Chinese
从云层中显现闪电和武器的光芒，空中呈现降下花雨的景象。在那景象与佛陀所在之处的中间，画一位正在禅定的比丘。另外，在外面的地面上，画佛陀安住的座前有国王及其眷属，许多人拿着鲜花，当他们把鲜花撒在地上时，鲜花变成刀剑、匕首、战斧、弓箭和单尖武器等各种兵器，落到地上。再画在一座楼阁里，国王正在供养一位比丘。这是关于降伏龙王难陀和近难陀的故事。（瓦） 又，在一片森林中，画一个巨人的形象，肩膀上扛着装满五百张弓箭的箭筒，与许多商人一起行走。许多强盗倒在地上死去，箭矢一半没入土中和树木中，许多强盗逃跑的样子。在森林的景象中，画在那座楼阁里，巨人被许多妇女眷属围绕着，外面也有城市和集市的景象。又，在一侧，画巨人向几位比丘供养食物，如殊胜双运等，并供养其他物品的场景。在一座寺庙里，在类似供奉柱的上方，画在石莲花座上有一个珍宝顶饰，装饰华丽的妇女眷属拿着供品，正在寺庙里供养和绕转。在一个有水池且四周有围墙的地方旁边，画巨人正在洗头发的样子，许多手持武器的刽子手在周围环绕。在其附近，画黑色旋风中显现出黑色且龇牙咧嘴、手持武器的形象。旁边是森林的景象，以及和之前一样的城市。在那景象的远处的天空中，画多闻天王手持棍棒和吐宝鼬，被许多夜叉眷属围绕着，一位黑色夜叉身着盔甲，正在多闻天王的面前听令。从那座城市里，画出抬出尸体并送到墓地的两三个场景。许多婆罗门正在向聚集的人群进行预言。
English
From within the clouds, flashes of lightning and weapons appear, transforming the sky into a scene of falling flower rain. In between that scene and where the Buddha resides, draw a meditating monk. Also, on the ground outside, draw the king and his retinue before the Buddha's seat, with many people holding flowers. As they scatter the flowers on the ground, the flowers transform into various weapons such as swords, daggers, battle-axes, bows and arrows, and single-pointed weapons, falling to the ground. Draw also in a mansion, the king making offerings to a monk. This is the story of subduing the dragon kings Nanda and Upananda. (Va) Furthermore, in a forest, draw a giant carrying quivers filled with five hundred bows and arrows on his shoulders, walking together with many merchants. Many robbers are falling to the ground and dying, with arrows half-embedded in the earth and trees, and many robbers fleeing. In a forest scene, draw the giant in that mansion, surrounded by many female attendants, and outside there are also scenes of a city and a marketplace. Also, on one side, draw the giant offering food, such as excellent dual offerings, to some monks, and offering other items. In a temple, on top of something resembling an erected offering pillar, draw a jewel crest on a stone lotus seat, and female attendants adorned with ornaments, holding offerings, are making offerings and circumambulating the temple. Next to a pond surrounded by a fence, draw the giant washing his hair, with many executioners holding weapons surrounding him. Nearby, draw a black figure with bared fangs, holding weapons, emerging from a black whirlwind. Next to that is a forest scene, and the same city as before. In the distant sky of that scene, draw Vaishravana holding a club and a mongoose, surrounded by many yaksha attendants, and a black yaksha wearing armor is listening to Vaishravana's command. From that city, draw two or three scenes of carrying out corpses and taking them to the cemetery. Many Brahmins are making prophecies to the assembled people.
Chinese
做法是，许多人连同车辆一起开始逃跑，一个可怕的罗刹挡住了道路。在一个方向上，夜叉的寺庙里堆满了血肉，寺庙外停着一辆由六头牛拉的马车，里面装满了食子和各种食物，一个被绳索捆绑的人也被放在那里，周围描绘着歌舞音乐。另外，在附近的一所房子里，描绘着一个男人和一个抱着小孩的女人在说话。从房子上面，描绘着那个女人摆设了许多供品并合掌。在那边，夜叉的住所和之前的一样，里面的一侧坐着佛陀。门口，之前的那个黑色夜叉以说话的姿态出现，佛陀从外面来，另一个门口，佛陀进入里面，外面的一侧，一个非常丑陋、龇牙咧嘴，脸色不定，许多手中拿着各种武器，许多脚，在火焰旋风中，描绘着黑色夜叉昏倒并倒在地上。这在《律分别》的例子中没有回答就是缺失，在正确的例子和其它场合的历史中存在。像之前的寺庙里，佛陀面前，夜叉听法的姿态，车辆等的布置也和之前的一样，只是把被捆绑的人换成了一个小孩。寺庙里的一个方向，那个夜叉抱着那个小孩，献给佛陀，寺庙外面，描绘着佛陀的父母，是男女主人的形象，把孩子还给他们。这是关于夜叉伪装成牧民的故事。（ཞ） 以上是接近之前两个龙伪装等的时间。另外，在那些布置附近，在类似于之前森林可见的城市门口，描绘着一个年轻女子乘坐车辆，带着随从进入，一个年轻主人乘坐车辆，带着随从出去，两辆车的车辕相遇。城市里的一座豪宅里，那个女人供养那个主人。
English
The method is that many people, along with their vehicles, started to flee, but a terrifying Rakshasa blocked the road. In one direction, outside a Yaksha temple filled to the brim with flesh and blood, there was a chariot drawn by six oxen, filled with torma and various foods, and a person bound by ropes was also placed there, with singing, dancing, and music depicted all around. Also, nearby in a house, a man and a woman holding a small child are depicted talking. From the top of the house, the woman is depicted arranging many offerings and folding her hands in prayer. On the other side, the Yaksha's abode is the same as before, but on one side inside, the Buddha is seated. At the door, the previous black Yaksha is depicted in a talking posture, with the Buddha coming from outside, and at another door, the Buddha entering inside. On one side outside, a very ugly being with bared fangs, an uncertain complexion, many hands holding various weapons, and many feet, is in the midst of a fiery whirlwind, in front of whom the black Yaksha is depicted fainting and falling to the ground. This is missing in the example of the Vinaya-vibhanga, meaning it is incomplete, but it exists in the correct examples and in the history of other occasions. Inside a temple like the previous one, in front of the Buddha, the Yaksha is in a posture of listening to the Dharma, and the arrangement of vehicles and so on is also the same as before, except that instead of a bound person, a small child is placed there. In one direction inside the temple, the Yaksha takes the child and offers it to the Buddha, and outside the temple, the Buddha's parents, in the form of a male and female householder, are depicted returning the child to them. This is the story of the Yaksha disguised as a herdsman. (ཞ) The above is close to the time of the previous two dragons disguising themselves, etc. Also, near those arrangements, at the gate of a city similar to the previously seen forest city, a young woman is depicted entering with her entourage in a vehicle, and a young householder is depicted going out with his entourage in a vehicle, with the yokes of the two vehicles meeting. In a mansion inside the city, the woman is offering to the householder.
Chinese
并且，在那户人家的外面的另一边，画施主向佛陀听法，以及在一座带有铁栅栏围墙的寺庙里，导师和眷属居住，外面有很多人围绕，里面供奉供品的景象。又在一个方向，画那位施主去世，以及代表净居天的天神，天神是金色的，穿着像出家人一样的衣服，但用发髻和饰品装饰，闪耀着光芒照亮四面八方，无碍地来到山上的景象，以及那位天神在世尊面前听法。在那边的另一个地方，在一个场景里，画一位富有的施主，一位国王，以及许多人拿着画有国王、大臣、商人之类的画像的唐卡，还有一位年轻女子在另一个方向抛洒鲜花的景象，以及许多人聚集在那里观看的情景。这些是描绘在牧地安居，并将手印置于真理之上的景象。这个事业是模仿夜叉在牧地伪装之后，即使已经过去了很多年，也因为与之前的事情有关联，所以要一起绘制。（ཟ） 还有两个场景，中间用山林等稍微空旷的地方隔开。在那一边，在国王的宫殿里，画一套盔甲被组装起来放入箱子的样子，以及在另一间房屋里，国王和商人们交谈，以及在另一个方向，一些商人向国王呈送国王的信件和箱子的样子。在场景的这一边，在一座宫殿里，画商人们向国王献上那些东西，以及在那间房屋的另一边，国王和大臣们一起观看那套盔甲，以及在另一个方向，国王不高兴，手托着下巴思考的样子，前面有几个人在禀告事情，以及在外面的另一间房屋里，国王在佛陀面前祈求的样子，以及在一个方向，佛陀站立，在展开的画布上散发着佛陀的光芒，并且在画布上出现光形成的佛像。
English
And, on the other side outside that house, draw the householder listening to the Dharma from the Buddha, and in a monastery with iron fences around it, the Teacher and retinue residing, with many people circumambulating outside, and inside, the scene of offering offerings. Also, in one direction, draw that householder passing away, and a deity representing the Pure Abode gods, the deity being golden in color, wearing robes like a renunciate but adorned with a topknot and ornaments, shining with light illuminating all directions, coming unimpeded on the mountain, and that deity listening to the Dharma in the presence of the Bhagavan. On the other side of that, in one scene, draw a wealthy householder, a king, and many people holding thangkas depicting images of the king, ministers, merchants, etc., and a young woman throwing flowers in another direction, and many people gathered there watching. These are depictions of residing in the pasture during the summer retreat, and placing the hand seal upon the truth. This activity is in imitation of the yaksha disguising himself in the pasture, and even though many years have passed, because it is related to the previous events, it should be drawn together. (ཟ) Also, two scenes, with a slightly empty space in between with mountains, forests, etc. On that side, in the king's palace, draw a set of armor being assembled and placed into a box, and in another house, the king and merchants talking, and in another direction, some merchants presenting the king's letters and boxes to the king. On this side of the scene, in one palace, draw the merchants offering those things to the king, and on the other side of that house, the king and the assembly of ministers watching that armor, and in another direction, the king being displeased, with his hand on his chin thinking, and in front of him, several people reporting matters, and in another house outside, the king praying in front of the Buddha, and in one direction, the Buddha standing, radiating the Buddha's light on the unfolded canvas, and on the canvas, an image of the Buddha formed from light.
English
On the infant, the painter applies colors, and in the upper and lower parts of the body, the scribe writes letters. At this time, it is said in the Vinaya-vibhaṅga that "the shadow of the body is cast," which in Indian language is called "chāyā," which in Tibetan can refer to both "shadow" and "image." The appearance of an image in a mirror is also called "chāyā," which is well known to all Indians. Therefore, it is the shadow of the image, not a shadow like the sun being obscured. If the Tibetan word "shadow" here refers to (the shadow that obscures the sun), then the appearance of the face and eyes will not be clear. Because it is difficult to draw it accurately. Also, near those palaces, there is a scene of placing the thangka in a golden container in front of the king, and also depicting covering silverware and goldware with cloth, etc. Outside, the letter and scroll are handed to the merchant, and on the road between the two, the scroll is carried on the back of an elephant, surrounded by offerings such as umbrellas. Depict many merchants walking with it. The distant landscape of the past is connected to the previous city, and in either the upper or lower part, there should be cities, open spaces outside the palace, etc. Inside the palace, the messenger hands the letter to the king, and on one side, he talks with the ministers, sweeps the road, and victory banners and flags are hung on all the rooftops, offerings of incense and various flowers are made, and checkered cloth is laid on the ground, etc. In that open space, the scroll is hung on the top of a long wooden pole and opened, a scene of the king and many people welcoming it, with people bowing on the left and right sides, many offering offerings, and gods in the sky above raining flowers. In one of the rooms inside the palace, the scroll is displayed and offerings are made, with the king himself watching, and depicting a slight radiance emanating from the king's body. Again, it is the same place, but because stacking the depictions will cause the picture to be crowded, the distant scenery can be similar to the previous two, while in the near place, in the two palaces of the king, depict the scene of presenting letters and gifts to the king, and in the two temples, the king prays to each Buddha.