Chinese
大正藏第 46 册 No. 1951 炽盛光道场念诵仪 No. 1951 炽盛光道场念诵仪拾遗序 宋云间沙门灵鉴述 宋天竺法师慈云尊者。以行光教示灭于钱塘天竺道场。门弟子灵鉴。以所禀法师道德化乎当世。三昧行法施于后代发扬四种三昧在乎斯文。行法之盛不可以不纪。于是拾其遗编。独有炽盛光道场念诵仪未广流布。遂更采诸文补助始末。因旧五章增为七科(新添示方法并释疑)示方法乃。取于本经令。造修者有据释。疑则华梵功等道俗兼该。其间坛场仪轨。今皇朝译经三藏大卿。图纪行世此不委明。余皆沿袭旧文不忘乎本云尔。 炽盛光道场念诵仪 宋天竺寺传天台教观沙门遵式撰 夫法仪施设在乎必当为主。若言理有归何须诤论除传者不肖醍醐杀人。炽盛光大威德真言者。大圣垂愍别示神方。虽言小异持盖功深难测。专心暂诵立见有功。岂在载言。 第一设坛场供养自有三意。 初示清净处者。经文但云于清净处。不别指方隅。又云于国于家及分野处。若定须闲静离于阓闹。别求净地者。或若一家灾难起时。贫庶之士。屋但逾寻室唯方丈。四迫邻含傍远精蓝。岂亦专令别求净地。若其无者便合坐受灾耶。理而推之决不然矣。 现代汉语译本 大正藏第 46 册 No. 1951 炽盛光道场念诵仪 No. 1951 炽盛光道场念诵仪拾遗序 宋 云间沙门灵鉴 述 宋代天竺法师慈云尊者，在钱塘天竺道场示寂。他的弟子灵鉴，因为法师的道德教化影响了当世，三昧行法流传于后代，发扬四种三昧就在这些文章中。行法的盛况不可不记载。于是收集他的遗作，只有《炽盛光道场念诵仪》尚未广泛流传。因此，重新采纳各种文献来补充完整。在原有的五章基础上增加了两科（新添加了示方法和释疑）。‘示方法’取自本经，使修习者有所依据；‘释疑’则兼顾了僧俗两界，华梵并用。至于其中的坛场仪轨，当今皇朝的译经三藏大卿已经图文并茂地刊行于世，这里就不详细说明了。其余部分都沿用旧文，不忘根本。 炽盛光道场念诵仪 宋 天竺寺传天台教观沙门遵式 撰 设立法仪的关键在于必须以‘主’为中心。如果说真理只有一个归宿，又何必争论呢？除非传法者不贤，将醍醐变为毒药。‘炽盛光大威德真言’，是大圣慈悲怜悯，特别开示的神奇方法。虽然说法略有不同，但持诵的功德却深不可测。专心暂时诵念，立刻就能见到效果，何必多说呢？ 第一，设置坛场供养，自有三重意义。 首先，说明清净之处。经文中只说‘于清净处’，没有特别指明方位。又说‘于国于家及分野处’。如果一定要在闲静、远离喧闹的地方，另外寻找净地，那么如果一家发生灾难时，贫苦百姓的房屋只有几平方米，房间只有一丈见方，四周都是邻居，远离寺庙，难道也要专门寻找净地吗？如果没有，就只能坐等灾难降临吗？从道理上推断，绝对不是这样。
English
English version Taisho Tripitaka Volume 46, No. 1951, The Ritual of Recitation in the Shrine of Flaming Light No. 1951 Preface to the Supplement to the Ritual of Recitation in the Shrine of Flaming Light Compiled by Shramana Lingjian of Yun Jian during the Song Dynasty During the Song Dynasty, the Indian Dharma Master, Venerable Ciyun, demonstrated the teachings of light and passed away at the Tianzhu Shrine in Qiantang. His disciple, Lingjian, recognizing the Dharma Master's virtuous influence on the world and the transmission of Samadhi practices to future generations, aimed to propagate the four types of Samadhi through these writings. The flourishing of these practices should be recorded. Therefore, he collected the master's remaining works. Only 'The Ritual of Recitation in the Shrine of Flaming Light' had not been widely circulated. Consequently, he supplemented it with various texts to complete it. He added two sections to the original five chapters ('Instructions on Methods' and 'Resolving Doubts'). The 'Instructions on Methods' are taken from the original scripture, providing a basis for practitioners. 'Resolving Doubts' caters to both monastic and lay practitioners, using both Chinese and Sanskrit. As for the layout of the shrine and its rituals, the current imperial dynasty's Tripitaka translator-minister has already published detailed illustrations, so they will not be elaborated upon here. The rest follows the old texts, not forgetting the original source. The Ritual of Recitation in the Shrine of Flaming Light Composed by Shramana Zunshi of Tianzhu Temple, who transmitted the Tiantai teachings and contemplations, during the Song Dynasty The key to establishing a Dharma ritual lies in ensuring that it is centered on the 'main' focus. If there is only one destination for truth, why argue? Unless the transmitter is unworthy, turning nectar into poison. The 'Flaming Light Great Majestic Virtue Dharani' is a miraculous method specially revealed by the Great Sage out of compassion. Although the wording may vary slightly, the merit of reciting it is immeasurable. Concentrated, temporary recitation immediately shows results, so why say more? First, setting up the altar for offerings has three meanings in itself. First, to indicate a pure place. The scripture only says 'in a pure place', without specifically indicating the direction. It also says 'in the country, in the home, and in the field'. If one must find a quiet place away from the hustle and bustle, and seek a separate pure place, then if a disaster occurs in a family, and the poor people's houses are only a few square meters, and the room is only one zhang square, surrounded by neighbors, far from the monastery, must they also specifically seek a pure place? If not, can they only sit and wait for disaster to strike? Logically, it is definitely not so. --------------------------------------------------------------------------------
Chinese
今作二意若贫者只于所住选于胜处。便于净地安立道场(若大悲经中。用刀咒二十一遍。画地为界。或想到处为界。若灾难变缘急准此。便可持诵)。 若国王大臣及豪富者。选取上处避喧远秽。迥绝之室及先非秽染。或新立堂宇最为第一。若苾刍精舍亦选可知。当于其处作诵咒场。 二立道场法。若国王臣庶并须预空其屋。净洁扫洒香泥涂地。随看广狭而安道场。于香坛上正面安释迦像。以曼殊普贤观音等像从之。四方安护世四天王像。坛中佛前安忿怒明王像(圣捺迦忿怒金刚童子菩萨成就轨仪经上卷。金刚藏菩萨云。画菩萨法。取白㲲用牛尿洗。复用香水濯之。于闲静处。对佛前舍利塔。不应用皮胶和彩色。画笔色盏须新者。画匠澡浴着净衣受八斋戒。勿吐气以冲其像。亦不与画人论其价直。其像独身从海涌出。如吠琉璃色。身有六臂。臂膊𦟛停相貌充满。面有三目。其目赤色。首戴宝冠。狗牙上出口咬下唇。颦眉威怒。又于海中画一宝山。像以左足踏于宝山。山上有妙莲华。以承其足。右足在海水中立没其半膝。右第一手持金刚杵作掷势。第二手持母婆罗棒。谓棒一头如铁杵形。第三手执钺斧。左第一手把棒。第二手如拟势。作金刚拳舒头指。第三手持剑。以大蛇于身角络系。又以一切毒蛇。膊钏 现代汉语译本：现在来说说设立道场的两种方式。如果条件有限，只能在所居住的地方选择一个比较好的地方，在干净的地面上设立道场（如果情况紧急，可以参考《大悲经》中的方法，用刀咒语二十一遍，划地为界，或者意念所到之处即为界限，然后就可以开始持诵）。 如果是国王、大臣或者富豪，就应该选择一个远离喧嚣和污秽的上佳场所，最好是完全隔绝的房间，或者之前没有被污染过的地方。新建的殿宇是最好的选择。如果是比丘的精舍，也应该选择合适的地方。在这些地方设置诵咒的场所。 第二是设立道场的方法。无论是国王还是普通百姓，都必须事先清空房屋，打扫干净，用香泥涂抹地面，根据房屋的大小来安排道场。在香坛的正面安放释迦牟尼佛像，用文殊菩萨、普贤菩萨、观音菩萨等像来陪衬。四方安放护世四天王像。坛中佛像前安放忿怒明王像（参考《圣捺迦忿怒金刚童子菩萨成就轨仪经》上卷。金刚藏菩萨说，绘制菩萨像的方法是：取白色细布，用牛尿清洗，再用香水洗涤。在安静的地方，面对佛前的舍利塔。不要使用皮胶来调和颜料。画笔和颜料碟必须是新的。画匠要沐浴，穿干净的衣服，受持八斋戒。不要对着画像呼气，也不要和画匠讨论价格。画像是忿怒明王独自从海中涌出，颜色像吠琉璃。身体有六只手臂，臂膀圆润饱满，相貌庄严。面有三只眼睛，眼睛是红色的。头上戴着宝冠。狗牙向上露出，咬住下唇。皱着眉头，显得威严愤怒。又在海中画一座宝山。忿怒明王用左脚踩在宝山上，山上有美妙的莲花，用来承托他的脚。右脚在海水中，没到一半膝盖。右边的第一只手拿着金刚杵，做投掷的姿势。第二只手拿着母婆罗棒，这种棒的一头像铁杵的形状。第三只手拿着钺斧。左边的第一只手拿着棒。第二只手做出拟定的姿势，握着金刚拳，伸出头指。第三只手拿着剑。用大蛇在身上缠绕系结，又用各种毒蛇做成臂钏。
English
English version: Now, let's talk about the two ways to establish a Mandala. If resources are limited, one should choose a superior location within their residence and establish the Mandala on clean ground (in urgent situations, one can refer to the 'Great Compassion Sutra,' using a knife to chant a mantra twenty-one times, defining the boundary by drawing a line, or mentally designating the boundary wherever the mind reaches, and then begin recitation). If one is a king, minister, or wealthy person, they should select a superior place away from noise and defilement, preferably a completely isolated room, or a place that has not been previously contaminated. A newly built hall is the best choice. If it is a Bhikkhu's monastery, a suitable place should also be selected. In these places, a site for chanting mantras should be established. The second is the method of establishing the Mandala. Whether it is a king or an ordinary person, they must first empty the house, clean it thoroughly, and apply fragrant mud to the ground, arranging the Mandala according to the size of the house. Place a statue of Shakyamuni Buddha on the front of the incense altar, accompanied by statues of Manjushri Bodhisattva, Samantabhadra Bodhisattva, Avalokiteshvara Bodhisattva, etc. Place statues of the Four Heavenly Kings who protect the world in the four directions. Place a statue of the Wrathful Vidyaraja (Achala) in front of the Buddha statue in the center of the altar (refer to the upper volume of the 'Scripture on the Accomplishment Ritual of the Holy Atavaka Wrathful Vajra Youth Bodhisattva'). Vajragarbha Bodhisattva said that the method of drawing a Bodhisattva image is as follows: Take white fine cloth, wash it with cow urine, and then wash it with fragrant water. In a quiet place, facing the Sharira Stupa in front of the Buddha. Do not use hide glue to mix the colors. The brushes and paint dishes must be new. The painter must bathe, wear clean clothes, and observe the eight precepts. Do not breathe on the image, and do not discuss the price with the painter. The image is of the Wrathful Vidyaraja emerging alone from the sea, with a color like lapis lazuli. The body has six arms, the arms are round and full, and the appearance is dignified. The face has three eyes, and the eyes are red. The head wears a jeweled crown. The canine teeth are exposed upwards, biting the lower lip. Frowning, appearing majestic and angry. Also, draw a jeweled mountain in the sea. The Wrathful Vidyaraja steps on the jeweled mountain with his left foot, and there is a beautiful lotus flower on the mountain to support his foot. The right foot is in the sea water, submerged to half the knee. The first right hand holds a Vajra and makes a throwing gesture. The second hand holds a Matrka club, which has a shape like an iron pestle at one end. The third hand holds a Yue axe. The first left hand holds a club. The second hand makes a designated gesture, holding a Vajra fist and extending the index finger. The third hand holds a sword. A large snake is wrapped around the body and tied, and various poisonous snakes are made into armlets. --------------------------------------------------------------------------------
Chinese
臂钏腰绦璎珞及耳珰系发。又以大蛇绕腰三匝。身背圆光火焰围绕。于火焰外有其云电。以相辅翼也)以设睹噜形对之(梵语设睹噜。此翻为冤。即画冤家形于忿怒明王像前也)余绕四壁。列诸星曜净居天等位。供养取意自裁。 三供养者。并悬新缯盖幡华。珍果名香饮食。种种精美竭诚尽力。若实贫乏亦随己所有尽出供养。无令隐惜诳圣欺心。 第二示方法 经云我今说过去娑罗王如来所说。炽盛光大威德陀罗尼除灾难法。若有国王及诸大臣。所居之处及诸国界。或被五星陵逼。罗睺彗孛妖星。照临所属本命宫宿。及诸星位或临帝座。于国于家及分野处陵逼之时。或退或入作诸障难者。但于清净处置立道场。念此陀罗尼一百八遍或一千遍。若一日二日三日乃至七日。依法修饰坛场至心受持读诵。一切灾难悉皆消灭不能为害。乃至云。若有苾刍苾刍尼族姓男族姓女。受持读诵此陀罗尼者。能成就八万种吉祥事。能除灭八万种不吉祥事等。据于经文具乎四义。一所消三障。二能消胜法。三明力用。四显陀罗尼。经云一切灾难悉皆消灭。一切之言包乎三障。而业障经分明。然由烦恼故有业。业必招报也。又内身外报灾难等事。是报障也。专明内心。是烦恼障也。若起决定心动发身口。必牵来报者。是业障也。 现代汉语译本：臂钏（戴在手臂上的装饰品），腰绦（系在腰间的丝带），璎珞（用珠玉穿成的项链），以及耳珰（耳环）系发。又用大蛇缠绕腰部三圈。身体背后的圆形光环火焰围绕。在火焰之外还有云电，用来辅助衬托。用设睹噜形（梵语设睹噜，意为冤家，即在忿怒明王像前画冤家的形象）来相对。其余的绕着四壁，排列着诸星曜、净居天等神位。供养的物品和方式可以根据自己的心意来决定。 三种供养：悬挂新的丝绸盖、幡、华，以及珍贵的水果、名贵的香、饮食等，各种精美的物品，竭尽诚意和力量。如果实在贫乏，也应随自己所有，全部拿出来供养。不要有所隐瞒吝惜，欺骗神圣，违背自己的真心。 第二是展示方法：经中说，‘我现在宣说过去娑罗王如来所说的炽盛光大威德陀罗尼，用来消除灾难的方法。’如果有国王以及各位大臣，所居住的地方以及各个国家，或者被五星侵凌逼迫，罗睺（星名），彗星，妖星，照临所管辖的本命宫宿，以及各个星位，或者侵临帝座，对于国家、家庭以及所管辖的区域进行侵凌逼迫的时候，或者退或者进，制造各种障碍灾难的时候，只要在清净的地方设置道场，念诵此陀罗尼一百零八遍或者一千遍。如果一日、二日、三日乃至七日，按照仪轨修饰坛场，至诚恳切地受持读诵，一切灾难都能够全部消灭，不能造成危害。’乃至说，‘如果有比丘、比丘尼、族姓男、族姓女，受持读诵此陀罗尼，能够成就八万种吉祥的事情，能够消除八万种不吉祥的事情等等。’根据经文，具备四种含义：一是所消除的三障，二是能消除的殊胜之法，三是说明力量作用，四是彰显陀罗尼。经中说‘一切灾难都能够全部消灭’，一切之言包含三障。而业障经文分明。然而因为烦恼的缘故才会有业，有业必定会招来报应。又有内身外报的灾难等事情，这是报障。专门针对内心，这是烦恼障。如果生起决定的心，发动身口，必定牵引来报应的，这是业障。