hearing the Dharma, and obtaining rewards. Also, to the north of the small alley, there are two monasteries divided east and west. The monastery on the west side is called the 'Hall Where Learners Dwell and Listen to the Dharma,' its gate facing the south alley. The halls, ponds, and forests reflect each other, not different from the previous monastery. The Great Brahma King (Mahabrahma, a high-ranking deity) created a celestial Kinnari (Kinnari, a celestial musician), made entirely of silver, and placed it in this monastery. When the time comes, the Trayastrimsa Heaven (Trayastrimsa Heaven, the second heaven in the desire realm) will play the Kinnari, and the sound will reach the Realm of Neither Perception Nor Non-Perception (Neither perception nor non-perception, the highest realm in the formless realm). When the gods and sages hear it, they will hear about the Six Perfections (Six perfections). Ordinary people hear it as the sound of a Kinnari. Many women and children in Shravasti come to watch and listen, enjoying the pleasures of the five desires, and because of this joy, they awaken to the first stage of sainthood. The monastery on the east side is called the 'Buddha Oil Storage Hall.' Across the street to the east is the 'Buddha Incense Storage.' The Sramaneras (Sramanera, a novice monk) are responsible for bringing the four types of oil for offerings. Those who make offerings to the Buddha gather there. To the west of the west gate, there are six monasteries. The first monastery on the south side, the first monastery on the east side, is called the 'Hall of the Eightfold Noble Path for Learners of the Three Vehicles from Other Lands.' There are gates on both the east and west sides, and the halls, houses, forests, ponds, and other facilities are complete and sufficient. There is a bell that can hold a capacity of twenty dan (Dan, a unit of volume). Its shape is like the bells produced in Jin Zhou (Jin Zhou, a place in ancient China) in this land. The body of the bell has eight edges, and below there are one hundred and twenty corners. Each corner has one hundred and twenty precious jewels. The shape of the bell is divided into three parts. The lower part is made of gold for the mouth of the bell, decorated with indigo lapis lazuli, rising faintly. The middle part is decorated with silver and crystal, rising faintly. The upper part is made of agate and celestial gold and other materials mixed together. At the top of the bell, two elephant heads are made of gold. The shape of the Trayastrimsa Heaven (Trayastrimsa Heaven, the second heaven in the desire realm) is also made. The gods dwell on the heads of the elephants. The shape of the gods is five feet tall, made of green crystal, wearing silver celestial crowns. The gods each hold white whisks in their hands.

。至時象便鳴喚諸人眾。舉拂作舞唱八聖道曲。歌詞釋提桓因作之。曲即八萬四千曲。詞亦有八萬四千詞。一曲治眾生煩惱病。三十三天唱此歌曲及舞。一邊然後舉拂。唱奏菩薩六度歌詞竟。鐘即自鳴聲聞中千世。聲中所說菩薩行八聖道。斷煩惱一一智數行八聖道。菩薩聞鐘皆起位地。王舍城及舍衛城有八千童子菩薩。年八歲日別三時。來此院中聽佛說法。說法之時鐘聲變為天琴。清如無比諸修八正。聞此聲聽佛說法自開解。此鐘拘樓秦佛時兜率天王所造。彼佛滅后須彌山神收入金剛窟中。釋迦佛出世時至祇洹供養。至夏三月安居之時。二十八天天諸童子有八百億。各奏天樂從天而下。至此院中聽佛說法。每年不絕至今。諸天猶至故奏天伎樂。佛臨涅槃告天童子曰。我度女人損我正法。五百年我滅度后。惡比丘尼不行八敬速滅我法。汝當來此常奏天樂。令我正法久住於世。諸天童子聞皆涕泣。不自勝持咸曰。不敢命如何。當來有惡比丘尼致令囑累。我等年年至此供養。不欲令法因此滅故。次小巷西一院名學人四諦之院。門向東巷中有堂樹。余如上說。有大銅鐘須彌山形。舍衛城中長者子須繼那造。為自出聲如破盆響。年如十歲。發心希敬飛至三十三天。梵天王知其心。至使天竺工匠指授儀則。鐘既成已其人獲得雷聲勝

【現代漢語翻譯】現代漢語譯本到那時，大象便鳴叫，召集眾人。舉起拂塵，跳舞並唱誦『八聖道曲』。歌詞由釋提桓因（Śakro devānām indraḥ，帝釋天）創作。曲調共有八萬四千首，歌詞也有八萬四千首。每一首曲子都能醫治眾生的煩惱病。三十三天（Trāyastriṃśa，欲界六天之一）的天人們唱著這些歌曲並跳舞。一邊唱跳，一邊舉起拂塵，唱奏菩薩六度（pāramitā，佈施、持戒、忍辱、精進、禪定、智慧）的歌詞完畢后，鐘便自動鳴響，聲音傳遍聲聞（Śrāvaka，聽聞佛法而修行的弟子）所居住的中千世界。鐘聲中所宣說的內容是菩薩所修行的八聖道（āryāṣṭāṅgamārga，正見、正思惟、正語、正業、正命、正精進、正念、正定），斷除煩惱，每一個智慧都能引導修行八聖道。菩薩們聽到鐘聲，都從座位上起身。在王舍城（Rājagṛha）和舍衛城（Śrāvastī）有八千位童子菩薩，年齡八歲，每天分三次來到這個院中聽佛說法。說法的時候，鐘聲會變成天琴的聲音，清澈無比，那些修習八正道（āryāṣṭāṅgamārga）的人，聽到這個聲音，聽佛說法，自然就能開悟理解。這口鐘是拘樓秦佛（Krakucchanda Buddha，過去七佛之一）時代，兜率天王（Tuṣita，欲界六天之一）所製造的。拘樓秦佛滅度后，須彌山神（Sumeru，佛教宇宙觀中的聖山）將它收入金剛窟中。釋迦佛（Śākyamuni Buddha）出世時，這口鐘被送到祇洹（Jetavana，祇樹給孤獨園）供養。每到夏季三個月安居（Varṣa，雨季僧侶的集中修行）的時候，二十八天天上的童子有八百億，各自演奏天樂，從天而降，來到這個院中聽佛說法。每年都不間斷，直到今天。諸天仍然會來，所以演奏天上的伎樂。佛陀臨近涅槃（Nirvāṇa，寂滅）時，告誡天童子說：『我允許女人出家，損害了我的正法。五百年後我滅度，惡比丘尼（bhikkhunī，女性出家人）不遵守八敬法（aṣṭaguru-dharma，比丘尼必須遵守的八條戒律），會迅速毀滅我的佛法。你們應當常來這裡演奏天樂，使我的正法長久住世。』諸天童子聽了都哭泣，不能自已，都說：『不敢不從命。將來如果有惡比丘尼導致佛法衰敗，我們每年都會來這裡供養，不希望佛法因此而滅亡。』接下來，小巷西邊有一個院子，名叫『學人四諦之院』。門朝向東邊的小巷，院中有堂樹。其餘情況和上面所說的一樣。有一口大銅鐘，形狀像須彌山。是舍衛城中的長者子須繼那（Sudinna）所造。但鐘聲聽起來像破盆的聲音，年僅十歲。發心希望鐘聲能傳到三十三天。梵天王（Brahmā，色界天的天王）知道他的心意，就派遣天竺的工匠指導他製作鐘的儀則。鐘鑄成后，這個人獲得了雷聲勝。

【English Translation】 English version At that time, the elephant would trumpet, summoning the assembly. It would raise a whisk, dance, and sing the 'Song of the Eightfold Noble Path'. The lyrics were composed by Śakro devānām indraḥ (釋提桓因, the lord of the devas). There were eighty-four thousand melodies and eighty-four thousand lyrics. Each melody could cure the afflictions and illnesses of sentient beings. The devas of Trāyastriṃśa (三十三天, one of the six heavens of desire realm) would sing these songs and dance. While singing and dancing, they would raise the whisk and, after singing and playing the lyrics of the Bodhisattva's Six Perfections (pāramitā, 波羅蜜多, generosity, morality, patience, diligence, concentration, and wisdom), the bell would ring automatically, its sound spreading throughout the middle thousand world system where the Śrāvakas (聲聞, disciples who listen to the Buddha's teachings and practice) reside. The content proclaimed in the bell's sound was the Eightfold Noble Path (āryāṣṭāṅgamārga, 八聖道, right view, right thought, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration) practiced by Bodhisattvas, eradicating afflictions, with each wisdom guiding the practice of the Eightfold Noble Path. Upon hearing the bell's sound, the Bodhisattvas would rise from their seats. In Rājagṛha (王舍城) and Śrāvastī (舍衛城), there were eight thousand child Bodhisattvas, eight years old, who would come to this courtyard three times a day to listen to the Buddha's teachings. During the Dharma talks, the bell's sound would transform into the sound of a celestial harp, incomparably clear, and those who practiced the Eightfold Noble Path, upon hearing this sound and listening to the Buddha's teachings, would naturally awaken and understand. This bell was made by the Tuṣita Heaven King (兜率天王, king of the Tuṣita Heaven) during the time of Krakucchanda Buddha (拘樓秦佛, one of the past seven Buddhas). After Krakucchanda Buddha's Parinirvana, the Sumeru Mountain deity (須彌山, the sacred mountain in Buddhist cosmology) placed it in the Vajra Cave. When Śākyamuni Buddha (釋迦佛) appeared in the world, this bell was brought to Jetavana (祇洹, Jeta Grove) as an offering. Every year, during the three-month summer retreat (Varṣa, 雨季僧侶的集中修行), eight hundred billion celestial children from the twenty-eight heavens would play celestial music and descend from the heavens to this courtyard to listen to the Buddha's teachings. This has continued uninterrupted every year until today. The devas still come, so they play celestial music. When the Buddha was approaching Nirvāṇa (涅槃, cessation), he warned the celestial children, saying, 'My allowing women to ordain has damaged my Dharma. Five hundred years after my Parinirvana, evil Bhikkhunīs (bhikkhunī, 比丘尼, female monastic) who do not observe the Eight Garudhammas (aṣṭaguru-dharma, 比丘尼必須遵守的八條戒律, eight rules that female monastics must follow) will quickly destroy my Dharma. You should come here often to play celestial music, so that my Dharma may long abide in the world.' The celestial children, upon hearing this, wept and were overwhelmed, saying, 'We dare not disobey. In the future, if evil Bhikkhunīs cause the Dharma to decline, we will come here every year to make offerings, not wanting the Dharma to perish because of this.' Next, to the west of the small lane, there is a courtyard called the 'Courtyard of the Four Noble Truths for Learners'. The gate faces the east lane, and there is a hall tree in the courtyard. The rest is as described above. There is a large bronze bell, shaped like Mount Sumeru. It was made by Sudinna (須繼那), the son of a wealthy man in Śrāvastī. However, the sound of the bell was like that of a broken pot, and he was only ten years old. He aspired for the bell's sound to reach the Trāyastriṃśa Heaven. Brahmā (梵天王, king of the Brahma Heaven) knew his intention and sent artisans from India to instruct him on the rules for making the bell. After the bell was cast, this person obtained a sound surpassing that of thunder.

報。鐘上有帝釋四王宮殿日月星辰四海之像。聲如龍琴聞千里內。近聽如江南尼眾讚唄之聲。次小巷北一院名學人十二因緣之院。南東二門並向巷開。堂樹如前中有銅鐘。外似鉾形內有七楞。鼻有金師子下有三十七角。時至自鳴不待人扣。娑竭龍王第三子所造。由悉鼻有血因緣竟。比丘教化令造。使龍工巧匠。是毗婆尸佛時人鐘既成。已鼻血便滅聲至三百里。

次小巷東一院名角力之院。門向西巷。諸四天下我見之。及諸魔王欲與佛角道力者住此院中。內有黃金須彌山。山上有日月星辰。諸論議者多聞陰陽及以諸論。初伏光味大仙在此院中。佛涅槃以法付囑。百億四天下日月星辰二十八天並在於此。又有十二金鼓。形長五丈面經二丈一尺。有十二金銀蓮花上擎此鼓。若有異論邪見外道俗人誡捔。智術五通神仙捔誡。陰陽日月算數相陵侮者鼓即自鳴。一一鼓上有九金龍。自相繞結金龍口上皆銜金翅鳥王。鳥頭各有信相菩薩像。皆高丈二手執寶拂。戴紅頗梨冠至論難時。菩薩拳拂口聲如雷。鼓鳴所及振大千界。地六種動。十方諸佛十地菩薩莫不集中。諸論義者先有辭辯。聞皆忘失驚怖智塞。鼓音又放大光明遍十方。光中又說菩薩不可思議神化法門。諸欲角者聞悟地位。此鼓摩尼跋陀大將所造。于迦葉佛時以持供養。

彼佛滅后收在金剛窟中。至迦葉佛出還后將來。佛滅度后收入龍宮。據此為證賢劫諸佛悉應同矣。

次北有二大院。名外道來出家院。南門對巷。諸異見人創歸正化先止此院。有一銀天箜篌。又一銀天人坐七寶蓮華上彈此箜篌。天人頂上有一摩尼寶王。若諸外道來入此院。天彈箜篌放光明。外道聞音光明畢身受清涼樂。所有邪惑因此消除證第三果。此樂是楞伽山羅剎鬼王于迦葉佛時所造。彼佛滅後文殊持往清涼山中。至釋迦佛世持祇洹。佛滅度后經十二年。猶在此院過此年已。文殊聖者還持清涼山金剛窟中。又小巷北有一大院。凡夫禪思之院南門向巷。修十一切入者之所止住。內有石磬。迦樓羅神所施。拘樓秦佛時物石如青玉而非真寶。形如鈴舌聲聞二十里。上諸院內各一大堂林。流交濩如諸院說(自此已前通徹已南都盡)自上已來總有二十九院。在中永巷之南。其北大院東西通徹。大橋連隔但有三門。巷中二渠並向西流行。樹郁映冬夏常茂。地土平正凈如琉璃地有草葉。人神除屏凡有禮覲。來履此地莫不戰懷。小有慢墮非人呵毀故。有至者噁心不生。中院端門在大巷之南。有七重樓。樓有九間五門。高廣可二丈許。佛當來往向南不遠有烏頭門。亦開五道。又南大橋高峻崇麗。下水西流清潔澄凈。又南即至寺大

【現代漢語翻譯】現代漢語譯本：那位佛陀涅槃后，舍利被收藏在金剛窟中。直到迦葉佛（Kāśyapa Buddha，過去七佛之一）出世后，才重新取出。佛陀涅槃后，舍利被收入龍宮。根據這個例子可以證明，賢劫（Bhadrakalpa，現在這個賢劫）諸佛的舍利都應該以同樣的方式處理。

其次，在北方有兩座大院，名為『外道來出家院』。南門正對著巷子。各種持不同見解的人最初皈依佛法時，先住在這座院子里。院內有一架銀製的天箜篌（divine harp）。還有一個銀製的天人坐在七寶蓮花上彈奏這架箜篌。天人的頭頂上有一顆摩尼寶王（Mani Jewel King）。如果外道來到這座院子里，天人就會彈奏箜篌，放出光明。外道聽到琴聲，沐浴在光明中，全身感受到清涼的快樂。所有的邪見和迷惑因此消除，證得三果（第三個果位，阿那含果）。這種快樂是楞伽山（Lankā Mountain）的羅剎鬼王（Rākṣasa demon king）在迦葉佛時期製造的。迦葉佛涅槃后，文殊菩薩（Mañjuśrī）將它帶到清涼山（Mount Qingliang）中。到了釋迦牟尼佛（Śākyamuni Buddha）時期，又將它帶到祇洹精舍（Jetavana）。佛陀涅槃后，經過十二年，它仍然在這座院子里。過了這十二年，文殊聖者又將它帶回清涼山金剛窟中。另外，小巷的北邊有一座大院，是『凡夫禪思之院』，南門朝向巷子。這是修習十一切入（ten all-inclusivenesses）的人居住的地方。院內有一面石磬，是迦樓羅神（Garuda）所供奉的。這是拘樓秦佛（Krakucchanda Buddha，過去七佛之一）時期的物品，石頭像青玉，但不是真正的寶物。形狀像鈴舌，聲音能傳到二十里。以上這些院子里，各有一座大堂和樹林，縱橫交錯，就像之前描述的那些院子一樣（從這裡開始，一直到南邊都一樣）。從上面開始，總共有二十九座院子，位於永巷的南邊。其中北邊的大院東西貫通，有大橋連線隔開，但只有三座門。巷子里的兩條水渠都向西流淌。樹木茂盛，冬夏常青。地面平坦，乾淨得像琉璃地面一樣，沒有草葉。人和神都清除了障礙，凡是來這裡禮拜的人，沒有不心懷敬畏的。稍微有些懈怠，就會受到非人的呵斥。因此，來到這裡的人，不會產生惡念。中院的端門在大巷的南邊，有七重樓，樓有九間五門，高約二丈。佛陀將來會從這裡經過，向南不遠的地方有烏頭門，也開了五道門。再往南，有一座高大雄偉的橋樑，下面的水向西流淌，清澈乾淨。再往南就到了寺廟的大門。

【English Translation】 English version: After that Buddha's Parinirvana, the relics were collected in the Vajra Cave. They were brought out again when Kāśyapa Buddha (one of the Seven Buddhas of the Past) appeared. After that Buddha's Parinirvana, the relics were placed in the Dragon Palace. According to this, it can be inferred that the relics of all Buddhas in the Bhadrakalpa (the current Fortunate Aeon) should be treated in the same way.

Next, to the north, there are two large courtyards called the 'Outsiders Coming to Ordain Courtyard'. The south gate faces the alley. Various people with differing views, when they initially convert to the correct Dharma, first stay in this courtyard. There is a silver divine harp (divine harp) in the courtyard. There is also a silver celestial being sitting on a seven-jeweled lotus flower, playing this harp. On top of the celestial being's head is a Mani Jewel King (Mani Jewel King). If outsiders come to this courtyard, the celestial being will play the harp and emit light. The outsiders hear the sound of the harp and are bathed in the light, experiencing cool and refreshing joy throughout their bodies. All their wrong views and delusions are thereby eliminated, and they attain the Third Fruit (the third stage of enlightenment, Anagami). This joy was created by the Rakshasa demon king (Rākṣasa demon king) of Lankā Mountain (Lankā Mountain) during the time of Kāśyapa Buddha. After Kāśyapa Buddha's Parinirvana, Mañjuśrī (Mañjuśrī) took it to Mount Qingliang (Mount Qingliang). During the time of Śākyamuni Buddha (Śākyamuni Buddha), it was brought to Jetavana (Jetavana). Twelve years after the Buddha's Parinirvana, it was still in this courtyard. After these twelve years, the venerable Mañjuśrī took it back to the Vajra Cave on Mount Qingliang. In addition, north of the small alley is a large courtyard, the 'Ordinary People's Meditation Courtyard', with the south gate facing the alley. This is where those who practice the ten all-inclusivenesses (ten all-inclusivenesses) reside. Inside the courtyard is a stone chime, offered by the Garuda (Garuda). It is an object from the time of Krakucchanda Buddha (one of the Seven Buddhas of the Past), the stone is like celadon jade, but not a real treasure. Its shape is like a bell tongue, and the sound can be heard for twenty li. In each of the above courtyards, there is a large hall and forest, crisscrossing like the courtyards described earlier (from here onwards, everything to the south is the same). From above, there are a total of twenty-nine courtyards, located south of Yong Alley. The northern large courtyard runs east-west, with a large bridge connecting and separating it, but there are only three gates. The two canals in the alley both flow westward. The trees are lush and green all year round. The ground is flat and clean like a crystal floor, without any grass. People and spirits have cleared away obstacles, and all who come here to pay homage cannot help but feel reverence. A little bit of laziness will be scolded by non-humans. Therefore, those who come here do not generate evil thoughts. The main gate of the central courtyard is south of the large alley, with a seven-story building, the building has nine rooms and five doors, about two zhang high. The Buddha will pass by here in the future, not far to the south is the Wutou Gate, which also has five gates. Further south, there is a tall and magnificent bridge, the water flowing westward below is clear and clean. Further south is the main gate of the temple.

南門。故有來者自北面觀重複。綺麗驚神悚污拭目。瞻視五情俱解。道之左右列種奇花果異樹。莫識其名睹者同怪。中院南門面對端門。亦有七重橫列七門。櫛枇高敞以表七覺意也。言意此中院唯佛獨居。不與僧共分有擇法。故佛覺知常為弟子說令明瞭覺。故名佛門七表烏入門。不遠有大方池。池中蓮華四時遍滿。四色殊絕香氣芬鬱駿烈未開。池南有九大金鑊下施足跡。周外怪獸填突羅烈合沓勇猛。相狀紛綸鑊內外。中諸奇花葉紛披重香光色相暉。熟視目亂不敢久住。方池正北有大佛塔。高下七層狀麗宏異純以異石。次玉相狀重曾異態不可名目。上有殊盤金鈴無數。微風常動清響和徹。塔下有迦葉佛爪發舍利。當時備說骨相及述。迷忘故不具論。塔傍左右立二鐘臺。左邊是他化天王第三子名無畏所造。鐘及臺並頗梨所成。右邊是兜率天王所造。鐘及臺並金銀所成。二鐘各受五十斛不常鳴。每至十方諸佛集始鳴。聲聞百間百億世界。次北有大佛殿。高廣映奪諸。院飛廊兩注及宇憑空。東西夾殿大樹莊嚴。冬夏常榮重陰蔽日。殿內檐下角內有二香山。是往古毗婆竭羅龍王所造。初成之日始由乾陀山高(半山王)凡夫所見止高一丈二尺。其形一同須彌。半要以下全用金銀。頂有大池。四面獸頭狀等阿耨達池。山有樹林花果。

【現代漢語翻譯】現代漢語譯本：南門。所以有從北面來的人觀看重重疊疊的景象，那華麗奇特的景象令人驚歎，連忙擦拭眼睛。仔細觀看，五種感官都得到了舒解。大道的左右排列著各種奇花異果樹木，沒有人能叫出它們的名字，看見的人都覺得奇怪。中院的南門正對著端門，也有七重橫向排列的七道門，像梳子齒一樣高大敞亮，用來象徵七覺支的意義。意思是說，這中院只有佛陀獨自居住，不與僧人共同擁有，這是因為佛陀具有擇法的智慧。所以佛陀的覺知常常為弟子們講解，使他們明白覺悟，因此稱為佛門七表烏入門。離這裡不遠有一個大方池，池中的蓮花一年四季都盛開，四種顏色非常獨特，香氣芬芳濃郁，美麗至極。池塘南面有九個大金鑊，下面有佛陀施捨足跡的地方。周圍外面有奇形怪狀的野獸，擁擠重疊，勇猛異常，各種形象紛繁複雜地分佈在金鑊內外。金鑊中各種奇花異草，葉子紛披，重重疊疊，香氣和光彩相互輝映。仔細觀看，令人眼花繚亂，不敢久留。方池正北有一座大佛塔，高低共有七層，形狀華麗宏偉，完全用奇異的石頭和玉石建造，各種形態重重疊疊，奇異的姿態無法用語言來形容。塔上有無數的殊盤金鈴，微風吹動，發出清脆和諧的響聲，響徹四方。塔下有迦葉佛（Kasyapa Buddha）的爪、頭髮和舍利（sarira）。當時詳細地講述了骨相以及事蹟，因為時間久遠，記憶模糊，所以不能詳細論述。佛塔旁邊左右各立著一座鐘臺，左邊是他化自在天王（Paranirmita-vasavartin）的第三個兒子，名叫無畏（Abhaya）所建造的，鐘和鐘臺都是用頗梨（sphatika）製成的。右邊是兜率天王（Tusita）所建造的，鐘和鐘臺都是用金銀製成的。兩座鐘各能容納五十斛的容量，不經常鳴響，每當十方諸佛（Buddhas of the ten directions）聚集時才鳴響，聲音傳遍百間百億世界。再往北走有一座大佛殿，高大寬廣，光彩奪目，勝過所有的院落，飛檐走廊從兩邊延伸，屋宇凌空而起。東西兩側的夾殿有大樹莊嚴，冬夏常青，濃密的樹蔭遮蔽著陽光。殿內屋檐下的角落裡有兩座香山，是往昔的毗婆竭羅龍王（Vippakara-nagaraja）所建造的。初建成的時候，剛開始由乾陀山高（Gandhamadana）的凡夫所見，只高一丈二尺，它的形狀和須彌山（Mount Sumeru）一樣，一半以下全部用金銀製成，頂上有個大池，四面是獸頭形狀，像阿耨達池（Anavatapta）。山上有樹林和花果。 English version: The South Gate. Therefore, those who come from the north can observe the layers upon layers of scenery. The magnificent and peculiar sights are astonishing, causing them to quickly wipe their eyes. Upon careful observation, all five senses are relieved. On the left and right sides of the avenue are arranged various exotic flowers, fruits, and trees. No one can name them, and those who see them find them strange. The South Gate of the central courtyard faces the Duan Gate. There are also seven horizontally arranged gates, like tall and open comb teeth, symbolizing the meaning of the seven factors of enlightenment (sapta bodhyanga). It means that this central courtyard is exclusively inhabited by the Buddha, not shared with the monks, because the Buddha possesses the wisdom of discernment (dharmapravicaya). Therefore, the Buddha's awareness is often explained to the disciples, enabling them to understand enlightenment, hence it is called the Buddha's Gate, the Seven Manifestations of the Crow Gate. Not far from here is a large square pond, filled with lotus flowers blooming in all four seasons. The four colors are exceptionally unique, and the fragrance is rich and intense, extremely beautiful. To the south of the pond are nine large golden cauldrons, below which are places where the Buddha bestowed footprints. Surrounding the outside are strangely shaped beasts, crowded and overlapping, courageous and fierce, with various forms intricately distributed inside and outside the cauldrons. Within the cauldrons are various exotic flowers and plants, with scattered leaves, layers upon layers, and fragrance and light reflecting each other. Upon careful observation, it is dazzling and one dares not linger. Directly north of the square pond is a large Buddha pagoda, with seven layers in height, magnificent and grand in shape, entirely built with exotic stones and jade. The various forms are layered upon layers, and the peculiar appearances cannot be described in words. On the pagoda are countless 'shupan' golden bells. A gentle breeze constantly moves them, producing clear and harmonious sounds that resonate in all directions. Below the pagoda are the nails, hair, and relics (sarira) of Kasyapa Buddha (迦葉佛). At that time, the bone structure and deeds were described in detail, but due to the passage of time and fading memory, they cannot be discussed in detail. To the left and right of the pagoda stand two bell towers. The one on the left was built by the third son of Paranirmita-vasavartin (他化自在天王), named Abhaya (無畏), and both the bell and the tower are made of sphatika (頗梨). The one on the right was built by Tusita (兜率天王), and both the bell and the tower are made of gold and silver. Each of the two bells can hold fifty 'hu' of capacity and does not ring frequently. It only rings when the Buddhas of the ten directions (十方諸佛) gather, and the sound resonates throughout hundreds of billions of worlds. Further north is a large Buddha hall, tall and wide, dazzling and surpassing all the courtyards. Flying corridors extend from both sides, and the buildings rise into the sky. The side halls on the east and west are adorned with large trees, evergreen in winter and summer, with dense shade covering the sun. In the corners under the eaves inside the hall are two incense mountains, built by the ancient Vippakara-nagaraja (毗婆竭羅龍王). When they were first built, they were initially seen by ordinary people from Gandhamadana (乾陀山高), only twelve feet high. Their shape is the same as Mount Sumeru (須彌山), with the lower half entirely made of gold and silver, and a large pond on top, with animal heads on all sides, like Anavatapta (阿耨達池). The mountain has forests, flowers, and fruits.

【English Translation】 English version: The South Gate. Therefore, those who come from the north can observe the layers upon layers of scenery. The magnificent and peculiar sights are astonishing, causing them to quickly wipe their eyes. Upon careful observation, all five senses are relieved. On the left and right sides of the avenue are arranged various exotic flowers, fruits, and trees. No one can name them, and those who see them find them strange. The South Gate of the central courtyard faces the Duan Gate. There are also seven horizontally arranged gates, like tall and open comb teeth, symbolizing the meaning of the seven factors of enlightenment (sapta bodhyanga). It means that this central courtyard is exclusively inhabited by the Buddha, not shared with the monks, because the Buddha possesses the wisdom of discernment (dharmapravicaya). Therefore, the Buddha's awareness is often explained to the disciples, enabling them to understand enlightenment, hence it is called the Buddha's Gate, the Seven Manifestations of the Crow Gate. Not far from here is a large square pond, filled with lotus flowers blooming in all four seasons. The four colors are exceptionally unique, and the fragrance is rich and intense, extremely beautiful. To the south of the pond are nine large golden cauldrons, below which are places where the Buddha bestowed footprints. Surrounding the outside are strangely shaped beasts, crowded and overlapping, courageous and fierce, with various forms intricately distributed inside and outside the cauldrons. Within the cauldrons are various exotic flowers and plants, with scattered leaves, layers upon layers, and fragrance and light reflecting each other. Upon careful observation, it is dazzling and one dares not linger. Directly north of the square pond is a large Buddha pagoda, with seven layers in height, magnificent and grand in shape, entirely built with exotic stones and jade. The various forms are layered upon layers, and the peculiar appearances cannot be described in words. On the pagoda are countless 'shupan' golden bells. A gentle breeze constantly moves them, producing clear and harmonious sounds that resonate in all directions. Below the pagoda are the nails, hair, and relics (sarira) of Kasyapa Buddha (迦葉佛). At that time, the bone structure and deeds were described in detail, but due to the passage of time and fading memory, they cannot be discussed in detail. To the left and right of the pagoda stand two bell towers. The one on the left was built by the third son of Paranirmita-vasavartin (他化自在天王), named Abhaya (無畏), and both the bell and the tower are made of sphatika (頗梨). The one on the right was built by Tusita (兜率天王), and both the bell and the tower are made of gold and silver. Each of the two bells can hold fifty 'hu' of capacity and does not ring frequently. It only rings when the Buddhas of the ten directions (十方諸佛) gather, and the sound resonates throughout hundreds of billions of worlds. Further north is a large Buddha hall, tall and wide, dazzling and surpassing all the courtyards. Flying corridors extend from both sides, and the buildings rise into the sky. The side halls on the east and west are adorned with large trees, evergreen in winter and summer, with dense shade covering the sun. In the corners under the eaves inside the hall are two incense mountains, built by the ancient Vippakara-nagaraja (毗婆竭羅龍王). When they were first built, they were initially seen by ordinary people from Gandhamadana (乾陀山高), only twelve feet high. Their shape is the same as Mount Sumeru (須彌山), with the lower half entirely made of gold and silver, and a large pond on top, with animal heads on all sides, like Anavatapta (阿耨達池). The mountain has forests, flowers, and fruits.

山王四面莊嚴皆用四寶所成。山色多有紫檀牛頭沉水等樹。花如車輪。凡夫見者止如錢大。至六齋日花悉開。水流下地都不見。山所有樹木皆能說法。山下九龍常吐香云出水香潔。於六齋日病者飲之無不即愈。如來有時與十方佛來集說法。感百億諸佛菩薩天龍八部悉入山中。聲聞眾中十大弟子亦得從入。諸餘事相說不可盡。殿內有蓮華藏。高一丈三尺。狀若此間明堂形。臺下九龍盤結為腳。紫磨金作龍頭。上有七寶蓮花。花中有摩尼跋陀大神將立身。用黃金作之。白銀雕鏤項以七寶頭戴七寶。蓮花之上以白銀為七層臺。臺有八楞。八面有窗。窗下有門以金為扉。有黃金鎖形如師子自然開。開不以人功。以紅頗梨為瓦。瓦頭皆有金師子。師子口中皆銜金銀鈴。臺上相輪如今塔上者。然有八角。角別金鎖具之。鎖上懸金師子如上銜鈴。皆八楞珠王為舌。珠王如雞。相輪上珠如金翅鳥。鳥上普賢菩薩乘白象王。覆以寶蓋(從金翅鳥以上至蓋一珠所作)上敘蓮花藏相。每六齋日四眾禮敬。九龍口中先頭吐香菸。大將口中訶責破戒。八門鎖碩瓦頭諸師子及諸鈴或贊持戒功德。又說十善等法。諸欲受戒比丘先來臺所致敬祈請。是金翅鳥王便出大聲。初如摩尼天鼓。后如百千天樂。音中所演正明持戒功德。故有聞者得大歡喜心志勇銳

。普賢菩薩放眉間光說一實道。教之以平等大慧。誨之以無相持戒。行者聞法得果登地。往業障累一無聞見。如是請已方往戒壇依法受具。普賢光明先照戒壇。然後遍照十方世界百億佛剎。彼受戒已還來禮臺。若獲上品戒者臺門自開見百千佛。為說普賢諸大行愿。或登諸地便見臺中八萬四千白銀樓觀。隨觀皆有百億金臺。隨臺皆有百億化佛。其銀觀內各有八萬四千普賢菩薩。其金臺內各有百億佛土。于土中心有蓮華藏世界。隨界皆有蓮華臺。內皆以七寶莊嚴。謂之寂滅道場隨場皆有百億盧合那佛。說平等法身當說華嚴於此臺中。大梵天王移臺在摩竭提國。以梵王為請法主故也。上諸九龍是娑竭羅龍王自手造之。大神將諸蓮華皆大梵王目運手造。臺身者是金剛齊菩薩造。諸寶寶廁填亦是娑竭所施。此華藏相所睹惟是賢聖隨其業行。如上見聞凡夫下劣都非境界。至佛滅時龍王收之藏諸海殿。殿內大佛座兩角各有玉塔。是迦葉如來因地時作。塔高丈六楞一百三十層。通身一收玉也。塔中諸佛菩薩八部形相各有一百一十億。其像雕飾希世難論第十三層以下同須彌山。層四王下作釋迦佛初成道像。度五比丘思惟。三世諸佛皆此塔中說毗尼藏。我今亦請樓至比丘。說大毗尼藏凡八百億偈。昔佛在時布薩說戒及以受戒。此塔常放光明

。直照戒壇化為臺蓋應臺。蓋中十方佛現呵責破戒。贊持戒者有得遇者咸登九地。便入塔中。正法念處經此塔中說至佛滅后。娑竭羅龍王收將在海。當陽殿中大立像者。碧玉為身金銀雕鏤。往昔文殊菩薩在拘樓秦佛時自運手造。普光趺高一丈八尺。如來游化不在此像便為人天說法。大像東畔兩鋪立像。紫磨黃金所造。白銀七寶以填鏤之。天人龍鬼一切功思所不能及。舉高丈八諸有侍衛及供養具有三百事。乃往維衛佛臨涅槃時手自造立。兩金師子踞在像前。若有天魔外道興惡難問者。師子大吼地六種振動。魔等怖懼懷欣而退。往者釋尊在忉利天。此像在殿為諸比丘教戒說法。乃至諸王之不見佛思慕釋迦。此像為王三度說法。祇園初立戒壇。成時此像領前徒眾。至戒壇所繞三匝已。步步皆生金色千葉蓮花。每受戒時花自然開。中有天童奏於天樂。余時便合至說戒日。花復開敷天童作樂贊佛功德。此像眉間有一珠玉形如鳳鳥。維那鳴鐘珠便放光照維那身。唱言時至無其所造。娑竭羅龍及佛滅后經十三年。還收入海于彼供養。大像西畔兩鋪坐像。一是瑪瑙。用金銀玉三種鏤之。一是白銀。以黃金鏤之。二像並用七寶填之。各坐寶蓮花亦高丈八。是金剛幢菩薩于維式佛時造之。釋迦如來成道經十五年。問此像曰。過去諸佛說何經

【現代漢語翻譯】現代漢語譯本直照戒壇化為臺蓋，應合臺蓋的形狀。臺蓋之中，十方諸佛顯現，呵斥那些破戒之人，讚揚那些持戒之人，有能夠遇到這些景象的人，都能立即登上九地菩薩的果位，隨即進入塔中。《正法念處經》中說，這座塔在佛陀滅度之後，娑竭羅龍王（Sāgara-nāgarāja，海龍王）將其收藏於海中。當陽殿中，有一尊巨大的佛像，身體是碧玉所造，用金銀雕刻鏤空裝飾。這尊佛像過去是文殊菩薩（Mañjuśrī）在拘樓秦佛（Krakucchanda Buddha）時期親自運手建造的，普光蓮花座高一丈八尺。如來（Tathāgata）游化時，如果不在佛像這裡，佛像就會代替如來為人天說法。大佛像的東邊有兩尊站立的佛像，是用紫磨黃金所造，用白銀和七寶填充雕刻而成。天人、龍、鬼的一切工巧心思都無法達到這種程度。佛像高一丈八尺，所有侍衛和供養的器具共有三百種。這是過去維衛佛（Vipaśyin Buddha）臨近涅槃時親手建造的。兩隻金色的獅子蹲坐在佛像前，如果有天魔外道前來興起惡意的刁難，獅子就會發出巨大的吼聲，大地發生六種震動，天魔外道等心懷恐懼而退卻。過去釋迦牟尼佛（Śākyamuni Buddha）在忉利天（Trāyastriṃśa）時，這尊佛像就在殿中為眾比丘教導戒律說法。甚至諸位國王因為見不到佛陀而思慕釋迦牟尼佛時，這尊佛像也曾為國王三次說法。祇園精舍（Jetavana Vihāra）初建戒壇時，戒壇建成之時，這尊佛像帶領著前面的徒眾，到達戒壇處繞行三圈之後，每走一步都會生出金色的千葉蓮花。每次受戒時，蓮花都會自然開放，花中有天童演奏天樂。其餘時間蓮花便會合攏，到了說戒之日，蓮花又會開放，天童演奏音樂讚頌佛陀的功德。這尊佛像的眉間有一顆珠玉，形狀像鳳凰。維那（寺院中負責維持秩序的僧人）敲鐘時，珠玉便會放出光芒照耀維那的身體。唱誦時辰已到，但沒有人知道這珠玉是誰造的。娑竭羅龍王在佛陀滅度后十三年，又將這尊佛像收回海中供養。大佛像的西邊有兩尊坐像，一尊是用瑪瑙製成，用金銀玉三種材料鏤刻裝飾；另一尊是用白銀製成，用黃金鏤刻裝飾。兩尊佛像都用七寶填充，各自坐在高一丈八尺的寶蓮花上。這是金剛幢菩薩（Vajradhvaja Bodhisattva）在維式佛（Viśvabhū Buddha）時期建造的。釋迦如來成道十五年後，問這兩尊佛像：『過去諸佛都說了什麼經典？』

【English Translation】 English version It directly illuminates the precepts altar, transforming it into a platform cover, corresponding to the shape of the platform cover. Within the platform cover, Buddhas from the ten directions appear, rebuking those who break the precepts and praising those who uphold them. Those who encounter these scenes can immediately ascend to the ninth ground of Bodhisattvas and then enter the stupa. The Saddharma-smṛtyupasthāna Sūtra (正法念處經) states that after the Buddha's Parinirvana, Sāgara-nāgarāja (娑竭羅龍王, the Dragon King of the Sea) collected it into the sea. In the main hall, there is a large Buddha statue, with a body made of jade and decorated with gold and silver carvings. This statue was personally crafted by Mañjuśrī Bodhisattva (文殊菩薩) during the time of Krakucchanda Buddha (拘樓秦佛), with a radiant lotus pedestal eighteen feet high. When the Tathāgata (如來) travels and is not present at this statue, the statue will teach the Dharma to humans and devas in place of the Tathāgata. To the east of the great Buddha statue are two standing Buddha statues, made of purple-gold and filled with silver and the seven treasures. The ingenuity of humans, devas, dragons, and ghosts cannot match this level. The statues are eighteen feet tall, and there are three hundred kinds of attendants and offerings. These were personally built by Vipaśyin Buddha (維衛佛) near his Parinirvana. Two golden lions are seated in front of the statues. If demons or heretics come to cause trouble, the lions will roar loudly, and the earth will shake in six ways, causing the demons and heretics to retreat in fear. In the past, when Śākyamuni Buddha (釋迦牟尼佛) was in Trāyastriṃśa Heaven (忉利天), this statue taught the precepts and Dharma to the monks in the hall. Even when the kings missed Śākyamuni Buddha because they could not see him, this statue preached the Dharma to the kings three times. When Jetavana Vihāra (祇園精舍) was first established, and the precepts altar was completed, this statue led the assembly to the precepts altar, circumambulating it three times. With each step, golden thousand-petaled lotus flowers would grow. Each time precepts were received, the lotus flowers would naturally open, and celestial children would play celestial music within the flowers. At other times, the lotus flowers would close, and on the day of reciting the precepts, the flowers would open again, and the celestial children would play music praising the Buddha's merits. There is a pearl in the shape of a phoenix between the eyebrows of this statue. When the Vina (維那, the monk in charge of maintaining order in the monastery) rings the bell, the pearl emits light, illuminating the Vina's body. When chanting that the time has arrived, no one knows who created this pearl. Sāgara-nāgarāja collected this statue back into the sea for offerings thirteen years after the Buddha's Parinirvana. To the west of the great Buddha statue are two seated statues, one made of agate, decorated with gold, silver, and jade; the other made of silver, decorated with gold. Both statues are filled with the seven treasures and each sits on a precious lotus flower eighteen feet high. These were built by Vajradhvaja Bodhisattva (金剛幢菩薩) during the time of Viśvabhū Buddha (維式佛). Fifteen years after Śākyamuni Buddha attained enlightenment, he asked these statues: 'What sutras did the Buddhas of the past preach?'

。現在有古佛經盡無。此像答云。過去有十三億佛。說毗尼教一一不同。修多羅阿毗曇。諸陰陽書數工巧算計。隨其事理各各不同。今並見在。三藏正典在娑竭龍宮。陰陽書數在須彌山金剛窟中。今共世尊往至彼處。可集百億諸大菩薩。爾時釋迦放眉間光集諸菩薩。從二世尊至彼龍宮取前經論。又至窟中取陰陽等書。于祇園中隨院安置二像。侍衛八部眷屬有四百二十一種。前二師子一白銀一瑪瑙。有二天童子。騎上手執白拂。有諸比丘欲受戒。時此二天童乘師子至戒壇上。舉拂歌持戒功德。轉身盤舞師子蹀趺繞壇而歌。清妙無比飛鳥住聽游者應節。諸受具者聞則皆獲聖位或登七地。像又放光至天童所。光中天樂以應歌舞。六曾讚歎持戒功德。受戒既了各返故處。佛將涅槃此像送佛至阇維地。彼二天童于金棺上歌涅槃樂。聞證無生又歌無常苦空等曲。人天聞者多證四沙門果。既阇維已隨龍還宮。不返祇樹前佛殿。東樓上層有八萬白銀佛坐七寶蓮華。于銀像內有八萬四千七寶樓觀。一一樓觀各各有如來成道降天魔轉法輪入涅槃等像。七寶寶樓內有一寶池。寶花莊嚴花上諸佛各說妙法。其像多少白玉作之。池中蓮花院內有十六億白銀寶塔。于諸塔心有天真殊。塔百二十角層數亦爾。塔下有三百二十頭盤龍。上承珠塔。塔表有

【現代漢語翻譯】現代漢語譯本：現在有古佛經都已消失殆盡。這尊佛像回答說：『過去有十三億佛，他們所說的《毗奈耶經》（Vinaya，戒律）教義各不相同。《修多羅經》（Sutra，經藏）、《阿毗曇經》（Abhidhamma，論藏），以及各種關於陰陽、算術、工藝和計算的書籍，都隨著各自的事理而有所不同，現在都還存在。三藏正典（Tripitaka，佛教經典總稱）在娑竭龍宮（Sāgara-nāga-bhavana，龍王居住的宮殿）中，陰陽算術書籍在須彌山（Sumeru，佛教宇宙觀中的聖山）的金剛窟中。現在和世尊（釋迦牟尼佛的尊稱）一起前往那些地方，可以聚集百億諸大菩薩。』當時，釋迦牟尼佛從眉間放出光明，召集諸位菩薩，和兩位世尊一起到達龍宮，取回之前的經論；又到達金剛窟中，取回陰陽等書籍。在祇園精舍（Jetavana，佛陀在世時重要的弘法場所）中，隨著各個院落安置這兩尊佛像，侍衛的八部眷屬有四百二十一種。前面有兩隻獅子，一隻是白銀做的，一隻是瑪瑙做的。有兩位天童，騎在獅子上，手上拿著白拂。有想要受戒的比丘，這時這兩位天童就騎著獅子到戒壇上，舉起白拂歌頌持戒的功德，轉身盤旋跳舞，獅子也小步繞著戒壇唱歌，清妙無比，飛鳥都停下來聽，遊人都應和著節拍。所有受具足戒的人聽到這些，都能獲得聖位，或者登上七地（菩薩修行的第七個階段）。佛像又放出光明到天童那裡，光明中有天樂來應和歌舞，六次讚歎持戒的功德。受戒完畢后，各自返回原來的地方。佛將要涅槃（Nirvana，佛教術語，指解脫生死輪迴的狀態）時，這尊佛像送佛到阇維（cremation，火葬）的地方。那兩位天童在金棺上歌唱涅槃的快樂，聽到的人證得無生（不生不滅的境界）；又歌唱無常、苦、空等曲子，人天聽到的人大多證得四沙門果（佛教修行的四個階段）。火葬完畢后，佛像隨著龍返回龍宮，不再返回祇樹給孤獨園（Anāthapiṇḍika-ārāma，祇園精舍的別稱）前方的佛殿。東樓上層有八萬尊白銀佛像，坐在七寶蓮花上。在銀像內有八萬四千座七寶樓觀，每一座樓觀里都有如來（Tathagata，佛的稱號之一）成道、降伏天魔、轉法輪（Dharmacakra-pravartana，佛陀開始宣講佛法的行為）、入涅槃等等的景象。七寶寶樓內有一個寶池，用寶花裝飾，花上的諸佛各自宣說妙法。佛像的數量很多，都是用白玉製作的。池中的蓮花院內有十六億座白銀寶塔，在各個塔心中有天真殊勝的景象。塔有一百二十個角，層數也一樣。塔下有三百二十個盤龍，向上承托著珠塔。塔的表面有……』

【English Translation】 English version: Now, all the ancient Buddhist scriptures have disappeared. This image replied, 'In the past, there were thirteen billion Buddhas, and the Vinaya (Vinaya, monastic rules) teachings they spoke were all different. The Sutras (Sutra, discourses), the Abhidhamma (Abhidhamma, philosophical treatises), and various books on Yin-Yang, arithmetic, crafts, and calculations, all differed according to their respective principles, and they all still exist now. The Tripitaka (Tripitaka, the three baskets of Buddhist scriptures) is in the Sāgara-nāga-bhavana (Sāgara-nāga-bhavana, the dragon king's palace), and the books on Yin-Yang arithmetic are in the Vajra Cave on Mount Sumeru (Sumeru, the central world-mountain in Buddhist cosmology). Now, together with the World-Honored One (a respectful title for Shakyamuni Buddha), we can go to those places and gather a hundred billion great Bodhisattvas.' At that time, Shakyamuni Buddha emitted light from his brow and gathered all the Bodhisattvas, and together with the two World-Honored Ones, they arrived at the dragon palace and retrieved the previous scriptures and treatises; they also arrived at the Vajra Cave and retrieved the books on Yin-Yang and so on. In the Jetavana (Jetavana, an important place for the Buddha's teachings during his lifetime), these two images were placed in various courtyards, and the retinue of the Eight Classes of beings guarding them numbered four hundred and twenty-one. In front were two lions, one made of silver and one made of agate. There were two celestial children, riding on the lions, holding white whisks in their hands. When there were Bhikkhus who wished to receive ordination, these two celestial children would ride the lions to the ordination platform, raise their whisks, and sing the merits of upholding the precepts, turning and dancing in circles, while the lions stepped around the platform and sang, with unparalleled clarity and beauty, so that even birds would stop to listen and travelers would respond to the rhythm. All those who received the full precepts, upon hearing this, would attain the holy position or ascend to the seventh Bhumi (the seventh stage of a Bodhisattva's path). The image also emitted light to the celestial children, and in the light, heavenly music responded to the singing and dancing, praising the merits of upholding the precepts six times. After the ordination was completed, they each returned to their original places. When the Buddha was about to enter Nirvana (Nirvana, the state of liberation from the cycle of birth and death), this image escorted the Buddha to the cremation (cremation) site. The two celestial children sang the joy of Nirvana on the golden coffin, and those who heard it attained non-birth (the state of non-arising and non-ceasing); they also sang songs of impermanence, suffering, emptiness, and so on, and many of those who heard it, both humans and devas, attained the four Sramana fruits (the four stages of Buddhist practice). After the cremation was completed, the image returned to the dragon palace with the dragon, and did not return to the Buddha hall in front of the Anāthapiṇḍika-ārāma (Anāthapiṇḍika-ārāma, another name for Jetavana). On the upper floor of the east building, there were eighty thousand silver Buddhas, sitting on seven-jeweled lotus flowers. Inside the silver images, there were eighty-four thousand seven-jeweled pavilions, and in each pavilion, there were scenes of the Tathagata (Tathagata, one of the titles of the Buddha) attaining enlightenment, subduing the heavenly demons, turning the Dharma wheel (Dharmacakra-pravartana, the act of the Buddha beginning to preach the Dharma), entering Nirvana, and so on. Inside the seven-jeweled pavilions, there was a jeweled pond, decorated with jeweled flowers, and the Buddhas on the flowers each preached the wonderful Dharma. The number of images was very large, and they were all made of white jade. Inside the lotus courtyard in the pond, there were sixteen billion silver pagodas, and in the heart of each pagoda, there was a celestial and wonderful scene. The pagoda had one hundred and twenty corners, and the number of layers was the same. Below the pagoda, there were three hundred and twenty coiled dragons, supporting the jeweled pagoda upwards. The surface of the pagoda had...'

大珠王。其形如鳳。鳳上文殊師利乘之。每月布薩殊王放光。至戒壇所照諸比丘光呵破戒。有覆罪者光觸其身又見頭上。犯重比丘珠光射心。發熱燒身交受苦惱。至誠悔者珠光出水清泠。灌注身心得清涼樂戒根還生。大悲文殊放白毫。光。又照比丘呵責破戒。贊持戒者是珠塔者又從地出飛。至壇所繞壇行道。塔中天樂皆說諸平等大悲。嘆譽持戒諸大功德。此珠塔中有釋迦多寶二像。說法華經。第七會者在此塔中。大眾八部入不相障。將欲制戒時金剛幢菩薩為請主。塔中先有迦葉維衛二佛毗尼藏。釋迦如來十二年後制戒之時。於此塔中披討古律。阿難比丘常在習誦。此殊塔上四面百億天人皆乘殊風。手執樂器常以供養大毗尼藏。每受戒時塔至壇所。諸天樂繞塔供養。有功德者塔門自二開見世尊。手摩其頭受已。此塔返于故地。其中微妙不思議事不可說盡。已前諸相總是金剛智菩薩于維衛佛時所作。其珠寶者娑竭龍王也。釋迦如來將往涅槃前。塔中像樓觀池塔乘空送之至阇維所。天人便奏常樂我凈曲。阇維事了。珠塔放光蔽諸大眾。又出大聲。塔門即開見二世尊。爾時寶積菩薩為諸大眾請決所疑。過去諸佛入涅槃時。如何教戒諸弟子等。阇維起塔分佈等相佛皆隨。答因菩薩請遂名其經名大寶積。其經三分一與涅槃經相似。

既說經已塔門還閉。娑竭龍王收還海宮(依今別傳。且渠國中見有此經。十萬余偈。玄奘法師亦將梵本。只譯一分名大菩薩藏。廣明大乘六度四攝佛不共法。餘者未出也)妙法華經事同華嚴般若。多會說之。今此所翻當第三會。佛華嚴經亦數度說。一一說各有七處八會教主不同。寶樓中層內有十六介七寶樓觀。隨觀有多彌勒菩薩像。經中善財童子遇彌勒菩薩於斯觀中。又五百白銀臺臺內各有五百金臺。隨臺各有七寶池。各有千葉金蓮花。隨花有佛。復有七寶蓮花小小。諸天童子等作天伎樂中有碧須彌山。山上作釋迦如來度諸龍像。上來寶樓並是無言。菩薩于維衛佛時造而供養。逮至於今。如來涅槃忉利天主收往天上。寶樓下層作牛頭栴檀大梵王像並梵眷屬。又作帝釋四王部眷等像。佛成道后三十一年。之文殊師利告之像形。音言動止與真無異。中央有大金鐘。帝釋像每日擊之振三千界。及佛滅后經十二年。大龍收入海殿供養。前殿西樓臺內上層有六十四須彌山。並以青白碧玉三色共成。山下週海七寶為岸。大山中有八十億真珠樓觀。隨觀各有佛成道降天魔。轉法輪般涅槃等像。隨山王上各有百千諸佛國土。中心山頂有大寶樓。迦葉如來於此樓觀。說勝天王思蓋華嚴各十萬偈。此樓臺中有星宿劫中諸佛所說修多羅藏。臺

【現代漢語翻譯】現代漢語譯本『既說經已塔門還閉』，意思是說完經后，塔門仍然關閉著。娑竭龍王（Sāgara-nāgarāja，海龍王）將經書收回海宮（根據現在的其他記載，且渠國中可見到這部經書，有十萬多偈。玄奘法師也帶回了梵文字，只翻譯了一部分，名為《大菩薩藏》，廣泛闡明了大乘的六度、四攝和佛不共法，其餘部分尚未翻譯）。《妙法蓮華經》的情況與《華嚴經》、《般若經》相似，多次集會宣說。現在翻譯的這部經書應當是第三次集會所說。《佛華嚴經》也多次宣說，每一次宣說都有七處八會，教主也不同。寶樓中層內部有十六個七寶樓觀，每個樓觀中都有許多彌勒菩薩（Maitreya Bodhisattva）像。《經》中善財童子（Sudhana）就是在這些樓觀中遇到了彌勒菩薩。又有五百個白銀臺，每個臺內各有五百個金臺，每個臺上都有七寶池，每個池中都有千葉金蓮花，每朵花上都有一尊佛。還有許多七寶蓮花，大小不一，諸天童子等在其中演奏天樂，其中有碧綠的須彌山（Sumeru）。山上製作了釋迦如來（Śākyamuni Buddha）度化諸龍的景象。上面的寶樓都是無言的，是菩薩在維衛佛（Vipaśyin Buddha）時期建造並供養的，一直到現在。如來涅槃后，忉利天主（Trāyastriṃśa）將寶樓收往天上。寶樓下層製作了牛頭栴檀大梵天王（Mahābrahmā）像以及梵天眷屬，又製作了帝釋天（Indra）、四大天王（Four Heavenly Kings）及其部眾的像。佛成道后三十一年，文殊師利菩薩（Mañjuśrī）告知製作這些像的形狀，聲音、言語、動作與真人沒有差別。中央有一個大金鐘，帝釋天像每日敲擊它，震動三千世界。以及佛滅度后十二年，大龍將金鐘收入海殿供養。前殿西樓臺內上層有六十四座須彌山，用青、白、碧玉三種顏色共同構成。山下四周的海以七寶為岸。大山中有八十億座珍珠樓觀，每個樓觀中都有佛成道、降伏天魔、轉法輪、般涅槃等景象。每個山王上都有百千諸佛國土。中心山頂有一座大寶樓，迦葉如來（Kāśyapa Buddha）就在這座樓觀中宣說了《勝天王思蓋華嚴》各十萬偈。這座樓臺中藏有星宿劫中諸佛所說的修多羅藏（Sutra Pitaka）。

【English Translation】 English version 'Having spoken the sutra, the pagoda door remained closed.' This means that after the sutra was spoken, the pagoda door was still closed. The Sāgara-nāgarāja (Dragon King of the Sea) took the sutra back to the sea palace (according to other accounts, this sutra can be found in the country of Kucha, with more than one hundred thousand gathas. The Dharma Master Xuanzang also brought back the Sanskrit version and translated only a portion of it, called the 'Mahābodhisattvagarbha,' which extensively explains the Six Perfections, Four Embracing Dharmas, and the unique qualities of the Buddhas of the Mahayana, while the rest has not yet been translated). The situation of the 'Wonderful Dharma Lotus Sutra' is similar to that of the 'Avataṃsaka Sutra' and the 'Prajñā Sutra,' which are preached in multiple assemblies. The sutra now being translated should be the one spoken in the third assembly. The 'Buddha Avataṃsaka Sutra' has also been preached multiple times, and each preaching has seven locations and eight assemblies, with different teaching masters. Inside the middle level of the treasure tower, there are sixteen seven-jeweled pavilions, each with many images of Maitreya Bodhisattva. In the sutra, Sudhana encountered Maitreya Bodhisattva in these pavilions. There are also five hundred silver platforms, each with five hundred golden platforms, and each platform has a seven-jeweled pond, each with a thousand-petaled golden lotus flower, and each flower has a Buddha. There are also many seven-jeweled lotus flowers of various sizes, with celestial children playing celestial music within them, including a green Mount Sumeru. On the mountain, images of Śākyamuni Buddha subduing the dragons are created. The treasure towers above are all silent, built and offered by Bodhisattvas during the time of Vipaśyin Buddha, and continuing until now. After the Tathagata's Nirvana, the Lord of Trāyastriṃśa took the treasure tower to heaven. On the lower level of the treasure tower, images of the Mahābrahmā with the head of an ox and sandalwood are made, along with the Brahma retinue, and images of Indra, the Four Heavenly Kings, and their retinues are also made. Thirty-one years after the Buddha's enlightenment, Mañjuśrī Bodhisattva informed them of the shape of these images, and their voices, speech, and movements were no different from real people. In the center, there is a large golden bell, which the image of Indra strikes daily, shaking the three thousand worlds. And twelve years after the Buddha's Parinirvana, the great dragon took the golden bell into the sea palace for offering. In the upper level of the west pavilion of the front hall, there are sixty-four Mount Sumerus, made of blue, white, and jade colors. The seas around the mountains are bordered with seven treasures. In the great mountains, there are eighty billion pearl pavilions, each with images of the Buddha's enlightenment, subduing demons, turning the wheel of Dharma, and Parinirvana. On each mountain king, there are hundreds of thousands of Buddha lands. At the top of the central mountain, there is a great treasure tower, in which Kāśyapa Buddha preached the 'Superior King Thinking Cover Avataṃsaka Sutra,' each with one hundred thousand gathas. This pavilion contains the Sutra Pitaka spoken by the Buddhas in the constellations kalpa.

之中心有白銀幢三千級。幢三千級。上百億天童乘金師子。常作天樂供養前經。樂中多說平等大會普賢行。幢頭有大金翅鳥。珠王口銜金鐘七枚。至時珠王自鳴。鐘聲即發聲振大千。召集九地菩薩並十方佛。都會此臺多說諸佛神通變化回動天地。古昔諸佛種種畫算咸集此臺。珠王背上普賢菩薩乘白象王。每有受具放眉間光。三道亙列一照諸佛制戒壇。二照比丘尼戒壇。三照大僧受戒壇。光至三壇上化為眾寶花臺。隨臺百千諸佛說普賢行愿。愿讚歎持戒功德。此臺觀者佛成道已十一年中。彌勒維摩之共所造。及佛滅后三年猶在過此。娑竭羅龍王收將入海。寶臺中層內有大寶蓮花。居七寶池。池中金龍銜花盤住花上。又有十三億七寶樓。樓中有白玉寶塔。塔有維摩文殊對談之相。塔表有大摩尼珠。至時出聲遍至大千。音如天鼓又放光明。與聲俱往他方佛剎。光中化佛說諸如來無生大慧。有聞法者或得法忍至三四果。於六齋日蓮花即開。有福者見見余合時。便為薄福人。每受具戒時金龍吐水。直至戒壇化為香雲雨。諸香雨事已便絕。此諸功德是拘那含佛所造。前在龍宮。娑竭羅龍王將來供養。佛滅將焚蓮花及池乘空來現。阇維既了金龍如上。吐云注雨滅所焚火。又隨迦葉至戒壇所。金口中出大音聲。摩尼珠王放大光明。光中

【現代漢語翻譯】之中心有白銀幢三千級。（幢：一種佛教法器，類似於旗幟）幢有三千層臺階。在幢的三千層臺階之上，有數以百億計的天童騎著金色的獅子，經常演奏美妙的音樂來供養此經。音樂中大多宣說平等大會和普賢菩薩的行愿。幢頂上有一隻巨大的金翅鳥（Garuda），口中銜著七枚珠王（Ratnaraja）所化的金鐘。每到特定時刻，珠王會自行鳴響，鐘聲響徹大千世界，召集九地菩薩和十方諸佛，都聚集到這個臺上，宣說諸佛的神通變化，以及迴轉天地的力量。過去諸佛的種種圖畫和算計都彙集在這個臺上。珠王的背上，普賢菩薩（Samantabhadra）乘坐著白象王。每當有人受具足戒時，普賢菩薩的眉間會放出光明，三道光芒橫亙排列：第一道光照耀諸佛制定的戒壇；第二道光照耀比丘尼的戒壇；第三道光照耀大僧受戒的戒壇。光明到達這三個戒壇上時，會化為眾寶蓮花臺。隨著蓮花臺的出現，成百上千的諸佛會宣說普賢菩薩的行愿，讚歎持戒的功德。觀看此臺的人，在佛陀成道后的十一年中，能見到此景，是彌勒菩薩（Maitreya）和維摩詰（Vimalakirti）共同創造的。即使在佛陀滅度后的三年內，此景仍然存在。之後，娑竭羅龍王（Sāgara-nāgarāja）將其收入海中。寶臺的中間一層內，有一朵巨大的寶蓮花，位於七寶池中。池中的金龍銜著花盤，停留在花上。此外，還有十三億座七寶樓，樓中有白玉寶塔。塔中有維摩詰和文殊菩薩（Manjusri）對談的景象。塔的表面有一顆巨大的摩尼寶珠（Mani-jewel），每到特定時刻，會發出聲音，傳遍大千世界。聲音如同天鼓，又放出光明，與聲音一同前往他方佛剎。光明中化現出佛陀，宣說諸如來無生的大智慧。聽到佛法的人，有的能獲得法忍，甚至證得三果或四果。在六齋日，蓮花就會開放，有福德的人才能見到，其餘時間則閉合，對於福薄的人來說是這樣。每次有人受具足戒時，金龍會吐出水，直接到達戒壇，化為香雲雨。這些香雨結束后，便會停止。這些功德是拘那含佛（Krakucchanda Buddha）所造，之前在龍宮中，娑竭羅龍王將其帶來供養。佛陀滅度后，將要焚化時，蓮花和池水乘空出現。荼毗（火葬）結束后，金龍如前一樣，吐出雲彩，降下雨水，熄滅焚燒的火焰。又跟隨迦葉尊者（Kasyapa）到達戒壇所在之處，金口中發出巨大的聲音，摩尼寶珠王放出巨大的光明，在光明中……

【English Translation】 At the very center, there is a white silver banner with three thousand tiers. (Banner: a type of Buddhist ritual implement, similar to a flag) The banner has three thousand tiers. Above the three thousand tiers of the banner, there are hundreds of billions of celestial children riding golden lions, constantly playing beautiful music to make offerings to this sutra. The music mostly proclaims the Equality Assembly and the vows and practices of Samantabhadra Bodhisattva. On top of the banner, there is a giant Garuda, holding seven golden bells transformed from Ratnaraja in its mouth. At specific times, the Ratnaraja will ring on its own, and the sound of the bells will resonate throughout the entire great thousand world system, summoning the Bodhisattvas of the Ninth Ground and the Buddhas of the ten directions, all gathering on this platform, proclaiming the supernatural powers and transformations of the Buddhas, as well as the power to turn the heavens and the earth. All kinds of paintings and calculations of the Buddhas of the past are gathered on this platform. On the back of the Ratnaraja, Samantabhadra Bodhisattva rides the white elephant king. Whenever someone receives the full precepts, Samantabhadra Bodhisattva will emit light from between his eyebrows, three rays of light stretching across: the first ray illuminates the precept platform established by the Buddhas; the second ray illuminates the Bhikkhuni precept platform; the third ray illuminates the precept platform for the great Sangha to receive precepts. When the light reaches these three precept platforms, it will transform into jeweled lotus platforms. Along with the appearance of the lotus platforms, hundreds and thousands of Buddhas will proclaim the vows and practices of Samantabhadra Bodhisattva, praising the merits of upholding the precepts. Those who view this platform can see this scene in the eleven years after the Buddha's enlightenment, which was created jointly by Maitreya Bodhisattva and Vimalakirti. Even within three years after the Buddha's Parinirvana, this scene still exists. After that, Sāgara-nāgarāja took it into the sea. Inside the middle layer of the treasure platform, there is a giant jeweled lotus flower, located in a seven-jeweled pond. The golden dragon in the pond holds the flower plate in its mouth, staying on the flower. In addition, there are thirteen billion seven-jeweled buildings, and in the buildings, there are white jade pagodas. In the pagodas, there is the scene of Vimalakirti and Manjusri Bodhisattva talking to each other. On the surface of the pagoda, there is a giant Mani-jewel, which will emit a sound at specific times, spreading throughout the entire great thousand world system. The sound is like a heavenly drum, and it also emits light, traveling with the sound to other Buddha lands. In the light, Buddhas manifest, proclaiming the great wisdom of non-origination of the Tathagatas. Those who hear the Dharma, some can obtain Dharma-kshanti, and even attain the third or fourth fruit. On the six fast days, the lotus flower will bloom, and only those with merit can see it, otherwise it will be closed, which is the case for those with little merit. Every time someone receives the full precepts, the golden dragon will spit out water, directly reaching the precept platform, transforming into fragrant cloud rain. After these fragrant rains end, they will stop. These merits were created by Krakucchanda Buddha, previously in the dragon palace, Sāgara-nāgarāja brought it to make offerings. After the Buddha's Parinirvana, when it was about to be cremated, the lotus flower and the pond appeared in the air. After the cremation (荼毗), the golden dragon, as before, spat out clouds and rained down water, extinguishing the burning flames. It also followed Kasyapa to the location of the precept platform, and a huge sound came out of the golden mouth, and the Mani-jewel king emitted great light, in the light...

出聲音作十三問。尊者阿難如問而答。三日已后隨娑竭羅龍王還其所。至寶臺中層下立。大龍王各有龍屬沈吞為之。大梵天王然所造也。有八金鐘諸龍王像。有時龍王手自擊鐘。聲至小千。地獄聞者眾苦暫息。佛滅度后帝釋將上歡喜園中。親所供養。

祇洹圖經卷上大正藏第 45 冊 No. 1899 中天竺舍衛國祇洹寺圖經

中天竺舍衛國祇洹寺圖經下卷

第二大復殿高廣殊狀信加前。殿詹相屬嵬峨重沓。朱粉金碧窮寶彈工天下第一。旁有飛廊兩接樓觀。亦以眾寶間廁莊嚴殿飾嚴殿。內詹下有四銀臺。兩臺內有黃金疊修多羅白玉為疊黃金為字。兩臺內有毗尼。黃金為疊白銀為字。律是龍王書經。是魔王書。此並星宿劫前古佛經也。閻浮州中此兩部書最為第一。佛滅度后娑竭羅龍王收將入宮殿內。以琉璃為地底岸布以金沙。有大蓮花三十二。繞龍之花中坐佛一身四面頂戴圓冠。南是七寶黃金鏤填。西是白銀北面青玉東面黃金。此像常為人天說諸法要。蓮花蕊中復有十萬小花。花中又有天龍八部聲聞菩薩像。都合十萬總用寶網。遍覆之繞大蓮花邊。有十億金龍各銜寶花。花中有金銀白玉三色佛像。相間而列隨佛像所亦有十方八部二乘。遞相圍繞於一一佛後有萬種蓮花。花中天童作天伎樂。

【現代漢語翻譯】現代漢語譯本：

以聲音提出的十三個問題。尊者阿難（Ananda，佛陀的十大弟子之一）像這樣提問並回答。三天之後，跟隨娑竭羅龍王（Sāgara-nāgarāja，海龍王）返回他的住所。到達寶臺的每一層都站立著。大龍王各自有龍族眷屬沉溺其中。這是大梵天王（Mahābrahmā，色界天之主）所創造的。有八個金鐘和諸龍王的雕像。有時龍王親自敲鐘，聲音傳到小千世界。地獄中的眾生聽到后，暫且停止受苦。佛陀涅槃后，帝釋天（Indra，忉利天之主）將它們帶到歡喜園中，親自供養。《祇洹圖經》捲上大正藏第 45 冊 No. 1899 中天竺舍衛國祇洹寺圖經中天竺舍衛國祇洹寺圖經下卷第二大復殿高大寬廣，其殊勝的景象比之前更加令人信服。殿宇的側面彼此相連，高聳而重疊。用硃砂、顏料、黃金和寶石來裝飾，窮盡了工匠的技藝，堪稱天下第一。旁邊有飛廊連線兩座樓閣，也用各種珍寶穿插裝飾殿宇。殿內的側面下方有四個銀臺。其中兩個銀臺內有黃金製作的疊，上面用白玉製作的疊，黃金製作的字。另外兩個銀臺內有毗奈耶（Vinaya，戒律），黃金製作的疊，白銀製作的字。律藏是龍王書寫的，經藏是魔王書寫的。這些都是星宿劫（kalpa of constellations，極長的時間單位）之前的古佛經。在閻浮提（Jambudvīpa，我們所居住的這個世界）中，這兩部書最為殊勝。佛陀涅槃后，娑竭羅龍王將它們收藏到宮殿內，用琉璃作為地面，岸邊鋪滿金沙。有三十二朵巨大的蓮花，環繞著龍的花朵中坐著佛陀，一身四面，頭戴圓形寶冠。南面是用七寶黃金鏤空填滿，西面是白銀，北面是青玉，東面是黃金。這尊佛像經常為人天眾生宣說諸法要。蓮花的蕊中還有十萬朵小花，花中又有天龍八部（Devas and Nāgas，佛教的護法神）、聲聞（Śrāvaka，聽聞佛法而證悟的弟子）、菩薩（Bodhisattva，立志成佛的修行者）的雕像。總共有十萬尊，都用寶網覆蓋，環繞著大蓮花的邊緣。有十億條金龍各自銜著寶花，花中有金、銀、白玉三種顏色的佛像。相互間隔排列，隨著佛像所在之處，也有十方八部和二乘（Śrāvakayāna and Pratyekabuddhayāna，聲聞乘和緣覺乘）的修行者，依次圍繞著每一尊佛像的後面有萬種蓮花，花中的天童演奏著天上的伎樂。

【English Translation】 English version:

Thirteen questions were posed with sound. The Venerable Ānanda (one of the ten great disciples of the Buddha) answered as he was asked. After three days, he followed the Sāgara-nāgarāja (Dragon King of the Sea) back to his abode. Upon reaching each level of the treasure pavilion, they stood. Each great Dragon King had their own dragon retinue immersed within. This was created by Mahābrahmā (Great Brahma King, lord of the Form Realm). There were eight golden bells and statues of various Dragon Kings. Sometimes the Dragon King would strike the bell himself, the sound reaching the small chiliocosm. Those in hell who heard it would have their suffering temporarily cease. After the Buddha's Parinirvana, Indra (Lord of the Trayastrimsa Heaven) took them to the Garden of Joy, personally making offerings. Gihon Temple Scripture, Volume 1 Taisho Tripitaka Volume 45 No. 1899, Gihon Temple Scripture of Śrāvastī in Central India Gihon Temple Scripture of Śrāvastī in Central India, Volume 2 The second great restored hall is tall and wide, its extraordinary appearance even more convincing than before. The sides of the halls are connected to each other, towering and overlapping. Decorated with cinnabar, pigments, gold, and jewels, exhausting the skills of the artisans, it is truly the best in the world. Beside it, there are flying corridors connecting two pavilions, also adorned with various treasures interspersed throughout the halls. Below the sides of the hall, there are four silver platforms. Within two of the silver platforms are golden leaves, with leaves made of white jade, and words made of gold. Within the other two platforms are the Vinaya (discipline), with leaves made of gold, and words made of silver. The Vinaya Pitaka was written by the Dragon King, and the Sutra Pitaka was written by the Demon King. These are all ancient Buddhist scriptures from before the kalpa of constellations (extremely long unit of time). In Jambudvīpa (the world we inhabit), these two sets of books are the most supreme. After the Buddha's Parinirvana, the Sāgara-nāgarāja collected them into his palace, using lapis lazuli as the ground, with golden sand spread along the shore. There are thirty-two large lotus flowers, surrounding the flowers of the dragon, in the middle of which sits the Buddha, with one body and four faces, wearing a round jeweled crown. The south face is filled with openwork of seven treasures and gold, the west face is silver, the north face is jade, and the east face is gold. This Buddha image constantly expounds the essential teachings of the Dharma to humans and devas. Within the pistil of the lotus flower, there are also ten thousand small flowers, and within the flowers are statues of the Devas and Nāgas (Buddhist protective deities), Śrāvakas (disciples who attain enlightenment by hearing the Dharma), and Bodhisattvas (practitioners who aspire to become Buddhas). There are a total of one hundred thousand, all covered with jeweled nets, surrounding the edge of the great lotus flower. There are ten billion golden dragons, each holding a jeweled flower in its mouth, and within the flowers are Buddha images of three colors: gold, silver, and white jade. Interspersed and arranged, and wherever the Buddha images are located, there are also practitioners of the ten directions, the eight divisions, and the Two Vehicles (Śrāvakayāna and Pratyekabuddhayāna), successively surrounding each Buddha image, behind which are ten thousand kinds of lotus flowers, and in the flowers, celestial children perform celestial music.

于池四面各有八行寶樹。四角各有金山。多有齋林吞池。池水流注入大地中又有諸鳥。自然而現不以人功。每六齋日作佛說法。大童奏樂四金山上各有六所祇園精舍像。上諸功德普賢文殊共所造之。至佛滅后迦葉結集已龍收將去。

復殿化壁釋迦如來自書八相變像。圖此書是。佛臨滅時當殿大像自然發音。請釋迦曰。後代眾生若為影象。佛因此問便為畫之。復殿東臺五重皆七寶作。娑竭羅龍王所造。上施寶珠夜望如日。故此大殿晝夜常明。

復殿東樓臺上層有星宿劫中第二佛全身七寶塔。一千三百級六十四楞白玉為臺。塔內有彼佛入涅槃像。八部侍衛次下始有金身。繞塔四邊有八萬金臺觀。中有化佛能說法。塔上大寶珠王形如白象。上有普賢菩薩像。佛去世后六年入金剛窟中。第二層有千葉金蓮。一一葉上皆有十六金觀。觀中多有普賢菩薩。花心有盧舍那佛。于中說花嚴經百萬偈。是第四度說。又有迦葉佛時。此震旦國一人書大毗尼藏及修多羅藏。修多羅銀紙金書。毗尼金紙銀書書此經時。在今荊州大明寺處。經蓮花東南臺內律在葉上。西南臺內莊嚴供養不可說盡。百億四天下文字與此同者斯人承一。雖鐘張王衛之儔未足為比。如來在日諸國聖人來者。若文字與同佛多以此經示之。佛去世後文殊收入此清

【現代漢語翻譯】現代漢語譯本：池塘四面各有八行寶樹，四角各有一座金山。有很多齋戒的林地圍繞著池塘。池水流注入大地之中，還有各種鳥類，自然顯現，不是人為建造的。每逢六齋日，這些鳥會像佛一樣說法。大童會在四座金山上演奏音樂，每座金山上各有六所祇園精舍（Jetavana Vihara，佛陀居住的精舍）的佛像。這些功德都是普賢（Samantabhadra）和文殊（Manjusri）菩薩共同建造的。佛陀滅度后，迦葉（Kasyapa）尊者結集佛經完畢，龍族就將這些都收藏起來了。

復殿的墻壁上繪有釋迦如來（Sakyamuni Tathagata）親筆書寫的八相變像圖。這本書就是對這些影象的解釋。佛陀臨近涅槃時，大殿中的佛像自然發出聲音，懇請釋迦牟尼佛為後代眾生留下影象。佛陀因此詢問，並讓人繪製了這些影象。復殿東臺共有五層，全部用七寶製成，是娑竭羅龍王（Sagara-nagaraja，海龍王）所建造。上面鑲嵌的寶珠在夜晚望去如同太陽一般，因此這座大殿晝夜常明。

復殿東樓臺的上層有一座星宿劫（Kalpa of constellations）中第二佛的全身七寶塔，共有一千三百級，六十四個棱角，用白玉做臺。塔內有那位佛陀入涅槃的畫像。八部（Eight kinds of divinities）侍衛依次排列在下，再往下才是金身。環繞塔的四周有八萬個金臺觀，其中有化佛能夠說法。塔上的大寶珠王形狀像白象，上面有普賢菩薩像。佛陀去世后六年，這座塔進入金剛窟中。第二層有千葉金蓮，每一片蓮葉上都有十六個金觀，觀中有很多普賢菩薩。花心有盧舍那佛（Vairocana），在其中宣說《華嚴經》（Avatamsaka Sutra）百萬偈，這是第四次宣說。又有迦葉佛（Kasyapa Buddha）時期，此震旦國（Cinadesa，中國）有一人書寫大毗尼藏（Vinaya-pitaka，律藏）和修多羅藏（Sutra-pitaka，經藏）。修多羅藏用銀紙金書，毗尼藏用金紙銀書。書寫這些經書時，就在現在的荊州大明寺處。經書在蓮花東南臺內，律藏在蓮葉上。西南臺內的莊嚴供養，不可說盡。百億四天下（Hundred billion worlds）的文字與此相同，此人所承受的功德是其他人的千百萬倍。即使是鐘繇、張芝、王羲之、衛夫人這樣的人也無法相比。如來在世時，各國聖人前來，如果文字與佛經相同，佛陀多用此經來展示。佛陀去世后，文殊菩薩將此經收入清涼山中。

【English Translation】 English version: Around the pond on all four sides are eight rows of precious trees. At each of the four corners is a golden mountain. There are many monastic groves surrounding the pond. The water from the pond flows into the great earth, and there are various birds that appear naturally, not made by human effort. On every sixth fasting day, they preach the Dharma like the Buddha. Great children play music on the four golden mountains, each of which has six Jetavana Viharas (Buddha's residence) with Buddha images. These merits were jointly created by Samantabhadra (Universal Worthy) and Manjusri (Gentle Glory) Bodhisattvas. After the Buddha's Parinirvana, Kasyapa (the Venerable Kasyapa) completed the Buddhist scriptures, and the dragons collected and took them away.

On the walls of the Repetition Hall are images of the Eight Aspects of Transformation, personally written by Sakyamuni Tathagata (Thus Come One). This book is an explanation of these images. When the Buddha was approaching Nirvana, the great image in the hall naturally emitted a sound, requesting Sakyamuni to leave images for future generations. The Buddha inquired about this and had these images painted. The Eastern Platform of the Repetition Hall has five levels, all made of the seven treasures, and was built by Sagara-nagaraja (Ocean Dragon King). The precious pearls inlaid on it shine like the sun at night, so this great hall is always bright day and night.

On the upper level of the Eastern Pavilion of the Repetition Hall is a seven-jeweled stupa containing the complete body of the Second Buddha of the Kalpa of constellations, with one thousand three hundred steps and sixty-four edges, with a white jade platform. Inside the stupa is an image of that Buddha entering Nirvana. The Eight kinds of divinities are arranged in order below, followed by the golden body. Around the four sides of the stupa are eighty thousand golden platforms, in which there are transformation Buddhas who can preach the Dharma. The great precious pearl king on the stupa is shaped like a white elephant, with an image of Samantabhadra Bodhisattva on top. Six years after the Buddha's passing, this stupa entered the Vajra Cave. The second level has a thousand-petaled golden lotus, with sixteen golden pavilions on each petal, and many Samantabhadra Bodhisattvas in the pavilions. In the heart of the flower is Vairocana (The Great Illuminator) Buddha, who preaches the Avatamsaka Sutra (Flower Garland Sutra) in a million verses, which is the fourth time it has been preached. Also, during the time of Kasyapa Buddha, a person in Cinadesa (China) wrote the great Vinaya-pitaka (Collection of disciplinary rules) and Sutra-pitaka (Collection of discourses). The Sutra-pitaka was written in gold on silver paper, and the Vinaya-pitaka was written in silver on gold paper. These scriptures were written at the present-day Daming Temple in Jingzhou. The Sutras are in the southeast pavilion of the lotus, and the Vinaya is on the lotus leaves. The adornments and offerings in the southwest pavilion are beyond description. The writing of a hundred billion worlds is the same as this, and the merit received by this person is a million times greater than others. Even people like Zhong Yao, Zhang Zhi, Wang Xizhi, and Lady Wei are not comparable. When the Tathagata (Thus Come One) was alive, if sages from various countries came and their writing was the same as the Buddhist scriptures, the Buddha would often show them this scripture. After the Buddha's passing, Manjusri Bodhisattva collected this scripture into Mount Qingliang.

涼山金剛窟中。第三層內有七寶海。海有十六億金龍各銜一大寶蓮華華上金銀共作。一臺內有過去佛說毗尼書。有三萬八千種。百億四天下同此。方書最為第一。一一臺內各有摩尼珠王以為燈明。每至受戒珠放光明。照戒壇上化百千金觀。觀中各有普賢菩薩像。為受戒人說過去諸佛戒律不同相。又說菩薩持戒法門。諸受戒聞得發初地。佛滅度后迦葉持往狼跡山修羅窟中。彌勒出時便將來本處依前安置。此是金剛慧菩薩。于星宿劫中第三佛時所造。第四層有牛頭旃檀塔十六枚。一一塔各有一千三百級。塔內多有釋迦成道轉法輪像。一一塔上各有七寶納覆四角。大金鈴鳴聞小千世界。聲中多說造塔功德。佛成道已十五年。令彌勒菩薩將迦葉菩薩。往由乾陀山采上檀香造之。佛滅度後龍收入海。第五層有釋迦化迦葉兄弟像。是耆婆童子請忉利天人工琢玉作之。如來滅后毗沙門王將住北天宮中。復殿西臺五重上層有大摩尼珠。六楞如此國舍利塔形。面有一門。白玉臺三重梁瑪瑙作之。此珠過去諸佛曾於中說法花。三變凈土隨經所有于中具現。人無見者。文殊神力開塔方現。西臺亦爾。四天王造。頗黎瑪瑙兩國成之。自上已來敘諸功德。並是諸佛凈業所為。隨機利見種種化導。知諸凈土何可具之。蹤極思尋終在時日。故隨所見聞

【現代漢語翻譯】現代漢語譯本在涼山金剛窟中，第三層內有七寶海（充滿七種珍寶的海）。海中有十六億金龍，每條龍都銜著一朵巨大的寶蓮華，蓮華由黃金和白銀共同製成。每個蓮華臺上都有過去佛（過去的佛）所說的毗尼書（戒律書），共有三萬八千種。百億四天下（一個廣闊的宇宙區域）都相同。這些蓮華臺上的書是最好的。每個蓮華臺中都有一顆摩尼珠王（如意寶珠）作為燈照明。每當有人受戒時，摩尼珠王就會放出光明，照亮戒壇，化現出成百上千的金觀音（金色的觀世音菩薩）。每個觀音像中都有普賢菩薩像（普賢菩薩的形象），為受戒的人講述過去諸佛的不同的戒律，還講述菩薩持戒的法門。所有受戒的人聽聞后都能證得初地（菩薩道的第一個階段）。佛陀滅度后，迦葉（佛陀的弟子）將這些帶到狼跡山的修羅窟中。彌勒（未來的佛）出世時，會將它們帶回原來的地方，按照原來的樣子安置。這是金剛慧菩薩（一位菩薩）在星宿劫（極長的時間單位）中的第三尊佛時所建造的。第四層有牛頭旃檀塔（用牛頭旃檀木製成的塔）十六座，每座塔都有一千三百級臺階。塔內有很多釋迦牟尼佛成道（釋迦牟尼佛證悟成佛）和轉法輪（宣講佛法）的畫像。每座塔上都有七寶（七種珍寶）覆蓋四角，大金鈴鳴響，聲音傳遍小千世界（一個宇宙區域）。聲音中大多講述建造佛塔的功德。佛陀成道十五年後，讓彌勒菩薩將迦葉菩薩帶到由乾陀山（山名）採摘上等檀香來建造這些塔。佛陀滅度后，龍將這些塔收入海中。第五層有釋迦牟尼佛化度迦葉兄弟的畫像。這是耆婆童子（一位著名的醫生）請忉利天（欲界六天之一）的天人雕琢玉石製作的。如來（佛陀的稱號）滅度后，毗沙門天王（四大天王之一）將這些畫像安置在北天宮中。殿西臺五重上層有一顆巨大的摩尼珠，有六個棱面，形狀像這個國家的舍利塔。每個面都有一扇門，白玉臺有三重，梁是用瑪瑙製成的。這顆摩尼珠過去諸佛曾用來宣講法華經（妙法蓮華經），三變凈土（將世界轉化為凈土），經中所說的一切都在其中顯現。人無法看見，只有文殊菩薩（文殊菩薩）的神力才能打開塔顯現出來。西臺也是如此，由四大天王建造，用頗黎（水晶）和瑪瑙兩國製成。從上面敘述的各種功德，都是諸佛清凈業力所為，隨機應變地利益眾生，進行種種教化引導。要知道諸佛凈土的殊勝，哪裡能完全描述呢？軌跡尋覓最終還是在時間和因緣。所以只能隨所見所聞來描述。

【English Translation】 English version In the Vajra Cave of Liangshan, the third level contains the Seven Treasure Sea (a sea filled with seven kinds of treasures). Within the sea are sixteen billion golden dragons, each holding a large precious lotus flower, crafted from gold and silver. On each lotus platform are the Vinaya scriptures (books of discipline) spoken by past Buddhas, totaling thirty-eight thousand kinds. This is the same throughout a billion times four world systems (a vast cosmic region). These scriptures on the lotus platforms are the most supreme. Within each platform is a Mani Jewel King (wish-fulfilling jewel) serving as a lamp for illumination. Whenever someone receives precepts, the Mani Jewel King emits light, illuminating the ordination platform and manifesting hundreds of thousands of golden Avalokiteśvara (golden Guanyin Bodhisattvas). Within each Avalokiteśvara image is an image of Samantabhadra Bodhisattva (the Bodhisattva of Universal Virtue), explaining to those receiving precepts the different precepts of past Buddhas, and also teaching the methods of Bodhisattvas upholding precepts. All who receive precepts and hear this can attain the first Bhumi (the first stage of the Bodhisattva path). After the Buddha's Parinirvana (passing away), Kashyapa (a disciple of the Buddha) took these to the Asura Cave on Wolf Trace Mountain. When Maitreya (the future Buddha) appears, he will bring them back to their original location and place them as before. This was built by Vajra Wisdom Bodhisattva (a Bodhisattva) during the time of the third Buddha in the Constellation Kalpa (an extremely long unit of time). The fourth level has sixteen Ox-Head Sandalwood Stupas (stupas made of Ox-Head Sandalwood), each with thirteen hundred steps. Inside the stupas are many images of Shakyamuni Buddha's Enlightenment (Shakyamuni Buddha's attainment of Buddhahood) and Turning the Wheel of Dharma (teaching the Dharma). Each stupa has seven treasures covering the four corners, and a large golden bell rings, its sound heard throughout the Minor Chiliocosm (a cosmic region). The sound mostly speaks of the merits of building stupas. Fifteen years after the Buddha's Enlightenment, he instructed Maitreya Bodhisattva to bring Kashyapa Bodhisattva to Mount Yugandhara (name of a mountain) to gather the finest sandalwood to build these stupas. After the Buddha's Parinirvana, the dragons took these stupas into the sea. The fifth level has images of Shakyamuni Buddha transforming the Kashyapa brothers. These were made by Jivaka Komarabhacca (a famous physician) who requested the Devas (heavenly beings) of Trayastrimsha Heaven (one of the six heavens of the Desire Realm) to carve them from jade. After the Tathagata's (title of the Buddha) Parinirvana, Vaishravana (one of the Four Heavenly Kings) placed these images in the Northern Heavenly Palace. On the upper level of the five-tiered Western Platform of the palace is a large Mani Jewel, with six facets, shaped like the stupa of this country. Each facet has a door, and the white jade platform has three layers, with beams made of agate. This Mani Jewel was used by past Buddhas to preach the Lotus Sutra (the Wonderful Dharma Lotus Flower Sutra), transforming the Pure Land three times (transforming the world into a Pure Land), and everything described in the sutra manifests within it. People cannot see it, only the divine power of Manjushri Bodhisattva (Manjushri Bodhisattva) can open the stupa and reveal it. The Western Platform is also like this, built by the Four Heavenly Kings, made from crystal and agate from two countries. The various merits described above are all the work of the pure karma of the Buddhas, benefiting beings according to their capacity and guiding them through various teachings. To know the excellence of the Buddhas' Pure Lands, how can it be fully described? Tracing and seeking ultimately lies in time and conditions. Therefore, one can only describe according to what is seen and heard.

略述三五。諸院事相例亦同之。故存益闕。余聞天人垂跡南方天王第三子張玙者。撰述祇園圖經凡一百卷。在天上有綸綜此之所出梗概。而已有惰學者見猶謂繁。斯人不足綸大方也。天人云。北方天主第十六子造。立精舍記有五百餘卷亦在彼天。故知。諸佛設化深有所由。形既反俗住殊國邑。故別立寺宇駭常人之所宅。儀像標奇動凡心之所見。致使聞便傾搢識歸信之言蹤。睹即解形曉津途之有奇。極北重閣三重又高前殿。花飾秀峙晃朗太虛。此三殿閣次第重映。北望極目殆非人謀。並是古仙住所有形像。各施寶座極世珍奇。如來隨時集眾而止。故廿五載多住不移。至於夏中住于重閣。經中所謂重閣講堂即其處也。或登上下機轉待緣不定恒準。閣中但有諸座無餘形像。莊嚴之事如常所云。閣北桓墻周匝四面。皆覆廊廡朱粉莊嚴之無有闕處。東西二庫在墻兩角(名為佛庫。諸有花香供具多集其中。時於十方而作佛事也)重閣東西有大寶樓。大梵王造。與閣相扶即花開也。莊飾雕刻天工所營既非人匠。故絕言象。樓西飛廊連注重閣。鏤檻文棍亦非人有。天人聖眾經過旋樓並處其中。閣西寶樓天帝所造。高廣花麗同諸東梵。飛廊連閣如前不殊。大院南門內東畔有壇。大梵王造。西對方池名曰戒壇。樓至比丘請佛立之。初欲結戒

乃集十方諸佛。於時有八百億同名釋迦。十方諸佛同名亦爾。創立戒壇壇既成已。諸佛登之共論戒法。其壇華麗非世所有狀若須彌。旁置龕窟皆安神像。常有天神恭敬守護。四周花林眾相難識。惟佛所登人不敢上。門西內有壇魔王所立。莊飾之舉亦等東方。初度尼時恐滅正法。乃集諸佛登壇。籌議理義百度遂有四部。故此兩壇惟佛行事。自上已來並述佛院棟宇壇池樓觀殿閣。其外所有並列植奇花異樹。四時常榮地若凈鏡。片無草穢。故來至者但聞香氣。凈境遂依此相號名道場。依境立目不徒設也。佛院之東西北三邊永巷。長列子無門戶。南從大墻依方開戶通於大巷。永巷三方樹林八行。交覆枝葉光陰不睹。僧眾前佛左邊繞為常。東回北轉天常也。地上騰轉準而可知。

次明僧院。三方繞佛重屋。上下前開后開。房中所有但是床敷樓送被枕曾未至此。從西為始號稱眾道房。有九間二重三隔。他方菩薩之所居住非凡所宅次北一房兩重一隔。是大迦葉舍利弗住。次北一房同上重隔。是憂婆離房恒所棲止。次北一房是羅睺羅富樓那目揵連三人所住。次北一房是阿羅周利所住。西行所極東轉北行諸房西半是無學人所居。東半是三果人所住。南轉東行諸房南是遠方凡僧所居。北是內外二凡僧住。此則繞佛房都盡。僧房院外三

【現代漢語翻譯】現代漢語譯本於是聚集十方諸佛。當時有八百億位同名釋迦（Sakyamuni，能仁寂默）。十方諸佛同名的也如此。創立戒壇，戒壇建成后，諸佛登上戒壇共同討論戒法。這戒壇華麗無比，不是世間所有，形狀如同須彌山（Sumeru，妙高山）。旁邊設定龕窟，都安放著神像。常有天神恭敬守護。四周的花林，各種景象難以辨識。只有佛才能登上，人不敢上去。門西內側有壇，是魔王所立。莊嚴裝飾的程度也與東方相同。當初度化比丘尼時，恐怕正法滅絕，於是聚集諸佛登上戒壇，商議道理，經過多方考慮，最終有了四部（比丘、比丘尼、沙彌、沙彌尼）。所以這兩個壇只有佛才能行事。從上面開始已經敘述了佛院的棟樑房屋、壇池樓閣殿宇。其外面的所有地方都排列種植著奇花異樹，四季常開，地面如同乾淨的鏡子，一片草都沒有。所以來到這裡的人只能聞到香氣。清凈的境界於是依照這種景象號名為道場。依照環境而立名，不是隨便設立的。佛院的東、西、北三邊是永巷，長長的排列著，沒有門戶。南邊從大墻開始，依照方位開戶通向大巷。永巷三方種植著八行樹林，交錯覆蓋，陽光都照不進來。僧眾在佛的左邊繞行是常例。向東迴轉，向北轉彎，是天經地義的。地上騰轉的情況，根據這些準則就可以知道。

接下來闡明僧院。三方圍繞著佛，是重屋。上下前後都開門。房間里所有的東西，只是床鋪，樓上送來被子枕頭，還未曾送到這裡。從西邊開始，號稱眾道房。有九間，兩重，三隔。是他方菩薩所居住的地方，不是凡人所能居住的。其次北邊一房，兩重，一隔。是大迦葉（Mahakasyapa，飲光）、舍利弗（Sariputra，身子）居住的地方。其次北邊一房，與上面相同，重疊間隔。是優婆離（Upali，近執）的房間，經常居住的地方。其次北邊一房，是羅睺羅（Rahula，覆障）、富樓那（Purna，滿愿）、目揵連（Maudgalyayana，采菽氏）三人所居住的地方。其次北邊一房，是阿羅周利所居住的地方。向西走到盡頭，向東轉，向北走的那些房間的西半部分是無學人所居住的。東半部分是三果人所居住的。向南轉，向東走的那些房間的南邊是遠方來的凡僧所居住的。北邊是內外二凡僧所居住的。這些就是圍繞著佛的房間的全部。僧房院外三

【English Translation】 English version Then, the Buddhas of the ten directions were assembled. At that time, there were eight hundred billion Buddhas with the same name Sakyamuni (Sakyamuni, the capable and silent one). The Buddhas of the ten directions with the same name were also like this. A precept platform was established, and after the platform was completed, the Buddhas ascended it together to discuss the Dharma of precepts. This platform was magnificent and not of this world, resembling Mount Sumeru (Sumeru, the wonderful high mountain). Niches were placed beside it, all housing divine images. Heavenly beings constantly guarded it with reverence. The surrounding flower forests had various unrecognizable appearances. Only the Buddhas could ascend it; humans dared not. Inside the west gate was a platform erected by the demon king. Its adornments were equal to those of the east. Initially, when the Bhikkhunis were being ordained, there was fear that the Proper Dharma would be extinguished. Therefore, the Buddhas were assembled to ascend the platform, and after deliberation, the four assemblies (Bhikkhus, Bhikkhunis, Sramaneras, Sramanerikas) came into being. Thus, these two platforms are only for the Buddhas to conduct affairs. From above, the beams, buildings, ponds, pavilions, towers, and halls of the Buddha's courtyard have been described. All the areas outside are planted with rare flowers and exotic trees, which bloom in all four seasons. The ground is like a clean mirror, without a single weed. Therefore, those who come here only smell fragrance. The pure realm is thus named a Bodhimanda (Bodhimanda, place of enlightenment) according to this appearance. Establishing a name according to the environment is not done arbitrarily.

The east, west, and north sides of the Buddha's courtyard are Yong alleys, long rows without doors. The south side starts from the great wall, opening doors according to the directions, leading to the great alley. The three sides of the Yong alleys are planted with eight rows of trees, whose branches and leaves intertwine, blocking out the sunlight. It is customary for the Sangha to circumambulate the Buddha on the left. Turning east and then north is a natural law. The conditions of movement on the ground can be understood according to these principles.

Next, the Sangha's residence will be explained. The three sides surrounding the Buddha are double-storied buildings. Doors open both above and below, in front and behind. The rooms contain only beds; blankets and pillows are sent from the upper floors but have not yet arrived here. Starting from the west, it is called the 'Assembly of the Way' rooms. There are nine rooms, two stories, and three partitions. These are the residences of Bodhisattvas from other lands, not dwellings for ordinary people. Next, the room to the north is two stories with one partition. This is where Mahakasyapa (Mahakasyapa, great kasypa) and Sariputra (Sariputra, son of sari) reside. Next, the room to the north is the same, with overlapping partitions. This is Upali's (Upali, close attendant) room, where he constantly dwells. Next, the room to the north is where Rahula (Rahula, fetter), Purna (Purna, full of wishes), and Maudgalyayana (Maudgalyayana, bean collector) reside. Next, the room to the north is where Aro Zhouli resides. Going west to the end, turning east, the western half of the rooms going north is where the Arhats reside. The eastern half is where the Anagami reside. Turning south, the southern side of the rooms going east is where ordinary monks from afar reside. The north side is where the inner and outer ordinary monks reside. This is the entirety of the rooms surrounding the Buddha. Outside the Sangha's residence, three

周大巷通徹無礙。兩邊開門南邊通中街。三門廣辟兩渠雙列。亦植奇樹交陰相接。二門東西各有院巷。四面周墻各旋步詹。兩不連及。

中院東門之左自分五院。南頭巷南又分兩院。西名持律東曰戒壇律院。三門惟不開。中有大堂。律部律師多集住中。房繞三匝諸持律眾於此咨受。有銅鐘重三萬斤。四王共造。欲集大千聖眾。目連以神通力擊之。臺高七丈鐘形如漢地者。四面多有日月星辰山川河海之像。又有升[百*(升-┬+下)]秤尺等像。四眾常集凡僧打者亦聞三千界也。然目連所擊隨所為事立中造知。凡夫打者出聲而已。次東戒壇院有三門。如前院相中立戒壇。狀亞佛院。創立之時有八百億同名釋迦。十方諸佛同名。詹舉花樹周渠南流而出合外大渠。每有冠受有踐斯壇。然此具戒聖道因基佛所堅立。其緣周備后之作者徒有其名。至於行事綴旒而已。今敘昔緣知所為之重也。往昔明王佛形長五丈立戒壇。法制以五肘為基。表五分法身。釋迦如來告曰。娑婆眾生小見小聞恐大難成。或起疲怠故減。成之為二肘半。制三重者表於三空。下佛舍利于壇心內。時天帝釋于舍利上加覆釜形。大梵天王以無價珠置覆釜上以供舍利。今以前壇三重加覆釜珠還表五分法身。是以制量同迦葉二肘半也。其壇相量下之二層四角

【現代漢語翻譯】現代漢語譯本周大巷寬闊通暢，沒有阻礙。兩邊開門，南邊與中街相通。三門寬廣開闊，兩條水渠並列。也種植了奇異的樹木，枝葉交錯，互相連線。二門東西兩側各有院落巷道。四周都有圍墻，各自環繞著步詹。兩處並不相連。

中院東門左側，自然分為五個院落。南頭巷南邊又分為兩個院落。西邊的叫做持律院，東邊的叫做戒壇律院。三個門只有中間的門不開啟。中間有大堂。律部的律師大多聚集居住在這裡。房屋環繞三圈，各位持律的僧眾在這裡諮詢和接受教誨。有一口銅鐘，重達三萬斤，是四大天王共同製造的。想要召集大千世界的聖眾，目連（Maudgalyayana，佛陀十大弟子之一，以神通著稱）用神通力敲擊它。鐘臺高七丈，鐘的形狀和漢地的鐘相似。四面有很多日月星辰、山川河海的影象。還有升、斗、秤、尺等影象。四眾弟子經常聚集，凡是僧人敲擊，聲音也能傳遍三千世界。然而目連敲擊，是根據所要做的事情，心中知道。凡夫敲擊，只是發出聲音而已。緊挨著東邊是戒壇院，有三個門，和前面的院落相似，中間立著戒壇，形狀亞於佛院。創立的時候，有八百億個同名的釋迦（Sakyamuni，佛教創始人）。十方諸佛同名。詹舉花樹，水渠從四周向南流出，匯合到外面的大水渠。每當有人受戒，都會踐踏這個戒壇。然而這具足戒是聖道的根本，是佛所堅立的。它的因緣周全完備，後來的作者只是徒有其名。至於行事，也只是裝飾而已。現在敘述以前的因緣，是爲了知道所做事情的重要性。往昔明王佛身高五丈，立戒壇。法制以五肘為基礎，表示五分法身。釋迦如來（Sakyamuni，佛教創始人）告誡說：『娑婆（Saha，佛教術語，指我們所處的世界）眾生見識淺薄，聽聞不多，恐怕難以成就大事。或者產生疲憊懈怠，所以減小。成就它為二肘半。』制定三重，是爲了表示三空。將佛舍利安放在壇的中心。當時天帝釋（Indra，佛教護法神）在舍利上加蓋覆釜形的物體。大梵天王（Mahabrahma，色界天之主）將無價的寶珠放置在覆釜上，用來供養舍利。現在以前面的壇三重加上覆釜珠，還是表示五分法身。因此制定的尺寸和迦葉（Kasyapa，過去七佛之一）的二肘半相同。壇的形狀尺寸，下面兩層四角

【English Translation】 English version The Great Zhou Lane is wide and unobstructed. Doors open on both sides, and the south side connects to Middle Street. The three gates are wide and open, and two canals are arranged in parallel. Strange trees are also planted, with branches and leaves intertwined and connected to each other. On the east and west sides of the second gate, there are courtyards and lanes. There are walls around all sides, each surrounding Bu Zhan. The two are not connected.

To the left of the east gate of the central courtyard, there are naturally five courtyards. To the south of the southern end of the lane, there are also two courtyards. The one on the west is called the Vinaya-holding Courtyard, and the one on the east is called the Ordination Platform Vinaya Courtyard. Only the middle of the three gates is not opened. There is a large hall in the middle. Most of the Vinaya masters of the Vinaya section gather and live here. The houses surround three circles, and all the Vinaya-holding monks consult and receive teachings here. There is a bronze bell weighing 30,000 catties, which was jointly made by the Four Heavenly Kings (Caturmaharajakayikas, the four gods who rule the four directions). Wanting to gather the holy assembly of the Great Thousand World, Maudgalyayana (Maudgalyayana, one of the ten great disciples of the Buddha, known for his supernatural powers) struck it with supernatural power. The bell tower is seven zhang high, and the shape of the bell is similar to that of the Han land. On all four sides, there are images of the sun, moon, stars, mountains, rivers, and seas. There are also images of sheng, dou, scales, and rulers. The four assemblies often gather, and when monks strike it, the sound can also be heard throughout the three thousand worlds. However, when Maudgalyayana strikes it, he knows in his heart according to what he wants to do. When ordinary people strike it, it only makes a sound. Next to the east is the Ordination Platform Courtyard, which has three gates, similar to the previous courtyard. An ordination platform stands in the middle, its shape inferior to a Buddha's courtyard. At the time of its establishment, there were 800 million Sakyamunis (Sakyamuni, the founder of Buddhism) with the same name. All the Buddhas of the ten directions have the same name. Zhan holds up flower trees, and the canal flows out from all sides to the south, merging into the outer large canal. Whenever someone receives ordination, they will tread on this ordination platform. However, this complete ordination is the foundation of the holy path, established firmly by the Buddha. Its causes and conditions are complete and perfect, and later authors only have the name in vain. As for the actions, they are only decorations. Now, narrating the past causes and conditions is to know the importance of what is being done. In the past, King Ming Buddha was five zhang tall and established an ordination platform. The Dharma system was based on five cubits, representing the fivefold Dharmakaya. Sakyamuni Buddha (Sakyamuni, the founder of Buddhism) warned: 'The beings of the Saha (Saha, a Buddhist term referring to the world we live in) world have shallow knowledge and little hearing, and I am afraid that it will be difficult to accomplish great things. Or they may become tired and lazy, so reduce it. Accomplish it as two and a half cubits.' The three layers are made to represent the three emptinesses. Buddha relics are placed in the center of the platform. At that time, Indra (Indra, a Buddhist protector deity) covered the relics with an object in the shape of an overturned pot. Mahabrahma (Mahabrahma, the lord of the Form Realm) placed a priceless pearl on the overturned pot to offer to the relics. Now, adding the overturned pot pearl to the previous three-layered platform still represents the fivefold Dharmakaya. Therefore, the established size is the same as Kasyapa's (Kasyapa, one of the past seven Buddhas) two and a half cubits. The shape and size of the platform, the four corners of the lower two layers

並安石柱四天王像。當角而下層高佛一肘不得過。過則地裂制心專一故一肘(佛在人倍人。人長八尺佛則丈六。人肘姬周尺八寸肘三尺六寸也)第二層高佛一肘半者。同轉輪王灌頂之時。踞坐壇上令諸小王以四海水。灌大王頂而受位也。即類比丘初登此壇。紹繼佛種位法久固如佛時也。取佛肘量者欲令比丘持戒如金剛也(過去諸佛散身舍利余類總碎。而臂骨不壞故以佛肘量約之也)其戒壇牢固經劫不灰事同金剛。故以肘為量故也。其壇兩重並安釣欄。其堅柏以上加金珠臺。又金翅鳥衘龍同於上(此鳥非佛本制。后北天竺阿羅漢憂樓質那之立所也)擬新受戒者以戒自防繼除煩惱。如鳥吞龍故置此像。下層二重類須彌座。並安色道用級相覆。當要四面分龕安神。釣欄柱下師子神王相間而圓。隨狀雕飾盡思壯嚴。上第三重但高二寸用表二諦(方七尺許。明佛說不出二諦。此中心上惟佛所行故也)于座四角各安師子。背上有九孔擬安帳。柱下之二層四周階道各有四神。上層三面各立二階。北面一階下層南面二階東西北面各一階。階有三坎。壇外周匝一丈。內種四時花草。已外種花樹。八行其梵王寶珠大如五升。福德人見光明照百由旬。薄德見者猶如聚墨。佛入涅槃珠自然隱。迦葉結集此珠復現。阿難滅度亦潛亦沒。帝釋二珠結

【現代漢語翻譯】在石柱上安放四天王像。從角向下，第一層的高度是佛的一肘，不得超過。超過則地裂，這是因為要專心一意，所以定為一肘（佛的身高是人的兩倍，人高八尺，佛則丈六。人的肘長是姬周尺的八寸，即三尺六寸）。第二層的高度是佛的一肘半。這如同轉輪王接受灌頂的時候，踞坐在壇上，讓各位小王用四海之水灌注大王的頭頂，從而接受王位。這就好比比丘初次登上這個戒壇，紹繼佛種，其地位和法力長久穩固如同佛陀在世一樣。用佛的肘來丈量高度，是希望比丘持戒如同金剛一樣（過去諸佛散身舍利，其餘都碎裂了，只有臂骨不壞，所以用佛的肘來約束）。這個戒壇牢固，經歷劫數也不會毀壞，如同金剛一樣。所以用肘作為丈量的標準。戒壇有兩重，都安有釣欄。在堅固的柏木之上，加上金珠臺。又有金翅鳥銜著龍在上面（這種鳥並非佛陀原本的規定，而是後來北天竺的阿羅漢憂樓質那所設立的）。這是比擬新受戒者用戒律來保護自己，繼續去除煩惱，如同鳥吞龍一樣，所以設定這個形象。下層兩重，類似須彌座。都安放著色道，用臺階互相覆蓋。在重要的四面，分設佛龕安放神像。釣欄柱下，獅子和神王相間排列，並加以圓潤修飾，盡力做到壯麗莊嚴。上層第三重，只有兩寸高，用來表示二諦（大約七尺見方，說明佛所說的不超出二諦。這個中心之上，只有佛才能通行）。在座的四個角上，各安放獅子。背上有九個孔，用來安放帳篷。柱下的兩層，四周的階道各有四神。上層三面各立兩階。北面一階，下層南面兩階，東西北面各一階。階有三個臺階。壇外四周一丈。裡面種植四季花草。外面種植花樹，八行。梵王的寶珠大如五升。有福德的人見到，光明照耀百由旬。福德淺薄的人見到，就像一團墨。佛陀入涅槃后，寶珠自然隱沒。迦葉結集佛經時，這顆寶珠又顯現出來。阿難滅度后，寶珠也時隱時現。帝釋有兩顆寶珠結。

【English Translation】 And install images of the Four Heavenly Kings on stone pillars. From the corner downwards, the height of the first level should be one 'zhou' (肘, elbow length) of the Buddha, and must not exceed it. Exceeding it would cause the earth to split. This is because of the need for single-minded concentration, hence the limit of one 'zhou' (The Buddha's height is twice that of a person. A person is eight 'chi' (尺, a unit of length), so the Buddha is sixteen 'chi'. A person's 'zhou' is eight 'cun' (寸, a smaller unit of length) of the Ji Zhou 'chi', which is three 'chi' and six 'cun'). The height of the second level should be one and a half 'zhou' of the Buddha. This is like when a Chakravarti Raja (轉輪王, Wheel-Turning King) receives the Abhiseka (灌頂, consecration), he sits cross-legged on the altar, and the minor kings use the water of the four seas to pour on the Great King's head, thus receiving the throne. This is analogous to a Bhiksu (比丘, Buddhist monk) first ascending this altar, inheriting the Buddha-seed, his position and Dharma power being as long-lasting and stable as when the Buddha was in the world. Measuring the height with the Buddha's 'zhou' is to wish that the Bhiksu's adherence to the precepts is like Vajra (金剛, diamond) (In the past, when the Buddhas scattered their bodily relics, everything else was shattered, except for the arm bones, so the Buddha's 'zhou' is used to constrain it). This ordination platform is solid and will not be destroyed even after eons, just like Vajra. Therefore, the 'zhou' is used as the standard of measurement. The ordination platform has two layers, both with railings. On top of the solid cypress wood, add a golden pearl platform. Also, a Garuda (金翅鳥, mythical bird) holding a dragon in its mouth is placed on top (This bird was not originally stipulated by the Buddha, but was established later by the Arhat (阿羅漢, enlightened being) Uruvilva-Kasyapa (憂樓質那) of North India). This is to symbolize that the newly ordained person uses the precepts to protect himself, continuing to remove afflictions, just like a bird swallowing a dragon, hence the placement of this image. The lower two layers are similar to Mount Sumeru (須彌座, mythical mountain). Both are adorned with 'se dao' (色道, paths of form), with steps covering each other. On the important four sides, separate niches are set up to place the deities. Below the railing pillars, lions and divine kings are arranged alternately and rounded off, striving for magnificence and solemnity. The upper third layer is only two 'cun' high, used to represent the Two Truths (二諦, two levels of truth) (approximately seven 'chi' square, indicating that what the Buddha said does not go beyond the Two Truths. Only the Buddha can pass above this center). At the four corners of the seat, lions are placed. There are nine holes on the back for placing tents. The two layers below the pillars each have four deities on the surrounding steps. The upper layer has two steps on each of the three sides. One step on the north side, two steps on the south side of the lower layer, and one step each on the east, west, and north sides. The steps have three levels. The circumference outside the altar is one 'zhang' (丈, a unit of length). Inside, plant flowers and plants of the four seasons. Outside, plant flower trees in eight rows. The jewel of Brahma (梵王, the creator god) is as large as five 'sheng' (升, a unit of volume). Those with merit see it shining brightly for a hundred 'yojana' (由旬, a unit of distance). Those with little merit see it as a mass of ink. After the Buddha entered Nirvana (涅槃, enlightenment), the jewel naturally disappeared. When Kasyapa (迦葉, one of the Buddha's chief disciples) compiled the Buddhist scriptures, this jewel reappeared. After Ananda (阿難, another of the Buddha's chief disciples) passed away, the jewel also sometimes appeared and sometimes disappeared. Indra (帝釋, king of the gods) has two jewels.

法既了。便在天上歡喜園中供養般若(今既無珠。可作石龍然燈替處。在壇前常安二登高照壇上。使光繞高以供佛故也)初立戒壇。每有法事必說遺教。于壇西南頭置坐說之(大梵天王于壇南西階道西。化作鐵莖銀龍銀蓮。蓮花開合轉關道上。對欄上承按高座也)次明登降壇儀。初十師依位正儀席地露足。從下層東階上東出北轉回南東繞二重匝了。當佛禮三拜運想。請十方現在諸佛諸大菩薩羅漢聖僧降臨壇上。天龍八部遍滿空中。又請現在三上座行受戒法者。一名豆田那。二名樓至。三名馬蘭那。並是菩薩比丘原請佛立戒壇。結戒受戒者今並請之愿降臨此。十師卻行取南面上層西階而上。東轉北迴繞佛匝已。留三上座于下次坐。其欲受人將聽遺教。維那列下層東階道頭面西而立。威儀師從上東階下列向西階道。上下層已即東回面北禮佛。三拜已䠒跪聽經竟。取東階卻行接足。而下出戒壇外立。然後維那一一列入至問遮處。正當東階面北而立。威儀師從上東階接足而下問遮難已。從下層東階上西回。從上層西階上東回。當佛前禮三拜已。東轉北迴至羯磨師前作白和已。便喚受戒者登壇。如威儀師法。三上坐前禮已。次禮十師一一三禮拜威儀教其。乞戒羯磨者白和問遮難白。四受戒已隨次東面䠒跪。餘者受已總赴至佛前䠒

跪。重聽遺教已立修威儀。勤理衣缽立待指授。十師從西面北階下南出東回正北佛前禮佛三拜已。新受戒人從東面階下。北出繞壇至南面下層西階下。東回北面禮佛竟。十師方從下層東階下躡履南出。新受戒者從后而行。而華林間方令受者在前。十師從后還所止。戒壇院內有大鐘臺高四百尺。上有聖鐘。重十萬斤形如須彌。杯上立千輪王像輪王千子。各各具足四面。各有一大摩尼寶珠。大如三升陷於鐘腹。足有九龍相盤之像。龍口吐水具八功德至受戒時。將欲受者至鐘。四面九龍吐水灌諸僧。如頂生王受轉輪王位。金鐘灌頂之像。今令受戒人新受佛戒。如佛法王受法王位不徒設也。又梵王摩尼珠放光照受戒人。光觸身時清涼樂將使戒珠明凈如摩尼寶珠塵不染。前之大鐘劫初時輪王所造。聖人受戒令得通者擊之聲振三千。一切聖人聞皆證果。惡趣聞者皆識宿命智。凡夫受戒則使摩坻比丘擊之(其人是大力當十萬人。筋力之最則不可記也)人中力士擊者聲聞小千世界。隨界新受比丘咸識宿命因緣善惡之事。皆護禁戒如持浮囊。其鐘臺相須彌山形。在大池中有九金龍向上盤結。一龍九十一頭于諸頭上構架金寶千梁萬柱。純諸名珍瓦用頗黎晃曜心目。初受戒者創登壇時其臺即轉。諸龍口中皆出香。其兩足上龍口吐香云。色如黃

【現代漢語翻譯】現代漢語譯本：跪下。重新聽聞遺教，已經確立了修行的威儀。勤懇地整理衣缽，恭敬地等待指教傳授。十位律師從西面北邊的臺階下，向南走出，然後向東迴轉，在正北方的佛前禮佛三拜完畢。新受戒的人從東面的臺階下，向北走出，繞著戒壇走到南面下層的西邊臺階下，向東迴轉，面向北方禮佛完畢。十位律師才從下層東邊的臺階下，踩著鞋子向南走出。新受戒的人從後面跟隨而行。在華林間，讓受戒的人走在前面，十位律師從後面回到住處。戒壇院內有一座大鐘臺，高四百尺，上面有一口聖鐘，重十萬斤，形狀如同須彌山。鐘的杯狀部分立著千輪王像和輪王的千子，每個都具備四面。各自有一顆巨大的摩尼寶珠，大如三升，鑲嵌在鐘的腹部。底部有九條龍相互盤繞的形象，龍口吐水，具備八功德。在受戒的時候，將要受戒的人帶到鐘前，四面九條龍吐水灌頂諸位僧人，如同頂生王接受轉輪王位一樣，是金鐘灌頂的形象。現在讓受戒人新受佛戒，如同佛法之王接受法王之位，並非徒勞設定。另外，梵王的摩尼珠放出光明照耀受戒人，光接觸身體時，清涼快樂，將使戒珠明凈如同摩尼寶珠一樣塵埃不染。之前的大鐘是劫初時輪王所造。聖人受戒，如果能夠通達，敲擊它，聲音震動三千大千世界，一切聖人聽聞都能證得果位，惡趣眾生聽聞都能認識到宿命的智慧。凡夫受戒，就讓摩坻比丘敲擊它（這個人是大力士，抵得上十萬人，筋力之強無法記述）。人中力士敲擊時，聲音傳遍小千世界。隨著聲音，小千世界新受戒的比丘都能認識到宿命的因緣善惡之事，都會守護禁戒如同手持浮囊一樣。那鐘臺的相狀如同須彌山形，在大池中有九條金龍向上盤結，一條龍有九十一個頭，在各個頭上構架金寶的千梁萬柱，全部都是名貴的珍寶，瓦片用頗黎製成，光彩照耀心目。初次受戒的人初次登上戒壇時，那臺就會轉動，各個龍口中都吐出香，兩足上的龍口吐出香云，顏色如同黃色。

【English Translation】 English version: Kneel. Having listened again to the bequeathed teachings, the dignified manner of practice has been established. Diligently manage the robes and bowl, respectfully awaiting instruction and transmission. The ten preceptors descend from the western side of the northern steps, exit southwards, then turn eastwards, and bow to the Buddha three times before the Buddha image facing due north. The newly ordained person descends from the eastern side of the steps, exits northwards, circles the altar, and descends from the western steps of the lower level on the southern side, turns eastwards, and bows facing north. Only then do the ten preceptors descend from the eastern steps of the lower level, stepping on their shoes and exiting southwards. The newly ordained person follows behind. In the grove of Huá Lín, the one receiving ordination is instructed to walk in front, while the ten preceptors return to their lodgings from behind. Within the ordination courtyard, there is a large bell tower, four hundred feet high, upon which is a sacred bell weighing one hundred thousand catties, shaped like Mount Sumeru (Sūmeru, the central world-mountain in Buddhist cosmology). On the cup-shaped part of the bell stand images of a thousand Cakravartin kings (Cakravartin, a universal monarch) and their thousand sons, each possessing four faces. Each has a great Mani jewel (Mani, a wish-fulfilling jewel) as large as three shēng (升, a unit of volume) embedded in the bell's belly. At the base are images of nine dragons intertwined, with water flowing from their mouths, possessing the eight qualities of merit. At the time of ordination, the one to be ordained is brought before the bell, and water is poured from the mouths of the nine dragons on all sides, anointing the monks, just as King Top-Knot (a legendary king) received the position of Cakravartin, an image of anointing with a golden bell. Now, the newly ordained person receives the Buddha's precepts, just as the Dharma King (Dharmaraja, a king who rules according to Dharma) receives the position of Dharma King, it is not a futile arrangement. Furthermore, the Mani jewel of Brahma (Brahma, a creator god) emits light, illuminating the one receiving ordination. When the light touches the body, it brings coolness and joy, causing the precept-jewel to become as clear and pure as a Mani jewel, undefiled by dust. The great bell from before was made by a Cakravartin at the beginning of the kalpa (kalpa, an aeon). When a sage receives ordination, if they are able to penetrate, striking it, the sound reverberates through the three thousand great thousand worlds, and all sages who hear it can attain enlightenment, and beings in evil realms who hear it can recognize the wisdom of their past lives. When an ordinary person receives ordination, then the Bhikshu (Bhikshu, a Buddhist monk) Machi strikes it (this person is a great warrior, equal to ten thousand people, the strength of his muscles is indescribable). When a strongman among men strikes it, the sound is heard throughout the small thousand world. Along with the sound, the newly ordained Bhikshus in the small thousand world can recognize the causes and conditions, good and evil, of their past lives, and will protect the precepts as if holding a floating bladder. The appearance of the bell tower is like Mount Sumeru, in a large pond with nine golden dragons coiling upwards, one dragon having ninety-one heads, and on each head are constructed thousands of beams and pillars of gold and jewels, all of precious treasures, and the tiles are made of crystal, their brilliance dazzling the eyes. When the newly ordained person first ascends the altar, the platform turns, and fragrance emanates from the mouths of all the dragons, and fragrant clouds emanate from the mouths of the dragons on both feet, their color like yellow.

金蓋覆壇上。其摩尼珠放大光明又繞戒壇。上有天樂贊持戒者所獲功德。其臺及龍是羅矆阿修羅所造。頗梨瓦者帝釋所造。其下地者和修吉龍所造。其池四面砌以白玉下布銀沙。池水水者散脂大將施水色清甘如乳不異。諸持戒者有病飲之無不除愈。破戒若飲如吞熱鐵。佛將涅槃水先枯竭屋瓦飛去。佛滅度已供養舍利。經於一月方始。阇維焚了即日分舍利竟。往至祇洹具問事已。經十三日結集三藏。方往王城至結集時。大迦葉集僧。僧上使目連鳴鐘。集百億四天下凡聖僧眾。便白四羯磨罰賓頭盧及阿難。已令阿難上高座。披如來粗布僧伽梨阿難受教先誦遺教。如佛約敕。諸大菩薩大阿羅漢。一切比丘天龍八部皆悉悲號涕泣。尊者大迦葉從座而起。披粗布僧伽梨捉尼師壇。至高座前敷尼師壇。禮阿難已又繞三匝。大梵天王持寶蓋覆阿難上。天主帝釋進七寶案置阿難前。魔王波旬持七寶拂受與阿難。魔王帝釋夾侍兩邊。四天王侍高座四腳。三十二使在迦葉后。䠒跪而止時。大迦葉禮阿難。已右繞三匝至前。問訊如佛無殊。便問阿難。汝隨如來二十餘年。世尊所制毗尼教門先於何處。若布薩時當用何籌籌為長短。說戒之時作何方法。最初受戒師僧弟子若為升壇。最初戒壇若為集眾。高下闊狹何依何時肘量安舍利不。四面周匝周

【現代漢語翻譯】現代漢語譯本：金色的蓋子覆蓋在戒壇之上。摩尼寶珠放出巨大的光明，環繞著戒壇。天上的音樂讚頌著持戒者所獲得的功德。戒壇的臺和龍是羅睺（Rāhu，阿修羅名）和阿修羅所建造的。琉璃瓦是帝釋（Indra，天神之王）所建造的。下面的地基是和修吉龍（Vāsuki，龍王名）所建造的。池子的四面用白玉砌成，下面鋪著銀沙。池水是散脂大將（Samjñeya，藥叉大將名）所施捨的，水色清澈甘甜如乳，沒有差別。所有持戒的人，如果生病飲用此水，沒有不痊癒的。破戒的人如果飲用，就像吞下燒紅的鐵。佛陀將要涅槃時，池水首先枯竭，屋瓦飛走。佛陀滅度后，供養舍利，經過一個月才開始。荼毗（ cremation）焚燒完畢，當天就分完了舍利。前往祇洹（Jetavana，祇樹給孤獨園）詳細詢問事情之後，經過十三天結集三藏（Tripitaka，佛教經典）。然後前往王舍城，在結集的時候，大迦葉（Mahākāśyapa，佛陀十大弟子之一）召集僧眾。僧眾的首領讓目連（Maudgalyāyana，佛陀十大弟子之一）鳴鐘，召集百億四天下的凡夫和聖賢僧眾。然後稟告四種羯磨（karma，業）的賓頭盧（Pindola，阿羅漢名）和阿難（Ānanda，佛陀十大弟子之一）。已經讓阿難登上高座，披上如來的粗布僧伽梨（saṃghāṭī，僧衣）。阿難接受教誨，首先誦讀遺教，如同佛陀的約定和敕令。諸位大菩薩、大阿羅漢、一切比丘、天龍八部都悲傷地哭泣。尊者大迦葉從座位上站起來，披上粗布僧伽梨，拿著尼師壇（niṣīdana，坐具），走到高座前，鋪開尼師壇，向阿難行禮，又繞了三圈。大梵天王（Mahābrahmā，色界天之王）拿著寶蓋覆蓋在阿難的上方。天主帝釋獻上七寶案放在阿難的前面。魔王波旬（Māra Pāpīyas，欲界第六天之主）拿著七寶拂塵交給阿難。魔王和帝釋夾侍在兩邊。四大天王侍立在高座的四個腳邊。三十二位使者在迦葉的身後，跪拜停止。這時，大迦葉向阿難行禮完畢，向右繞了三圈來到前面，問訊如同面對佛陀一樣。然後問阿難：『你跟隨如來二十多年，世尊所制定的毗尼（vinaya，戒律）教門最初在什麼地方？如果布薩（poṣadha，每半月誦戒）的時候，應當用什麼籌，籌的長度和短度是多少？說戒的時候用什麼方法？最初受戒的師僧和弟子如何升壇？最初的戒壇如何聚集僧眾？高低寬窄依據什麼？什麼時候用肘來測量安放舍利？四面周圍』

【English Translation】 English version: A golden cover is over the ordination platform. The Mani pearl emits great light and surrounds the ordination platform. Heavenly music praises the merits acquired by those who uphold the precepts. The platform and dragons are built by Rāhu (an Asura) and other Asuras. The crystal tiles are built by Indra (the king of the gods). The foundation below is built by Vāsuki (a dragon king). The four sides of the pond are built with white jade, and the bottom is covered with silver sand. The water in the pond is provided by General Samjñeya (a Yaksha general), and the water is clear, sweet, and like milk, without any difference. All those who uphold the precepts, if they are sick and drink this water, will be healed without exception. If those who break the precepts drink it, it is like swallowing hot iron. When the Buddha was about to enter Nirvana, the water in the pond first dried up, and the roof tiles flew away. After the Buddha's Parinirvana, offerings were made to the relics, and it began after a month. After the cremation (荼毗) was completed, the relics were divided on the same day. After going to Jetavana (祇洹) to inquire about the matter in detail, the Tripitaka (三藏) was compiled after thirteen days. Then they went to Rājagṛha (王舍城), and at the time of the compilation, Mahākāśyapa (大迦葉) gathered the Sangha. The leader of the Sangha had Maudgalyāyana (目連) ring the bell to gather hundreds of billions of ordinary and noble Sangha members from the four continents. Then he reported to Pindola (賓頭盧) and Ānanda (阿難) about the four karmas (羯磨). Ānanda has been asked to ascend the high seat and put on the Buddha's coarse cloth saṃghāṭī (僧伽梨). Ānanda accepted the teaching and first recited the last teachings, as the Buddha's agreement and decree. All the great Bodhisattvas, great Arhats, all Bhikkhus, and the eight classes of gods and dragons all wept sadly. The Venerable Mahākāśyapa rose from his seat, put on the coarse cloth saṃghāṭī, took the niṣīdana (尼師壇), went to the high seat, spread out the niṣīdana, bowed to Ānanda, and circled him three times. Mahābrahmā (大梵天王) held a jeweled canopy over Ānanda. Indra (帝釋) presented a seven-jeweled table and placed it in front of Ānanda. Māra Pāpīyas (魔王波旬) held a seven-jeweled whisk and gave it to Ānanda. Māra and Indra stood on both sides. The Four Heavenly Kings stood at the four legs of the high seat. The thirty-two envoys knelt and stopped behind Kāśyapa. At this time, Mahākāśyapa bowed to Ānanda, circled him three times to the right, and came to the front, greeting him as if he were facing the Buddha. Then he asked Ānanda: 'You have followed the Tathagata for more than twenty years. Where was the Vinaya (毗尼) teaching established by the World Honored One first? If it is the time of the Uposatha (布薩), what kind of counting sticks should be used, and what should be the length and shortness of the sticks? What method should be used when reciting the precepts? How should the first preceptor, monks, and disciples ascend the platform? How should the first ordination platform gather the Sangha? What should be the height, width, and narrowness based on? When should the relics be measured with elbows and placed? All around the four sides』

用何物砌開幾階道繞壇。四面作何形像。無石國中得作壇不。無土國中得用沙不。伽藍院宇何方相邊方。受戒幾僧得受。末法時中無清凈僧。初受戒者若為能具比丘尼戒。先無尼眾比丘得不。如是次第三千八百問。阿難如問次第答曰。最初成道于鹿野苑中度五拘倫。便說法答戒壇初上集佛。諸佛之中須彌登王最為長宿。釋迦佛問往。古諸佛何方法教諸比丘。登壇布薩用何作籌登壇如上。往古諸佛布薩之時金剛為籌。比丘用於香水。欲令持戒心如金剛智一一簡擇煩惱惡覺令絕滅。故籌相者當用檀等諸香木作之。內外寶者竹草中空皆不可作。又不得畫繪及以漆涂。為損眾生迦之飾好。應以素函盛之。籌極長如佛一搩手半。短者一搩手。說戒之前當先悔過對手懺已。維那差一好音比丘。誦遺教經。諸比丘各䠒跪聽。如對法佛自前誦已。維那方營說戒眾具。先洗足香水灑地勿作聲。然始出籌至上座前。上座受已維那灌水。上座浴籌先以清水次以香湯。凈巾拭乾勿令有聲及以為地(若作聲者惱諸鬼神。籌墮地者損地居眾生亦損比丘。魔王聞籌聲者及聞墮。皆大歡喜惱亂比丘亦害令死也)是故說戒時比丘寂靜不得亂語。當念世間無常早出生死。維那執籌至檄所。立鳴槌唱沙彌入。令誦五德十數。已方如常唱白或誦戒序。已唱沙彌出

【現代漢語翻譯】現代漢語譯本用什麼材料砌成幾層臺階的道路環繞戒壇？四面做成什麼形狀的形象？在沒有石頭的國家可以建造戒壇嗎？在沒有泥土的國家可以用沙子代替嗎？伽藍（僧眾居住的園林）和院宇的方位朝向哪個方向？需要多少僧人才能舉行受戒儀式？末法時代沒有清凈的僧人，那麼初次受戒的人如何才能獲得比丘尼戒？如果一開始沒有比丘尼，比丘可以代為傳授嗎？像這樣總共有三千八百個問題。阿難（佛陀的十大弟子之一）按照問題的順序回答說：佛陀最初在鹿野苑（釋迦牟尼成道后初轉法輪之地）度化了五拘鄰（最初聽聞佛陀說法的五位比丘），就開始說法和傳授戒律。最初的戒壇是佛陀親自主持的。在諸佛之中，須彌登王（過去佛）最為年長。釋迦佛詢問過去諸佛用什麼方法教導比丘，登壇布薩（每半月誦戒）時用什麼製作籌碼，以及登壇的規矩和現在一樣嗎？過去諸佛布薩時，用金剛（比喻堅固不壞的智慧）作為籌碼，比丘們使用香水。這是爲了讓持戒之心像金剛一樣堅固，能夠一一簡擇煩惱和惡念，使之斷絕。所以，製作籌碼應當使用檀香等各種香木，不能用內外中空的竹子或草，也不能在上面繪畫或塗漆，因為這會損害眾生，增加不必要的裝飾。應該用素色的盒子盛放籌碼。籌碼最長如佛陀一拃半（約23釐米），最短如一拃（約15釐米）。在說戒之前，應當先懺悔過錯，相對而懺悔之後，維那（寺院中負責維持秩序的僧人）挑選一位聲音好聽的比丘誦讀《遺教經》（佛陀涅槃前最後的教誨）。眾比丘各自跪地聆聽，如同面對佛陀親自誦讀一樣。誦讀完畢后，維那才開始準備說戒的器具。先洗腳，用香水灑地，不要發出聲音。然後才取出籌碼，送到上座（寺院中資格最老的僧人）面前。上座接過籌碼后，維那灌水。上座用清水和香湯洗籌碼，用乾淨的布擦乾，不要發出聲音，也不要掉在地上（如果發出聲音，會驚擾鬼神；籌碼掉在地上，會損害地居眾生，也會損害比丘。魔王聽到籌碼的聲音，以及籌碼掉落的聲音，都會非常高興，擾亂比丘，甚至害死他們）。所以，說戒時比丘要保持寂靜，不得亂語，應當想到世間無常，早日脫離生死輪迴。維那拿著籌碼到告示牌前，站立，敲槌，唱令沙彌（未受具足戒的出家男子）進入，讓他們誦讀五德十數（沙彌應遵守的戒律和修行方法）。完畢后，才像平常一樣唱白（宣佈集會事宜）或誦讀戒序。完畢后，唱令沙彌退出。

【English Translation】 English version With what materials are the several tiers of the path encircling the altar constructed? What shapes are the images on the four sides? In a country without stones, can an altar be built? In a country without soil, can sand be used? In which direction do the Gharama (monastery) and courtyards face? How many monks are required to perform the ordination ceremony? In the Mappo (the age of Dharma decline), when there are no pure monks, how can a novice obtain the Bhikkhuni (fully ordained female monastic) precepts? If there are no Bhikkhunis initially, can Bhikkhus (fully ordained male monastics) transmit the precepts? Thus, there are a total of three thousand eight hundred questions. Ananda (one of the ten principal disciples of the Buddha) answered according to the order of the questions: The Buddha, upon first attaining enlightenment in Mrigadava (Deer Park, where the Buddha gave his first sermon), converted the five Kaundinyas (the first five disciples to hear the Buddha's teachings), and then began to preach the Dharma and transmit the precepts. The first ordination platform was presided over by the Buddha himself. Among all the Buddhas, Sumirutunga Raja (a past Buddha) was the most senior. Shakyamuni Buddha asked what methods past Buddhas used to teach the Bhikkhus, what was used to make the counting sticks for the Uposatha (bi-monthly recitation of monastic precepts) ceremony, and whether the rules for ascending the platform were the same as now. In the past, Buddhas used Vajra (diamond, symbolizing indestructible wisdom) as counting sticks during the Uposatha ceremony, and the Bhikkhus used scented water. This was to make the mind of upholding the precepts as firm as a diamond, able to carefully select afflictions and evil thoughts, and cause them to be extinguished. Therefore, the counting sticks should be made of sandalwood and other fragrant woods, and should not be made of bamboo or grass that are hollow inside and out, nor should they be painted or lacquered, as this would harm sentient beings and add unnecessary decorations. They should be placed in plain boxes. The longest counting stick should be one and a half vidasti (span of the hand, approximately 23 cm) of the Buddha, and the shortest should be one vidasti (approximately 15 cm). Before reciting the precepts, one should first repent of one's faults, confessing face to face. Then, the Vinaya-dhara (monk in charge of monastic discipline) selects a Bhikkhu with a good voice to recite the Yui-chiao ching (Sutra of the Buddha's Last Teaching). All the Bhikkhus kneel and listen, as if facing the Buddha himself reciting. After the recitation, the Vinaya-dhara begins to prepare the implements for reciting the precepts. First, wash the feet and sprinkle the ground with scented water, without making any noise. Then, take out the counting sticks and present them to the Sthavira (senior monk). After the Sthavira receives the counting sticks, the Vinaya-dhara pours water. The Sthavira washes the counting sticks with clean water and then with scented water, and wipes them dry with a clean cloth, without making any noise, and without dropping them on the ground (if a sound is made, it will disturb the ghosts and spirits; if the counting sticks are dropped on the ground, it will harm the earth-dwelling beings and also harm the Bhikkhus. The Mara (demon) king, upon hearing the sound of the counting sticks, and the sound of the counting sticks falling, will be very happy, disturb the Bhikkhus, and even kill them). Therefore, when reciting the precepts, the Bhikkhus should remain silent and not speak randomly, and should think of the impermanence of the world and quickly escape from the cycle of birth and death. The Vinaya-dhara, holding the counting sticks, stands in front of the notice board, strikes the mallet, and announces for the Shramanera (novice monk) to enter, and instructs them to recite the five virtues and ten numbers (the precepts and practices that Shramaneras should observe). After that, as usual, he announces the assembly or recites the preamble to the precepts. After that, he announces for the Shramanera to leave.

依法誦戒竟。維那又命經師。令誦遺教了方散。又答最初受戒。善來鹿五拘倫于鹿苑中白四羯磨。于竹園迦蘭陀精舍為狗睒彌國難提比丘。有一犯重比丘在十僧數。難提受已白佛為得戒否。佛問沙彌未受戒時知彼犯不。答知。佛言不得戒不知者得。佛為難提于祇洹戒壇集僧更受。又答戒塔土之與沙任時得作。又答尼受先無尼者僧獨得受。若后尼至進二部僧更為重受。僧尼足數離見聞疑。得充為用如是次第阿難答竟。池水還出色白如乳然失乳味。以表佛法正法衰微漸漸薄淡。如涅槃中如水乳譬結集都了。大鐘寶臺飛上兜率。池之四周砌玉銀沙。龍王收去水便枯竭。次巷北院又分為二。西名論院。論及論師皆集其中。中有大堂。周房四繞三面開門。唯西不開。有一銅鐘形如要鼓。乾闥婆王之所造也。上有梵王帝釋魔王四天王。娑竭龍王及阿修羅宮殿部位男女等像。若諸異學外道系論。則使神通無學擊之。聲振三千世界。諸論議者將欲拒抗。聲聞訥鈍無敢發言。有好心者欲聞解疑。聞聲登惠開。菩薩萌動神智得不退轉。次東一院名修多羅院。門向西北開。中有三重高閣。周房繞之蓮池流渠林樹交影。經部經師皆所同止。有一石鐘形如漢樣。如青碧玉。可受十斛。鼻上有三十三天像。四面以金銀隱起。東西兩面有大寶珠。陷在

【現代漢語翻譯】現代漢語譯本依法誦戒完畢。維那（寺院中負責僧眾事務的僧人）又命令經師，誦讀《遺教經》後方可解散。又回答說，最初的受戒，是善來（Ehi-bhikkhu，佛陀親自說『善來』，表示允許某人出家）五比丘在鹿野苑（Mrigadava，位於今印度北方邦）中進行白四羯磨（Caturtha-karmavācanā，一種受戒儀式）。在竹園迦蘭陀精舍（Veṇuvana-kalandaka-nivāpa，位於古印度王舍城）為狗睒彌國（Kauśāmbī，古印度城市）的難提比丘（Nandī，一位比丘的名字）授戒。當時有一位犯了重罪的比丘也在十位僧人之中。難提受戒后問佛陀，這樣是否能得到戒律。佛陀問沙彌（Śrāmaṇera，未成年出家男子），在未受戒時是否知道此人犯戒。沙彌回答知道。佛陀說，不知情者可以得戒，知情者不得戒。佛陀爲了難提，在祇洹精舍（Jetavana-vihāra，位於古印度舍衛城）的戒壇集合僧眾，重新為他授戒。又回答說，戒塔的泥土和沙子，可以根據情況隨時製作。又回答說，比丘尼（Bhikkhunī，女性出家人）受戒，在沒有比丘尼的情況下，可以由僧眾單獨授戒。如果之後有比丘尼到來，需要由僧僧二部僧眾重新授戒。僧眾和比丘尼的人數足夠，並且沒有違犯見、聞、疑三種戒律，就可以充當授戒者。就這樣依次回答，阿難（Ānanda，佛陀的十大弟子之一）回答完畢。池水恢復了顏色，白如乳汁，但失去了乳汁的味道，以此表示佛法正法衰微，漸漸變得淡薄。如同《涅槃經》（Nirvana Sutra）中水乳交融的比喻一樣，結集完畢。大鐘寶臺飛昇到兜率天（Tuṣita Heaven，佛教欲界六天之一）。池塘的四周用玉石和銀沙砌成，龍王（Nāga，印度神話中的蛇神）收走池水，池塘便枯竭了。其次，巷子北邊的院子又分為兩個，西邊叫做論院，討論和論師都聚集在那裡。院中有一座大堂，四周有房屋環繞，三面開門，只有西面不開。有一口銅鐘，形狀像腰鼓，是乾闥婆王（Gandharva，天神）所造。鐘上有梵天（Brahmā，印度教的創造之神）、帝釋天（Indra，佛教的護法神）、魔王（Māra，佛教中的惡魔）、四大天王（Lokapāla，佛教的護世四天王）、娑竭羅龍王（Sāgara-nāgarāja，龍王）以及阿修羅（Asura，一種神道）宮殿的男女等形象。如果諸異學外道（Tīrthika，指佛教以外的宗教）進行辯論，就讓有神通的無學（Arhat，阿羅漢）敲擊銅鐘，鐘聲震動三千世界。那些論議者想要反駁，但聲聞（Śrāvaka，聽聞佛法而修行的弟子）訥于言辭，沒有人敢發言。有好心的人想要聽聞解釋疑惑，聽到鐘聲后智慧增長，菩薩（Bodhisattva，發願成佛的修行者）萌發神智，得到不退轉的境界。東邊的一個院子叫做修多羅院（Sūtra-vihāra，存放經書的場所），門朝西北方向開。院中有一座三重高閣，四周有房屋環繞，蓮池、水渠、樹林交相輝映。經部的經師都住在這裡。有一口石鐘，形狀像漢地的樣式，如同青碧色的玉石，可以容納十斛（古代容量單位）的液體。鐘的鼻子上刻有三十三天（Trāyastriṃśa Heaven，佛教欲界六天之一）的形象，四面用金銀鑲嵌，東西兩面有大寶珠鑲嵌在上面。

【English Translation】 English version After the recitation of the precepts according to the law was completed, the Karmadana (the monastic officer in charge of ceremonies) then instructed the Sutra Master to recite the 'Last Admonitions Sutra' before dispersing. He also answered that the very first ordination was when the five Bhikkhus, 'Come, O Bhikkhu' (Ehi-bhikkhu, 'Come, O Bhikkhu' is what the Buddha said to ordain someone) were ordained with the white four-Kamma (Caturtha-karmavācanā, a type of ordination ceremony) in Mrigadava (Deer Park, located in present-day Uttar Pradesh, India). At the Veṇuvana-kalandaka-nivāpa (Bamboo Grove, located in ancient Rajagriha), ordination was given to the Bhikkhu Nandi (Nandī, a Bhikkhu's name) from Kauśāmbī (an ancient city in India). At that time, there was a Bhikkhu who had committed a grave offense among the ten monks. After Nandi received the ordination, he asked the Buddha whether he had obtained the precepts. The Buddha asked the Śrāmaṇera (novice monk) whether he knew that the person had committed an offense before he was ordained. The Śrāmaṇera replied that he knew. The Buddha said that those who did not know could obtain the precepts, but those who knew could not. For Nandi's sake, the Buddha gathered the Sangha (monastic community) at the Jetavana-vihāra (Jetavana Monastery, located in ancient Shravasti) ordination platform and re-ordained him. He also answered that the earth and sand for the stupa (reliquary mound) could be made at any time as needed. He also answered that if there were no Bhikkhunis (female monastic), the Sangha alone could give ordination to a Bhikkhuni. If Bhikkhunis arrived later, the Sangha and Bhikkhuni Sangha would have to re-ordain her. If the number of monks and nuns is sufficient and there is no violation of the three precepts of seeing, hearing, and doubt, they can be used as ordainers. In this way, in order, Ānanda (one of the Buddha's ten great disciples) finished answering. The water in the pond returned to its color, white as milk, but lost the taste of milk, indicating that the Dharma (Buddhist teachings) was declining and gradually becoming diluted. Just like the analogy of milk and water in the Nirvana Sutra, the compilation was completed. The Great Bell Treasure Platform flew up to the Tuṣita Heaven (one of the six heavens of the desire realm in Buddhism). The pond was surrounded by jade and silver sand, and the Nāga King (snake deity in Indian mythology) took away the water, and the pond dried up. Next, the courtyard north of the alley was divided into two, the west side called the Debate Courtyard, where discussions and debaters gathered. There was a large hall in the courtyard, surrounded by rooms on all sides, with doors on three sides, but not on the west side. There was a bronze bell, shaped like a waist drum, made by the Gandharva King (celestial musician). On the bell were images of Brahma (the creator god in Hinduism), Indra (Buddhist protector deity), Mara (demon in Buddhism), the Four Heavenly Kings (Lokapāla, the four guardian kings of the world in Buddhism), Sāgara-nāgarāja (Dragon King), and the palaces of the Asuras (a type of deity) with male and female figures. If other heretics (Tīrthika, referring to religions other than Buddhism) were debating, the Arhat (one who has attained enlightenment) with supernatural powers would strike the bronze bell, and the sound would shake the three thousand worlds. Those who wanted to refute would try, but the Śrāvakas (disciples who practice by hearing the Dharma) were slow to speak, and no one dared to speak. Those who had good intentions and wanted to hear explanations of their doubts would have their wisdom increased upon hearing the bell, and the Bodhisattvas (those who aspire to become Buddhas) would develop divine wisdom and attain the state of non-retrogression. The courtyard on the east side was called the Sūtra-vihāra (place for storing scriptures), with the door facing northwest. There was a three-story pavilion in the courtyard, surrounded by rooms, with lotus ponds, canals, and forests intertwined. The Sutra Masters of the Sutra section all lived here. There was a stone bell, shaped like the Han Chinese style, like blue-green jade, capable of holding ten hu (ancient unit of volume) of liquid. The nose of the bell was engraved with images of the Thirty-three Heavens (Trāyastriṃśa Heaven, one of the six heavens of the desire realm in Buddhism), and the four sides were inlaid with gold and silver, with large jewels inlaid on the east and west sides.

其腹大如五升。八角分曜杜若花形周匝。作十方諸佛初成道像。至日出時鐘上諸佛皆說十二部經。舍衛城中童男童女悉來聽之。聞成聖果。犯欲之者則不聞誨。每至說前摩尼大將以金剛杵擊之。聲聞百億世界。寶珠光明遍照十方。其光明中百千釋迦說修多羅。此鐘是拘樓秦佛所造。彼佛滅后娑竭龍王收去。釋迦佛興龍復將來。及佛將滅珠光唱言。釋迦如來卻後三月當般涅槃。鐘鼻諸天聞皆涕泣。龍復將去。

次北大院名佛洗衣院。南開一門中有大堂。周房三匝方石圓池天之所作。花林交植香凈充滿。佛樂洗衣天人同集。釋提桓因施以天樂一部。若佛不至樂音之中但說無常苦空。佛若臨者乾闥婆王自來鼓之。六時奏樂初不斷。及佛滅后娑竭羅龍王收。將入宮供養經典。此樂有三千餘器。迦樓羅王之所造也。

次北大院名為佛經行所。南開一門中有大堂。前二珠柱帝釋所作。晝夜常照佛多游此。院中莊嚴特高。諸處名花奇樹倍勝於前院。有兩部天樂。帝釋所施。樂器純以七寶作之。形小前樂。天諸童子六時常鼓。有三萬餘種。未奏之前諸樂音中多說六波羅蜜行。又說持成功德讚歎受行者。舍衛城中根不具者聞音得具。破戒人聞悲泣發露戒根還生。及迦葉登壇殯二聖已阿難升座已。諸天童子還奏此樂。音中所說

【現代漢語翻譯】現代漢語譯本：它的腹部大如五升的容器，有八個角，像杜若花一樣放射光芒，周圍環繞著十方諸佛初成道的形象。到了日出的時候，鐘上的諸佛都會宣說十二部經。舍衛城（Śrāvastī）中的童男童女都來聽經，聽聞后成就聖果。犯了淫慾的人則聽不到教誨。每次說法之前，摩尼大將（Maṇi-mahāsena）都會用金剛杵敲擊它，聲音傳遍百億世界。寶珠的光明遍照十方，光明中無數的釋迦（Śākya）宣說修多羅（sūtra）。這口鐘是拘樓秦佛（Krakucchanda Buddha）所造，拘樓秦佛涅槃后，被娑竭龍王（Sāgara-nāgarāja）收藏。釋迦佛出世后，龍王又將它帶來。等到佛將要涅槃時，珠光發出聲音說：『釋迦如來（Śākya-tathāgata）將在三個月后般涅槃。』鐘鼻上的諸天聽到后都哭泣。龍王又將它取走了。

其次是北大院，名為佛洗衣院。朝南開著一扇門，裡面有一個大堂。周圍有三圈房屋，方形的石頭，圓形的池子，都是天然形成的。花木交錯種植，香氣清凈充滿。佛和天人都聚集在這裡洗衣。釋提桓因（Śakra-devānam-indra）施捨了一部天樂。如果佛沒有來，樂音中只會說無常、苦、空。如果佛來了，乾闥婆王（Gandharva-rāja）會親自來演奏。六個時辰都演奏音樂，從不間斷。等到佛涅槃后，娑竭羅龍王（Sāgara-nāgarāja）又將它收走，帶回宮中供養經典。這樂器有三千多件，是迦樓羅王（Garuḍa-rāja）所造。

其次是北大院，名為佛經行所。朝南開著一扇門，裡面有一個大堂。前面的兩根珠柱是帝釋（Indra）所造，晝夜常明，佛經常在這裡遊走。院中的莊嚴特別高，各處的名花奇樹比前面的院子更加勝妙。有兩部天樂，是帝釋（Indra）所施捨的。樂器全部用七寶製成，形狀比前面的樂器小。天上的童子六個時辰都演奏，有三萬多種。在未演奏之前，各種樂音中大多宣說六波羅蜜（ṣaṭ-pāramitā）的修行，又宣說持戒的成功德，讚歎受持奉行的人。舍衛城（Śrāvastī）中根不具足的人聽到樂音后能夠具足，破戒的人聽到後會悲傷哭泣，發露懺悔，戒根得以重生。等到迦葉（Kāśyapa）登上壇，安放完二聖的遺體后，阿難（Ānanda）升座后，天上的童子還會演奏這些音樂，音樂中所說的是……

【English Translation】 English version: Its belly was as large as a five-sheng container. Eight corners radiated like the shape of Du Ruo flowers, surrounding images of the Buddhas of the ten directions at their initial enlightenment. At sunrise, the Buddhas on the bell would all preach the twelve divisions of scriptures. Boys and girls from Śrāvastī (舍衛城) would all come to listen, attaining the fruit of sainthood upon hearing. Those who indulged in desire would not hear the teachings. Before each preaching, the Mani-mahāsena (摩尼大將) would strike it with a vajra, the sound resonating throughout a hundred billion worlds. The light of the jewel would illuminate the ten directions, and within the light, hundreds of thousands of Śākyas (釋迦) would preach the sūtras (修多羅). This bell was made by Krakucchanda Buddha (拘樓秦佛). After that Buddha's parinirvana, Sāgara-nāgarāja (娑竭龍王) collected it. When Śākya Buddha (釋迦佛) arose, the dragon king brought it again. And when the Buddha was about to enter parinirvana, the jewel's light proclaimed, 'Śākya-tathāgata (釋迦如來) will enter parinirvana in three months.' The devas on the bell's nose all wept. The dragon king then took it away again.

Next is the North Great Courtyard, named the Buddha's Laundry Courtyard. A gate opens to the south, leading to a great hall. Surrounding it are three layers of rooms, square stones, and a round pond, all naturally formed. Flowers and trees are planted in abundance, filling the air with fragrance and purity. Buddhas and devas gather here to do laundry. Śakra-devānam-indra (釋提桓因) bestowed a set of celestial music. If the Buddha is not present, the music only speaks of impermanence, suffering, and emptiness. If the Buddha is present, the Gandharva-rāja (乾闥婆王) himself comes to play it. Music is played six times a day without interruption. After the Buddha's parinirvana, Sāgara-nāgarāja (娑竭羅龍王) collected it again, taking it back to the palace to be offered to the scriptures. This music set has over three thousand instruments, made by Garuḍa-rāja (迦樓羅王).

Next is the North Great Courtyard, named the Buddha's Walking Place for Sutras. A gate opens to the south, leading to a great hall. The two jeweled pillars in front were made by Indra (帝釋), constantly illuminating day and night. The Buddha often strolled here. The adornments in the courtyard are particularly high, and the famous flowers and rare trees are even more beautiful than in the previous courtyard. There are two sets of celestial music, bestowed by Indra (帝釋). The instruments are all made of seven treasures, smaller in shape than the previous music set. Celestial children play them six times a day, with over thirty thousand kinds of music. Before the music is played, the various sounds mostly preach the practice of the six pāramitās (六波羅蜜), and also speak of the merits of upholding the precepts, praising those who receive and practice them. Those in Śrāvastī (舍衛城) who lack faculties gain them upon hearing the music, and those who have broken precepts weep with sorrow, confessing and repenting, and the roots of their precepts are reborn. After Kāśyapa (迦葉) ascends the altar and finishes placing the relics of the two saints, and Ānanda (阿難) ascends the seat, the celestial children will play this music again, and what is said in the music is...

過去諸佛行毗尼法。又說釋迦如來教敕弟子行戒律事。諸天龍八部聞皆悲泣至結集了。兜率諸天將上天去。今在彌勒佛所。

次北一院名曰佛衣服院。堂房如上。南門向巷。阿難所止常護佛衣。有一銅磬可受五升。磬子四邊悉黃金。鏤作過去佛弟子。又鼻上以紫磨金為九龍形。背上立天人像。執玉槌用擊磬。聞三千世界。音中亦說諸佛教誡弟子法。磬是梵王造之。及佛滅度娑竭羅龍王收入海宮。佛院之東自分六所。下之諸院南門向巷。巷中花樹如上已陳。東頭第一名曰違陀院。外道同宗以為極教。佛許比丘一時讀之。為伏外道故中有周閣。四天下中韋陀之文普集其中。院有七寶小鼓子。若有比丘欲讀韋陀典者鼓即自鳴。僧伽藍人執鑰匙開院。此鼓是王舍城人工匠所造。次西第二院名為書院。大千界中不同文書並集其中。有大重閣安置書籍。佛開擊讀不依其見為伏俗故。中小銀鼓石人頭戴。若欲入院石人舉手向上擊鼓。僧伽藍人即來開戶。其鼓聲者如人琴音。比丘讀書鼓聲不絕自然開解。鼓是弗波提州無施王所造。

次西第三院名陰陽書籍院。百億天下陰陽群籍總集此坊。佛開比丘一時有閱為惟異術。有六小鼓。三金三銀形如五升缽。蓮花三莖用承此鼓。鼓上有日月天子像。手執金銀二捶。時至便擊僧人如

【現代漢語翻譯】現代漢語譯本：過去的諸佛所行持的是毗尼法（Vinaya，戒律）。（佛）又講述釋迦如來教導和告誡弟子們奉行戒律的事情。諸天、龍等天龍八部聽聞后都悲傷哭泣，直到結集完畢。兜率天（Tusita Heaven）的諸天眾將（這些經典）帶到天上去了，現在儲存在彌勒佛（Maitreya Buddha）那裡。

下一個北邊的院落叫做佛衣服院。殿堂房屋的結構如前所述。南門朝向巷子。阿難（Ananda，佛陀的十大弟子之一）居住在這裡，經常守護佛的衣服。這裡有一個銅磬，大約能容納五升。磬的四邊都用黃金裝飾，鏤刻著過去諸佛的弟子。磬的鼻子上用紫磨金做成九條龍的形狀。背上立著天人像，拿著玉槌用來敲擊磬，聲音能傳遍三千世界。聲音中也講述著諸佛告誡弟子的方法。這個磬是梵天王（Brahma）製造的。佛陀涅槃后，娑竭羅龍王（Sāgara-nāgarāja）將其收入海宮。

佛衣服院的東邊，自然地分為六個地方。下面的各個院落南門都朝向巷子。巷子中的花草樹木如前所述。東邊第一個叫做違陀院（Veda院）。外道（非佛教的宗教）將此奉為最高的教義。佛允許比丘（bhikkhu，佛教出家人）暫時閱讀它，爲了降伏外道。院中有周閣，四天下中韋陀（Veda）的文獻都聚集在這裡。院裡有七寶小鼓。如果有比丘想要閱讀韋陀典籍，鼓就會自己鳴響。僧伽藍（Saṃghārāma，寺院）的人拿著鑰匙打開院門。這個鼓是王舍城（Rājagṛha）的工匠製造的。西邊第二個院落叫做書院。大千世界中不同的文書都聚集在這裡。有一個大的重閣用來安置書籍。佛允許（比丘）閱讀，但不允許依據外道的見解，爲了降伏世俗。中小銀鼓由石人頭頂著。如果有人想要進入院落，石人就會舉手向上敲擊鼓。僧伽藍的人就會來開門。鼓的聲音像人彈奏的琴聲。比丘讀書時，鼓聲不斷，自然就能開悟理解。這個鼓是弗波提州（弗波提州）的無施王（無施王）製造的。

西邊第三個院落叫做陰陽書籍院。百億天下陰陽術數的書籍都聚集在這裡。佛允許比丘暫時閱讀，爲了通曉奇異的法術。有六個小鼓，三個金鼓，三個銀鼓，形狀像五升的缽。蓮花的三根莖用來承托這些鼓。鼓上有日月天子像，手裡拿著金銀兩種槌。時間到了就會敲擊鼓，提醒僧人。

【English Translation】 English version: The Buddhas of the past practiced the Vinaya (discipline). (The Buddha) also spoke of how Shakyamuni Tathagata (釋迦如來) taught and instructed his disciples to follow the precepts. The devas (諸天), nagas (龍), and other beings of the Eightfold Division (天龍八部) all wept with sorrow until the compilation was completed. The devas of Tushita Heaven (兜率天) took (these scriptures) to the heavens and are now kept with Maitreya Buddha (彌勒佛).

The next courtyard to the north is called the Buddha's Robe Courtyard. The structure of the halls and rooms is as described above. The south gate faces the alley. Ananda (阿難), one of the Buddha's ten great disciples, resides here and constantly guards the Buddha's robes. There is a bronze chime here that can hold about five sheng (升, a unit of volume). The four sides of the chime are decorated with gold, engraved with the disciples of the Buddhas of the past. The nose of the chime is shaped like nine dragons made of purple-gold. On the back stands a celestial being holding a jade mallet to strike the chime, and the sound can be heard throughout the three thousand worlds. The sound also speaks of the methods by which the Buddhas instruct their disciples. This chime was made by Brahma (梵天王). After the Buddha's Nirvana, the Naga King Sāgara (娑竭羅龍王) took it into the sea palace.

To the east of the Buddha's Robe Courtyard, it is naturally divided into six places. The south gates of the courtyards below all face the alley. The flowers and trees in the alley are as described above. The first one to the east is called the Veda Courtyard (違陀院). The heretics (外道, non-Buddhist religions) regard this as the highest doctrine. The Buddha allows the bhikkhus (比丘, Buddhist monks) to read it temporarily in order to subdue the heretics. There is a Zhou Pavilion in the courtyard, where the texts of the Vedas (韋陀) from the four continents are gathered. There are small seven-treasure drums in the courtyard. If a bhikkhu wants to read the Veda scriptures, the drum will sound on its own. The people of the Saṃghārama (僧伽藍, monastery) hold the key to open the courtyard gate. This drum was made by the artisans of Rajagriha (王舍城). The second courtyard to the west is called the Scripture Courtyard. Different documents from the great chiliocosm (大千世界) are gathered here. There is a large double-storied pavilion to house the books. The Buddha allows (bhikkhus) to read, but does not allow them to rely on the views of the heretics, in order to subdue the laity. The small silver drum is topped by a stone man's head. If someone wants to enter the courtyard, the stone man will raise his hand and strike the drum. The people of the Saṃghārama will come to open the door. The sound of the drum is like the sound of a zither played by a person. When the bhikkhus read, the sound of the drum is continuous, and they will naturally be enlightened and understand. This drum was made by King Wushi (無施王) of Fuboti Prefecture (弗波提州).

The third courtyard to the west is called the Yin-Yang Scripture Courtyard. The books on Yin-Yang numerology from hundreds of millions of worlds are gathered here. The Buddha allows the bhikkhus to read them temporarily in order to understand the strange arts. There are six small drums, three gold and three silver, shaped like five-sheng bowls. The three stems of the lotus flower are used to support these drums. There are images of the Sun and Moon Devas (日月天子) on the drums, holding gold and silver mallets in their hands. When the time comes, they will strike the drums to remind the monks.

前聞聲。開戶比丘讀書鼓聲不絕。便自開解不勞人授。鼓音又說日月星辰宮殿廣狹度數之法。及百億世界陰陽異術。其白銀鼓者月天子所造。黃金鼓者日天子所造。及佛滅後上兜率宮本院。昔時有百億世界渾天圖。及漏克法尺寸升[白*(升-┬+下)]升合秤兩厘撮籌量。水為機關。並是天龍人功共造。諸渾天圖日月星像並用金銀。佛臨滅度諸機關等並並皆墮落天文乖。佛滅既已收入龍宮。

次西第四醫方之院。諸天下中所有醫方皆集。坊中有銅鈴。狀如麥角可受三斗。以金師子為鼻。比丘入院鈴鳴門開不勞寺人。音如琴音聲。比丘聞之自然開解諸業通塞。三果已上有病。來入此院聞鈴便愈。凡僧病聞不能有差。鈴是耆婆用藥所作。佛滅后耆婆收隱。當取銅時三門選銅。除北有洲洲六處。亦來震旦江南牛頭山。取之用藥合成。

次西第五院名僧家凈人坊。十八以上二十已下。諸子等常止此中。掃灑諸院清潔無勝。

次西第六名天童院。諸天童子常有三百為供。佛故止此院中。大院西巷門西自分六院。南第一院開於三門。西塞名無常院。中有一堂但以白銀。四面白廊白華充滿。畫白骨狀無處不有。諸欲無常皆舉至此。令見白骨諸非常相。既命終已。從南門出西大墻之西門。一切無常皆由此路。院有

【現代漢語翻譯】現代漢語譯本：之前聽到聲音。開戶比丘（佛教僧侶）讀書的聲音和鼓聲不絕於耳，便自己開悟理解，不需要別人教授。鼓聲還講述日月星辰宮殿的廣闊狹窄和度數計算之法，以及百億世界的陰陽奇術。那白銀鼓是月天子（月神）所造，黃金鼓是日天子（太陽神）所造。以及佛陀涅槃后，上兜率宮（欲界天的一層，彌勒菩薩所在之處）本院，過去有百億世界的渾天圖（古代的天文儀器），以及漏刻法（古代計時方法）的尺寸、升[白*(升-┬+下)]（容量單位）、升合秤兩厘撮籌量。用水作為機關動力，都是天龍（佛教護法神）和人共同建造的。各種渾天圖的日月星像都用金銀製作。佛陀臨近涅槃時，各種機關等都墜落，天文曆法出現偏差。佛陀涅槃后，這些都被收入龍宮（龍族居住的宮殿）。接下來是西邊的第四個醫方之院，天下所有的醫方都彙集於此。坊中有一個銅鈴，形狀像麥角，可以容納三斗。用金師子作為鈴的鼻子。比丘（佛教僧侶）進入院內，鈴聲響起，門就打開，不需要寺廟的人來開門。鈴聲像琴的聲音。比丘聽到鈴聲，自然開悟理解各種行業的阻塞之處。三果（佛教修行果位之一）以上的修行者有病，來到這個院裡，聽到鈴聲病就好了。凡是僧人有病，聽到鈴聲不能痊癒的。這個鈴是耆婆（古代名醫）用藥製作的。佛陀涅槃后，耆婆收藏起來。當初取銅的時候，在三個地方選擇銅，除了北方有洲的六個地方，也來震旦（中國的古稱）江南的牛頭山，取銅來用藥合成。接下來是西邊的第五個院，名叫僧家凈人坊。十八歲以上二十歲以下的少年，常住在這裡。負責打掃各個院子，保持清潔，沒有比這裡更好的。接下來是西邊的第六個院，名叫天童院。常有三百個天童（天上的童子）來供養佛陀，所以佛陀住在這個院中。大院西邊的巷子門西邊，自己分為六個院。南邊的第一個院子開在三門。西邊堵塞的叫做無常院。中間有一個堂，全部用白銀建造。四面都是白色的走廊，白色的花朵充滿其中。畫著白骨的形狀，到處都是。所有想要體悟無常的人都被帶到這裡，讓他們看到白骨的各種無常之相。人命終之後，從南門出去，經過西邊大墻的西門。所有關於無常的事情都從這條路經過。院裡有...

【English Translation】 English version: Previously, sounds were heard. The sound of the Bhikshu (Buddhist monk) of Kaihu reading and the sound of drums were incessant, and he became enlightened and understood on his own, without needing to be taught by others. The sound of the drums also spoke of the vastness, narrowness, and degree calculations of the palaces of the sun, moon, and stars, as well as the yin and yang esoteric arts of hundreds of billions of worlds. That silver drum was made by the Chandra Deva (Moon God), and the golden drum was made by the Surya Deva (Sun God). And after the Buddha's Nirvana, the original courtyard of the Tushita Heaven (a realm in Buddhist cosmology, where Maitreya Bodhisattva resides), in the past, there was a celestial globe (an ancient astronomical instrument) of hundreds of billions of worlds, as well as the dimensions of the clepsydra (an ancient timekeeping method), 'sheng' [白*(升-┬+下)] (a unit of volume), 'sheng', 'he', scales, 'liang', 'li', 'cuo', measuring rods. Water was used as the motive power for the mechanisms, all of which were jointly created by Devas (gods), Nagas (dragon deities), and humans. The images of the sun, moon, and stars on the various celestial globes were all made of gold and silver. When the Buddha was approaching Nirvana, all the mechanisms and so on fell, and the astronomy and calendar became distorted. After the Buddha's Nirvana, these were all taken into the Dragon Palace (the palace where the dragons live). Next is the fourth medical ward on the west side, where all the medical prescriptions in the world are gathered. In the ward, there is a copper bell, shaped like ergot, which can hold three 'dou'. A golden lion is used as the nose of the bell. When a Bhikshu (Buddhist monk) enters the ward, the bell rings and the door opens, without the need for a temple person to open it. The sound is like the sound of a zither. When a Bhikshu hears the bell, he naturally becomes enlightened and understands the blockages of various industries. Those who have attained the third fruit (one of the stages of enlightenment in Buddhism) or higher, if they are sick, come to this ward, and their illness will be cured when they hear the bell. If ordinary monks are sick, hearing the bell will not cure them. This bell was made by Jivaka (an ancient famous doctor) using medicine. After the Buddha's Nirvana, Jivaka collected and hid it. When the copper was taken, copper was selected from three places, except for the six places in the continent in the north, and also came to Niutou Mountain in Jiangnan (south of the Yangtze River) in Zhendan (ancient name for China) to take copper to be synthesized with medicine. Next is the fifth ward on the west side, called the Sangha Upasaka Ward. Boys aged eighteen and above and under twenty often stay here. They are responsible for cleaning all the wards, keeping them clean, and there is no better place than here. Next is the sixth ward on the west side, called the Deva Child Ward. There are often three hundred Deva children (heavenly children) to make offerings to the Buddha, so the Buddha lives in this ward. The west alley door of the large ward is divided into six wards on the west side. The first ward on the south side opens at the three gates. The one blocked on the west side is called the Impermanence Ward. In the middle, there is a hall, all built of silver. All four sides are white corridors, filled with white flowers. The shape of white bones is painted everywhere. All those who want to experience impermanence are brought here to let them see the various impermanent aspects of white bones. After a person dies, they go out from the south gate and pass through the west gate of the west wall. All matters concerning impermanence pass through this road. There is a...

八鐘。四白銀四頗梨銀鐘在院四角。起臺置之。頗黎鐘者在無常堂四隅。銀鐘四口各重十萬斤形如須彌。九龍盤繞壇鐘鼻在臺上仰。銀蓮華中一一鐘邊。一白銀人戴天冠。摩尼寶王在頂上。高一丈二尺手執銀槌比丘將逝。四角銀人一時打鐘。音中所說諸佛入涅槃法。他化天人聞此鐘。天童將白華幡來。下供養比丘死屍。兜率諸天便持天中十六種花下投院中。是病比丘聞于鐘聲。不失本心得生善道。其頗梨鐘形如腰鼓。鼻有一金毗侖。乘金師子手執白拂。病僧氣將大漸。是金毗侖口說無常苦空無我。手舉白拂鐘即自鳴。音中亦說諸行無常是生滅法。生滅滅已寂滅為樂。病僧聞音苦惱即除得清涼樂。如入三禪垂生凈土。若大德人四頗梨鐘腹放大光明。光中所說菩薩六度。病人見光生諸佛國。而是鐘光隨亡神往所生之處。奪日月光弊諸天光。上銀鐘者帝釋所造。頗梨鐘者月天子所造。其聲所至百億世界。至佛滅后二鐘上去各還本土。裕師又說次小巷北第二院。名聖人病坊院。開門如上。舍利弗等諸大聖人有病投中。房堂眾具須皆備。有醫方藥庫常以供給。但擬凡聖非所止。

次北第三院名佛病坊。開門如上。堂宇周列花樹兩列。耆婆阿難在此瞻侍。大梵天王施八部樂。一一樂器有十六種。皆以金銀七寶所成。佛為眾生

【現代漢語翻譯】現代漢語譯本八種鐘。四口是白銀製成，四口是頗梨（水晶）製成。銀鐘安放在院子的四個角落，並筑檯安放。頗梨鐘則安放在無常堂的四個角落。四口銀鐘每口重達十萬斤，形狀如同須彌山。九條龍盤繞著鐘，鐘的撞擊點（鐘鼻）朝上安放在臺上。每口鐘的旁邊都有一朵白銀蓮花。蓮花旁邊站立著一個白銀人，頭戴天冠，頭頂上有摩尼寶王，身高一丈二尺，手執銀錘。當比丘（僧侶）即將去世時，四個角落的銀人同時敲鐘。鐘聲中所宣說的都是諸佛入涅槃之法。他化自在天的天人聽到鐘聲后，天童會拿著白色的華幡前來，供養比丘的遺體。兜率天的諸天會拿著天上的十六種花投向院中。生病的比丘聽到鐘聲，不會失去原有的心性，能夠往生善道。頗梨鐘的形狀如同腰鼓，鐘鼻上有一條金毗侖（一種神獸），騎著金色的獅子，手執白拂。當生病的僧人氣息將盡時，金毗侖口中會宣說無常、苦、空、無我的道理，並舉起白拂，鐘就會自動鳴響。鐘聲中也宣說諸行無常，是生滅之法。生滅滅盡，寂滅才是真正的快樂。生病的僧人聽到鐘聲，苦惱立即消除，得到清涼的快樂，如同進入三禪的境界，即將往生凈土。如果是大德之人，四口頗梨鐘的腹部會放出巨大的光明，光明中所宣說的是菩薩的六度。病人見到光明，便能往生諸佛的國度。而這鐘的光芒會隨著亡者的神識前往其所往生之處，奪取日月的光芒，遮蔽諸天的光芒。上面的銀鐘是帝釋天（Indra）所造，頗梨鐘是月天子所造。鐘聲所能到達的地方有百億世界。在佛陀滅度之後，這兩種鐘會各自返回本土。裕師又說，緊挨著小巷北邊的第二個院子，名叫聖人病坊院。開門的方式和上面一樣。舍利弗（Sariputra）等諸大聖人如果生病，就會住到這裡。房舍、廳堂、生活用具等都一應俱全，還有醫方藥庫，經常提供藥物。但這裡只為聖人準備，不是凡人所能居住的地方。緊挨著北邊的第三個院子名叫佛病坊。開門的方式和上面一樣。廳堂和房屋排列整齊，兩旁種著花樹。耆婆（Jivaka）和阿難（Ananda）在這裡照看服侍。大梵天王（Mahabrahma）施捨八部音樂，每一種樂器都有十六種音調，都是用金銀七寶製成。佛陀爲了眾生...

【English Translation】 English version Eight kinds of bells. Four are made of silver, and four are made of Phori (crystal). The silver bells are placed at the four corners of the courtyard, erected on platforms. The Phori bells are placed at the four corners of the impermanence hall. Each of the four silver bells weighs 100,000 catties, shaped like Mount Sumeru (Mount Meru, the central world-mountain in Buddhist cosmology). Nine dragons coil around the bell, and the bell's striking point (bell nose) faces upwards on the platform. Beside each bell is a silver lotus flower. Next to the lotus flower stands a silver figure wearing a heavenly crown, with a Mani Jewel King on top, twelve feet tall, holding a silver hammer. When a Bhikkhu (monk) is about to pass away, the silver figures at the four corners strike the bells simultaneously. The sounds proclaim the Dharma of the Buddhas entering Nirvana. When the Devas (gods) of Paranirmitavasavartin heaven hear the bell, a heavenly child will come with a white flower banner to offer to the Bhikkhu's corpse. The Devas of Tushita heaven will throw sixteen kinds of heavenly flowers into the courtyard. When the sick Bhikkhu hears the bell, he will not lose his original mind and will be reborn in a good realm. The Phori bell is shaped like a waist drum, with a Kimpira (a divine creature) on the bell nose, riding a golden lion and holding a white whisk. When the sick monk's breath is about to cease, the Kimpira will proclaim the doctrines of impermanence, suffering, emptiness, and non-self, and raise the white whisk, and the bell will ring automatically. The sounds also proclaim that all conditioned things are impermanent, subject to arising and ceasing. When arising and ceasing cease, Nirvana is bliss. When the sick monk hears the sound, his suffering is immediately eliminated, and he attains cool bliss, as if entering the third Dhyana (meditative state), about to be reborn in the Pure Land. If it is a person of great virtue, the bellies of the four Phori bells will emit great light, and the light will proclaim the six Paramitas (perfections) of the Bodhisattvas. When the sick person sees the light, he will be reborn in the Buddhas' lands. And the light of the bell will follow the consciousness of the deceased to the place of rebirth, eclipsing the light of the sun and moon, and obscuring the light of the Devas. The silver bells above were made by Indra (Shakra, the lord of the gods), and the Phori bells were made by the Moon Deva. The sound can reach hundreds of billions of worlds. After the Buddha's Parinirvana, these two kinds of bells will return to their respective homelands. Master Yu also said that next to the second courtyard north of the alley is called the Saint's Infirmary. The opening of the gate is the same as above. If great saints such as Sariputra (one of the Buddha's chief disciples) become ill, they will stay here. The rooms, halls, and daily necessities are all available, and there is a medical pharmacy that constantly provides medicine. But this place is only for saints, not a place where ordinary people can live. Next to the third courtyard to the north is called the Buddha's Infirmary. The opening of the gate is the same as above. The halls and houses are arranged neatly, with rows of flowers and trees on both sides. Jivaka (the Buddha's physician) and Ananda (the Buddha's attendant) are here to take care of and serve. Mahabrahma (the great Brahma king) donates eight kinds of music, each instrument having sixteen tones, all made of gold, silver, and the seven treasures. The Buddha, for the sake of sentient beings...

示疾。凡此諸樂出音以娛樂佛。如來聞音病即除愈。若病不除樂音便奏六度神足等曲聲遍三千。初地十住有現疾者聞音除愈。如來滅后經十六年。猶在院中過此。梵收今在色界。

次北第四院名四天王獻佛食坊。亦南北東開堂房如上花樹亦爾。四天梵王來獻食者皆至此院。佛為受之。佛受人衣天食者為表人天大福田。故準常乞食。為物受之非佛所食。諸天受之皆作佛事。以化身故不受不食。無有便利與天不殊。亦有佛廁示知而已。病院之中有一鐃樂。黃金為舌四王所造。佛示食時四王便搖至於食訖。鐃放光明奪于日月。遠照百億世界。中光所說施食功德語四王。我滅度後有諸弟子。破戒無戒無有威德不能自活。我以白豪百分滅一光明。汝施三分光明共汝供給末法比丘。四天王敬諾。一如佛教。又誡四王。我滅度后可將此鐃。入此院中日別一搖。令我弟子易得供養。四王流涕如佛所敕乃至於今。日日常下祇洹故地。搖鼓此鐃順佛遺命。

次北一院名為浴坊。三門如上。浴室之諸具充足。溫冷稱情便訖。即流方入大院。次北第六院名為流廁。有大高屋三重而立。飛橋雙上甚自清凈。下施廁坑砌以伏竇。天帝手作上無臭氣。大渠從大院北西注。南入廁院伏流入竇。北出會於大河人無見者。一切比丘皆此便利。余

【現代漢語翻譯】現代漢語譯本示疾。所有這些爲了娛樂佛陀而演奏的音樂，如來聽到后疾病立即痊癒。如果疾病沒有痊癒，就演奏六度神足等樂曲，聲音遍佈三千大千世界。初地十住的菩薩如有疾病，聽到這些音樂也會痊癒。如來涅槃后十六年，這些音樂仍然在精舍中演奏。梵收現在還在**（此處原文缺失，無法翻譯）。

再往北第四個院子叫做四天王獻佛食坊。也像前面一樣，南北東三面開堂房，花樹也是如此。四天梵王來獻食物時都到這個院子。佛陀接受他們的供養。佛陀接受人間的衣服和天上的食物，是爲了表明人天都是大福田。所以仍然按照慣例乞食，是爲了眾生而接受供養，並非佛陀自己食用。諸天接受供養后都用來做佛事。因為是化身，所以不接受也不食用，沒有大小便，與天人沒有區別。也有佛廁，只是爲了示現而已。病院中有一個鐃樂，黃金做舌，由四天王制造。佛陀示現進食時，四天王就搖動它，直到進食完畢。鐃發出光明，勝過日月的光芒，遠遠照耀百億世界。中等的光明所說的，是佈施食物的功德，以及四天王。『我涅槃后，會有很多弟子，破戒或者沒有持戒，沒有威德，不能自活。我用白毫相光百分之一的光明，你們施捨三分光明，共同供給末法時期的比丘。』四天王恭敬地答應了，完全按照佛陀的教誨。佛陀又告誡四天王：『我涅槃后，可以將這個鐃帶到這個院子里，每天搖動一次，讓我的弟子容易得到供養。』四天王流著眼淚，按照佛陀的囑咐，直到今天，每天都下到祇洹精舍的故地，搖動這個鐃，順從佛陀的遺命。

再往北一個院子叫做浴坊。三個門和前面一樣。浴室裡的各種用具充足，冷熱適宜。沐浴完畢后，水就流入大院。再往北第六個院子叫做流廁。有高大的房屋，三重結構。飛橋雙向連線，非常乾淨。下面設定廁坑，用暗渠砌成。天帝親手建造，上面沒有臭氣。大渠從大院的北面西邊流出，向南進入廁院，暗流進入暗渠，從北面匯入大河，人們看不到。所有的比丘都在這裡大小便。其餘（此處原文未完）。

【English Translation】 English version He displayed illness. All these joyful sounds were played to entertain the Buddha. Upon hearing the sounds, the Tathagata's illness was immediately cured. If the illness did not subside, musical pieces such as the Six Perfections and Divine Feet would be played, the sound pervading the three thousand great thousand worlds. Those at the stages of the First Ground and Ten Abodes who had illnesses would be cured upon hearing the sounds. Sixteen years after the Tathagata's Parinirvana, the music was still played in the monastery. Bhramasu is still in ** (missing information in the original text, untranslatable).

Next, the fourth courtyard to the north is called the Four Heavenly Kings' Food Offering Hall. It also has halls opening to the north, south, and east, like the previous ones, and similar flower trees. The Four Heavenly Brahma Kings come to offer food and all arrive at this courtyard. The Buddha receives their offerings. The Buddha's acceptance of human clothing and heavenly food is to signify that humans and gods are both great fields of merit. Therefore, he still follows the usual practice of begging for food, accepting offerings for the sake of beings, not for the Buddha's own consumption. When the gods receive the offerings, they all use them to perform Buddha-deeds. Because it is a manifestation body, he neither accepts nor eats, and has no excretions, being no different from the gods. There is also a Buddha's toilet, only for demonstration. In the hospital, there is a cymbal, with a tongue made of gold, crafted by the Four Heavenly Kings. When the Buddha demonstrates eating, the Four Heavenly Kings shake it until the eating is finished. The cymbal emits light, surpassing the brightness of the sun and moon, shining far into hundreds of billions of worlds. The medium light speaks of the merit of offering food, and the Four Heavenly Kings. 'After my Parinirvana, there will be many disciples who break precepts or have no precepts, have no dignity, and cannot support themselves. I will use one percent of the light from my white hair mark, and you should give three parts of the light to jointly provide for the Bhikkhus in the Dharma-ending Age.' The Four Heavenly Kings respectfully agreed, acting entirely according to the Buddha's teachings. The Buddha further instructed the Four Heavenly Kings: 'After my Parinirvana, you can bring this cymbal to this courtyard and shake it once each day, so that my disciples can easily receive offerings.' The Four Heavenly Kings wept and followed the Buddha's instructions, and to this day, they descend daily to the old site of Jetavana Monastery, shaking this cymbal, obeying the Buddha's last will.

The next courtyard to the north is called the Bathing Hall. The three gates are like the previous ones. The various implements in the bathroom are sufficient, and the temperature is suitable. After bathing, the water flows into the large courtyard. The sixth courtyard to the north is called the Flowing Toilet. There is a tall building, with three layers. Flying bridges connect in both directions, and it is very clean. Below are toilet pits, built with hidden channels. The Heavenly Emperor personally built it, and there is no odor above. A large channel flows from the north and west of the large courtyard, entering the toilet courtyard to the south, and the undercurrent flows into the hidden channel, joining the great river from the north, unseen by people. All the Bhikkhus relieve themselves here. The rest (the original text is incomplete).

聞此說深為獲相。故江淮已南諸古寺者皆設都清一所。中已北周屏澆院。臭處蓬勃伊何可言。曾至并州城北置一都清。樓道登上類同天竺。斯則閣舍未足為高。但為寺居涂泥不穿漏故。設斯宇非同大臭。但置一清斯言必虛妄。咎者彼者則武德諸房多少屏。豈是尊尚援不立周清者乎。自上至此東西粗了。又寺大院四角內各有一院。西北角地神堅牢云是女神。部屬八十億當門立大神像。神問佛曰。自古諸佛皆有鬼神形像。世尊來年滅度何以不教作之。護持伽藍弟子遺法。佛命凈居天作地神堅牢散脂大將。用天金作形如真神。佛滅度后二十六年。龍克木代之金像。將入大海宮后三院像亦爾。東北角院諸龍王像純以碧玉作。百億天下龍部位並擬之。是婆稚阿修羅共大梵天王第二作。東南角是大千世界力士院部位。八十億化樂天王用銀作之。西南角是大千世界大梵天王摩王帝釋部位。百四十萬七寶所成。金剛慧菩薩造寺。大院東大路之左名供僧院。路闊三里中有林樹一十八行。花果相間東西兩渠北流清駿。西邊渠者從大院伏竇東出北流。此之大路巖凈潔車馬不行。路之南北左右各置一大石神。地神堅牢之所造也。手執戟足蹈鬼。威嚴猛毅不可仰瞻。有行者過低目急步。僧凈廚院自有三所南北而列。是佛滅后十二年中為病比丘制斯

【現代漢語翻譯】現代漢語譯本聽聞此說法后，深感獲益良多。因此，江淮以南的許多古寺都設立了都清一所（寺院中專門負責清潔的場所）。江淮以北的寺院，如北周時期的寺院，卻廢棄了澆灑庭院的習慣，污穢不堪，實在難以言說。曾經到過并州城北，那裡也設定了一處都清。樓道的建造，登上去如同登上了天竺（古印度）。如此看來，一般的樓閣房屋實在算不上高大。只是因為寺院的房屋涂泥墻壁容易漏雨，所以才設定這樣的場所，並非像那些污穢之地一樣。如果只是簡單地設定一個清潔場所，那這種說法一定是虛妄的。那些責備武德年間各房僧人，或多或少廢棄了清潔習慣的人，難道是真正尊崇佛法，主張不設立周清制度的人嗎？從寺院上方到下方，東西方向大致如此。另外，寺院大院的四個角落裡，各有一個院落。西北角是地神堅牢（土地神名）的院落，據說堅牢地神是女神。她的部屬有八十億之多，院門前立著大神像。地神問佛說：『自古以來，諸佛都有鬼神形象。世尊您來年就要涅槃（佛教用語，指死亡），為什麼不教導我們製作鬼神形象，來護持伽藍（寺院），護持弟子的遺法呢？』佛陀命令凈居天（佛教中的天神）製作地神堅牢和散脂大將（佛教護法神）的形象，用天上的黃金製作，形象如同真神。佛陀涅槃后二十六年，龍族用木頭代替了黃金雕像。這座金像將被送入大海宮，后三院的雕像也是如此。東北角的院落里，是諸龍王（龍族的首領）的雕像，全部用碧玉製作。百億天下龍的地位和品級都按照這個標準來製作。這是婆稚阿修羅（一種惡神）與大梵天王（色界天的天王）共同製作的第二處院落。東南角是大千世界力士（大力士）的院落，八十億化樂天王（欲界天的天王）用銀製作他們的形象。西南角是大千世界大梵天王、摩王（魔王）、帝釋（天帝）的院落，用一百四十萬種七寶（佛教珍寶）製成。金剛慧菩薩建造了這座寺院。大院東邊大路的左側，叫做供僧院（供養僧人的場所）。道路寬闊三里，其中有林木十八行，花果樹木相互間隔。東西兩條水渠從北邊流淌，水流清澈湍急。西邊的水渠從大院的伏竇（暗渠）向東流出，然後向北流淌。這條大路平坦乾淨，沒有車輛馬匹通行。大路的南北左右，各設定了一座巨大的石神像，是地神堅牢所建造的。石神手執長戟，腳踩鬼怪，威嚴勇猛，令人不敢仰視。有行人經過，都會低著頭，快步走過。僧人凈廚院（僧人廚房）共有三處，南北排列。這是佛陀涅槃后十二年中，為生病的比丘制定的制度。

【English Translation】 English version Hearing this profound teaching, one gains immense benefit. Therefore, many ancient temples south of the Yangtze and Huai Rivers have established a 'Du Qing Yi Suo' (a place in the temple specifically for cleaning). Temples north of these rivers, such as those during the Northern Zhou Dynasty, abandoned the practice of watering the courtyards, resulting in filth that is unspeakable. I once visited a 'Du Qing' established north of Bingzhou city. Ascending its stairways felt like climbing to the heavens of Tianzhu (ancient India). Thus, ordinary pavilions and houses are not considered tall. It was established because the mud walls of the temple buildings were prone to leaking, not like those filthy places. If it were simply a matter of setting up a cleaning place, such a statement would be false. Those who blame the monks of various houses during the Wude era for abandoning cleaning habits to some extent, are they truly revering the Dharma and advocating against establishing a 'Zhou Qing' system? From the top to the bottom of the temple, the east-west direction is roughly as described. Furthermore, within each of the four corners of the temple's main courtyard, there is another courtyard. In the northwest corner is the courtyard of the Earth Goddess Jianlao (Earth Goddess), said to be a female deity. She has eighty billion subordinates, and a great deity statue stands before the courtyard gate. The deity asked the Buddha: 'Since ancient times, all Buddhas have had images of ghosts and deities. World Honored One, you will enter Nirvana (Buddhist term for death) next year, why do you not teach us to create images of ghosts and deities to protect the Sangharama (temple) and uphold the Dharma left to your disciples?' The Buddha ordered the Pure Abode Heaven (a type of deity in Buddhism) to create the images of Earth Goddess Jianlao and General Sanzhi (a Dharma protector in Buddhism), using heavenly gold to make them look like real deities. Twenty-six years after the Buddha's Nirvana, the Dragon race replaced the golden statue with one made of wood. This golden statue will be sent to the ocean palace, and the statues in the three rear courtyards will be treated similarly. In the northeast corner courtyard are the statues of the Dragon Kings (leaders of the Dragon race), all made of green jade. The positions and ranks of the dragons in the hundred billion worlds are modeled after this. This is the second courtyard created jointly by the Vimānacitrin Asura (a type of evil spirit) and the Great Brahma King (king of the Form Realm heaven). In the southeast corner is the courtyard of the mighty warriors of the Great Thousand World, with eighty billion Paranirmitavasavartin Kings (kings of the Desire Realm heaven) using silver to create their images. In the southwest corner are the courtyards of the Great Brahma King, Mara King (demon king), and Indra (ruler of the gods) of the Great Thousand World, made of one hundred forty million kinds of seven treasures (Buddhist treasures). Vajra Wisdom Bodhisattva built this temple. To the left of the main road east of the main courtyard is called the Sangha Offering Courtyard (place for offering to monks). The road is three miles wide, with eighteen rows of trees, flowers, and fruits interspersed. Two canals flow from the north, with clear and rapid water. The western canal flows eastward from the hidden culvert of the main courtyard and then flows north. This main road is flat and clean, without the passage of vehicles and horses. To the north and south of the road, a large stone deity statue is placed, built by the Earth Goddess Jianlao. The stone deity holds a halberd and steps on a ghost, with a majestic and fierce appearance that is impossible to look up at. Passersby lower their eyes and walk quickly. There are three Sangha Kitchen Courtyards (monk's kitchen), arranged from north to south. This was a system established twelve years after the Buddha's Nirvana for sick monks.

地。諸比丘等從四大院東門而出。門對凈廚中院。南巷廚院。南橫二大院中開一巷。南北施門南門極大。題曰寺大園門。門西一院自分南北。兩院中央開巷。南邊東西又分二所。各開一門。西畔一院名諸聖人諸王天眾出家處。門東開。大碧玉石縱廣一里。出地二尺金為界。道南北而列。東畔一院名凡下出家處。門向東開。當出家時忉利天王將上宮殿下來。佈置兩院莊嚴。

次北一院名曰果園。或曰佛經行地。門向南開。波斯匿王之所造也。山池極多各施異狀。渠流文轉繚繞泉林。清凈香氣充滿斯地。佛多經行遊歷於此。門東一院名曰竹菜園。門向西開。與向果園巷門相對。翠竹眾蔬分畦列植不可傳盡。竹菜園之東北別有一院。名解衣車馬處。門向北開通於大巷。是諸國王解衣車馬所。園宇連亙皆以石作。天帝所為。凡有王至從巷東門來至此院。解散王服釰履諸儀。車馬侍從並居此。然後西出入于寺院。次西一院名諸王夫人解衣服院。門向南開。末利等諸王夫人來欲禮佛。先於此中解衣嚴服。然後入大院中見佛。次北中大院名供食院。自分兩所各橫分三大門。南北門入食廚院隔以大墻。中開二門通於三所。中央大院惟受天供中立□大堂。東西極闊有大功德事。諸天輒下為營具膳。堂北大井東西各一。青石甃砌涌注

【現代漢語翻譯】現代漢語譯本：地。眾比丘從四大院的東門出來。門正對著凈廚中院。南巷廚院。南邊橫向的兩個大院中間開了一條巷子。南北施門南門非常大，題名為『寺大園門』。門西邊的一個院子自分為南北兩部分，兩個院子中央開了一條巷子。南邊又分為東西兩處，各自開了一個門。西邊的院子名為諸聖人、諸王、天眾出家之處，門向東開。有一塊巨大的碧玉石，縱橫一里，露出地面二尺，用金作為邊界。道路南北排列。東邊的院子名為凡人出家之處，門向東開。當有人出家時，忉利天王（Trayastrimsa-deva-raja，三十三天之王）會將上方的宮殿帶來，佈置兩院，使其莊嚴。

再往北的一個院子名為果園，或者說是佛經行地，門向南開，是波斯匿王（Prasenajit，拘薩羅國國王）所建造的。山池非常多，各自呈現不同的形態。水渠流動，蜿蜒環繞泉林，清凈的香氣充滿這個地方。佛陀經常在這裡經行遊歷。門東邊的一個院子名為竹菜園，門向西開，與向果園的巷子門相對。翠竹和各種蔬菜分畦排列種植，無法一一描述。竹菜園的東北邊另有一個院子，名為解衣車馬處，門向北開，通向大巷，是各位國王解下衣服、停放車馬的地方。園宇連綿，都是用石頭建造的，是天帝所為。凡是有國王來到，從巷子的東門來到這個院子，解下王服、刀劍、鞋子等儀仗，車馬侍從都留在這裡，然後向西進入寺院。西邊的一個院子名為諸王夫人解衣服院，門向南開。末利夫人（Mallika，波斯匿王之妻）等各位王夫人來禮佛時，先在這裡解下衣服，整理儀容，然後進入大院中見佛。再往北的中間大院名為供食院，自分為兩部分，各自橫向分為三個大門。南北門進入食廚院，中間隔著一道大墻，開了兩扇門通向三處地方。中央的大院只接受天上的供養，中間立著一個□大堂。東西非常寬闊，有大的功德之事時，諸天就會下來準備膳食。大堂北邊有兩口井，東西各一口，用青石砌成，泉水涌出。

【English Translation】 English version: …land. The Bhiksus (monks) and others came out from the east gate of the four great courtyards. The gate faced the central courtyard of the pure kitchen, and the kitchen courtyard of the south lane. A lane was opened in the middle of the two large courtyards on the south side. The south gate of the north-south alms gate was extremely large, inscribed with 『Temple Great Garden Gate』. A courtyard to the west of the gate was divided into north and south sections, with a lane opened in the center of the two courtyards. The south side was further divided into east and west sections, each with a gate. The courtyard on the west side was named the place where all the saints, kings, and heavenly beings renounce the world, with the gate opening to the east. There was a huge jade stone, one li (Chinese mile) in length and width, protruding two chi (Chinese foot) above the ground, with gold as the boundary. Roads were arranged north and south. The courtyard on the east side was named the place where ordinary people renounce the world, with the gate opening to the east. When someone renounced the world, Trayastrimsa-deva-raja (忉利天王，the king of the Trayastrimsa Heaven) would bring the upper palace down to arrange and adorn the two courtyards.

The next courtyard to the north was named the fruit garden, or the place where the Buddha walked while reciting scriptures, with the gate opening to the south. It was built by King Prasenajit (波斯匿王，king of Kosala). There were many mountain ponds, each with a different appearance. The canals flowed, winding around the springs and forests, and the pure fragrance filled this place. The Buddha often walked and traveled here. The courtyard to the east of the gate was named the bamboo and vegetable garden, with the gate opening to the west, facing the lane gate to the fruit garden. Green bamboo and various vegetables were planted in rows, which cannot be fully described. To the northeast of the bamboo and vegetable garden was another courtyard, named the place for undressing and carriages, with the gate opening to the north, leading to the great lane. It was the place where the kings took off their clothes and parked their carriages. The garden buildings were continuous and all made of stone, created by the heavenly emperor. Whenever a king arrived, he would come to this courtyard from the east gate of the lane, take off his royal clothes, swords, shoes, and other ceremonial items, and the carriages and attendants would stay here. Then he would go west and enter the temple. The courtyard to the west was named the courtyard for the kings' wives to undress, with the gate opening to the south. When Queen Mallika (末利夫人，wife of King Prasenajit) and other kings' wives came to worship the Buddha, they would first take off their clothes and tidy up their appearance here, and then enter the great courtyard to see the Buddha. The great courtyard in the middle to the north was named the food offering courtyard, divided into two sections, each divided into three large gates horizontally. The north and south gates led to the food kitchen courtyard, separated by a large wall, with two gates opened to connect the three places. The central courtyard only received heavenly offerings, with a □ great hall standing in the middle. It was extremely wide from east to west, and when there were great meritorious deeds, the heavenly beings would come down to prepare the meals. There were two wells north of the hall, one on the east and one on the west, built with bluestone, with spring water gushing out.

無竭。東是梵王西是帝釋。一開已后終無竭敗。院西南角有一小院。中有小堂是維那者監護住此院。東南角有一小院名牛馬坊。中院西坊是凈人住。周遍三面列房開戶。院門南東開。諸造食者常止此中。唯是男子十八已上修飾客儀。入于中院北入食廚。造產生熟其房。

次北有一佛堂鐘臺周廓。是上凈人常禮事房中。院東坊有倉碾碓硙。南西北方各開門。日有米穀食調營理頻煩。人物榱丙此院尤甚。其北大堂名造食廚。橫置一舍廣極眺矚。有三十六灶。東西而列銀同所成。中諸食器為是天有人非所議。廚東一院門向南開。是米麵庫眾具藏此院。東北角有一小院。中有房宇典座所居凡日造食。維那廚舍之前。典座居廚之後。院更有職司不相攝屬。最巷北大院名僧食所。自開三門中門之北有大食堂。堂前列樹方維相對交陰相接。渠流灌注甚可觀閱。凡僧食者多止此林。值雨依堂故有兩設林。南院北門之右食廚之地置一食堂。凡造訖凈人持之來置此堂。不入北院時至。行訖量此堂中僧。但取食曾不見諸食具故有僧制。東廚食房非知事者不得輒至。斯則凈穢兩別各有其途。凈地所置事不獲已。故在寺東三里而置。別結大界于上加時。若依教中大小乘經皆所不許。僧廚凈廚縱有結者。是佛前制后敕廢前。自有常則得安樂。

【現代漢語翻譯】現代漢語譯本：無竭（指功德、智慧等用之不盡）。東邊是梵王（Brahmā，佛教護法神），西邊是帝釋（Indra，佛教護法神）。一旦開啟，終究不會衰竭敗壞。院子的西南角有一個小院，其中有個小堂，是維那（寺院中負責僧眾事務的僧官）監督管理這個院子。東南角有一個小院，名叫牛馬坊。中院西邊的房屋是凈人（負責寺院雜務的在家之人）居住的地方。四周三面排列著房屋，都開著門。院門朝南向東開。所有負責做飯的人常住在這裡。只有十八歲以上的男子，經過修飾打扮，才能進入中院，從北邊進入廚房。他們在這裡製作成熟食物。再往北有一個佛堂和鐘臺，四周環繞。這是上凈人（高級凈人）經常禮拜的地方。院子東邊的房屋有倉庫、碾米、碓米、磨面等設施。南、西、北方向各開一個門。每天米穀食物的調配管理非常頻繁，人員來往很多，這個院子尤其如此。其北邊的大堂名叫造食廚，橫向設定一個大屋子，非常寬敞。有三十六個灶，東西向排列，都是用銀和銅製成的。裡面的各種餐具，是天人所用的，不是凡人可以議論的。廚房東邊有一個院門向南開，是米麵倉庫，各種用具都藏在這個院子里。東北角有一個小院，裡面有房屋，是典座（寺院中負責飲食的僧官）居住的地方，每天負責做飯。維那住在廚房的前面，典座住在廚房的後面。院子里還有其他職司，互不統屬。最北邊的大院名叫僧食所。開了三個門，中間的門北邊有一個大食堂。食堂前面排列著樹木，方正相對，枝葉交錯，互相遮陰。水渠流動灌溉，非常值得觀看。凡是僧人吃飯，大多在這裡。遇到下雨，就依靠食堂，所以設定了兩處林地。南院北門右邊，在廚房的地方設定一個食堂。凡是做好的飯菜，凈人拿來放在這個食堂，不進入北院。時間到了，僧人來這裡吃飯。根據這個食堂里的僧人數量，只取用食物，從沒見過各種餐具，所以有僧人的制度。東邊的廚房，不是知事（寺院中負責事務的僧官）的人不得隨意進入。這是因為凈與穢要分開，各有各的道路。凈地設定在寺院東邊三里處，也是不得已的事情。另外設定大的界限，並在上面增加時間。如果按照佛教的大小乘經典，都是不允許的。僧人的廚房和凈人的廚房，即使有結界，也是佛陀之前制定的，後來又敕令廢除了之前的規定。只有遵循常理，才能得到安樂。

【English Translation】 English version: Inexhaustible (referring to merit, wisdom, etc., that is inexhaustible). To the east is Brahmā (a Buddhist guardian deity), and to the west is Indra (a Buddhist guardian deity). Once opened, it will never be exhausted or ruined. In the southwest corner of the courtyard is a small courtyard with a small hall, which is supervised and managed by the Vina (a monastic official in charge of monastic affairs). In the southeast corner is a small courtyard called the Ox and Horse Workshop. The houses on the west side of the middle courtyard are where the lay attendants (those who are responsible for the miscellaneous affairs of the monastery) live. The houses are arranged on all three sides, and all have doors. The courtyard door opens to the south and east. All those who are responsible for cooking often live here. Only men over the age of eighteen, after being dressed up, can enter the middle courtyard and enter the kitchen from the north. They prepare and cook the food here. Further north is a Buddha hall and a bell tower, surrounded on all sides. This is where the senior lay attendants often perform rituals. In the houses on the east side of the courtyard, there are facilities for storing grain, milling rice, husking rice, and grinding flour. There is a door in each of the south, west, and north directions. The allocation and management of rice and food are very frequent every day, and there is a lot of traffic, especially in this courtyard. The great hall to the north is called the Cooking Kitchen, a large room set up horizontally, which is very spacious. There are thirty-six stoves, arranged from east to west, all made of silver and copper. The various tableware inside are for the use of gods and humans, and are not for ordinary people to discuss. To the east of the kitchen, there is a courtyard door that opens to the south, which is the rice and flour warehouse, where various utensils are stored. In the northeast corner, there is a small courtyard with houses, where the Tenzo (a monastic official in charge of food and drink) lives, who is responsible for cooking every day. The Vina lives in front of the kitchen, and the Tenzo lives behind the kitchen. There are other offices in the courtyard that are not subordinate to each other. The northernmost courtyard is called the Monks' Dining Hall. Three doors are opened, and to the north of the middle door is a large dining hall. In front of the dining hall, trees are arranged squarely opposite each other, with branches and leaves intertwined, shading each other. The flowing irrigation of the canal is very worth watching. All monks who eat mostly stay in this forest. In case of rain, they rely on the dining hall, so two forest areas are set up. To the right of the north gate of the south courtyard, a dining hall is set up in the kitchen area. Whenever the food is ready, the lay attendants bring it and place it in this dining hall, without entering the north courtyard. When the time comes, the monks come here to eat. According to the number of monks in this dining hall, they only take food and have never seen various tableware, so there is a monastic system. Those who are not in charge of affairs are not allowed to enter the kitchen on the east side at will. This is because purity and impurity must be separated, each with its own path. It is also a last resort to set up a pure land three miles east of the temple. In addition, set up large boundaries and add time to them. According to the Buddhist Mahayana and Hinayana scriptures, they are not allowed. Even if the monks' kitchen and the lay attendants' kitchen have boundaries, they were formulated by the Buddha before, and later the previous regulations were abolished by imperial decree. Only by following the common sense can one obtain peace and happiness.

然行於廢教甚可畏也。后竹園寺依教立廚三里。里中荒林竦峻。有黑師子殺諸比丘。佛又開教阿難狹制限至三間。巷開無權不許遮礙。用斯諸地可不鏡乎。食林之東有一小院。門向南開。是僧凈人常行食者小便之。院東北角有小便處。若大便者出大院外別有處所。院北藥庫是供凡夫病比丘者。庫北二院。西是凡僧病人所居。東是病者大小便處。故寺僧院有凡僧病皆詣此中。食院西方又分二院。各不相通。南邊一院南東北門名脫著衣院。堂屋充滿。北有一院名浴室坊中有兩堂。東是衣堂西為浴室。浴具豐足。南開一門與前相對。佛在世時乃至后立。老病比丘不堪乞食方入此廚佛為法王常入城乞食返住常所示受飯食。諸餘侍從何得安坐。故諸老病每日食時。從大寺院東門雁行。而出北至廚院。北巷西門北入解脫衣院。脫大上衣置此院中。又著故衣從東門出入林。食訖在浴室院。脫故衣入浴室。洗訖入衣院中。著入寺禮從南門出。西巷南入大寺。明日來時脫著還爾。又東院僧之凈人男女大小皆止其中。亦有田業事不可述。裕師聖蹟記總集諸傳。以法顯為本。余以近聞亦未見諸錄。如經往述。叵相符會至於戒壇。凡聖僧房異設。院宇雖廣莫顯別之所由。層架單重熟明立之緣遘。今所圖傳備矚源流。尋諸聖意略可知矣。有人不信

【現代漢語翻譯】現代漢語譯本：然而，（寺院）按照廢棄的教規行事是非常可怕的。後來，竹園寺按照教規在三里外設立廚房。那裡的荒林高聳險峻，有黑師子（一種惡鬼）殺害許多比丘（和尚）。佛陀又開示阿難（佛陀的弟子），（僧房的）狹窄限制是三間。巷道開設不得擅自遮擋。用這些地方的例子難道不可以作為借鑑嗎？在食林（提供食物的林地）的東邊有一個小院，門朝南開。這是僧人和凈人（負責寺院雜務的在家信徒）經常去吃飯和大小便的地方。院子的東北角有小便處。如果需要大便，則要出大院外，另有處所。院子北邊的藥庫是為凡夫（指未證悟的人）和生病的比丘準備的。藥庫北邊有兩個院子，西邊是凡夫僧人和病人居住的地方，東邊是病人大小便的地方。所以寺院裡凡是僧人生病，都到這裡來。食院（提供食物的院落）的西邊又分為兩個院子，彼此不相通。南邊的一個院子，南、東、北門名為『脫著衣院』，堂屋充滿。北邊有一個院子名為『浴室坊』，裡面有兩座堂，東邊是衣堂，西邊是浴室。浴室用具充足。南邊開一扇門與前面相對。佛陀在世時乃至後來建立的（規矩），年老體弱的比丘無法乞食時才進入這個廚房。佛陀作為法王，經常入城乞食，返回后常親自示範接受飯食。其他侍從怎麼能安坐不動呢？所以，那些年老體弱的比丘每天吃飯時，從大寺院的東門排成雁行，向北走到廚房院。從北巷的西門向北進入解脫衣院。脫下大上衣放在這個院子里，然後穿上舊衣服，從東門出入林地。吃完飯後，在浴室院脫下舊衣服進入浴室。洗完澡後進入衣院，穿好衣服進入寺院，從南門出去，向西進入大寺。第二天來的時候，脫衣和穿衣還是按照這樣。另外，東院的僧人、凈人、男女老少都住在這裡面，也有田地產業，情況難以詳述。裕師的《聖蹟記》總集了各種傳記，以法顯（東晉僧人）的記錄爲根本，其餘則以近來聽聞的為主，也沒有見到其他記錄。如果按照經文來描述，恐怕難以相符。至於戒壇（受戒的場所）、凡聖僧房的設定，院宇雖然寬廣，但沒有明顯的區分之處。層架的單重結構，難以明白建立的緣由。現在所圖所傳，詳細記錄了源流，探尋諸位聖人的意思，大概可以瞭解了。如果有人不相信……

【English Translation】 English version: However, acting according to abandoned precepts is very frightening. Later, Zhuyuan Monastery established a kitchen three 'li' (a Chinese unit of distance) away, according to the precepts. The desolate forest there was towering and steep, and a Black Lion (a type of evil spirit) killed many 'bhikkhus' (monks). The Buddha further instructed Ananda (the Buddha's disciple) that the narrow limit (of a monk's dwelling) was three 'jian' (a Chinese unit of space). Lanes should be opened without unauthorized obstruction. Can't the examples of these places serve as a warning? To the east of the 'Shilin' (food-providing forest) is a small courtyard with a south-facing gate. This is where monks and 'jingren' (lay devotees responsible for monastery affairs) often go to eat and relieve themselves. In the northeast corner of the courtyard is a place for urination. For defecation, one must go outside the main courtyard to a separate location. The medicine storehouse north of the courtyard is for ordinary people (those who have not attained enlightenment) and sick 'bhikkhus'. North of the medicine storehouse are two courtyards; the western one is where ordinary monks and sick people reside, and the eastern one is where the sick relieve themselves. Therefore, whenever a monk in the monastery is sick, they all come here. To the west of the 'Shiyuan' (food-providing courtyard) are two more courtyards, not connected to each other. The southern courtyard, with gates to the south, east, and north, is called the 'Taking Off and Putting On Clothes Courtyard', filled with halls. To the north is a courtyard called the 'Bathroom Quarter', with two halls inside. The eastern one is the clothes hall, and the western one is the bathroom. Bathing equipment is abundant. A gate opens to the south, facing the front. This (rule) was established during the Buddha's lifetime and even later, that elderly and weak 'bhikkhus' who could not beg for food would enter this kitchen. The Buddha, as the Dharma King, often entered the city to beg for food and would always personally demonstrate receiving food upon returning. How could the other attendants sit idly by? Therefore, those elderly and weak 'bhikkhus' would line up in a 'V' formation every day at mealtime, exiting the east gate of the main monastery and heading north to the kitchen courtyard. They would enter the 'Undressing Courtyard' from the west gate of the north lane. They would take off their outer robes and place them in this courtyard, then put on old clothes and enter and exit the forest from the east gate. After eating, they would take off their old clothes in the bathroom courtyard and enter the bathroom. After bathing, they would enter the clothes courtyard, put on their clothes, and enter the monastery, exiting from the south gate and heading west into the main monastery. The next day, they would take off and put on their clothes in the same way. Furthermore, the monks, 'jingren', men, women, old, and young in the east courtyard all lived there, and there were also fields and properties, the details of which are difficult to describe. Master Yu's 'Records of Holy Traces' is a compilation of various biographies, based on the records of Faxian (a Jin Dynasty monk), with the rest based on recent hearsay, and I have not seen other records. If described according to the scriptures, it would probably be difficult to match. As for the establishment of the ordination platform (the place for receiving precepts) and the dwellings of ordinary and holy monks, although the courtyards are vast, there is no clear distinction. The single-layered structure of the shelves makes it difficult to understand the reason for their construction. What is now depicted and transmitted records the origins in detail, and by exploring the intentions of the saints, one can probably understand. If someone does not believe...

。謂是幽冥幻夢之傳。何足希仰。余為幻夢影響凡聖同之。俱是性空知何準的。但凡素識有若霧游昏迷方所。妙假津導導之有漸。或天或人詞理可從。無越前軌如可承寄。隨凡則行忽與理乖聖亦須擲。豈有雷同都無情誨。故佛大聖人也。堂堂相狀天下獨尊。有邪見者敬而不敬。佛亦隨性任其誹之。如有所說與法不違。佛亦聽之隨而受學。故文云。所謂法者佛說天說化人所說。據斯論說幽顯咸陳。余以亦以此事門之所聞。則同天人說。恐凡莫信不受斯述。彼日為信者施自然獲福。彼不信者目睹佛經尚不能用。聞此不信何足涉之。置之言外不胥述彼。余聞斯告情事豁然。故備出之。非無遺囑擬重祈請。庶覿聖蹟有若面焉。

華胥大夏中天竺舍衛國祇洹圖經卷下(終)

唐干封二年春未感通出之。統祥諸西域聖蹟。此為條貫隨語隨疏。且存筆受事超凡表周絕飾詞。幸有逢者知斯大意。余見前代諸傳。組織表軸殊有可觀。至於時代罕有存者。覽法師所作前後表之。敢附后庶足為龜鏡。開卷鑒目無昧心神可不好耶。

唐元和一紀十二月初旬一日記了

(合如法經寫筆陳且在本)此圖經一本茍湛譽禪師自輸。紙筆兼勞書之。施於圓珍。甚喜永為佛種後生。同會祇洹精舍奉親　牟尼金容蒙授尊位。日本元慶

【現代漢語翻譯】現代漢語譯本：他們說是幽冥幻夢的傳說，哪裡值得希求仰望？我認為幻夢影響，凡人和聖人都是一樣的，都是性空，知道什麼才是準則？只是凡人向來認識的，就像霧中游走，昏迷了方向。巧妙的方便法門可以引導他們，引導他們逐漸進步。或者天人所說的話，道理可以遵循，沒有超出前人的規範，就像可以承接寄託一樣。如果順從凡人的想法而行，忽然與真理相違背，即使是聖人也必須拋棄。難道會有雷同而沒有情理教誨的情況嗎？所以佛是大聖人啊，堂堂的相貌，天下獨尊。有邪見的人，表面上尊敬，內心卻不尊敬。佛也隨順他們的心性，任憑他們誹謗。如果他們所說的話與佛法不違背，佛也聽取，並隨之學習。所以經文說：『所謂法，是佛所說、天所說、化人所說。』根據這些論述，幽冥和顯明都陳述出來了。我也以此事門中所聽聞的，與天人所說相同。恐怕凡人不相信，不接受這些敘述。那些以太陽為信物的人，自然會獲得福報。那些不相信的人，即使親眼看到佛經，也不能運用。聽到這些還不相信，又何必涉及呢？將這些置之言外，不再敘述他們。我聽到這些話，情理豁然開朗，所以全部寫出來。並非沒有遺囑，而是打算再次祈請，希望能夠親眼見到聖蹟，就像面對面一樣。

《華胥大夏中天竺舍衛國祇洹圖經》卷下（終）

唐干封二年春，未感通整理出來。統祥收集了西域的聖蹟，這作為條理綱要，隨著語句進行疏解。姑且儲存筆錄，這件事超越凡俗，周全而絕妙，沒有華麗的辭藻。希望有緣遇到的人，能夠了解其中的大意。我看到前代的各種傳記，組織和裝裱都很可觀，至於時代，很少有儲存下來的。我瀏覽了法師所作的前後表，斗膽附在後面，或許可以作為借鑑。打開書卷，明鑑雙目，不要迷惑心神，難道不好嗎？

唐元和一紀十二月初旬一日記了

（全部按照如法經書寫，筆墨陳列在本上）這本圖經是茍湛譽禪師自己捐輸的，紙筆兼備，辛勤書寫。施捨給圓珍，非常歡喜，永遠作為佛種，後世一同在祇洹精舍相會，侍奉牟尼（釋迦摩尼佛的稱號）金容，蒙受尊位。日本元慶

【English Translation】 English version: They say it is a transmission of dark and illusory dreams, what is there to hope for and look up to? I believe that dreams influence both ordinary beings and sages alike; all are empty in nature, so how can one know what is truly accurate? It is just that ordinary people, as they have always known, are like wandering in a fog, their senses confused as to direction. Skillful expedient means can guide them, gradually leading them forward. Or the words spoken by devas (gods) and humans, the principles can be followed, without exceeding the norms of the predecessors, just as one can inherit and entrust. If one follows the thoughts of ordinary people and suddenly goes against the truth, even sages must abandon it. How could there be uniformity without compassionate teachings? Therefore, the Buddha is a great sage, with a dignified appearance, uniquely honored in the world. Those with wrong views may outwardly respect but inwardly disrespect. The Buddha also follows their nature, allowing them to slander him. If what they say does not contradict the Dharma, the Buddha also listens and learns from it. Therefore, the sutra says: 'The so-called Dharma is what the Buddha speaks, what the devas speak, and what the transformed beings speak.' According to these discourses, both the hidden and the manifest are presented. I also, from what I have heard in this matter, agree with what the devas say. I fear that ordinary people will not believe and will not accept these narrations. Those who take the sun as a token of faith will naturally receive blessings. Those who do not believe, even if they see the Buddhist scriptures with their own eyes, cannot use them. Hearing this and still not believing, why bother to get involved? Put these aside and no longer narrate about them. Hearing these words, my understanding of the situation became clear, so I have written it all down. It is not that there are no last words, but rather I intend to pray again, hoping to see the sacred traces as if face to face.

The Illustrated Sutra of Jetavana (Gion) Garden in Shravasti (Savatthi), Central India, in the Great Xia of Huaxu, Volume 2 (End)

Compiled in the spring of the second year of the Qianfeng era of the Tang Dynasty by Wei Gantong. Tongxiang collected the sacred sites of the Western Regions, using this as a framework, explaining along with the sentences. Let us preserve the writing; this matter transcends the ordinary, is complete and exquisite, without flowery language. I hope that those who encounter it by chance will understand the general meaning. I have seen various biographies from previous generations, the organization and mounting are quite impressive, but as for the era, few have been preserved. I have browsed the prefaces and postfaces made by the Dharma master, and I dare to attach them at the end, perhaps they can serve as a mirror. Opening the scroll, clearly discerning with your eyes, do not confuse your mind, is it not good?

Recorded on the first day of the twelfth lunar month of the first year of the Yuanhe era of the Tang Dynasty

(All written according to the Dharma Sutra, the pen and ink are arranged on this) This illustrated sutra was donated by Chan Master Gou Zhanyu himself, providing both paper and ink, diligently writing it. He donated it to Yuanzhen, who was very happy, forever as a seed of Buddhahood, to meet together in Jetavana (Gion) Vihara (精舍) in future lives, serving the golden image of Muni (釋迦摩尼佛的稱號) (Shakyamuni Buddha), receiving the honored position. Japan, Yuanqing

四年八月一日。延歷寺沙門圓珍于總持坊記(昨日彼上人自將來。緣此方燈期朔日故埴忌不話)。

已上智證大師御記

祇洹圖經跋

大日本國純一無雜大乘之域。而幽顯歸於我。千有餘歲於斯矣。未曾聞信邪小。蓋金口之懸記不徒然耳。是以名藍大剎星列棋佈。佛說祖教月照嶽立。故我大智律師初震於此經。所謂逸書今尚存也。然異境之俗不知天龍鬼神冥助土木之功。而謗吾以殿宇費財產而蠹國家也。由是或蒙天誅或陷貶謫。偶看此經者免彼難而已矣。此餘憤鏤以傳無窮之微意也。或曰此經也寓言鬼神。而其說甚怪也。誰敢容焉。蒙謂釋典怪說凡俗中賢哲尚知信用。之況形廁緇林還輕忽。之則可謂枯槁眾生也。且寓言鬼神也者道世之為開敏也。贊寧之為弘雅也。仰信之俯會之。嗚今人道愧於先達。學謝於後生。輒生過慢無有此處。第疑猶間有三已之訛。雖然他本難得不能訂正焉。祖意難量不能改削焉。故和點有亦不決也。敢期后君子云。

日本天和元年十月下旬六日重受。比丘乘春記石清水神宮律寺。

法苑珠林第五十二曰。依宣律師祇洹寺感通記云。經律大明祇洹寺之基趾。多雲八十頃地一百二十院。準約東西近有十里。南北七百餘步(云云)又鳴鐘部(云云)又說法部(云云)

【現代漢語翻譯】現代漢語譯本：四年八月一日。延歷寺（Enryaku-ji，日本寺廟名）沙門（Shamon，出家人的通稱）圓珍（Enchin，人名）于總持坊（Sojibo，寺廟中的住所）記（昨日彼上人自將來。緣此方燈期朔日故埴忌不話）。已上智證大師（Chisho Daishi，人名）御記祇洹圖經跋大日本國是純一無雜的大乘佛法之境。而幽冥與顯明都歸屬於我。一千多年以來都是如此。從未聽說過有人信奉邪門歪道。大概是佛祖金口所說的預言並非虛言。因此，名寺大剎如同星辰般羅列，佛陀的教誨和祖師的教義如同明月照耀，山嶽屹立。所以我大智律師最初在此闡釋此經。所謂的遺失之書至今尚存。然而異地之俗人不知道天龍鬼神暗中幫助土木工程，反而誹謗我們說殿宇耗費財產，蠹蝕國家。因此，有人因此遭受天譴，有人因此被貶謫。偶爾看到此經的人可以免除這些災難。這是我憤慨地刻寫下來，以傳達無窮無盡的微小意義。有人說這部經書是寓言鬼神，而且其中的說法非常怪異，誰敢容忍呢？我認為佛經中怪異的說法，即使是凡夫俗子中的賢哲尚且知道信任和使用，更何況是身處佛門的人反而輕視和忽略它，那就可以說是枯槁的眾生了。而且，所謂寓言鬼神，是道世（Daoshi，人名）爲了開啟智慧，贊寧（Zanning，人名）爲了弘揚文雅。應該仰慕和相信它。唉，現在的人在道德上愧對先賢，在學識上不如後生，動不動就產生過分的傲慢，沒有一處不這樣。只是懷疑其中或許有『三已』的訛誤。雖然其他版本難以得到，無法訂正。祖師的意圖難以衡量，無法改動刪削。所以和點（Waten，日文漢字讀法）也有無法決定的地方。希望後來的君子能夠理解。日本天和元年十月下旬六日重受。比丘（Biku，佛教出家男子）乘春（Josyun，人名）記于石清水神宮律寺（Iwashimizu Hachimangu Ritsuji，寺廟名）。《法苑珠林》（Fayuan Zhulin，佛教典籍名）第五十二卷說：依據宣律師（Xuan Lushi，人名）《祇洹寺感通記》（Qihuan Si Gantong Ji，書籍名）所說，經律中明白記載祇洹寺（Jetavana Vihara，佛教寺廟名）的基址，大多說有八十頃地，一百二十個院落。按照推算，東西方向接近十里，南北方向七百多步（云云）。又有鳴鐘部（云云），又有說法部（云云）。

【English Translation】 English version: Year 4, August 1st. Enchin (person's name), a Shamon (general term for a Buddhist monk) of Enryaku-ji (name of a Japanese temple), recorded at Sojibo (residence in a temple) (Yesterday that Superior came himself. Because it was the first day of the lantern festival in this area, there was no talk of Hani-iwa). Above, the record of Chisho Daishi (person's name). Postscript to the Illustrated Sutra of Jetavana. The Great Land of Japan is a pure and unadulterated realm of Mahayana Buddhism. Both the hidden and the manifest return to me. It has been so for over a thousand years. I have never heard of anyone believing in heretical or minor paths. Perhaps the Buddha's golden words were not spoken in vain. Therefore, famous temples and great monasteries are arranged like stars, and the Buddha's teachings and the Patriarch's doctrines shine like the moon and stand like mountains. Therefore, our Great Wisdom Lawyer (Daichi Risshi) first expounded this sutra here. The so-called lost book still exists today. However, the customs of foreign lands do not know that the dragons, gods, and spirits secretly assist in the construction, and instead slander us, saying that the halls and buildings waste property and corrode the country. Therefore, some suffer divine punishment, and some are demoted and exiled. Those who occasionally see this sutra can avoid these disasters. This is what I indignantly engraved to convey the endless subtle meaning. Some say that this sutra is an allegory of ghosts and spirits, and that its sayings are very strange. Who dares to tolerate it? I believe that even the wise among ordinary people know to trust and use the strange sayings in Buddhist scriptures, let alone those who are in the Buddhist community, who instead despise and ignore them. That can be said to be withered beings. Moreover, the so-called allegory of ghosts and spirits is Daoshi's (person's name) way of opening wisdom, and Zanning's (person's name) way of promoting elegance. We should admire and believe in it. Alas, people today are ashamed of their predecessors in morality and inferior to their successors in learning. They are prone to excessive arrogance, and there is no place where this is not the case. I only suspect that there may be errors in the 'three already' (san i) within it. Although other versions are difficult to obtain and cannot be corrected, the Patriarch's intentions are difficult to measure and cannot be altered or deleted. Therefore, there are also places where the Japanese reading marks (Waten) cannot be decided. I hope that future gentlemen will understand. Rewritten on the sixth day of the last ten days of October in the first year of Tenwa in Japan. Biku (Buddhist monk) Josyun (person's name) recorded at Iwashimizu Hachimangu Ritsuji (temple name). The fifty-second volume of the Fayuan Zhulin (name of a Buddhist text) says: According to Xuan Lushi's (person's name) 'Record of the Response of Jetavana Temple' (Qihuan Si Gantong Ji, name of a book), the scriptures and precepts clearly record the foundation of Jetavana Vihara (name of a Buddhist temple), mostly saying that it has eighty qing of land and one hundred and twenty courtyards. According to the calculation, it is nearly ten li from east to west and more than seven hundred steps from north to south (etc.). There is also the bell-ringing section (etc.), and there is also the Dharma-speaking section (etc.).

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宋高僧傳第十四曰。有天人云。曾撰祇洹圖經。計人間紙帛一百許卷。宣苦告口占一一抄記上下二卷。

又曰至於干封之際。天神合沓或寫祇洹圖經付囑儀等。且非寓言于鬼神乎。君不見十誦律中諸此丘尚揚言。目連犯妄。佛言目連隨心想說無罪。佛世猶爾。像季嫉賢斯何足怪也。

僧史略曰。案祇洹圖經寺中有玻黎師子。形如拳許大口出妙音。菩薩聞之皆超地位。每至臘月八日。舍衛城中士女競持香花。來聽法音。

又曰案靈裕法師寺誥。凡有十名寺。一曰寺(乃至)依祇桓圖經釋。相各有意致。如彼寺誥也。

資持記曰。圖經近日本將至文有兩卷。即祖師撰者。

南山律師撰集錄曰。祇桓寺圖二卷。干封二年制未見。

戒壇圖經曰。余所撰祇桓圖經上下兩卷。修緝所聞統收經律。討仇諸傳極有蹤緒。

義楚六帖二十一曰。宣律師祇園感通紀云。地八十頃東西十里。須達布金買之(云云)百丈清規(云云)。

往生要集上本曰。病僧聞聲苦惱。即除得清涼樂。如入三禪乘生凈土。

【現代漢語翻譯】現代漢語譯本：《宋高僧傳》第十四卷記載：有天人說，曾撰寫《祇洹圖經》（Jetavana Picture Scripture），如果用人間的紙帛計算，大約有一百多卷。宣律師（指道宣律師）口述，一一抄錄成上下兩卷。

又說，在干封年間，天神紛紛降臨，有的書寫《祇洹圖經》並交付囑託儀式等。這難道不是將寓言寄託于鬼神嗎？您沒看到《十誦律》中，有些比丘還揚言，目連（Maudgalyayana，佛陀十大弟子之一，以神通著稱）犯了妄語。佛陀說，目連隨心所想而說，沒有罪過。佛陀在世時尚且如此，末法時代嫉妒賢能之人，又有什麼可奇怪的呢？

《僧史略》記載：根據《祇洹圖經》，寺廟中有一尊琉璃獅子，形狀像拳頭那麼大，口中發出美妙的聲音。菩薩聽到后，都能超越現有的地位。每到臘月初八，舍衛城（Shravasti，古印度城市，佛陀在此弘法多年）的士女爭相拿著香花，來聽聞佛法。

又說，根據靈裕法師的寺廟誥文，總共有十個寺廟的名字。（乃至）依據《祇洹圖經》解釋，各個寺廟的含義各有不同，就像那篇寺廟誥文所說的那樣。

《資持記》記載：《圖經》近日有日本僧人將要帶到，文中有兩卷，是祖師撰寫的。

南山律師（道宣律師）撰寫的《集錄》記載：《祇桓寺圖》二卷，干封二年制定，但未曾見到。

《戒壇圖經》記載：我所撰寫的《祇洹圖經》上下兩卷，收集整理所聽聞的，統合經律，考證各種傳記，極有條理。

義楚《六帖》第二十一卷記載：宣律師的《祇園感通紀》說，土地八十頃，東西十里。須達（Sudatta，給孤獨長者，Anathapindika）用黃金鋪地買下（云云）。《百丈清規》（云云）。

《往生要集》上本記載：生病的僧人聽到聲音，痛苦煩惱立即消除，得到清涼快樂，如同進入三禪，乘此功德往生凈土。

【English Translation】 English version: The fourteenth volume of the 'Song Gao Seng Zhuan' (Biographies of Eminent Monks of the Song Dynasty) records: A Deva (celestial being) said that he had compiled the 'Jetavana Picture Scripture,' which would amount to over a hundred scrolls if calculated using human paper and silk. The Vinaya Master Xuan (referring to Daoxuan) dictated it, and it was copied down into two volumes, upper and lower.

It also says that during the Ganfeng era, Devas descended in droves, some writing the 'Jetavana Picture Scripture' and entrusting rituals, etc. Isn't this entrusting allegories to ghosts and spirits? Haven't you seen that in the 'Ten Recitation Vinaya,' some Bhikkhus (monks) even proclaimed that Maudgalyayana (one of the Buddha's ten great disciples, known for his supernatural powers) had committed falsehood? The Buddha said that Maudgalyayana spoke according to his thoughts and was not guilty. It was like this even when the Buddha was alive, so what's so strange about jealousy towards the virtuous in the Dharma-ending age?

The 'Seng Shi Lue' (Abridged History of the Sangha) records: According to the 'Jetavana Picture Scripture,' there is a crystal lion in the temple, shaped like a fist, emitting wonderful sounds from its mouth. Bodhisattvas (enlightenment beings) who hear it can transcend their current status. Every year on the eighth day of the twelfth lunar month, the men and women of Shravasti (an ancient Indian city where the Buddha taught for many years) compete to bring incense and flowers to listen to the Dharma.

It also says that according to Dharma Master Lingyu's temple proclamation, there are a total of ten temple names. (And so on) According to the 'Jetavana Picture Scripture,' the meanings of each temple are different, just as that temple proclamation says.

The 'Zizhi Ji' (Record of Supporting and Maintaining) records: The 'Picture Scripture' will soon be brought by a Japanese monk, and there are two volumes in the text, written by the Patriarch.

The 'Jilu' (Collected Records) written by Vinaya Master Nanshan (Daoxuan) records: 'Jetavana Temple Picture,' two volumes, formulated in the second year of Ganfeng, but never seen.

The 'Ordination Platform Picture Scripture' records: The 'Jetavana Picture Scripture' I compiled has two volumes, upper and lower, collecting and organizing what I have heard, integrating the Sutras and Vinaya, and verifying various biographies, which is extremely methodical.

The twenty-first volume of Yichu's 'Liu Tie' (Six Collections) records: Vinaya Master Xuan's 'Jetavana Gantuan Ji' (Record of Jetavana's Miraculous Response) says that the land is eighty qing (a unit of area), ten li (a unit of distance) from east to west. Sudatta (Anathapindika, the Elder) bought it by paving the ground with gold (etc.). 'Baizhang Qinggui' (Baizhang's Rules of Purity) (etc.).

The upper volume of the 'Ojo Yoshu' (Essentials for Rebirth in the Pure Land) records: When a sick monk hears the sound, his suffering and distress immediately disappear, and he obtains cool and blissful joy, as if entering the third Dhyana (meditative state), and by this merit, he is reborn in the Pure Land.