Chinese
再者，在一旁画一头驴子叫唤。在另一边，建造一个类似于以前的榕树园林。在外面的走廊上，铺上布，把他们的所有装饰品都放好，画上理发师理发的情景，在寺庙外面洗澡的情景，以及在寺庙的一座楼阁里，画上他们在佛陀和僧伽的中央出家的景象。僧伽中的一位比丘，就是以前的那位理发师，以出家的形象，画一个新出家的释迦族人以头顶礼他的脚。其他人画成肤色白皙，而理发师的肤色画成青蓝色会更好理解，因为他出家的时候是圣者近圆。这些是父子相见的场景。（མ） 此外，在榕树园林中，为了象征展示五百尊佛像，在其中一座楼阁中安放水等各种供品，在另一座楼阁中，画上女眷名称为“名声执持”的，将装满美食的器皿交给罗睺罗，罗睺罗显现为孩童的形象。画上许多佛陀安住，在他们之中的一位佛陀接受罗睺罗供养的美食。再在另一座楼阁中，画上世尊被僧伽眷属围绕安住，许多妇女听法，天空中飞舞着许多佛陀，放射出各种光芒，手中拿着山，用手触摸月亮和太阳，从身体的毛孔中变幻出迦楼罗、龙、大象、狮子等各种形象，从一位佛陀的身体中，变幻出白色、红色、绿色等佛陀。又从身体中变幻出天神、天女、婆罗门、比丘等。同样地，画一个从上方燃烧火焰，从下方流水，从下方燃烧火焰，从上方流水等，展示各种神变的景象。又在一座楼阁中，世尊与僧伽眷属一同安住，一位殊胜的女子将美食供养给世尊，从那座楼阁的一侧顶端
English
Furthermore, draw a donkey braying beside it. On the other side, construct a banyan grove similar to the previous one. In the outer corridor, spread out cloth, arrange all their ornaments, depict a barber shaving hair, people bathing outside the temple, and in one of the pavilions of the temple, depict the scene of them taking ordination in the center of the Buddha and the Sangha. One bhikkhu in the Sangha, the former barber, in the form of ordination, draw a newly ordained Shakya bowing his head at his feet. The others should be drawn with fair skin, while it would be better understood if the barber's skin were drawn as cyan, because he was the noble Upali at the time of ordination. These are the scenes of the meeting of father and son. (M) Furthermore, in the banyan grove, to symbolize the display of five hundred Buddha images, place water and other offerings as appropriate in one pavilion, and in another pavilion, depict the female attendant named 'Holder of Fame' handing over a vessel filled with excellent food to Rahula, who appears as a child. Draw many Buddhas residing, and among them, one Buddha receiving the excellent food offered by Rahula. Again, in another pavilion, draw the Bhagavan residing in the center surrounded by the Sangha retinue, many women listening to the Dharma, many Buddhas flying in the sky, radiating various lights, holding mountains in their hands, touching the moon and sun with their hands, emanating various forms such as Garudas, Nagas, elephants, and lions from the pores of their bodies, and from the body of one Buddha, emanating white, red, green, etc. Buddhas. Also, emanating gods, goddesses, Brahmins, bhikkhus, etc. from the body. Similarly, draw a scene showing various miracles, such as flames burning from above and water flowing from below, flames burning from below and water flowing from above. Again, in one pavilion, the Bhagavan resides together with the Sangha retinue, and one excellent woman offers excellent food to the Bhagavan, from one side of the top of that pavilion
Chinese
将那名妇女从昏厥中唤醒，是佛的化身，无害地扶起她放在地上。在她附近的外围高地上，是佛陀的住所，正在为那位殊胜的妇女说法。那位妇女虽然现在出家为无形之身，却已获得阿罗汉果位。为了象征她显现神通，要画出她身体散发出各种光芒的景象。在另一个方向，佛陀被安放在类似宫殿前厅的地方。那座宫殿的所有门都敞开着，一个孩子从房屋深处看到佛陀，高兴地跑过来，到达世尊的身旁。他合掌，摆出听法的姿态。画出佛陀从门内走出来，孩子跟在他身后，门外父母和亲属们围绕着那个孩子，他正在哭泣，佛陀正在对他们说法的情景。那个孩子被安置在大象的背上，一些侍从也骑在大象上，撑着伞，举着胜幢和旗帜，演奏着各种乐器等等，许多随从围绕着。那头大象用鼻子从地上拔出莲花树干来吃，许多人在附近观看。他的父亲，国王甘露食也正在观看，还要画出婆罗门预言的景象。在那边，在寺庙里，在佛陀的住所前，要画出那个孩子出家的情景。那就是圣者阿难陀。珍珠藤蔓，或者说珍珠者的故事的根源，在此时关系重大。一个穿着释迦名王小邦服饰的人从一个小宫殿的门进入。在房屋里，名王合掌，在他自己的前方较低的位置上，与他自己卓越的妻子说话。那位妇女将各种装饰品放在家中，生育女神，一位伟大的光辉妇女，被所有释迦族的妇女围绕着走来。她们正在听闻世尊说法，其中一个正在看着自己的珍珠项链，名王的妻子正在
English
That woman was awakened from her faint by an emanation of the Buddha, who harmlessly lifted her up and placed her on the ground. Nearby, on higher ground, is the Buddha's residence, where he is teaching the Dharma to that excellent woman. That woman, although now ordained in a formless body, has attained the Arhat state. To symbolize her manifestation of miraculous powers, depict her body emitting various rays of light. In another direction, the Buddha is placed in a setting resembling the outer courtyard of a palace. All the doors of that palace are open, and a child, seeing the Buddha from the depths of the house, joyfully runs and comes to the presence of the Blessed One. He joins his palms and assumes the posture of listening to the Dharma. Depict the Buddha walking out from inside the door, with the child following behind him, and outside the door, the parents and relatives surrounding that child, who is crying, and the Buddha is giving them teachings. That child is placed on the back of an elephant, and some attendants are also riding on the elephant, holding umbrellas, victory banners, and flags, playing various musical instruments, etc., with many attendants surrounding them. That elephant is pulling up lotus stalks from the ground with its trunk and eating them, and many people are watching nearby. His father, King Amrita-food, is also watching, and also depict the scene of the Brahmin making predictions. On the other side, inside the temple, in front of the Buddha's residence, depict the scene of that child being ordained. That is the venerable Ananda. The pearl vine, or the root of the story of the pearl-bearer, is very relevant at this time. A person dressed in the attire of a Shakya king of a small kingdom enters through the door of a small palace. Inside the house, the king joins his palms, and in a lower position in front of him, he is speaking to his own excellent wife. That woman is placing various ornaments in the house, and the goddess of procreation, a woman of great splendor, is walking around surrounded by all the Shakya women. They are listening to the Blessed One teaching the Dharma, and one of them is looking at her own pearl necklace, and the wife of the king is
Chinese
画马度让扎行走的样子，手里拿着写有文字的麦秆书本，画在路上被母牛踢打而死的景象。如果能把难陀出家的情景也和这个联系起来画就更好了：画在豪宅的门前，佛陀前去化缘，从豪宅里出来，难陀穿着国王的服饰，拿着上好的食物，他的妃子本达热嘎，做把衣服浸湿在地上，在上面画圆形水纹的样子。在房屋外面，画难陀跟随在佛陀的身后，钵里装满了上好的食物行走，寺庙里面，在佛陀的身旁，画难陀穿上出家的服装，剃掉头发的样子。从一个方向，他已经变成了出家的装束，做着扫地的样子，在那座寺庙的左右任何一个方向，在弯曲的树枝旁边有他，佛陀也到那里去，他抓住佛陀的袈裟边缘，升到空中，画有山林，在一棵树上有一只瞎眼母猴。在那附近，画释迦牟尼佛和难陀两人交谈，又抓住释迦牟尼佛的袈裟边缘，释迦牟尼佛升到空中，须弥山顶的象征，在珍宝山顶上，释迦牟尼佛在一个角落里坐着，画四五个豪宅，其他的里面，画男女天神相互爱恋，一个里面只画一个天女和一张宝座。那些每一个的门前都画一个难陀，做难陀在释迦牟尼佛面前请求的样子。又在一个方向，画地狱的铁烧红了，地面燃烧着，在那的一个角落里，世尊坐着，难陀做请求的样子，从另一个方向，画阎罗卒人们在大铜锅里煮着许多地狱的众生，还画两三种其他不一样的痛苦景象，一个画铜锅里盛满了铜水正在倾倒，没有众生。那些每一个的脚下都画一个难陀。又在一座寺庙里，画难陀处于禅定之中，身体发出光芒。显示地狱的布局，敌人
English
Draw the way Madu Rangza goes, holding a book of wheat stalks with writing in his hand, and draw the scene of being kicked to death by a cow on the road. It would be better if the scene of Nanda's ordination could also be drawn in connection with this: draw the Buddha going for alms in front of the gate of the mansion, and Nanda coming out of the mansion, wearing the clothes of a king and holding excellent food, and his consort Pundarika, making a gesture of soaking the clothes on the ground and drawing circular water patterns on it. Outside the house, draw Nanda following behind the Buddha, walking with a bowl filled with excellent food, and inside the temple, next to the Buddha, draw Nanda wearing the clothes of an ordained monk and shaving his head. From one direction, he has already transformed into the attire of an ordained monk, making a gesture of sweeping, and in either the left or right direction of that temple, next to the bent tree branch, he is there, and the Buddha also goes there, and he grabs the edge of the Buddha's robe and ascends into the sky, with mountains and forests, and a blind female monkey on a tree. Near there, draw Shakyamuni Buddha and Nanda talking to each other, and again grabbing the edge of Shakyamuni Buddha's robe, Shakyamuni Buddha ascends into the sky, a symbol of the summit of Mount Sumeru, on the summit of the Jewel Mountain, Shakyamuni Buddha sits in one corner, draw four or five mansions, and in the others, draw male and female gods loving each other, and in one, draw only one goddess and a throne. In front of each of those, draw a Nanda, making a gesture of Nanda making a request in front of Shakyamuni Buddha. Also in one direction, draw the iron of hell burning red, the ground burning, and in one corner of that, the Bhagavan is sitting, and Nanda is making a request, and from another direction, draw Yama's people cooking many hell beings in a large copper pot, and also draw two or three other different scenes of suffering, and one draw a copper pot filled with molten copper being poured out, without sentient beings. At the foot of each of those, draw a Nanda. Also in a temple, draw Nanda in meditative absorption, with light radiating from his body. Showing the layout of hell, enemy
Chinese
虽然这两种获得解脱的方式并非释迦牟尼佛住在迦毗罗卫城（ser skya）的时期，但由于与之前的历史密切相关，所以也在此处记录。据说，弟弟难陀（dga' bo）除了顶髻和白毫相之外，还具备三十二相。虽然皮肤颜色像金色，但其他人记载他的身材也稍微高大。还有摩诃波阇波提（ming chen）的侍女去世，以及难陀出家，这似乎并非父子相见之后立即发生的事情，但看起来发生在不久之后。同样，在导师住在高处时，摩诃波阇波提等许多穿着白色衣服的妇女合掌。还有，世尊和僧众走在一条路上，那些妇女在后面剃发，穿着缝纫的衣服行走。在一个国家的代表城市中，她们在导师面前合掌而坐。一位比丘在导师面前禀告情况。在寺院的门口，那些妇女向比丘禀告情况。然后，在另一处，导师坐在寺院的中央，那些妇女变成比丘尼后听法的场景。妇女出家的这个时期，虽然看起来也是在父子相见后不久，但因为在绘制图像时与迦毗罗卫城有关，而且仅凭这些篇幅不足以完全展示，所以按照之前的顺序绘制比较好。在迦毗罗卫城进行利他事业和注释的部分。（ཙ） 还有，在胜林园（rgyal byed kyi tshal）中，近事比丘在导师面前，为五百释迦族出家者说法。还有，许多比丘进行禅定，身体发出光芒。还有，在海洋中央，有一艘航行的船，一位商人和许多商人，在船内说很多话，船上装满了珍宝返回，房屋里也装满了珍宝等各种财物，一位户主和那位商人交谈的情景，以及那位商人独自一人踏上旅途的情景。
English
Although these two ways of attaining liberation are not from the time when the Teacher resided in Kapilavastu (ser skya), they are recorded here because they are closely related to the previous history. It is said that the younger brother Nanda (dga' bo) possessed thirty-two marks, excluding the crown of the head and the white hair between the eyebrows. Although his skin color was like gold, others record that his height was also slightly taller. Also, the death of Mahaprajapati's (ming chen) maidservant and Nanda's ordination do not seem to have happened immediately after the father and son met, but it appears to have happened not long after. Similarly, when the Teacher was residing in a high place, many women wearing white clothes, including Mahaprajapati, joined their palms. Also, the Blessed One and the Sangha were walking on a road, and those women followed behind, having their hair shaved and wearing sewn clothes. In one of the representative cities of the country, they sat with their palms joined in front of the Teacher. A monk was reporting the situation to the Teacher. At the gate of the monastery, those women were reporting the situation to the monk. Then, in another place, the Teacher was sitting in the center of the monastery, and those women, having become nuns, were listening to the Dharma. This period of women's ordination, although it seems to have been shortly after the father and son met, because it is related to Kapilavastu when drawing the images, and because these lengths alone are not enough to fully display it, it is better to draw it in the previous order. The section on performing altruistic activities and commentaries in Kapilavastu. (ཙ) Also, in the Jeta Grove (rgyal byed kyi tshal), the attendant monk is in front of the Teacher, teaching the Dharma to five hundred Shakya renunciates. Also, many monks are meditating, and light is radiating from their bodies. Also, in the middle of the ocean, there is a sailing ship, a merchant and many traders, speaking many words inside the ship, the ship is filled with jewels and returning, and the houses are also filled with various treasures such as jewels, a householder and that merchant are talking, and that merchant is embarking on a journey alone.