佛說阿彌陀經 天樂供養
前兩段寫的是東西：欄楯、羅網、行樹、池水、蓮花。這一段開始寫事——那裡的人一天怎麼過。
天樂在空中響著，「黃金為地」；晝夜六時有華飄落；清晨，眾生用衣襟兜著花出門，飛到十萬億佛土之外去供養諸佛；到了用齋的時候回來，吃過飯，經行。
那裡為什麼還有晝夜
淨土沒有無明，也沒有昏曉，憑什麼說「晝夜六時」？
古來的答覆不從時間講，從景象講：花在金色的水邊開了，就當作天亮；鳥回瓊林棲宿了，就當作天黑。那裡的晝夜不是日月造成的明暗，是一種節律的借名。
不否認經文的用詞，也不把人間的機制搬過去。
曼陀羅華
梵語，漢語譯作『適意華』——光潔，有異香，見到聞到的人身心舒暢。
花被風吹萎了，地會裂開承受它，然後再落新花。舊的收走，新的落下——連莊嚴都是活的。
圓滿處的人，每天先離開
「其國眾生，常以清旦，各以衣裓盛眾妙華，供養他方十萬億佛」。
衣裓就是衣襟。不是寶器，不是花籃——用自己身上的衣服兜著花就出發了。
這裡有一句容易讀漏：極樂國土前面被寫得那麼圓滿，而住在裡面的人，每天第一件事是離開它——去別的佛土，供養別的佛。
淨土不是終點站。是一個可以每天出發、每天回來的地方。
一頓沒有人吃下去的飯
回來以後做兩件事：吃飯，經行。
經行是繞著寶殿或瓊林往來行走，像織機上的經線來回穿行。腳踏寶地，口念金經。
至於飯——相傳彼土之人若想吃，七寶器皿自然現前，百味盈滿；但實無食者，見色聞香便是食了。
一頓沒有人真的吃下去的飯。經文寫得像日常，讀起來卻是定境。
The two passages before this wrote of things: railings, nets, rows of trees, the pool, the lotuses. This passage begins to write of doings — how the people there pass a day.
Celestial music sounds in the air, and “gold forms the ground”; through the six periods of day and night flowers drift down; at clear dawn the beings gather flowers in the folds of their robes and set out, flying past a hundred thousand koṭis of buddha-lands to make offering to the buddhas; when the time for the meal comes they return, and when they have eaten, they walk.
Why There Is Still Day and Night There
The Pure Land has no ignorance and no dusk or dawn. On what ground, then, is “the six periods of day and night” spoken of?
The old answer does not argue from time but from the scene: flowers have opened at the golden waterside, and that is taken for daybreak; birds have gone back to roost in the jade grove, and that is taken for nightfall. The day and night there is not a brightness and darkness produced by sun and moon; it is a borrowed name for a rhythm.
It does not deny the sūtra’s wording, and it does not carry the mechanism of the human world across.
Mandārava Flowers
Sanskrit; rendered in Chinese as flowers that gladden the mind — lustrous, strangely fragrant, and whoever sees or smells them is eased in body and mind.
When the wind has blown the flowers withered, the ground opens to receive them, and then fresh flowers fall. The old is taken away, the new comes down — even the adornment is alive.
Those in the Perfect Place Leave It First Each Day
“The beings of that land, constantly at clear dawn, each gather many wondrous flowers in the fold of their robes and make offering to a hundred thousand koṭis of buddhas in other quarters.”
The fold of the robe is the front fold of a garment. Not a jewelled vessel, not a flower basket — they set out with the flowers gathered in the clothes on their own bodies.
There is a line here easily read past: the land of Ultimate Bliss has just been written as so complete, and the first thing those who live within it do each day is to leave it — to go to other buddha-lands, to make offering to other buddhas.
The Pure Land is not a terminus. It is a place one can set out from every day and return to every day.
A Meal No One Actually Eats
After coming back they do two things: eat, and walk.
Walking meditation is walking to and fro around the jewelled halls or the jade groves, like the warp threads on a loom passing back and forth. The feet tread the jewelled ground, the mouth recites the golden sūtra.
As for the meal — it is transmitted that if the people of that land wish to eat, vessels of the seven precious substances appear of themselves, filled with a hundred flavours; but in truth there is no one who eats: seeing the colour and smelling the fragrance is already the eating.
A meal that no one actually eats. The sūtra writes it like daily life, yet it reads as the state of meditative absorption.
大正藏 T12n0366〔起 T12 0347a07〕。段／行首〔T12 …〕＝大正藏頁·欄·行錨。
〔T12 0347a07〕「又舍利弗！彼佛國土，常作天樂，黃金為地，晝夜六時，天雨曼陀羅華。其國眾生，常以清旦，各以衣裓盛眾妙華，供養他方十萬億佛；即以食時，還到本國，飯食經行。舍利弗！極樂國土成就如是功德莊嚴。
The canonical text stands in Chinese only. This edition renders the essence, the plain reading, the exposition and the apparatus into English — never the sūtra itself. Switch to 漢讀本 or 並行雙語 above to read it.
姚秦鳩摩羅什譯《佛說阿彌陀經》T12n0366，自「又舍利弗！彼佛國土，常作天樂」至「成就如是功德莊嚴」。段首（…）＝大正藏頁·欄·行錨。
〔一·常作天樂·黃金為地〕（0347a07）又，舍利弗！那尊佛的國土，空中時時奏著天上的音樂；大地是黃金鋪成的。
〔二·晝夜六時·天雨曼陀羅華〕（0347a08）晝夜六時之中（晝有六時、夜有六時，合為十二時），天上飄落曼陀羅華（梵語，意思是「適意華」——光潔而有異香，見到、聞到的人身心舒暢）。
〔三·清旦供佛·衣裓盛華〕（0347a08）那個國家的眾生，常在清晨時分，各自用衣襟兜著眾多的妙華，前往供養他方十萬億尊佛。
〔四·食時還國·飯食經行〕（0347a09）到了用齋的時候，就回到自己的國土，飯食完畢，緩步往返地經行（往來行走如織布之經線，故稱經行）。
〔五·結成極樂〕（0347a10）舍利弗！極樂國土就是這樣成就了如此的功德莊嚴。
Kumārajīva’s translation, T12n0366, from “Again, Śāriputra: in that buddha-land celestial music is constantly played” to “brings to completion adornment of merit such as this.” The bracketed figures at the head of each segment give the Taishō page, register, and line.
〔1 · Celestial music constantly played · gold forming the ground〕（0347a07）Again, Śāriputra: in that buddha’s land celestial music sounds in the air at every moment, and the ground is laid out in gold.
〔2 · The six periods of day and night · the heavens raining mandārava flowers〕（0347a08）Through the twelve watches of day and night (three periods by day and three by night, six in all), mandārava flowers drift down from the sky (a Sanskrit word, meaning “flowers that gladden the mind” — lustrous and strangely fragrant, so that whoever sees them or smells them is eased in body and mind).
〔3 · Offering at clear dawn · flowers gathered in the fold of the robe〕（0347a08）The beings of that land, constantly at the hour of clear dawn, each gather many wondrous flowers in the fold of their robes and go to make offering to a hundred thousand koṭis of buddhas in other quarters.
〔4 · Returning to their land at mealtime · eating and walking meditation〕（0347a09）When the time for the meal comes they return to their own land; and when the meal is finished they walk slowly to and fro in walking meditation (going and returning like the warp threads of a weaving, whence the name).
〔5 · The concluding statement of Ultimate Bliss〕（0347a10）Śāriputra: it is thus that the land of Ultimate Bliss brings to completion an adornment of merit such as this.
前兩段寫的是東西：欄楯、羅網、行樹、池水、蓮花。這一段開始寫事——那裡的人一天怎麼過。
天樂在空中響著，地是黃金的；晝夜六時有華飄落；清晨眾生用衣襟兜著花出門，飛到十萬億佛土之外供養諸佛；到了用齋的時候回來，吃過飯，經行。
一段之內，四件事——空盈天樂、地布黃金、華雨長天、人遊諸國——被串在一天的時序上。
為什麼淨土還有「晝夜」
這裡有一個很尖銳的問題：西方淨土境勝地殊，人已無無明，國也沒有昏曉，憑什麼說「晝夜」？
歷來的答覆不從時間本身講，從景象講：花在金色的水邊開了，就當作天亮的意思；鳥回瓊林棲宿了，就當作天黑的樣子——與此界光暗分明的晝夜不同。
也就是說，那裡的「晝夜」不是日月造成的明暗，是一種節律的借名。經文說晝夜六時，是為了讓聽的人有一個可以想像的作息，不是說彼土真有日落。
這個回答的分寸值得記下來：不否認經文的用詞，也不把人間的機制搬過去。與前一段「頗梨不是真由冰化」是同一種讀法。
一朵花的名字
「曼陀羅華」是梵語，漢語意思是『適意華』。光潔，有異香；見到的、聞到的人，身心都舒暢。
花落之後還有一段：被風吹萎的花，地會裂開承受它，然後再落新花，重新莊嚴這片金地。《法華經》「香風吹萎華，更雨新好者」正是同一景象。
一片不會積存殘花的土地。舊的收走，新的落下——連莊嚴都是活的，不是擺在那裡不動的裝飾。
出門，然後回來
「其國眾生，常以清旦，各以衣裓盛眾妙華，供養他方十萬億佛。」
「衣裓」就是衣襟。不是寶器，不是花籃——用自己身上的衣服兜著花就出發了。「供養」二字亦有其解：拿出財物去行叫「供」，能攝取資益叫「養」。
然後是回程：「即以食時，還到本國，飯食經行。」
這裡有一個容易被讀漏的地方。經文說彼土的人出去。極樂國土前面被寫得那麼圓滿，而住在裡面的人第一件事是離開它——去別的佛土，供養別的佛，聽別的法。
淨土不是終點站。它是一個可以每天出發、每天回來的地方。
飯食經行
回來以後做兩件事：吃飯，經行。
「經行」是繞著寶殿或瓊林往來行走，像織機上的經線來回穿行，所以叫經行；腳踏著寶地，口念著金經。
至於「食」——相傳彼土之人若想吃飯，七寶的器皿自然現前，百味飲食盈滿；但「雖有是食實無食者，但見色聞香以之為食」。既然如此，別的經說有食，豈不相違？答案是：那是就示現而說的，有什麼過失呢。若再問淨土之食究竟是什麼，答：就實報淨土說，即是禪悅為味。
一頓沒有人真的吃下去的飯。經文寫得像日常，釋得像禪定——兩邊都不刪。
一日之中，法沒有停過
把這一段的時序排開來看：天樂是常時響著的，華是晝夜六時落的，出門供佛在清晨，回來吃飯經行在食時。
一日之內，沒有一段是空的。
而這些事之中，沒有一件是「修行時間」與「非修行時間」的分別。出門是供佛，回來是經行，連吃飯都被寫進同一串行程裡——而那頓飯，還是一頓沒有人真的吃下去的飯。
前兩段寫的是境不障礙，這一段寫的是時也不障礙。在此處，人得在雜務之間騰出一段時間來修行；在那裡，時間本身就是那個形狀。
這也是「晝夜六時」何以不必真有日落的緣故。那不是天文的描述，是節律的描述——一日有它的段落，而每一個段落都朝著同一個方向。
一個人可以離開淨土
這一段最容易被讀漏的，是「供養他方十萬億佛」這一句。
極樂國土前面被寫得那麼圓滿：無有眾苦、四寶周匝、八功德水、四色蓮花。照常理，住進這樣的地方應該是抵達，是不必再走了。
但經文說，那裡的人每天早上出門。
而且不是出去遊歷，是去供養別的佛、聽別的法；供養完了回來，吃飯，經行，第二天再去。
淨土不是終點站。它是一個可以每天出發、每天回來的地方；是修行的據點，不是修行的結束。往生不等於畢業。
這一點與下一段那句「其音演暢五根、五力、七菩提分、八聖道分」是同一個意思，只是這裡先以行程說出來：到了那裡，修道並沒有停。
一處異文
這一段還藏著一件校勘上的事，值得在此點明。
底本作「晝夜六時，天雨曼陀羅華」。但唐代的兩位讀者——一位牒經作註，一位轉誦作法事——手上的本子都作「而雨」；宋、元、明本作「雨天」，流布本亦作「而雨」。
也就是說，七世紀所誦的《阿彌陀經》，與今日通行的排印底本，在細處並不全同。這不足以動搖底本一個字——今不改；但它讓人看見：經是活著被誦下來的。
常作天樂
這一段的第一句是聲音：「彼佛國土，常作天樂。」
「常」字要緊。不是有時候奏、不是法會才奏，是一直在響。
歷來的讀法把這句話的作用說得很直接：空中奏樂，聲音演出法音，那個國土的人聽了，都生起善念。也就是說，那不是背景音樂——那是法，只是以樂的形式出現。
在此處，人得先安靜下來才聽得見法；在那裡，聲音本身就是法，而且從不停。
這一句也預告了後面兩段。眾鳥出和雅音、微風吹動寶樹寶網出微妙音——整個國土是有聲的，而每一種聲音都朝同一個方向。淨土的莊嚴不只給眼睛看，也給耳朵聽。
衣襟裡的花
供養的細節很小，卻不該讀過去。
「各以衣裓盛眾妙華」——衣裓就是衣襟。不是寶器，不是花籃，不是什麼特製的供具；那裡的人出門供佛，用的是自己身上的衣服。
而花是哪裡來的？是前一句剛剛從天上落下來的曼陀羅華。天落下來，人撿起來，兜在衣襟裡，帶去供養別的佛。
供養二字，歷來釋為：拿出財物去行叫「供」，能攝取資益叫「養」。這裡拿出去的，是自己並沒有製造、只是承接下來的東西。
一個極其樸素的畫面：所供之物是受來的，所用之器是身上的。整段寫得那麼富麗——黃金為地、百千種樂——落到人身上，卻只是一件衣服兜著幾朵花。
承衍——一路釋疑，一路轉誦
上來是這一天自身的義。此下另以唐代兩副眼旁照——鏡非經，只是同一日之行程，換兩種讀法來看。
慈恩一路在此段的用力處是「釋疑」。窺基把每一個可能絆住讀者的地方都設問而後答：淨土何以有晝夜、彼土之食是否真食、「黃金為地」是否過略——末一問他答得乾脆：「此唯金者，亦文略也。」他還連引《觀經》兩次（樂器懸空不鼓自鳴、其地柔軟下足即凹）、《法華經》一次（香風吹萎華）、《瑞相經》兩次，用同軸與他軸之經來補這部小經之所略。
值得注意的是引《法華經》這一筆：一部天台軸的經進了淨土的疏。唐代的疏家並不把經按宗派分格擺放；需要什麼證，就到哪裡取。
善導一路仍是轉誦：「又舍利弗。彼佛國土。常作天樂。黃金為地。」四句誦完就過去了，不問晝夜之有無。而正是這份轉誦，替後人留下了一個七世紀讀本的字形——「而雨」。
一路把疑問攤開，一路把疑問誦過去；一路留下了解釋，一路留下了本子。二家所作各異，並錄不判，各還其位。
The two passages before this wrote of things: railings, nets, rows of trees, the pool, the lotuses. This passage begins to write of doings — how the people there pass a day.
Celestial music sounds in the air and the ground is of gold; through the six periods of day and night flowers drift down; at clear dawn the beings gather flowers in the folds of their robes and set out, flying past a hundred thousand koṭis of buddha-lands to make offering to the buddhas; when the time for the meal comes they return, and when they have eaten, they walk.
Within one passage, four matters — the sky filled with celestial music, the ground spread with gold, flowers raining from the vast sky, the people travelling to the many lands — are strung upon the order of a single day.
Why the Pure Land Still Has “Day and Night”
There is a sharp question here. In the western pure land the realm is excellent and the ground extraordinary; its people have no ignorance left and the land has neither dusk nor dawn. On what ground, then, is “day and night” spoken of?
The answer handed down does not argue from time itself but from the scene: flowers have opened at the golden waterside, and that is taken for the meaning of daybreak; birds have gone back to roost in the jade grove, and that is taken for the look of nightfall — unlike the day and night of this world, where light and dark are each of a different sort.
That is to say, the “day and night” there is not a brightness and darkness produced by sun and moon. It is a borrowed name for a rhythm. The sūtra says six periods of day and night so that the hearer may have a round of hours he can picture, not to say that the sun really sets in that land.
The measure of this answer is worth recording. It does not deny the sūtra’s wording, and it does not carry the mechanism of the human world across. It is the same way of reading as the previous passage’s “crystal is not really formed from ice.”
The Name of a Flower
“Mandārava” is Sanskrit; in Chinese it means flowers that gladden the mind. Lustrous, strangely fragrant; whoever sees them or smells them is eased in body and mind.
After the flowers have fallen there is a further stretch. The flowers that the wind has blown withered — the ground opens to receive them, and then fresh flowers fall again and adorn this golden ground anew. The Lotus Sūtra’s “a fragrant wind blows away the withered flowers, and fresh fine ones rain down anew” is precisely this scene.
A ground on which spent flowers never pile up. The old is taken away, the new comes down — even the adornment is alive, not an ornament set there unmoving.
Going Out, and Coming Back
“The beings of that land, constantly at clear dawn, each gather many wondrous flowers in the fold of their robes and make offering to a hundred thousand koṭis of buddhas in other quarters.”
The “fold of the robe” is the front fold of a garment. Not a jewelled vessel, not a flower basket — they set out with the flowers gathered in the clothes on their own bodies. The two words “making offering” have their gloss as well: to bring forth goods and present them is called offering; that which takes in and sustains is nourishing.
Then the return: “at mealtime they return to their own land, eat, and practise walking meditation.”
There is a place here easily read past. The sūtra says that the people of that land go out. The land of Ultimate Bliss has just been written as so complete, and the first thing those who live within it do is to leave it — to go to other buddha-lands, to make offering to other buddhas, to hear other Dharma.
The Pure Land is not a terminus. It is a place one can set out from every day and return to every day.
The Meal and the Walking
After coming back they do two things: eat, and walk.
“Walking meditation” is walking to and fro around the jewelled halls or the jade groves, like the warp threads on a loom passing back and forth, and so it is called walking the warp; the feet tread the jewelled ground, the mouth recites the golden sūtra.
As for “eating” — it is transmitted that if the people of that land wish to eat, vessels of the seven precious substances appear of themselves, filled with food of a hundred flavours; but “though there is such food, in truth there is no one who eats; merely seeing the colour and smelling the fragrance, they take that as their eating.” If so, does this not contradict the other sūtra that speaks of eating? The answer: that is spoken with reference to a manifested eating — what fault is there in it? And if one asks further what the food of the Pure Land actually is, the answer is that with reference to the pure land of true recompense, meditative delight is the savour.
A meal that no one actually eats. The sūtra writes it like daily life and glosses it like meditative absorption — neither side is struck out.
Within One Day, the Dharma Never Stops
Lay out the order of hours in this passage: the celestial music sounds at all times, the flowers fall through the six periods of day and night, the going out to make offering falls at clear dawn, the coming back to eat and to walk falls at mealtime.
Within one day there is not one empty stretch.
And among these doings, not one draws a line between “time for practice” and “time not for practice.” Going out is making offering, coming back is walking, and even the eating is written into the same round of hours — and that meal is still a meal no one actually eats.
The two passages before this wrote that the realm does not obstruct; this passage writes that time does not obstruct either. Here, one must make a stretch of time free from among one’s chores in order to practise; there, time itself is already that shape.
This too is why “six periods of day and night” need not mean that the sun really sets. That is not a description of astronomy but a description of rhythm — a day has its stretches, and every one of them faces the same direction.
One May Leave the Pure Land
What is most easily read past in this passage is the phrase “make offering to a hundred thousand koṭis of buddhas in other quarters.”
The land of Ultimate Bliss has been written as so complete: without the many sufferings, encircled by the four precious substances, the water of the eight excellent qualities, lotuses of four colours. By ordinary reckoning, to move into such a place should be an arrival — no further travelling needed.
But the sūtra says that the people there go out every morning.
And not out to sightsee: out to make offering to other buddhas and to hear other Dharma; the offering done, they come back, eat, walk, and the next day go again.
The Pure Land is not a terminus. It is a place one can set out from every day and return to every day; a base for practice, not the end of practice. Birth in that land is not graduation.
This is one meaning with the sūtra’s line “their sound sets forth the five faculties, the five powers, the seven factors of awakening, the eightfold noble path,” only that here it is said first as an itinerary: having arrived there, the cultivation of the path has not stopped.
One Divergent Reading
This passage also conceals a matter of collation worth pointing out here.
The base text reads “through the six periods of day and night the heavens rain down mandārava flowers.” But the two Tang readers — one citing the sūtra in a commentary, one reciting it in a liturgy — both had in hand a text that read, in place of “the heavens rain down,” simply “there rain down”; the Song, Yuan and Ming printings invert the two characters, and the current-circulation text likewise reads “there rain down.”
That is to say: the Amitābha Sūtra recited in the seventh century and the printed base text current today are not identical in fine detail. This is not enough to shake one character of the base text — it is not altered here; but it lets one see that the sūtra was carried down alive.
Celestial Music, Constantly Played
The first sentence of this passage is a sound: “in that buddha-land celestial music is constantly played.”
The word “constantly” matters. Not played at times, not played only when there is a Dharma assembly — sounding without a break.
The reading handed down states the work of this sentence very directly: music is played in the air, its sound setting forth the tones of the Dharma, and the people of that land, hearing it, all give rise to wholesome thoughts. That is to say, it is not background music — it is Dharma, appearing in the form of music.
This sentence also foretells the two stretches that follow. The many birds put forth harmonious and refined notes; a light wind stirs the jewelled trees and the jewelled nets and they put forth subtle and wondrous sounds — the whole land has voice, and every kind of voice faces the same direction. The adornment of the Pure Land is not given to the eyes alone; it is given to the ears as well.
Here, one must first grow quiet before the Dharma can be heard; there, the sound itself is Dharma, and it never stops.
Flowers in the Fold of a Robe
The detail of the offering is very small, and should not be read past.
“Each gather many wondrous flowers in the fold of their robes” — the fold of the robe is the front fold of a garment. Not a jewelled vessel, not a flower basket, not any specially made implement of offering; the people there go out to make offering to the buddhas in the clothes on their own bodies.
And where do the flowers come from? They are the mandārava flowers that have just come down from the sky in the sentence before. The heavens send them down, the people pick them up, gather them in the fold of a robe, and carry them off to make offering to other buddhas.
The two words “making offering” have long been glossed thus: to bring forth goods and present them is called offering; that which takes in and sustains is nourishing. What is brought forth here is something they did not make themselves, but only received.
An utterly plain picture: what is offered was received, and the vessel used is on one’s own body. The whole passage is written so richly — gold forming the ground, a hundred thousand kinds of music — yet where it comes down to a person, it is only a garment holding a few flowers.
Carrying Forward — One Resolving Doubts, One Reciting Onward
Above is the meaning of this one day in itself. Below, two Tang eyes cast their light from the side — the mirror is not the sūtra; only the same day’s round, seen through two ways of reading.
The Cien line applies its force in this passage to the resolving of doubts. Kuiji sets a question at every place where a reader might be caught, and then answers it: why the Pure Land has day and night, whether the food of that land is really food, whether “gold forms the ground” is not too brief — the last of these he answers flatly: “that here only gold is named is likewise an abbreviation of the text.” He also cites the Sūtra on Contemplating the Buddha of Measureless Life twice (musical instruments hanging in space and sounding of themselves without being struck; that ground soft, sinking when the foot goes down and rising when it lifts), the Lotus Sūtra once (a fragrant wind blowing away the withered flowers), and the Sūtra of Auspicious Marks twice — using sūtras of his own axis and of another to supply what this short sūtra passes over.
Worth noticing is that citation of the Lotus Sūtra: a sūtra of the Tiantai axis entering a Pure Land commentary. The Tang commentators did not shelve sūtras by school; whatever proof was wanted, they took it from wherever it lay.
The Shandao line is still recitation: “Again, Śāriputra. In that buddha-land celestial music is constantly played. Gold forms the ground.” The four phrases are recited and passed over, with no question raised as to whether dusk and dawn are there at all. And it is precisely this recitation that has left later readers the graphic form of a seventh-century reading text — “there rain down.”
One lays the doubts open, one recites the doubts past; one has left an explanation, the other has left a text. What the two do differs; both are recorded without adjudication, each in its own place.
考據Apparatus
全段定位 本段一氣涵蓋「廣明淨土」八科之第三至第六——空盈天樂、地布黃金、華雨長天、人遊諸國。經文自空中天樂起，落到黃金為地，再由天華飄落轉入眾生持華遠供他方諸佛、食時還國經行，末以「成就如是功德莊嚴」結。本單元有一處三方見證之異文：底本作「天雨曼陀羅華」，而唐代二鏡（窺基疏引、善導誦本）皆作「而雨」，與流布本同；宋元明本則作「雨天」——七世紀之讀本與後世刊本異讀欄同流而不同支，誌錄不判。
一、科判定位
本單元含疏之四科（見 01 單元所引「廣明淨土」八科總目〔T37n1758 0338b28〕）：
| 疏科 | 疏語逐字 | 錨 | 經文所據 |
|---|---|---|---|
| 第三·空盈天樂 | 「第三空盈天樂。空中奏樂聲演法音，彼國人聞咸生善念。」 | 〔T37n1758 0339c12〕 | 「彼佛國土，常作天樂」〔T12n0366 0347a07〕 |
| 第四·地布黃金 | 「第四地布黃金。心無穢種，地感黃金，柔軟自然高低隨步。」 | 〔T37n1758 0339c18〕 | 「黃金為地」〔T12n0366 0347a07〕 |
| 第五·華雨長天 | 「第五華雨長天也。晝夜六時者，晝夜各有六時，共十二時也。」 | 〔T37n1758 0339c26〕 | 「晝夜六時，天雨曼陀羅華」〔T12n0366 0347a08〕 |
| 第六·人遊諸國 | 「第六人遊諸國。文分為三：初將華供佛；二、還國經行；三、結成極樂。」 | 〔T37n1758 0340a17〕 | 「其國眾生，常以清旦」〔T12n0366 0347a08〕以下 |
分段誌記：本單元一檔涵四科，是全帙單元／疏科比最疏之處（01 單元為七科＋一科，02 單元為一科七節）。是否依疏科再切，本帙誌錄不判。
二、異譯對勘（T367 玄奘本·異同誌錄不判）
| 位 | 羅什 T12n0366 | 玄奘 T12n0367 |
|---|---|---|
| 天樂 | 「彼佛國土，常作天樂」〔T12n0366 0347a07〕 | 「極樂世界淨佛土中，自然常有無量無邊眾妙伎樂，音曲和雅甚可愛樂。諸有情類聞斯妙音，諸惡煩惱悉皆消滅，無量善法漸次增長，速證無上正等菩提。」〔T12n0367 0349a11〕 |
| 黃金為地 | 「黃金為地」〔T12n0366 0347a07〕 | 「極樂世界淨佛土中，周遍大地真金合成，其觸柔軟，香潔光明，無量無邊妙寶間飾。」〔T12n0367 0349a17〕 |
| 天華 | 「晝夜六時，天雨曼陀羅華」〔T12n0366 0347a08〕 | 「極樂世界淨佛土中，晝夜六時常雨種種上妙天華，光澤香潔，細軟雜色，雖令見者身心適悅而不貪著」〔T12n0367 0349a21〕 |
| 供佛·還國 | 「其國眾生，常以清旦，各以衣裓盛眾妙華，供養他方十萬億佛；即以食時，還到本國，飯食經行。」〔T12n0366 0347a08〕 | 「每晨朝時，持此天華，於一食頃，飛至他方無量世界，供養百千俱胝諸佛，於諸佛所各以百千俱胝樹花持散供養，還至本處遊天住等。」〔T12n0367 0349a25〕 |
誌錄不判四事：①天樂之效，羅什不言而玄奘明言「諸惡煩惱悉皆消滅」；②華名羅什作「曼陀羅華」（專名），玄奘作「種種上妙天華」（通稱）；③玄奘於見華處加一限定——「雖令見者身心適悅而不貪著」，羅什無之；④還國之事，羅什作「飯食經行」，玄奘作「還至本處遊天住等」，食與經行二事玄奘本不見。四事並錄，不判優劣。
三、經論宗依（眼）
窺基釋本段所引三處，皆為淨土同系之經：
- 釋天樂引《觀經》：「《觀經》云：無量樂器懸處虛空，不鼓自鳴，或林或幢皆懸樂器，悉自和鳴，隨眾生意皆奏法音，人天聞者俱發道意，或謌六度，或讚三乘。」〔T37n1758 0339c14〕
- 釋金地引《觀經》：「《觀經》云：其地猶如日宮懸處虛空，其地柔軟，下足即凹、舉足便起。」〔T37n1758 0339c19〕
- 釋新華代萎引《法華經》：「《法華經》云：香風吹萎華，更雨新好者。」〔T37n1758 0340a05〕
四、本段釋要（通贊疏逐文）
晝夜之問——淨土無明既絕、國無昏曉，何以言晝夜？疏設問答：
「問：「西方淨土境勝地殊，人絕無明、國無昏曉，何言晝夜？」答：「華開金浦化生為天曙之情，鳥宿瓊林菩薩作時昏之相，不同此界昏昧各殊。」」〔T37n1758 0339c28〕
曼陀羅華：「曼陀羅華者是梵語，此云適意華也。」〔T37n1758 0340a03〕；「雨者，從空飄落謂之雨也。」〔T37n1758 0340a02〕
衣裓：「各以衣裓者，衣襟也。」〔T37n1758 0340a19〕 供養：「供養者，進財行曰供，有所攝資為養，故云供養。」〔T37n1758 0340a20〕 經行：「經行或繞寶殿，或繞瓊林，或往或來，如絹經來往，故云經行。」〔T37n1758 0340a28〕
食之有無——疏引《瑞相經》言彼土「雖有是食實無食者，但見色聞香以之為食」〔T37n1758 0340b03〕，繼而自設難：「廣經云食，如何相違？彼約示現食，亦有何失。」〔T37n1758 0340b05〕；又答何為淨土之食：「若約實報淨土即禪悅為味」〔T37n1758 0340b09〕。
黃金為地之略——疏指出經文於此取略：「此唯金者，亦文略也。」〔T37n1758 0339c23〕，並引《瑞相經》言彼國土「自然七寶合成其地」〔T37n1758 0339c22〕。
五、諸家異釋（雙鏡分欄·誌錄不判）
| 鏡 | 逐字 | 錨 |
|---|---|---|
| 慈恩（窺基·唐） | 「華開金浦化生為天曙之情，鳥宿瓊林菩薩作時昏之相，不同此界昏昧各殊。」 | 〔T37n1758 0339c29〕 |
| 善導系（善導《法事讚》·唐） | 「又舍利弗。彼佛國土。常作天樂。黃金為地。」 | 〔T47n1979 0432a01〕 |
慈恩就「晝夜」之名相設難而解之——釋疑一路；善導系逕以四句誦出，不問晝夜之有無——行儀一路。二家並錄，不設調停。
六、術語（首見名相）
| 名相 | 釋義所據 | 錨 |
|---|---|---|
| 曼陀羅華 | 「曼陀羅華者是梵語，此云適意華也。」 | 〔T37n1758 0340a03〕 |
| 晝夜六時 | 「晝夜六時者，晝夜各有六時，共十二時也。」 | 〔T37n1758 0339c27〕 |
| 衣裓 | 「各以衣裓者，衣襟也。」 | 〔T37n1758 0340a19〕 |
| 供養 | 「供養者，進財行曰供，有所攝資為養，故云供養。」 | 〔T37n1758 0340a20〕 |
| 經行 | 「經行或繞寶殿，或繞瓊林，或往或來，如絹經來往，故云經行。」 | 〔T37n1758 0340a28〕 |
| 雨（動詞） | 「雨者，從空飄落謂之雨也。」 | 〔T37n1758 0340a02〕 |
七、譬喻·修辭
- 經文本身無譬喻——全段直陳。
- 鏡疏用譬二處：釋經行「如絹經來往」〔T37n1758 0340a28〕，以織機經線之往復狀行者之往返；釋晝夜以「華開金浦」「鳥宿瓊林」代曙昏之相〔T37n1758 0339c29〕。
- 一日之時序為骨：常作天樂（恆時）→ 晝夜六時（分時）→ 常以清旦（晨）→ 即以食時（午前）→ 還到本國。全段以一日之行程串起四科；空間由本國至他方十萬億佛土，再返。
八、徵引承衍
- 《觀經》二引：見目三——本軸內部對讀點，三單元連續三見（01 樹網、02 池水、03 樂器與金地）。窺基釋本經而屢取《觀經》為補，是唐代已行之互讀法。
- 《法華經》一引〔T37n1758 0340a05〕——出般若／天台軸之經入淨土疏，corpus 內跨軸承衍點。
- 善導《法事讚》轉誦：自〔T47n1979 0432a01〕起續誦本段。
- 本段被本帙 corpus 其餘各帙徵引者，零命中（已查
canon/全樹）。
九、校本定位
大正藏校記（<app>）本單元域內二處，且其一有唐代二鏡為旁證：
| 錨 | 底本 | 異讀 | 見證 |
|---|---|---|---|
| 0347a08 | 「天雨」 | 雨天 ／ 而雨 | 雨天＝宋·元·明；而雨＝流布本 |
| 0347a08 | 「國」 | 土 | 元·明 |
三方見證之匯：窺基《通贊疏》牒經作「經云：「晝夜六時而雨曼陀羅華」」〔T37n1758 0339c26〕；善導《法事讚》轉誦作「晝夜六時而雨曼陀羅華。」〔T47n1979 0432a02〕。唐代二鏡所據之本皆作「而雨」，與流布本異讀欄相合，而與底本「天雨」異。此與 00 單元「僧／眾」之例同型——現象並錄，不據以改底本一字。
gaiji：本單元零命中。 夾註：本單元零命中。
Placement of the passage as a whole. This passage takes in at a single stretch the third through the sixth of the eight topics of “extensively clarifying the Pure Land” — the sky filled with celestial music, the ground spread with gold, flowers raining from the vast sky, and the people travelling to the many lands. The sūtra begins from the music in the air, comes down to gold forming the ground, then passes from the drifting celestial flowers to the beings who carry flowers to make distant offering to the buddhas of other quarters and return to their own land at mealtime to walk; it closes with “brings to completion adornment of merit such as this.” This unit holds one variant attested from three sides: the base text reads 「天雨曼陀羅華」, whereas the two Tang mirrors (the commentary’s citation of the sūtra, and Shandao’s recitation text) and the Song, Yuan, Ming and current-circulation printings all read 「而雨」 — a seventh-century reading text belonging to the same stream as the variant column of the later printings. Recorded without adjudication.
I. Doctrinal-Outline Placement
This unit holds four topics of the commentary (see the summary list of the eight topics of “extensively clarifying the Pure Land” cited in unit 01 〔T37n1758 0338b28〕):
| Topic in the commentary | Verbatim | Anchor | Scriptural basis |
|---|---|---|---|
| Third, the sky filled with celestial music | 「第三空盈天樂。空中奏樂聲演法音，彼國人聞咸生善念。」—“Third, the sky filled with celestial music. Music is played in the air, its sound setting forth the tones of the Dharma; the people of that land, hearing it, all give rise to wholesome thoughts” | 〔T37n1758 0339c12〕 | 「彼佛國土，常作天樂」—“in that buddha-land celestial music is constantly played” 〔T12n0366 0347a07〕 |
| Fourth, the ground spread with gold | 「第四地布黃金。心無穢種，地感黃金，柔軟自然高低隨步。」—“Fourth, the ground spread with gold. The mind holds no defiled seed, and so the ground answers with gold — soft and natural, its rise and fall following the step” | 〔T37n1758 0339c18〕 | 「黃金為地」—“gold forms the ground” 〔T12n0366 0347a07〕 |
| Fifth, flowers raining from the vast sky | 「第五華雨長天也。晝夜六時者，晝夜各有六時，共十二時也。」—“Fifth, flowers raining from the vast sky. As for the six periods of day and night: day and night have six periods each, twelve in all” | 〔T37n1758 0339c26〕 | 「晝夜六時，天雨曼陀羅華」—“through the six periods of day and night the heavens rain down mandārava flowers” 〔T12n0366 0347a08〕 |
| Sixth, the people travelling to the many lands | 「第六人遊諸國。文分為三：初將華供佛；二、還國經行；三、結成極樂。」—“Sixth, the people travelling to the many lands. The text divides into three: first, taking flowers to make offering to the buddhas; second, returning to their land and walking; third, the concluding statement of Ultimate Bliss” | 〔T37n1758 0340a17〕 | 「其國眾生，常以清旦」—“the beings of that land, constantly at clear dawn” 〔T12n0366 0347a08〕, and what follows |
A note on the division of this unit. One file here holds four of the commentary’s topics — the loosest ratio of unit to commentarial topic anywhere in this treatise (unit 01 holds seven topics plus one; unit 02, one topic in seven sections). Whether the division should be cut finer along the commentary’s topics is left open.
II. Collation with the Alternate Translation (T367, Xuanzang) — recorded without adjudication
| Position | Kumārajīva, T12n0366 | Xuanzang, T12n0367 |
|---|---|---|
| The celestial music | 「彼佛國土，常作天樂」—“in that buddha-land celestial music is constantly played” 〔T12n0366 0347a07〕 | 「極樂世界淨佛土中，自然常有無量無邊眾妙伎樂，音曲和雅甚可愛樂。諸有情類聞斯妙音，諸惡煩惱悉皆消滅，無量善法漸次增長，速證無上正等菩提。」—“In the pure buddha-land of the world of Ultimate Bliss there are naturally and constantly measureless, boundless kinds of wondrous music, its tones harmonious and refined and most delightful. Sentient beings of every kind, hearing this wondrous sound, have all their evil afflictions extinguished; measureless wholesome dharmas increase in them step by step, and they swiftly realize unsurpassed perfect awakening” 〔T12n0367 0349a11〕 |
| Gold forming the ground | 「黃金為地」—“gold forms the ground” 〔T12n0366 0347a07〕 | 「極樂世界淨佛土中，周遍大地真金合成，其觸柔軟，香潔光明，無量無邊妙寶間飾。」—“In the pure buddha-land of the world of Ultimate Bliss the whole earth throughout is composed of true gold; to the touch it is soft, fragrant, clean and luminous, inlaid with measureless, boundless wondrous jewels” 〔T12n0367 0349a17〕 |
| The celestial flowers | 「晝夜六時，天雨曼陀羅華」—“through the six periods of day and night the heavens rain down mandārava flowers” 〔T12n0366 0347a08〕 | 「極樂世界淨佛土中，晝夜六時常雨種種上妙天華，光澤香潔，細軟雜色，雖令見者身心適悅而不貪著」—“In the pure buddha-land of the world of Ultimate Bliss, through the six periods of day and night there constantly rain down all kinds of supremely wondrous celestial flowers, lustrous, fragrant and clean, fine and soft and of mingled colours; though they make the beholder glad in body and mind, no craving attaches to them” 〔T12n0367 0349a21〕 |
| Offering to the buddhas · returning to their land | 「其國眾生，常以清旦，各以衣裓盛眾妙華，供養他方十萬億佛；即以食時，還到本國，飯食經行。」—“The beings of that land, constantly at clear dawn, each gather many wondrous flowers in the fold of their robes and make offering to a hundred thousand koṭis of buddhas in other quarters; then at mealtime they return to their own land, eat, and practise walking meditation” 〔T12n0366 0347a08〕 | 「每晨朝時，持此天華，於一食頃，飛至他方無量世界，供養百千俱胝諸佛，於諸佛所各以百千俱胝樹花持散供養，還至本處遊天住等。」—“Each morning they take up these celestial flowers and, in the space of a single meal, fly to measureless worlds in other quarters and make offering to hundreds of thousands of koṭis of buddhas; in the presence of each buddha they take hundreds of thousands of koṭis of tree-flowers and scatter them as an offering, then return to their own place, to roam the heavens, to dwell, and the like” 〔T12n0367 0349a25〕 |
Recorded without adjudication, four matters. First, as to the effect of the celestial music, Kumārajīva says nothing of it while Xuanzang states plainly that all evil afflictions are extinguished. Second, as to the name of the flower, Kumārajīva has mandārava, a proper name, while Xuanzang has all kinds of supremely wondrous celestial flowers, a general term. Third, at the place where the flowers are seen Xuanzang adds a qualification — though they make the beholder glad in body and mind, no craving attaches to them — which Kumārajīva does not have. Fourth, as to the return, Kumārajīva has eating and walking meditation, while Xuanzang has returning to their own place, roaming the heavens, dwelling, and the like: the two matters of eating and walking meditation are not found in Xuanzang’s recension. All four are recorded together; no judgement of better or worse is made.
III. Scriptural and Treatise Grounding (the “eye”)
The three citations Kuiji makes in explaining this passage are all sūtras of the same Pure Land line:
- Explaining the celestial music, he cites the Sūtra on Contemplating the Buddha of Measureless Life: 「《觀經》云：無量樂器懸處虛空，不鼓自鳴，或林或幢皆懸樂器，悉自和鳴，隨眾生意皆奏法音，人天聞者俱發道意，或謌六度，或讚三乘。」—“The Contemplation Sūtra says: measureless musical instruments hang in space and sound of themselves without being struck; in the groves and on the banners instruments hang everywhere, and all sound harmoniously of themselves; in accord with the wishes of beings they all play the tones of the Dharma, and humans and gods who hear them all rouse the intention toward the path — some singing the six perfections, some praising the three vehicles” 〔T37n1758 0339c14〕.
- Explaining the golden ground, he cites the same sūtra: 「《觀經》云：其地猶如日宮懸處虛空，其地柔軟，下足即凹、舉足便起。」—“The Contemplation Sūtra says: that ground is like the palace of the sun suspended in space; that ground is soft, sinking when the foot goes down and rising again when the foot is lifted” 〔T37n1758 0339c19〕.
- Explaining how fresh flowers replace the withered, he cites the Lotus Sūtra: 「《法華經》云：香風吹萎華，更雨新好者。」—“The Lotus Sūtra says: a fragrant wind blows away the withered flowers, and fresh fine ones rain down anew” 〔T37n1758 0340a05〕.
IV. Essentials of the Commentary on This Passage
The question of day and night — if ignorance is already cut off in the Pure Land and the land has neither dusk nor dawn, on what ground is day and night spoken of? The commentary sets a question and answer:
「問：「西方淨土境勝地殊，人絕無明、國無昏曉，何言晝夜？」答：「華開金浦化生為天曙之情，鳥宿瓊林菩薩作時昏之相，不同此界昏昧各殊。」」—“Question: In the western pure land the realm is excellent and the ground extraordinary; its people have cut off ignorance and the land has neither dusk nor dawn. Why then speak of day and night? Answer: When flowers open on the golden shore, the transformationally born take it for the sense of daybreak; when birds roost in the jade grove, the bodhisattvas make of it the aspect of nightfall. It is not like this world, where dusk and gloom are each of a different sort” 〔T37n1758 0339c28〕.
Mandārava flowers: 「曼陀羅華者是梵語，此云適意華也。」—“As for mandārava flowers, this is Sanskrit; here it is rendered flowers that gladden the mind” 〔T37n1758 0340a03〕; and of the verb: 「雨者，從空飄落謂之雨也。」—“As for raining: to drift down out of the sky is what is called raining” 〔T37n1758 0340a02〕.
The fold of the robe: 「各以衣裓者，衣襟也。」—“As for each with the fold of the robe: it is the front fold of the garment” 〔T37n1758 0340a19〕. Making offering: 「供養者，進財行曰供，有所攝資為養，故云供養。」—“As for making offering: to bring forth goods and present them is called offering, and that which takes in and sustains is nourishing — hence the term making offering” 〔T37n1758 0340a20〕. Walking meditation: 「經行或繞寶殿，或繞瓊林，或往或來，如絹經來往，故云經行。」—“Walking meditation: some circle the jewelled halls, some circle the jade groves, now going, now coming, like the warp of silk passing to and fro — hence it is called walking the warp” 〔T37n1758 0340a28〕.
Whether there is eating — the commentary cites the Sūtra of Auspicious Marks, which says of that land 「雖有是食實無食者，但見色聞香以之為食」—“though there is such food, in truth there is no one who eats; merely seeing the colour and smelling the fragrance, they take that as their eating” 〔T37n1758 0340b03〕, and then raises a difficulty against itself: 「廣經云食，如何相違？彼約示現食，亦有何失。」—“The fuller sūtra speaks of eating; how is this not a contradiction? That is spoken with reference to a manifested eating — and what fault is there in it?” 〔T37n1758 0340b05〕. It further answers what the food of the Pure Land is: 「若約實報淨土即禪悅為味」—“if it is with reference to the pure land of true recompense, then meditative delight is their savour” 〔T37n1758 0340b09〕.
The brevity of “gold forms the ground” — the commentary points out that the sūtra here takes the shorter way: 「此唯金者，亦文略也。」—“that here only gold is named is likewise an abbreviation of the text” 〔T37n1758 0339c23〕, and it cites the Sūtra of Auspicious Marks to the effect that in that land 「自然七寶合成其地」—“its ground is naturally composed of the seven precious substances” 〔T37n1758 0339c22〕.
V. Divergent Readings of the Commentators (two mirrors in parallel — recorded without adjudication)
| Mirror | Verbatim | Anchor |
|---|---|---|
| Cien (Kuiji, Tang) | 「華開金浦化生為天曙之情，鳥宿瓊林菩薩作時昏之相，不同此界昏昧各殊。」—“When flowers open on the golden shore, the transformationally born take it for the sense of daybreak; when birds roost in the jade grove, the bodhisattvas make of it the aspect of nightfall. It is not like this world, where dusk and gloom are each of a different sort” | 〔T37n1758 0339c29〕 |
| Shandao line (Shandao, Liturgical Hymns, Tang) | 「又舍利弗。彼佛國土。常作天樂。黃金為地。」—“Again, Śāriputra. In that buddha-land celestial music is constantly played. Gold forms the ground.” | 〔T47n1979 0432a01〕 |
The Cien mirror raises a difficulty over the very term “day and night” and then resolves it: this belongs to the way of resolving doubts. The Shandao line simply recites the four phrases and passes on, asking nothing about whether dusk and dawn are there at all: this belongs to the way of ritual practice. Both are recorded, and no reconciliation is imposed.
VI. Terms (first occurrences — all glosses drawn from the commentary)
| Term | Verbatim gloss | Anchor |
|---|---|---|
| Mandārava flowers 曼陀羅華 | 「曼陀羅華者是梵語，此云適意華也。」—“As for mandārava flowers, this is Sanskrit; here it is rendered flowers that gladden the mind” | 〔T37n1758 0340a03〕 |
| The six periods of day and night 晝夜六時 | 「晝夜六時者，晝夜各有六時，共十二時也。」—“As for the six periods of day and night: day and night have six periods each, twelve in all” | 〔T37n1758 0339c27〕 |
| The fold of the robe 衣裓 | 「各以衣裓者，衣襟也。」—“As for each with the fold of the robe: it is the front fold of the garment” | 〔T37n1758 0340a19〕 |
| Making offering 供養 | 「供養者，進財行曰供，有所攝資為養，故云供養。」—“As for making offering: to bring forth goods and present them is called offering, and that which takes in and sustains is nourishing — hence the term making offering” | 〔T37n1758 0340a20〕 |
| Walking meditation 經行 | 「經行或繞寶殿，或繞瓊林，或往或來，如絹經來往，故云經行。」—“Walking meditation: some circle the jewelled halls, some circle the jade groves, now going, now coming, like the warp of silk passing to and fro — hence it is called walking the warp” | 〔T37n1758 0340a28〕 |
| To rain, as a verb 雨 | 「雨者，從空飄落謂之雨也。」—“As for raining: to drift down out of the sky is what is called raining” | 〔T37n1758 0340a02〕 |
VII. Similes and Rhetoric
- The passage itself contains no simile — the whole of it is direct statement.
- The mirror commentary sets two similes. Glossing walking meditation, it says 「如絹經來往」—“like the warp of silk going to and fro” 〔T37n1758 0340a28〕, using the back-and-forth of a loom’s warp threads to figure the walker’s going and returning; and glossing day and night, it puts flowers opening on the golden shore and birds roosting in the jade grove in place of the aspects of daybreak and dusk 〔T37n1758 0339c29〕.
- The order of a single day is the passage’s frame: celestial music constantly played (at all times) → the six periods of day and night (times marked off) → constantly at clear dawn (morning) → then at mealtime (before noon) → returning to their own land. The whole passage strings its four topics on the course of one day; and its space runs from their own land out to a hundred thousand koṭis of buddha-lands and back again.
VIII. Citation and Carrying Forward
- Two citations of the Contemplation Sūtra: see Topic III. This is a point of internal cross-reading within this axis, appearing in three consecutive units (unit 01, the trees and nets; unit 02, the pool and its water; unit 03, the instruments and the golden ground). That Kuiji, expounding this sūtra, should repeatedly take the Contemplation Sūtra as its supplement is a method of cross-reading already in use in the Tang.
- One citation of the Lotus Sūtra 〔T37n1758 0340a05〕 — a sūtra of the Prajñā and Tiantai axes entering a Pure Land commentary; a point of carrying forward across axes within this corpus.
- Shandao’s Liturgical Hymns recite onward: the recitation of this passage continues from 〔T47n1979 0432a01〕.
- No citation of this passage is found in the remaining texts of this corpus — a search of the whole
canon/tree yields nothing. Recorded honestly.
IX. Placement Among the Recensions
The Taishō collation notes (<app>) record two instances within this unit, and for one of them the two Tang mirrors stand as side evidence:
| Anchor | Base text | Variant | Witnesses |
|---|---|---|---|
| 0347a08 | 「天雨」 (“the heavens rain down”) | 雨天 ／ 而雨 | 雨天 = Song · Yuan · Ming; 而雨 = circulation |
| 0347a08 | 「國」 (“land”) | 土 | Yuan · Ming |
Three witnesses converge. Kuiji’s Comprehensive Praise Commentary cites the sūtra as 「經云：「晝夜六時而雨曼陀羅華」」—“The sūtra says: through the six periods of day and night there rain down mandārava flowers” 〔T37n1758 0339c26〕; Shandao’s Liturgical Hymns recite 「晝夜六時而雨曼陀羅華。」—“Through the six periods of day and night there rain down mandārava flowers.” 〔T47n1979 0432a02〕. The text on which both Tang mirrors depended reads 而雨, agreeing with the variant column of the printings and differing from the base text’s 天雨. This is of the same type as the 僧 / 眾 case in unit 00 — the phenomenon is recorded, and not one character of the base text is altered on that account.
Gaiji: no occurrence in this unit. Inline gloss: no occurrence in this unit.