Chinese
中安窟既少，可列七星神，配坐窟中；然二十八星神出没增减，常行于世，有大光明，深能利益。东方七星神名：基栗底柯一、虏喜尼二、麋梨伽尸罗三、阿陀罗四、不捺那婆修五、弗沙六、阿沙离沙七。南方七星神名：诃可一、雨颇二、求尼三、诃莎多四、质多罗五、莎底六、毗释珂七。西方七星神名：阿㝹罗他一、折沙他二、牟蓝三、弗婆莎他四、郁多罗莎他五、阿毗止六、沙罗波那七。北方七星神名：陀薾他一、舍多毗沙二、弗婆跋陀罗三、郁多罗跋陀罗四、离婆底五、阿虽尼六、婆罗尼七。右二十八神，方别七龛依名位列。至于下层亦有龛窟，约方开影，其量则多，临时分像，依《优波斯那咒经》及《灌顶经》。神名极多，亦依方住，至时检经，随龛多少，就列名号，为存繁文，故略不出。 最上第三重，止高二寸，表二谛也；欲明诸佛说法常依二谛，用表受戒出家者，必知二谛为宗归也！何者？以身、口二业，动必依相，相为俗有；心行所期，离相为本，本为出道之所依也！故二寸为准的量相。上坛四角各立师子，背上有孔，欲行事时，必施尊仪，上安帐竿于孔中也！帐之庄严随力所办。上坛畟方七尺为量，以表七觉意也！三乘入道不越三十七品，于此品中，七觉意在道思择，其功最高，故在上而列 现代汉语译本： 如果中安窟比较小，可以排列七星神，并为他们在窟中安排座位；然而二十八星神出现和隐没，数量增减不定，经常在世间运行，具有巨大的光明，能够深刻地利益众生。东方七星神的名字是：基栗底柯（Krittika）一、虏喜尼（Rohini）二、麋梨伽尸罗（Mrigasira）三、阿陀罗（Ardra）四、不捺那婆修（Punarvasu）五、弗沙（Pushya）六、阿沙离沙（Aslesha）七。南方七星神的名字是：诃可（Magha）一、雨颇（Purva Phalguni）二、求尼（Uttara Phalguni）三、诃莎多（Hasta）四、质多罗（Chitra）五、莎底（Swati）六、毗释珂（Vishakha）七。西方七星神的名字是：阿㝹罗他（Anuradha）一、折沙他（Jyeshtha）二、牟蓝（Mula）三、弗婆莎他（Purva Ashadha）四、郁多罗莎他（Uttara Ashadha）五、阿毗止（Abhijit）六、沙罗波那（Shravana）七。北方七星神的名字是：陀薾他（Dhanishta）一、舍多毗沙（Shatabhisha）二、弗婆跋陀罗（Purva Bhadrapada）三、郁多罗跋陀罗（Uttara Bhadrapada）四、离婆底（Revati）五、阿虽尼（Ashvini）六、婆罗尼（Bharani）七。右边这二十八位神，按照方位分别在七个龛中，按照他们的名位排列。至于下层也有龛窟，根据方位开设影窟，数量很多，临时分配佛像，依据《优波斯那咒经》和《灌顶经》。神的名字非常多，也按照方位居住，到时查阅经典，根据龛窟的多少，就排列名号，为了保存繁复的文字，所以略去不写。 最上面的第三重，只有二寸高，象征二谛；想要说明诸佛说法常常依据二谛，用来表示受戒出家的人，必须知道二谛是根本归宿！什么是二谛呢？以身、口二业来说，行动必然依据现象，现象是世俗存在的；心行所期望的，以离开现象为根本，根本是进入道的所依据！所以二寸是标准的量度。上坛的四个角各立一个狮子，背上有孔，想要举行法事时，必须设置尊贵的仪容，将帐竿安放在孔中！帐的庄严程度随能力办理。上坛的面积是正方形，七尺见方，用来表示七觉支！三乘进入道不超出三十七道品，在这三十七道品中，七觉支在道的思择方面，它的功用最高，所以在上面排列。
English
English version: If the central niche (Madhya-antah-kuṭa) is small, the Seven Star Gods can be arranged and seated within the niche. However, the Twenty-eight Star Gods appear and disappear, increasing and decreasing in number, constantly moving in the world, possessing great light, and deeply benefiting beings. The names of the Seven Star Gods of the East are: Krittika one, Rohini two, Mrigasira three, Ardra four, Punarvasu five, Pushya six, Aslesha seven. The names of the Seven Star Gods of the South are: Magha one, Purva Phalguni two, Uttara Phalguni three, Hasta four, Chitra five, Swati six, Vishakha seven. The names of the Seven Star Gods of the West are: Anuradha one, Jyeshtha two, Mula three, Purva Ashadha four, Uttara Ashadha five, Abhijit six, Shravana seven. The names of the Seven Star Gods of the North are: Dhanishta one, Shatabhisha two, Purva Bhadrapada three, Uttara Bhadrapada four, Revati five, Ashvini six, Bharani seven. These twenty-eight gods on the right are arranged in seven niches according to their directions and positions. As for the lower level, there are also niches, with shadow niches opened according to the directions. The number is large, and images are temporarily assigned according to the 'Upasana Sutra' and the 'Abhisheka Sutra'. The names of the gods are very numerous, and they also reside according to the directions. When the time comes, consult the scriptures and arrange the names according to the number of niches. To preserve the extensive text, they are omitted here. The uppermost third level is only two inches high, symbolizing the Two Truths (Dve Satye); it is intended to illustrate that the Buddhas always rely on the Two Truths when teaching the Dharma, and to indicate that those who take vows and leave home must know that the Two Truths are the fundamental refuge! What are the Two Truths? In terms of the actions of body and speech, actions necessarily rely on phenomena, and phenomena are conventionally existent; what the mind intends is based on being apart from phenomena, and the basis is what one relies on to enter the Path! Therefore, two inches is the standard measurement. At each of the four corners of the upper altar, a lion is placed, with a hole in its back. When performing rituals, it is necessary to set up dignified adornments, placing the tent pole in the hole! The adornment of the tent is done according to one's ability. The upper altar is a square, seven feet in dimension, symbolizing the Seven Factors of Enlightenment (Sapta Bodhyangani)! The Three Vehicles entering the Path do not go beyond the Thirty-seven Factors of Enlightenment (Saptatrimsat Bodhipaksika-dharmas). Among these factors, the Seven Factors of Enlightenment have the highest function in the contemplation of the Path, so they are arranged above. --------------------------------------------------------------------------------
Chinese
也！坛外四周一丈内，种四时华药，已外植华树八行，种种庄严。依《善见论》云：“戒坛极小，容二十一人。”此据出罪之相也。然亦不分坛、场之异也！ 戒坛高下广狭第四(并引图相) 检《别传》云：“比丘受具戒坛初结之时，释迦如来召十方诸佛；时须弥灯光明王最居其长，身长五丈，欲立戒坛三重，重高佛五肘，表五分法身。释迦如来云：‘娑婆世界众生少见少闻，若依佛五肘为量，恐生疲怠，无由可成，减同迦叶佛二肘半量，则易成就。’”所以取佛肘量者，以诸佛肘骨并是金刚，阇维之时，肘骨不灰，全坚舍利，所在流化，故坛身量取佛肘以定之；欲令比丘持戒坚固如金刚而不坏也！戒坛亦尔，虽经劫坏，而常存故。 检释迦如来一肘，则中人二肘，如来在世倍人；人肘长唐尺一尺五寸，则佛肘三尺；佛肘既长二肘半，则唐尺七尺五寸也！又云：“准迦叶佛肘为量者”，则又长于释迦肘矣！依今北天竺东石戒坛，纵广二百步，高一丈许，此则随时不定；今且从释迦丈六为言，其下层从地起基，高佛一肘，则唐尺高三尺也！谓在色道下座身为言，余亦同之。然此色道上三下四，唯多出为佳，以在露地，色道广覆，而风雨不至，诸窟神王久而得固也。如今浮图出檐，可不然耶！不得过 现代汉语译本： 坛的四周一丈之内，种植四季花卉和药草，再往外种植八行花树，用各种方式进行庄严布置。依据《善见论》所说：‘戒坛最小的规模，也能容纳二十一人。’这是根据忏悔出罪的情况而言的。然而，这里也没有区分坛和场所的不同！ 戒坛高低广狭第四（并附图示） 查阅《别传》记载：‘比丘初次结戒坛的时候，释迦如来召集十方诸佛；当时须弥灯光明王最为年长，身长五丈，想要建立三重戒坛，每重高佛的五肘，象征五分法身。释迦如来说：‘娑婆世界的众生见识浅薄，听闻不多，如果按照佛的五肘作为标准，恐怕会产生疲惫懈怠，无法完成，减少到与迦叶佛二肘半的量相同，就容易成功。’’之所以采用佛的肘长作为衡量标准，是因为诸佛的肘骨都是金刚之体，在火化时，肘骨不会烧成灰烬，完全是坚固的舍利，在各处流传变化，所以坛身的高度采用佛的肘长来确定；想要让比丘持戒如同金刚一样坚固而不坏！戒坛也是如此，即使经过劫难毁坏，也常常存在。 查阅资料，释迦如来的一肘，相当于普通人的二肘，如来在世时身高是常人的两倍；人的肘长相当于唐尺一尺五寸，那么佛肘就是三尺；佛肘既然长二肘半，那么就是唐尺七尺五寸！又说：‘按照迦叶佛的肘长作为标准’，那么就比释迦佛的肘长还要长了！依据现在北天竺东石戒坛，长宽二百步，高一丈左右，这则是随着时代而有所不同；现在暂且按照释迦佛一丈六尺的身高来说，它的下层从地面开始，高佛一肘，那么就是唐尺高三尺！这是指在色道下座身而言，其余的也相同。然而这色道上三下四，唯有多出来才好，因为在露天，色道宽广覆盖，风雨不能侵袭，诸窟神王长久才能稳固。如今佛塔出檐，不就是这样吗！不得超过
English
English version: Also! Within a perimeter of one zhang (approximately 3.3 meters) around the altar, plant seasonal flowers and medicinal herbs. Beyond that, plant eight rows of flowering trees, decorating in various ways. According to the *Shan Jian Lun* (Samantapasadika, Commentary on the Vinaya): 'The smallest ordination platform can accommodate twenty-one people.' This refers to the aspect of expiation of offenses. However, it also does not distinguish between an altar and a place! Chapter Four: The Height, Width, and Breadth of the Ordination Platform (with accompanying diagrams) Checking the *Bie Zhuan* (Separate Transmission) it says: 'When the Bhikshus first established the ordination platform, Shakyamuni Tathagata summoned Buddhas from the ten directions; at that time, Sumeru Lamp Light King was the eldest, with a height of five zhang (approximately 16.7 meters), desiring to build a triple ordination platform, each level being five *zhou* (approximately 1.15 meters) of the Buddha in height, representing the fivefold Dharmakaya (body of the Dharma). Shakyamuni Tathagata said: 'The sentient beings of the Saha world have little sight and little hearing. If we use the Buddha's five *zhou* as the standard, I fear that they will become weary and indolent, and it will be impossible to accomplish. Reduce it to the same measure as Kashyapa Buddha's two and a half *zhou*, then it will be easier to achieve.' The reason for taking the Buddha's *zhou* as the measure is that the elbow bones of all Buddhas are of diamond (vajra) nature. During cremation, the elbow bones do not turn to ash, but remain as solid *sarira* (relics), flowing and transforming everywhere. Therefore, the height of the altar is determined by taking the Buddha's *zhou* as the standard; the intention is to make the Bhikshus' adherence to the precepts as firm as diamond and indestructible! The ordination platform is also like this, even if it is destroyed by a kalpa (eon), it always exists. Checking the records, one *zhou* of Shakyamuni Tathagata is equal to two *zhou* of an average person. The Tathagata in his lifetime was twice the height of an average person; a person's *zhou* is equivalent to one *chi* (approximately 0.3 meters) and five *cun* (approximately 0.03 meters) of the Tang Dynasty standard, then the Buddha's *zhou* is three *chi* (approximately 0.9 meters); since the Buddha's *zhou* is two and a half *zhou* long, then it is seven *chi* (approximately 2.1 meters) and five *cun* (approximately 0.15 meters) of the Tang Dynasty standard! It is also said: 'Using Kashyapa Buddha's *zhou* as the measure', then it is even longer than Shakyamuni's *zhou*! According to the East Stone Ordination Platform in North India today, it is two hundred *bu* (approximately 300 meters) in length and width, and about one *zhang* (approximately 3.3 meters) in height, which varies with the times; now let us temporarily speak of Shakyamuni's height of one *zhang* (approximately 3.3 meters) and six *chi* (approximately 1.8 meters), its lower layer starts from the ground, one *zhou* of the Buddha in height, then it is three *chi* (approximately 0.9 meters) of the Tang Dynasty standard! This refers to the lower seat body on the color path, and the rest are the same. However, the upper three and lower four of this color path, it is better to have more, because it is in the open air, the color path is wide and covers, and the wind and rain cannot reach it, and the cave gods and kings can be stable for a long time. Is it not like the eaves of a pagoda today! Must not exceed --------------------------------------------------------------------------------
Chinese
于一肘者，恐地裂故。又表比丘于坛受戒，制心专一而不散乱也！其第二层高佛一肘半，则唐尺四尺五寸也，同转轮圣王初登坛上受灌顶之时坛度也。其第三层高二寸者，以佛指二寸为量，则当中人四寸也。 今北印度乌仗那国东千余里，度铁索桥至乌仗那旧都，其地平坦，名果皆备，即古转轮王之果园也，有大石戒坛焉。佛灭度后三百年时，有大阿罗汉优楼质那者，威德巨胜，于园北山石崖造大寺，南北周院五十余里，僧所住处一十五里。请弥勒尊者为指挥之，役使工匠，经三百年，以大神力住诸人寿。五重精舍，纯石为之。最上重者高三百余尺，中安栴檀像，相亦如之；乃至下重安赤铜像。今上四重皆闭，非凡所幸；而石若琉璃，内外映彻，人从边过，照见藏腑。其下重者，今人受用，四周华果列植充满。东有石坛，纵广二百余步，四周石栏雕饰难言；基上平镂，奇态转势，高可一丈。上坛中心安佛舍利，覆釜在上，如前所述。受戒之日，如上集僧，别施高座，先诵《遗教经》，诸比丘闻皆悉涕泣。及受戒讫，又诵《遗教》，其事见在。往往有僧，从彼而来，玄奘法师《西域传》中，略述大栴檀像事，而不辨其缘由。至于戒坛，文事盖阙。岂非行不至彼，随闻而述，不足怪也！ 今约祇树园中，总有 现代汉语译本：第一层高一肘，是因为恐怕地面开裂的缘故。又表示比丘在戒坛受戒时，要专心致志，不散乱。第二层高一佛肘半，相当于唐尺四尺五寸，与转轮圣王初次登上戒坛接受灌顶时的坛的高度相同。第三层高二寸，以佛的指头二寸作为衡量标准，相当于普通人的四寸。 现在北印度乌仗那国以东一千多里，通过铁索桥到达乌仗那旧都，那里地势平坦，各种水果都有，就是古代转轮王的果园。那里有一个大石戒坛。佛陀涅槃后三百年时，有一位大阿罗汉名叫优楼质那（Ulouzhina），他威德非常强大，在果园北边的山崖上建造了一座大寺庙，南北周长五十多里，僧人居住的地方有十五里。他请弥勒尊者（Maitreya）来指挥，役使工匠，经历了三百年，用大神力维持着这些人的寿命。寺庙有五重精舍，全部用石头建造。最上面的一重高达三百多尺，中间安放着栴檀木佛像，佛像的相貌也和寺庙一样；最下面的一重安放着赤铜佛像。现在上面的四重都关闭着，不是一般人能够进去的；石头像琉璃一样，内外透亮，人从旁边经过，能够照见内脏。最下面的一重，现在人们还在使用，四周种植着各种花果。东边有一个石坛，纵横二百多步，四周的石栏雕刻得非常精美；基座上镂空雕刻着各种奇特的图案，高约一丈。上坛的中心安放着佛舍利（Buddha's relics），上面覆盖着像倒扣的锅一样的覆釜，就像前面说的那样。受戒的那天，像上面说的那样聚集僧人，另外设置高座，先诵读《遗教经》（Last Teaching Sutra），众比丘听了都哭泣。受戒完毕后，又诵读《遗教经》，这件事现在还在进行。经常有僧人从那里来，玄奘法师（Xuanzang）在《西域记》（Records of the Western Regions）中，略微叙述了大栴檀木佛像的事情，但是没有说明其中的缘由。至于戒坛的事情，文字记载有所缺失。这难道不是因为没有亲自到那里，只是根据传闻来叙述，所以不足为怪吗？ 现在大约祇树园（Jetavana）中，总共有