Chinese
并且，将法轮转动、神变、天降、涅槃之间所描绘的两种象征，用细小的绘画以混合色彩绘制。陈设七个装满酥油的容器和一个装满旃檀油的容器。国王阿阇世也来到那里，婆罗门以绘画为依据进行解说。然后，描绘国王倒下，身体浸入酥油中，又浸入旃檀油中而复苏的情景。在其外部，也描绘骑在大象上而坠落的情景。然后，在另一个方向，陈设四支军队。国王坐在宝座上，向面前的婆罗门下达命令。在那片土地的一侧山上，大迦叶正在进行禅定。在大地的中心，大迦叶被许多比丘围绕。描绘国土朝向这边的景象，以及两国之间大迦叶及其眷属接受许多丝绸供养的景象，以及一位老者前来的景象。虽然这与前一个故事单元有关，但必须与后一个国土景象联系起来。这些是关于分配佛陀遗体的八份的故事。（李） 另一种布局是：在巨人之城，大迦叶向四种类型的眷属说法的情景，以及诸神从空中进行嘲讽的情景，以及大迦叶向另一位比丘下达命令，让他向比丘僧团宣布戒律的情景。大迦叶前往另一条道路。描绘由那位比丘带领的其他比丘来到另一条道路的情景。在那片土地的另一侧，大迦叶接近国王的宫殿。国王从宫殿的顶端看到后，忆念起佛陀而颤抖。大迦叶的化身在空中抓住他，然后放在地上。在宫殿内，大迦叶坐在宝座上，国王坐在他面前，宫殿的右侧是鹫峰山，以及寒林尸陀林之间的榕树洞，一个大洞穴，周围有许多小洞穴，描绘比丘们来到那里的情景，以及大洞穴的内
English
And, paint with fine drawings in mixed colors the two symbols representing the turning of the Dharma wheel, miracles, the descent from heaven, and the events up to Nirvana. Arrange seven containers filled with ghee and one filled with sandalwood oil. King Ajatashatru also came there, and the Brahmin explained based on the painting. Then, depict the scene of the king falling, his body immersed in ghee, and then immersed in sandalwood oil and reviving. Outside of that, also depict the scene of falling from riding an elephant. Then, in another direction, arrange the four divisions of the army in front. The king himself sits on the throne, giving orders to the Brahmin in front. On a mountain on one side of that land, Mahakashyapa is meditating. At the center of the earth, Mahakashyapa is surrounded by many monks. Depict the scene of the land heading towards this side, and the scene of Mahakashyapa and his retinue receiving many silk offerings between those two lands, and also the scene of an old man coming forward. Although this is related to the previous story unit, it must be connected to the later landscape arrangement. These are the stories about the eightfold division of the Buddha's relics. (Li) Another arrangement is: In the city of the giants, the scene of Mahakashyapa teaching the Dharma to the four types of retinue, and the scene of the gods mocking from the sky, and the scene of Mahakashyapa giving instructions to another monk, telling him to proclaim the precepts to the Sangha. Mahakashyapa goes to another path. Depict the scene of the other monks, led by that monk, coming to that other path. On the other side of that land, Mahakashyapa approaches the king's palace. The king sees him from the top of the palace, remembers the Buddha and trembles. An emanation of Mahakashyapa grabs him in the sky and places him on the ground. Inside the palace, Mahakashyapa sits on the throne, and the king sits in front of him, and to the right of that palace is Vulture Peak Mountain, and between the Cool Grove charnel ground is a banyan tree cave called Nyagrodha, a large cave, with many small caves around it, depicting the scene of the monks coming there, and the inside of the large cave.
Chinese
我处画大迦叶尊者为阿罗汉众围绕。小洞穴、树根处、树洞等处，有各种比丘具备资具，以及资具施主等也画出。在一广阔处，画迦叶与僧众一起。画一位大比丘向另一位大比丘讲述迦叶之事并竖立标杆。画那位比丘面向同一地基的四个方向观看，并吐唾沫。向他讲述迦叶之事。画那个洞穴三个相似的入口的布局。其中一个，在宝座上堆叠许多毡毯，阿难陀坐在上面，阿罗汉们围绕着听法，从天空降下天神，以及被围绕的诸鬼神供养的布局。第二个，与前一个相似，但以近侍为主角。第三个，与前一个相似，但以迦叶为主角。那些都应在先前的场景布局中存在。除了那些之外，其他被水和山等许多隔开的地方。在一个小地方的森林中央，有一座高楼，画一位比丘入于禅定，前面一位比丘站立说法。在那之上的天空，画四个火堆燃烧，从四个方向流下四股水流。在一个村庄的林园中，一位比丘入于禅定，弟子在前面讲述教言。在那和洞穴的地点之间，画比丘师徒二人一来一回。那些是迦叶所作的第一次结集的内容。（ཤི） 然后是教法传承的后代们，用圣者阿难陀所作来象征。画圣者坐在珍宝座上，向四众眷属以及天龙夜叉等聚集者说法。用穿着迦尸迦衣者所作来象征，也画一个与那相似的。在近护的作为中，应画这个：做一个以山林园林装饰，有洞穴和寺庙的地方。在那里，那位阿罗汉向出家众和许多人说法。在地面上，村庄本质相同，但布局需要分别绘制，做成大约六个小图。第一个是谷
English
In my location, depict the Great Kāśyapa surrounded by Arhats. In small caves, at the base of trees, in tree hollows, etc., depict various monks possessing requisites, and also patrons of requisites. In a vast area, depict Kāśyapa together with the Sangha. Depict one great monk speaking about Kāśyapa and erecting a flagpole to another great monk. Depict that monk looking in the four directions of the same ground, and spitting. Speak about Kāśyapa to him. Depict the layout of that cave with three similar entrances. In one, on a throne piled with many felt blankets, Ānanda is seated, surrounded by Arhats listening to the Dharma, and from the sky, gods and surrounding spirits are depicted making offerings. The second is similar to the first, but with the attendant as the main figure. The third is similar to the first, but with Kāśyapa as the main figure. All of those should be present in the previous scene layout. Other than those, other places separated by much water and mountains, etc. In the middle of a forest in a small place, there is a tall building, depict a monk in meditative equipoise, and in front of him, a monk standing and speaking. In the sky above that, depict four fires burning, and from the four directions, four streams of water flowing. In a grove in a village, a monk is in meditative equipoise, and the disciple speaks instructions in front of him. Between that and the location of the cave, depict the two monks, teacher and student, going back and forth. Those are the contents of the first council conducted by Kāśyapa. (ཤི) Then, for the later generations of the doctrine's transmission, symbolize it with the deeds of the noble Ānanda. Depict the noble one seated on a precious throne, teaching the Dharma to the assembly of the fourfold retinue and the assembled gods, nāgas, yakshas, etc. Symbolize the deeds of the one with garments of Kāśīka, and also depict something similar to that. Among the deeds of Nyersung (Nera), this should be depicted: Make a place adorned with mountains, forests, and groves, with caves and temples. There, that Arhat teaches the Dharma to renunciates and many people. On the ground, the village is the same in essence, but the layout needs to be drawn separately, making about six small pictures. The first is valley
Chinese
雨。第二是衣物的雨。第三是银。第四是金。第五是珍宝。第六是降下各种欲妙的雨。还要画许多人从山上下来，去往那些村庄。那七个村庄，要画成大城市。在城市中央的一侧，画许多男女舞者，所有很多人观看；一侧画着一些比丘的头和脖子上，一个比丘给他们戴花环；一侧画着那些舞者的头和脖子上挂着腐烂的狗尸体、腐烂的人尸体，身体也画成衰老的样子，所有人捂着鼻子，脸朝外坐着；一侧画着那些有模有样的舞者恶魔向阿罗汉顶礼膜拜；另一侧，画着一个比阿罗汉稍微低一点的地方，有一个类似于佛陀站立像的，阿罗汉合掌，天神的形象倒下，五种旋风消散的样子。在城市外面，画一个高高的法座，阿罗汉坐在上面，被无数眷属围绕着说法，光芒遍布所有方向。还有一个和之前一样的山和洞穴，洞穴里几乎被细小的树枝填满。寺庙里，画阿罗汉给许多比丘学生说法。这些是近隐以神通降伏魔众，阿罗汉遍布地面的场景。还有提提卡拉、黑天和善见的功绩，也画成与迦叶佛时期相似的样子。现在是关于绘画主尊，世尊与圆满眷属的绘画方式：中央是导师，布置床榻靠背等，要画得庄严，身体要画得高大而相称，靠背的六种装饰等要画得尽可能精美。关于动物坐垫，最好画成动物、珍宝、莲花、日月、丝绸的智慧垫，即六层垫子。动物只能是狮子，或者牛狮互换。珍宝就是珍宝床。莲花、日月只是理解上的意思。丝绸的智慧垫，就是用深厚的丝绸做外罩的，像坐垫一样的标准垫子。身体左右的第一层，要画菩萨们。
English
Rain. Second is rain of clothes. Third is silver. Fourth is gold. Fifth is jewels. Sixth is raining down various desirable things. Also, draw many people coming down from the mountains and going to those villages. The seven villages should be drawn as large cities. On one side of the center of the city, draw many male and female dancers, with many people watching; on one side, draw some monks with flower garlands on their heads and necks; on one side, draw those dancers with rotten dog corpses and rotten human corpses hanging on their heads and necks, and their bodies also drawn as old, with everyone covering their noses and sitting with their faces turned away; on one side, draw those well-behaved dancers, the demons, prostrating to the Arhat; on the other side, draw a place slightly lower than the Arhat, with a standing statue of the Buddha, the Arhat with palms together, the image of the gods falling, and the appearance of the five whirlwinds dissipating. Outside the city, draw a high throne with the Arhat sitting on it, surrounded by countless attendants teaching the Dharma, with light spreading in all directions. Also, draw a mountain and cave similar to the previous one, with the cave almost filled with small branches. In the temple, draw the Arhat teaching the Dharma to many bhikkhu students. These are scenes of Nearsidden subduing the demons with supernatural powers, and Arhats covering the ground. Also, the deeds of Dhitika, Krishna, and Sudarshana should be drawn similar to those in the time of Kashyapa Buddha. Now, regarding the method of painting the main deity, the Bhagavan with the perfect retinue: in the center is the Teacher, arranging the bed, backrest, etc., to be drawn solemnly, the body should be drawn tall and proportionate, and the six decorations of the backrest, etc., should be drawn as exquisitely as possible. Regarding the animal seat, it is best to draw it as an animal, jewel, lotus, sun and moon, silk wisdom cushion, which is a six-layered cushion. The animal can only be a lion, or a combination of cow and lion. The jewel is the jewel bed. Lotus, sun, and moon are just for understanding. The silk wisdom cushion is a standard cushion covered with deep silk, like a cushion. On the first level to the left and right of the body, draw the Bodhisattvas.
Chinese
身的右边是文殊菩萨和观世音菩萨，左边是普贤菩萨和寂静的金刚手菩萨。其中，普贤菩萨的身体是红色的，拿着一个装满红色莲花的宝瓶，莲花上装饰着太阳。这些像的头顶发髻的高度，与佛陀的手臂齐平。第二层画四大声闻弟子：舍利弗、目犍连、阿难陀、迦叶。或者画罗睺罗、迦叶、迦旃延、近圆。这些合掌的菩萨和声闻，站立或坐着，怎么合适怎么画。第三层位于宝座的下方，前方中央画国王和王妃礼拜的姿势。右边画黄色的梵天，身体丰满，有四个头，头发结成发髻，下面的两只手拿着念珠和水壶，拄着手杖，穿着兽皮的上衣和下裙，佩戴梵线。梵天后面画蓝色的遍入天，下面的两只手拿着法轮和白色的金刚杵，寂静且装饰着各种饰品。左边的第一个画黄色的帝释天，额头正中有一只横着的眼睛，下面的两只手拿着世间的九股金刚杵和宝珠，寂静且用丝绸和珍宝装饰。帝释天后面画红色的自在天，略微愤怒，头发结成发髻，用月亮装饰，下面的两只手拿着手鼓和三叉戟，穿着虎皮裙，戴着蛇的项链，项链中央有一个骷髅头，其余的装饰是珍宝。这四位神都双手合掌。如果画供养人等，就按照合适的画。如果有足够的空间，可以画各种眷属，菩萨、菩萨母、比丘、比丘尼、男人、女人、龙和夜叉等，按照合适的画。在空中，画黄金花雨，以及天鹅、鸿雁、孔雀、鹤等鸟类，它们用嘴衔着珍宝串、花串和果穗，左右对称地画。在上面的高空中，从云层中显现出许多天人和天女，拿着各种供品。总之，要画得庄严而雄伟，仅仅看到就能生起信心。
English
To the right of the body are Manjushri and Avalokiteshvara, and to the left are Samantabhadra and peaceful Vajrapani. Among them, Samantabhadra's body is red, holding a vase filled with red lotuses, adorned with the sun. The height of the topknots of these figures is level with the Buddha's arms. On the second level, draw the four great Shravakas: Shariputra, Maudgalyayana, Ananda, and Kashyapa. Alternatively, draw Rahula, Kashyapa, Katyayana, and Upali. These Bodhisattvas and Shravakas with folded hands, standing or sitting, should be depicted as appropriate. The third level is located below the throne, with the king and queen in the center in front, in a posture of reverence. On the right, draw yellow Brahma, with a full body, four faces, and hair tied in a topknot. The lower two hands hold a rosary and a water pot, and he holds a staff, wearing an animal skin upper and lower garment, and adorned with the Brahmanical thread. Behind Brahma, draw blue Vishnu, with the lower two hands holding a Dharma wheel and a white vajra, peaceful and adorned with all kinds of ornaments. On the left side, first draw yellow Indra, with a horizontal eye in the middle of his forehead, and the lower two hands holding a worldly nine-pronged vajra and a jewel, peaceful and adorned with silk and jewels. Behind Indra, draw red Shiva, slightly wrathful, with hair tied in a topknot, adorned with the moon. The lower two hands hold a damaru and a trident, wearing a tiger skin skirt, a snake necklace, and a skull in the center of the necklace, with the remaining ornaments being jewels. All four of these gods have their hands folded in prayer. If patrons and others are depicted, they should be drawn as appropriate. If there is enough space, various retinues can be drawn, such as Bodhisattvas, Bodhisattva mothers, monks, nuns, men, women, nagas, and yakshas, as appropriate. In the sky, draw golden rain of flowers, and swans, geese, peacocks, cranes, and other birds, holding strings of jewels, strings of flowers, and ears of grain in their beaks, drawn symmetrically on the left and right. In the high sky above, many gods and goddesses appear from the clouds, holding various offerings. In short, it should be drawn in a majestic and magnificent manner, inspiring faith just by seeing it.