佛說觀無量壽佛經 總觀想
第六觀看的是樓，成就的卻是樹、地、池。
每一處地界上都有
「眾寶國土，一一界上有五百億寶樓」。
不是全國總共五百億座，是每一處地界之上都有五百億，而地界遍滿全國。
第二觀的地是一整片，這裡把那一整片重新分成無數界，每一界上再放五百億。
連風都不必了
「又有樂器懸處虛空，如天寶幢不鼓自鳴。」
第二觀的樂器要響，還得有八種清風來鼓。這一觀的樂器懸在空中，沒有人碰，自己就響。
從有所待，到無所待。
而「此眾音中，皆說念佛、念法、念比丘僧」——說法的不限於有情。風、水、樂器，凡是會響的都在說。
希望見到一樣，現前的是全體
「此想成已，名為粗見極樂世界寶樹、寶地、寶池」。
所希見的只有樓，所現的是從地以上的莊嚴全體。
這就是「總」的意思：不是把前面重看一遍，是看好這一樣，前面的自己都在。
而所見的東西多了，稱呼還是「粗見」——第三觀立下的那一層「了了分明」，經文一直留在前面等著。
落點不在滅罪
「若見此者，除無量億劫極重惡業，命終之後必生彼國。」
第三觀的滅罪有數目，這一觀沒有數目，卻加了「極重」二字。
而滅罪仍舊不是落點。除障之後身器清淨，清淨之後與佛的本心相應——落點在那裡。
In the sixth contemplation what is looked at is the towers, and what is accomplished is the trees, the ground, and the pools.
There Are That Many upon Every Tract of Ground
“In the land formed of many jewels, upon each and every tract of ground there are five hundred koṭis of jeweled towers.”
Not five hundred koṭis in that land all told, but five hundred koṭis upon each and every tract of ground — and the tracts of ground extend throughout the land.
The ground of the second contemplation was one single expanse. Here that single expanse is divided again into countless tracts, and upon each tract five hundred koṭis are set.
Not Even the Wind Is Needed Now
“There are also musical instruments hanging in space, like the jewel banners of the heavens, sounding of themselves without being struck.”
For the instruments of the second contemplation to sound, eight kinds of pure wind still had to strike them. The instruments of this contemplation hang in the air, and with no one touching them they sound of themselves.
From having something to depend on, to depending on nothing.
And “among these many sounds, all speak of recollecting the Buddha, recollecting the Dharma, recollecting the saṅgha of bhikṣus” — what speaks the Dharma is not confined to what has feeling. Wind, water, instruments: whatever can sound is speaking.
What Is Hoped For Is One Thing; What Appears Is the Whole
“When this image has been accomplished, it is called having roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss.”
What was hoped to be seen was the towers alone; what appears is the whole array of adornment from the ground upward.
This is what “general” means: not looking through the earlier contemplations a second time, but looking well at this one thing, whereupon everything before it is already there.
And though what is seen has grown, it is still called “roughly seen” — that layer of “clear and distinct,” set up in the third contemplation, the sūtra has left standing up ahead all along.
Where It Lands Is Not the Extinction of Offences
“If one sees these, the gravest evil karma of measureless koṭis of kalpas is removed, and after the end of this life one will surely be born in that land.”
The extinction of offences in the third contemplation had a number; here there is no number, but two more words are added: “the gravest.”
And still the extinction of offences is not where the passage lands. Once the obstruction is removed the vessel of the body is pure, and once it is pure it accords with the Buddha’s fundamental mind — that is where it lands.
大正藏 T12n0365〔起 T12 0342c06〕。段／行首〔T12 …〕＝大正藏頁·欄·行錨。
〔T12 0342c06〕佛告阿難及韋提希：「眾寶國土，一一界上有五百億寶樓，其樓閣中有無量諸天，作天伎樂。又有樂器懸處虛空，如天寶幢不鼓自鳴。此眾音中，皆說念佛、念法、念比丘僧。此想成已，名為粗見極樂世界寶樹、寶地、寶池，是為總觀想，名第六觀。若見此者，除無量億劫極重惡業，命終之後必生彼國。作是觀者，名為正觀。若他觀者，名為邪觀。」
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.
宋畺良耶舍譯《佛說觀無量壽佛經》T12n0365 定善十三觀之第六，自「佛告阿難及韋提希」至「若他觀者，名為邪觀」。段首（…）＝大正藏頁·欄·行錨。
〔一·總舉觀名·寶樓住處〕（0342c06）佛告訴阿難和韋提希：『眾寶所成的國土，每一處地界之上（地界遍滿那個國土，樓也就無窮無盡）
〔二·顯其數〕（0342c07）有五百億座寶樓（一處地界之上既然如此，遍滿那個國土也都是這樣）。
〔三·閣內莊嚴〕（0342c07）那些樓閣之中有無量的諸天，作天上的伎樂。
〔四·樓外莊嚴〕（0342c08）又有樂器懸在虛空之中，像天上的寶幢一樣，不用敲打自己就響（寶樂飛在空中，聲音流布法的音響，晝夜六時如同天上的寶幢，不用起心而自成其事）。
〔五·樂有說法之能〕（0342c09）在這些眾多的音聲當中，都在說念佛、念法、念比丘僧（樂器雖然沒有心識，卻有說法的能力）。
〔六·顯觀成之相〕（0342c10）這個想成就了以後，就叫做粗略地見到了極樂世界的寶樹、寶地、寶池（專心住在所觀之境上，希望見到寶樓，剋念不移，從地以上的莊嚴就全部現前）。
〔七·總結〕（0342c11）這就叫做總觀想，名為第六觀。
〔八·顯利益〕（0342c11）若能見到這些，就除滅無量億劫極重的惡業，命終之後必定生在那個國土（依著法去觀察，除去多劫的障，身這個器清淨了，與佛的本心相應，捨了此身到他世去必定往生，沒有疑問）。
〔九·判正邪〕（0342c12）作這樣的觀，名為正觀；若作其他的觀，名為邪觀。』
Translated in the Liu Song by Kālayaśas, The Sūtra Spoken by the Buddha on Contemplating the Buddha of Measureless Life, T12n0365, the sixth of the thirteen contemplations of the good done in concentration, from “The Buddha told Ānanda and Vaidehī” down to “to make another contemplation is called wrong contemplation.” The figures at the head of each segment give the Taishō page, register, and line.
〔一 · General Raising of the Name of the Contemplation; Where the Jeweled Towers Stand〕（0342c06）The Buddha told Ānanda and Vaidehī: “In the land formed of many jewels, upon each and every tract of ground (the tracts of ground extend throughout that land, and so the towers too are without end)
〔二 · Showing Their Number〕（0342c07）there are five hundred koṭis of jeweled towers (since it is so upon a single tract of ground, so it is throughout that land as well).
〔三 · The Adornments Within the Pavilions〕（0342c07）Within those towered pavilions are measureless gods, making celestial music.
〔四 · The Adornments Outside the Towers〕（0342c08）There are also musical instruments hanging in space, like the jewel banners of the heavens, sounding of themselves without being struck (the jeweled music flies in the air, its sound streaming forth the tones of the Dharma, through the six periods of day and night like the jewel banners of the heavens, the thing accomplishing itself with no thought raised).
〔五 · The Music Has the Power to Speak the Dharma〕（0342c09）Among these many sounds, all speak of recollecting the Buddha, recollecting the Dharma, recollecting the saṅgha of bhikṣus (the instruments, though they have no consciousness, yet have the power to speak the Dharma).
〔六 · Showing the Sign That the Contemplation Is Accomplished〕（0342c10）When this image has been accomplished, it is called having roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss (dwelling single-mindedly upon the object contemplated, hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together).
〔七 · General Conclusion〕（0342c11）This is called the general image, and it is named the sixth contemplation.
〔八 · Showing the Benefit〕（0342c11）If one can see these, the gravest evil karma of measureless koṭis of kalpas is removed, and after the end of this life one will surely be born in that land (observing according to the method, the obstructions of many kalpas are removed; the vessel of this body being pure, it accords with the Buddha’s fundamental mind, and casting off this body and going on to another world he will surely be born there, beyond doubt).
〔九 · Judging Right and Wrong〕（0342c12）To make this contemplation is called right contemplation; to make another contemplation is called wrong contemplation.”
前五觀一路看下來：日、水、地、樹、池。到第六觀，經文說了一個新東西——樓，然後說了一句舊話：
「此想成已，名為粗見極樂世界寶樹、寶地、寶池」。
看的是樓，成就的卻是樹、地、池。
這一觀因此叫「總觀想」。
善導《觀經四帖疏》把它判作十一段，稱它「寶樓觀」——取所看的那樣東西為名；智顗《觀無量壽佛經疏》判作四段，稱它「總觀」——取所收的那件事為名。兩家所判不同，各自的理由都在自己的書裡。此下所講的是經。
有了池，還缺一樣
第五觀之後為什麼要有樓？
古來的讀法用的是和上一觀同樣的句法：淨土雖然有寶流灌注，若沒有寶樓宮閣，也還算不得精妙；為此依報的莊嚴要種種圓備。
樹想那裡說「若無池水，亦未名好」，池想這裡說「若無寶樓宮閣亦未為精」——一路都是『還缺一樣』。
到這一觀說完，缺的補齊了。
樓有多少
「眾寶國土，一一界上有五百億寶樓」。
注家把這句拆成兩件事：「一一界上」說的是樓的住處——地界遍滿那個國土，樓也就無窮無盡；「有五百億」說的是數——一處地界之上既然如此，遍滿那個國土也都是這樣。
這個算法很值得注意。它不是說那裡總共有五百億座樓，是說每一處地界上都有五百億座，而地界遍滿全國。
前面第二觀的地是一整片，這裡把那一整片重新分成無數「界」，每一界上再放五百億。
樓裡面，和樓外面
「其樓閣中有無量諸天，作天伎樂。又有樂器懸處虛空，如天寶幢不鼓自鳴。」
注家在此分了內外：樓閣之中是「閣內莊嚴」，懸在空中的樂器是「樓外莊嚴」。
裡面是諸天在奏樂——有人在演奏。
外面是樂器懸在虛空，像天上的寶幢一樣，不用敲打自己就響——沒有人在演奏。
而這裡有一級臺階，是接著第二觀來的。第二觀說：「八種清風從光明出，鼓此樂器」。那時樂器要響，還得有風來鼓。到這一觀，連風都不必了。
從有所待，到無所待。注家用五個字說它：無思成自事。不用起心，事情自己成。
而同一句裡還有四個字：晝夜六時。
那個響不是一場有起有訖的演奏。外面這一邊連奏的人都沒有，也就沒有開始與停下的時候——聲流法響，晝夜六時，一直是那樣。
沒有心識的東西在說法
這一段舉境只用了三個「有」字：有五百億寶樓，有無量諸天，又有樂器。由物，而人，而器——三舉就止住，底下便轉入觀成與利益。
而說法之能，經文給的是這三者裡最末、最不像能自己說法的那一個。
「此眾音中，皆說念佛、念法、念比丘僧。」
注家在這裡下了一句很直的判：樂器雖然沒有心識，卻有說法的能力。
這是這部經一路積累下來的一件事。第二觀是風鼓樂器演苦空無常無我，第五觀是水流過花間碰到東西就出聲、聲中皆說妙法，這一觀是樂器不鼓自鳴而說三念。
在那個國土裡，說法的不限於有情。風、水、樂器，凡是會響的都在說；你走到哪裡，都有聲音在說法。而所說的話，一路從「苦、空、無常、無我」走到「念佛、念法、念比丘僧」。
破執的話說在前面，所歸的話說在後面。
看一樣，成一片
「此想成已，名為粗見極樂世界寶樹、寶地、寶池」。
注家釋這一句釋得很細：專心住在所觀之境上，希望見到的是寶樓；剋念不移，結果是從地以上的莊嚴全部現前。
所希見者只有一樣，所現者是全體。
這就是「總」的意思。不是把前面五觀重看一遍，是看好這一樣，前面的自己都在。
而經文用的詞仍舊是「粗見」——第三觀說「粗見極樂國地」，這裡說「粗見極樂世界寶樹、寶地、寶池」。
所見的東西多了，稱呼還是粗。
分量在增加，判語不肯放鬆。那個「了了分明，不可具說」的一層，經文從第三觀說過一次以後，就一直留在前面等著。
「粗」究竟粗在哪裡，古來的讀法在地想那一觀裡答過：凝心不絕就見到淨土之相，這一種叫「想心中見」——之所以仍稱粗，是因為「猶有覺想」。
見是真見了，只是這一見還在想心之內，還帶著想的那一分。
「粗」不是說所見的境不足，是說能見的心還在想。看得再多、成得再整片，只要仍是想成的，這個稱呼就不改。
「總」不是省事
看樓就能成就樹、地、池——那前面幾觀豈不是白看了？
不是。
前面五觀是一樣一樣立起來的：地立住了，樹才有地方站；樹立住了，池才不算空；池立住了，樓才不算缺。到這一觀，所有立起來的東西同時在場，而所觀的只是最後加上去的那一樣。
總不是把五件事壓成一件，是五件事已經在了，你只要看住第六件。
我們讀到這裡容易鬆一口氣，覺得依報說完了。而經文接著給的不是收工，是一個更大的數目。
除無量億劫極重惡業
「若見此者，除無量億劫極重惡業，命終之後必生彼國。」
第三觀說的是「除八十億劫生死之罪」，有數目；這一觀說的是「無量億劫極重惡業」，沒有數目，卻加了「極重」二字。
注家把利益釋作一條線：依著法去觀察，除去多劫的障；障除了，這個身器就清淨；清淨了，就與佛的本心相應；相應了，捨此身到他世必定往生，沒有疑問。
除障——身器清淨——應佛本心——必往。四步，一步扣一步。
滅罪在這裡仍舊不是落點。落點是「應佛本心」。
往生說得這樣斷然——「必生彼國」，句中沒有留轉圜的餘地——所繫的並不是罪除得多，而是應佛本心這一步落了地；落地了，捨此身到他世，才說得出那個「必」字。
一段結束了
依報到這一觀為止。
古來的讀法在玄義分裡把整個依報切過：從日觀到華座觀是依報；其中華座那一觀是「別依」，唯屬彌陀佛；其餘六觀是「通依」，屬法界的凡聖，凡是得生的人共同受用。
所以這一觀是通依的最後一觀。
而這六觀之內還有第二道切法：日想、水想、氷想是「假依」，因為那是這個世界裡相似可見的境；自琉璃地以下到這一觀，才是「真依」——那個國土真實無漏的可見之相。
於是這一觀之末所收的不只是一組莊嚴。從借來的境走到那個國土自己的境，這一段路也在這裡走完了。
前面六觀所看的地、樹、池、樓，是所有往生的人共用的；下一觀要看的那朵蓮花座，是佛一個人的。
經文走到這裡，把『大家的』說完了，才開始說『佛的』。
承衍——兩副眼看同一座樓
上來是這一段經文自身的義。此下另以隋唐兩副眼旁照——鏡非經，只是同一座樓，換兩種讀法來看。
善導一路是《觀經四帖疏》的讀法。他判十一科，是定善前六觀中科目最多的一觀。他稱此觀為寶樓觀，取所觀之物為名。樓的住處與數之分、閣內樓外之分、「無思成自事」一語、「樂雖無識，即有說法之能」一判、觀成之相「悕見寶樓，剋念不移，自上莊嚴總現」——皆出於他。而通依別依、真依假依的整幅架構也出於他：本觀正是真依之終、通依之末。
智顗一路是《觀無量壽佛經疏》的讀法。他稱此觀為總觀，取所收之義為名，並且把「總」所攝的東西明明列出：初寶樓、二樹、三地、四池——四事。經文所舉是寶樹、寶地、寶池三事，他把所觀的寶樓也算進去，成四。他的十六觀總目裡，這一觀寫作「總觀觀一切樓地池等」，同一個算法。
一路以所見之物命名，一路以所攝之義命名；而經自己標的是「總觀想」。
而經自己只說了一句：不鼓自鳴。
The first five contemplations run straight through: the sun, the water, the ground, the trees, the pools. At the sixth the sūtra names something new — the towers — and then says something old:
“When this image has been accomplished, it is called having roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss.”
What is looked at is the towers, and what is accomplished is the trees, the ground, and the pools.
This contemplation is therefore called “the general image.”
Shandao’s Commentary on the Contemplation Sūtra in Four Fascicles divides it into eleven segments and calls it “the contemplation of the jeweled towers” — naming it from the thing looked at. Zhiyi’s Commentary on the Sūtra on Contemplating the Buddha of Measureless Life divides it into four and calls it “the general contemplation” — naming it from the matter it gathers in. The two houses judge differently, and each keeps its reasons in its own book. What is set out below is the sūtra.
There Are Pools Now, and One Thing Is Still Missing
Why must there be towers after the fifth contemplation?
The readings handed down use the same turn of phrase as at the contemplation before: though the pure land has jeweled streams pouring through it, without jeweled towers and palace pavilions it is still not called fine; for this reason the adornment of the dependent recompense is to be complete in every kind.
At the image of the trees it was said, “without the water of the pools it would still not be called good”; here at the image of the pools it is said, “without jeweled towers and palace pavilions it is still not fine” — all the way along, one thing is still missing.
By the end of this contemplation, what was missing has been filled in.
How Many Towers
“In the land formed of many jewels, upon each and every tract of ground there are five hundred koṭis of jeweled towers.”
The commentators split this sentence into two matters. “Upon each and every tract of ground” states where the towers stand: the tracts of ground extend throughout that land, and so the towers too are without end. “There are five hundred koṭis” states the number: since it is so upon a single tract of ground, so it is throughout that land as well.
The reckoning deserves notice. It does not say that there are five hundred koṭis of towers in that land all told; it says that upon each and every tract of ground there are five hundred koṭis, and that the tracts of ground extend throughout the land.
The ground of the second contemplation was one single expanse. Here that single expanse is divided again into countless “tracts,” and upon each tract five hundred koṭis are set.
Inside the Towers, and Outside Them
“Within those towered pavilions are measureless gods, making celestial music. There are also musical instruments hanging in space, like the jewel banners of the heavens, sounding of themselves without being struck.”
The commentators divide inside from outside here: what is within the towered pavilions is “the adornment inside the pavilions,” and the instruments hanging in the air are “the adornment outside the towers.”
Inside, the gods are making music — there are players.
Outside, the instruments hang in space, like the jewel banners of the heavens, and sound of themselves without being struck — there are no players.
And there is a step here, taken up from the second contemplation. The second said, “eight kinds of pure wind issue from the light and strike these instruments.” There the instruments had to have wind to strike them before they would sound. By this contemplation not even the wind is needed.
From having something to depend on, to depending on nothing. The commentators say it in five words: “with no thought raised, the thing accomplishes itself.” Nothing has to set the mind going; the matter completes itself.
And in the same sentence there are four more words: through the six periods of day and night.
That sounding is not a performance with a beginning and an end. On the outer side there is not even anyone playing, and so there is no moment of starting and no moment of stopping — the sound streams forth the tones of the Dharma through the six periods of day and night, and is always so.
Things Without Consciousness Are Speaking the Dharma
This passage raises its objects with three occurrences of the word “are”: there are five hundred koṭis of jeweled towers, there are measureless gods, there are also musical instruments. From things, to persons, to instruments — three raisings and it stops, and below that the text turns to the accomplishing of the contemplation and to the benefit.
And the power of speaking the Dharma the sūtra gives to the last of these three, the one least likely to speak of itself.
“Among these many sounds, all speak of recollecting the Buddha, recollecting the Dharma, recollecting the saṅgha of bhikṣus.”
The commentators set down a blunt judgment here: “the music, though it has no consciousness, yet has the power to speak the Dharma.”
This is something the sūtra has been accumulating all along. In the second contemplation the wind struck the instruments and they set forth suffering, emptiness, impermanence, and non-self; in the fifth the water flowed among the flowers and gave out sound wherever it met something, and in those sounds the wondrous Dharma was spoken; in this one the instruments sound of themselves without being struck and speak the three recollections.
In that land, what speaks the Dharma is not confined to what has feeling. Wind, water, instruments: whatever can sound is speaking; wherever you go, there is sound speaking the Dharma. And what is spoken runs from “suffering, emptiness, impermanence, and non-self” through to “recollecting the Buddha, recollecting the Dharma, recollecting the saṅgha of bhikṣus.”
The words that break attachment come first; the words that name what is turned toward come after.
Look at One Thing; a Whole Expanse Appears
“When this image has been accomplished, it is called having roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss.”
The commentators gloss this sentence closely: “dwelling single-mindedly upon the object, hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together.”
What is hoped for is one thing only; what appears is the whole.
This is what “general” means. It is not looking through the earlier five contemplations a second time; it is looking well at this one thing, whereupon everything before it is already there.
And the word the sūtra uses is still “roughly seen” — the third contemplation said “roughly seen the ground of the land of Ultimate Bliss,” and here it says “roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss.”
What is seen has grown, and the name for it is still rough.
The weight increases and the verdict refuses to slacken. That layer of “clear and distinct, beyond the telling” the sūtra stated once at the third contemplation and has left standing up ahead ever since.
Where “rough” lies the readings handed down answered at the image of the ground: when the mind is gathered without a break one sees the appearance of the pure land, and this is called “seeing within the imaging mind” — the reason it is still called rough is that “awareness and imaging are still there.”
Seen it truly is; only this seeing is still within the imaging mind, and still carries that portion of imaging with it.
“Rough” does not say that the object seen falls short; it says that the mind that sees is still imaging. However much more is seen and however whole the expanse becomes, so long as it is accomplished by imaging the name does not change.
“General” Is Not a Short Cut
If looking at the towers accomplishes the trees, the ground, and the pools, were the earlier contemplations then looked at for nothing?
They were not.
The five before were set up one at a time: once the ground stood, the trees had somewhere to stand; once the trees stood, the pools were not empty; once the pools stood, the towers were not lacking. By this contemplation everything that has been set up is present at once, and what is contemplated is only the last thing added.
“General” does not press five matters into one; the five are already there, and you have only to hold the sixth in view.
Reading this far one is inclined to breathe out and feel that the dependent recompense has been told. But what the sūtra gives next is not a closing of the work. It is a larger number.
Removing the Gravest Evil Karma of Measureless Koṭis of Kalpas
“If one sees these, the gravest evil karma of measureless koṭis of kalpas is removed, and after the end of this life one will surely be born in that land.”
The third contemplation said “the offences of eighty koṭis of kalpas of birth-and-death,” and gave a number; this one says “the gravest evil karma of measureless koṭis of kalpas,” gives no number, and adds two words: “the gravest.”
The commentators gloss the benefit as a single line: “observing according to the method removes the obstructions of many kalpas; the vessel of the body being pure, it accords with the Buddha’s fundamental mind, and casting off the body for another world one will surely go there, beyond doubt.”
Obstruction removed — the vessel of the body pure — in accord with the Buddha’s fundamental mind — bound to go. Four steps, each hooked to the one before.
The extinction of offences is still not where this lands. Where it lands is “according with the Buddha’s fundamental mind.”
Birth in that land is stated so flatly — “one will surely be born in that land,” with no room left in the sentence for turning aside — because what it hangs on is not how many offences were removed, but whether that step of according with the Buddha’s fundamental mind has come to ground. Once it has, then and only then, casting off this body for another world, can that word “surely” be spoken.
One Stretch Comes to an End
The dependent recompense goes as far as this contemplation.
In the Section on the Profound Meaning the readings handed down cut the whole of the dependent recompense: from the contemplation of the sun to the contemplation of the Flower Throne is the dependent recompense; among these the contemplation of the Flower Throne is “the particular support,” belonging to Amitābha alone, while the other six contemplations are “the common support,” belonging to the ordinary beings and sages of the dharma-realm and used in common by all who gain birth there.
So this contemplation is the last of the common support.
And within those six there is a second cut: the image of the sun, the image of water, and the image of ice are “the provisional support,” because they are objects of this world that resemble it and can be seen; while from the beryl ground down to this contemplation is “the true support” — the real, outflow-free, visible appearances of that land.
What is gathered up at the end of this contemplation is therefore not one set of adornments only. The road from a borrowed object to that land’s own object has also been walked to its end here.
The ground, trees, pools, and towers looked at in these six contemplations are used in common by everyone born there; the Flower Throne to be looked at in the next belongs to the Buddha alone.
The sūtra, having come this far, finishes what belongs to everyone before it begins on what belongs to the Buddha.
Carrying Forward — Two Eyes on the Same Tower
The above is the meaning of this passage of the sūtra itself. Below, two eyes, one of the Sui and one of the Tang, cast their light from the side — the mirror is not the sūtra; only the same tower, seen through two ways of reading.
The Shandao line is the reading of the Commentary on the Contemplation Sūtra in Four Fascicles. He marks out eleven items, more than for any other of the first six contemplations of the good done in concentration. He calls this the contemplation of the jeweled towers, naming it from the thing contemplated. The division between where the towers stand and how many they are, the division of inside the pavilions from outside the towers, the phrase “with no thought raised, the thing accomplishes itself,” the judgment that “the music, though it has no consciousness, yet has the power to speak the Dharma,” and the sign of accomplishment — “hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together” — all come from him. So too does the whole frame of common and particular support, true and provisional support: this contemplation is precisely the end of the true support and the last of the common.
The Zhiyi line is the reading of the Commentary on the Sūtra on Contemplating the Buddha of Measureless Life. He calls this the general contemplation, naming it from the matter it gathers, and he lists plainly what “general” takes in: “first the jeweled towers, second the trees, third the ground, fourth the pools” — four matters. The sūtra raises three, the jeweled trees, the jeweled ground, and the jeweled pools; he counts in the jeweled towers that are contemplated and makes four. In his general list of the sixteen contemplations this one is written as “the general contemplation, contemplating all the towers, ground, pools, and the rest” — the same reckoning.
One line names it from the thing seen, the other from the meaning it takes in; and the sūtra marks it of itself as “the general image.”
And the sūtra itself has said only this: sounding of themselves without being struck.
考據Apparatus
全段定位 本單元為十六觀之第六觀，全段一百五十五字。經文出眾寶國土一一界上之五百億寶樓、閣中諸天之伎樂、空中不鼓自鳴之樂器、眾音所說之三念，次以「此想成已，名為粗見極樂世界寶樹、寶地、寶池」總收前數觀之所得，總結為總觀想第六觀，末出利益（除無量億劫極重惡業·命終必生彼國）而判正邪。本觀是依報通依六觀之末——善導《四帖疏》於玄義分判「從瑠璃地下至寶樓觀已來是其真依」，本觀正是真依之終；下一觀華座即轉為「別依」，唯屬彌陀佛。又本觀之「總」字有二義：一是總收前觀之境（寶樹、寶地、寶池），一是總判依報之竟。校勘二處，見目九。
一、科判定位
善導《四帖疏》判本觀為十一段：
「六、就寶樓觀中，亦先舉，次辨，後結。即有其十一。」〔T37n1753 0265b20〕
| 疏之十一段 | 疏標起訖（逐字） | 錨 | 本帙白話段位 |
|---|---|---|---|
| 初·總舉觀名 | 「初、言眾寶國土者，即是總舉觀名，牒前生後。此明淨土雖有寶流灌注，若無寶樓宮閣亦未為精，為此依報莊嚴種種圓備也。」 | 〔T37n1753 0265b21〕 | 〔一〕 |
| 二·寶樓住處 | 「二、言一一界上者，正明寶樓住處，地界遍於彼國，樓亦無窮也。」 | 〔T37n1753 0265b24〕 | 〔一〕 |
| 三·顯其數 | 「三、言有五百億者，正顯其數。一界之上既然，遍滿彼國亦皆如是。應知。」 | 〔T37n1753 0265b25〕 | 〔二〕 |
| 四·閣內莊嚴 | 「四、從其樓閣中下，至作天伎樂已來，正明閣內莊嚴。」 | 〔T37n1753 0265b27〕 | 〔三〕 |
| 五·樓外莊嚴 | 「五、從又有樂器下，至不鼓自鳴已下，正明樓外莊嚴。寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」 | 〔T37n1753 0265b28〕 | 〔四〕 |
| 六·樂有說法之能 | 「六、從此眾音中下，至念比丘僧已來，正明樂雖無識，即有說法之能。」 | 〔T37n1753 0265c02〕 | 〔五〕 |
| 七·顯觀成相 | 「七、從此想成已下，至寶池已來，正明顯觀成相。此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」 | 〔T37n1753 0265c03〕 | 〔六〕 |
| 八·總結 | 「八、從是為下，總結。」 | 〔T37n1753 0265c06〕 | 〔七〕 |
| 九·牒前生後 | 「九、從若見此者，牒前觀相，生後利益。」 | 〔T37n1753 0265c06〕 | 〔八〕 |
| 十·顯利益 | 「十、從除無量下，至生彼國已來，正明依法觀察除障多劫，身器清淨應佛本心，捨身他世必往無疑。」 | 〔T37n1753 0265c07〕 | 〔八〕 |
| 十一·辨觀邪正 | 「十一、從作是觀者下，至邪觀已來，辨觀邪正之相。上來雖有十一句不同，廣明寶樓觀竟。」 | 〔T37n1753 0265c10〕 | 〔九〕 |
疏之科起於「眾寶國土」，不以「佛告阿難及韋提希」起科；而本觀之末別立辨觀邪正一科——此二事皆與目九之異讀並列，誌錄不判。
witness 分欄·智顗疏之科（誌錄不判）：
「第六總觀。中有四：「眾寶國土」下，明總觀，初寶樓、二樹、三地、四池。」〔T37n1750 0192a16〕 「觀樓中，初正觀樓，次觀上及虛空中諸音樂聲，結成觀想名為粗見。」〔T37n1750 0192a17〕 「從「是為」下，二、結。從「若見」下，第三、利益。「作是觀」下，第四、顯觀邪正。」〔T37n1750 0192a19〕
智顗之科亦起於「眾寶國土」，亦立顯觀邪正一科；且明標本觀所總者為樓、樹、地、池四事——「總」之所指，智顗立為四，經文所列為三（寶樹、寶地、寶池）加所觀之寶樓。誌錄不判。
二、異譯對勘
本經漢地無第二譯本——無異譯可勘。誠實記之。
同軸他經之平行文（非異譯，誌錄不判）：
| 事 | 《阿彌陀經》T12n0366（羅什） | 錨 | 《稱讚淨土佛攝受經》T12n0367（玄奘） | 錨 |
|---|---|---|---|---|
| 樓閣 | 「上有樓閣，亦以金、銀、琉璃、頗梨、車𤦲、赤珠、馬瑙而嚴飾之。」 | 〔T12n0366 0347a02〕 | 本段無相當之樓閣文 | — |
| 天樂 | 「彼佛國土，常作天樂」 | 〔T12n0366 0347a07〕 | 「自然常有無量無邊眾妙伎樂，音曲和雅甚可愛樂。」 | 〔T12n0367 0349a11〕 |
| 三念 | 「皆悉念佛、念法、念僧。」 | 〔T12n0366 0347a16〕 | 「各得念佛、念法、念僧無量功德熏修其身。」 | 〔T12n0367 0349b07〕 |
| 聞音生念 | 「皆自然生念佛、念法、念僧之心。」 | 〔T12n0366 0347a23〕 | 「起佛、法、僧念作意等無量功德。」 | 〔T12n0367 0349b20〕 |
三經之異（誌錄不判）：①本經作「念比丘僧」，二經皆作「念僧」——多「比丘」二字，是本經與二經最著之字面之別。②本經之樓在「一一界上」而數「五百億」，二經之樓在池之階道上而不出數。③二經皆無滅罪之文；本經此觀出「除無量億劫極重惡業」，是十六觀中第二次出現滅罪之語（首見在第三地觀）。
「不鼓自鳴」「粗見」二語，二經皆零命中——已查《阿彌陀經》T12n0366、《稱讚淨土佛攝受經》T12n0367 全篇。誠實記之。
三、經論宗依（眼）
本觀是真依之終——依善導玄義分之判：
「又就此六中即有真有假。言假者，即日想、水想、氷想等是其假依，由是此界中相似可見境相故。」〔T37n1753 0246c17〕
「言真依者，即從瑠璃地下至寶樓觀已來是其真依。由是彼國真實無漏可見境相故。」〔T37n1753 0246c19〕
其上更有通依、別依之分：
「言別者，華座一觀是其別依，唯屬彌陀佛也。餘上六觀是其通依，即屬法界之凡聖，但使得生者共同受用故言通也。」〔T37n1753 0246c14〕
故本觀在全經結構中為一大關節：自日觀至本觀六觀為通依，得生者共同受用；下一觀華座為別依，唯屬彌陀。本觀之「總」，正在此處收束。
何以池後有樓：
「此明淨土雖有寶流灌注，若無寶樓宮閣亦未為精，為此依報莊嚴種種圓備也。」〔T37n1753 0265b22〕
樂器無識而能說法：「正明樂雖無識，即有說法之能。」〔T37n1753 0265c03〕——此判與前一觀水聲說法、第二觀風鼓樂器說法同一理路：彼國之說法者不限於有情。
智顗於本觀所繫之經證：本段零命中——已查《觀無量壽佛經疏》T37n1750 本觀之科（0192a16–0192a20），無引經引論之文。誠實記之。
四、本段釋要（四帖疏逐文）
寶樓之遍與數：
「二、言一一界上者，正明寶樓住處，地界遍於彼國，樓亦無窮也。」〔T37n1753 0265b24〕 「三、言有五百億者，正顯其數。一界之上既然，遍滿彼國亦皆如是。應知。」〔T37n1753 0265b25〕
樓內樓外之分——疏以「閣內」「樓外」二語判經文之兩節：
「四、從其樓閣中下，至作天伎樂已來，正明閣內莊嚴。」〔T37n1753 0265b27〕 「五、從又有樂器下，至不鼓自鳴已下，正明樓外莊嚴。寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」〔T37n1753 0265b28〕
「無思成自事」——樂器不用起心而自成其事，是本段之眼。
觀成之相：
「七、從此想成已下，至寶池已來，正明顯觀成相。此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」〔T37n1753 0265c03〕
——所悕見者唯寶樓一事，而所現者是地以上之莊嚴全體：此即「總觀」之義所在。
利益：
「十、從除無量下，至生彼國已來，正明依法觀察除障多劫，身器清淨應佛本心，捨身他世必往無疑。」〔T37n1753 0265c07〕
邪正：「十一、從作是觀者下，至邪觀已來，辨觀邪正之相。」〔T37n1753 0265c10〕
五、諸家異釋（分欄並錄·誌錄不判）
| 事 | 善導《四帖疏》（唐） | 錨 | 智顗疏（隋·天台） | 錨 |
|---|---|---|---|---|
| 本觀之名 | 「就寶樓觀中」——名之曰寶樓觀 | 〔T37n1753 0265b20〕 | 「第六總觀」〔T37n1750 0192a16〕；十六觀總目作「六總觀觀一切樓地池等」 | 〔T37n1750 0191c08〕 |
| 分科 | 十一段 | 〔T37n1753 0265b20〕 | 四段（總觀·結·利益·顯觀邪正） | 〔T37n1750 0192a16〕 |
| 「總」之所指 | 未別立總攝之目；以「自上莊嚴總現」釋之 | 〔T37n1753 0265c06〕 | 「初寶樓、二樹、三地、四池」——立為四事 | 〔T37n1750 0192a16〕 |
| 樓內樓外 | 分「閣內莊嚴」與「樓外莊嚴」二節 | 〔T37n1753 0265b27〕 | 「初正觀樓，次觀上及虛空中諸音樂聲」 | 〔T37n1750 0192a17〕 |
| 本觀在依報中之位 | 真依之終·通依六觀之末（下一觀華座為別依） | 〔T37n1753 0246c14〕 | 「初六觀觀其依果」——本觀為依果之末 | 〔T37n1750 0191c13〕 |
二家之名不同而所指同：善導取所觀之物名之（寶樓觀），智顗取所攝之義名之（總觀），而經自標「總觀想」。三名並見，誌錄不判。至於「總」所攝者，善導不列其目而以「自上莊嚴總現」括之，智顗則明列樓、樹、地、池四事——經文所舉為寶樹、寶地、寶池三事，智顗於三事之外增所觀之寶樓為四。誌錄不判。
六、術語（首見名相·釋義皆自二鏡）
| 名相 | 疏釋逐字 | 錨 | 鏡 |
|---|---|---|---|
| 總觀 | 「此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」 | 〔T37n1753 0265c05〕 | 善導 |
| 不鼓自鳴 | 「寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」 | 〔T37n1753 0265b29〕 | 善導 |
| 粗見 | 「五明凝心不絕即見淨土之相，此名想心中見，猶有覺想故。」 | 〔T37n1753 0263c13〕 | 善導 |
| 通依·別依 | 「言別者，華座一觀是其別依，唯屬彌陀佛也。餘上六觀是其通依」 | 〔T37n1753 0246c14〕 | 善導 |
「念比丘僧」一語——善導於本段牒其文而未別釋「比丘僧」與「僧」之異，其牒作「至念比丘僧已來」〔T37n1753 0265c02〕；智顗於本觀不牒此句。已查《四帖疏》T37n1753 與智顗疏 T37n1750 全篇，「比丘僧」三字之釋零命中。誠實記之，本帙不代擬其釋。
「粗見」一條之錨在第三觀——善導於本觀未釋粗見，其釋在地想觀處；今取彼處之釋以當之，並標其實在之錨。誠實記之。
本段音寫名相（比丘、劫、阿難、韋提希等），二疏於本段皆未出翻名與梵形，本帙不代擬。
七、譬喻·修辭
經文自用之譬一：
| 譬 | 經文逐字 | 錨 | 所況 |
|---|---|---|---|
| 天寶幢 | 「又有樂器懸處虛空，如天寶幢不鼓自鳴」 | 〔T12n0365 0342c08〕 | 樂器懸空之相 |
疏牒此譬而申其義：「寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」〔T37n1753 0265b29〕
鏡疏自立之譬：本段零命中——已查《四帖疏》T37n1753 本觀之科（0265b20–0265c12），除牒經之天寶幢外，疏未別立譬喻。誠實記之。
修辭上可記者三：①本段以「有」字為骨，三見——有五百億寶樓、有無量諸天、又有樂器——由物而人而器，三舉而止，其下即轉入觀成與利益。②「不鼓自鳴」四字是全段最省的一句，卻承前二觀而立：第二觀是「八種清風從光明出，鼓此樂器」，有風來鼓；本觀之樂器連風都不需要。由有所待到無所待，是二觀之間的一級。③末以「粗見」二字回應第三地觀之「粗見極樂國地」——同一個詞，前次所粗見者唯地，此次所粗見者為寶樹、寶地、寶池三事，所見之量已擴而所見之質仍稱粗，是本經用語之精嚴處。
八、徵引承衍
- 窺基《阿彌陀經通贊疏》二處引本段：
- 「《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」〔T37n1758 0339c14〕——今檢本經，「懸處虛空，如天寶幢不鼓自鳴」在本單元〔T12n0365 0342c08〕，而「無量樂器」四字在第二水想〔T12n0365 0342a17〕。疏所引乃合二處之文為一，其下「或林或幢」以下本經零命中。逐字誌錄，不判。
- 「《觀經》云：處處皆有眾寶樓閣莊嚴池上也。」〔T37n1758 0339b23〕——本經「眾寶樓閣」四字零命中（本經作「一一界上有五百億寶樓」〔T12n0365 0342c06〕）。疏所引非本經逐字之文，誌錄不判。
- 本軸內對讀點：《阿彌陀經》帙考據層。
- 定善義卷末之總讚攝本觀一句：「寶樹垂瓔間雜果，池流德水注華中，寶樓寶閣皆相接」〔T37n1753 0270a20〕。
- 本觀之位在善導依報總判中之收束：「又就前請中，初、從日觀下，至華座觀已來，總明依報。」〔T37n1753 0270b03〕
- 本段被今譯注其餘各帙徵引者，零命中（已查全樹：「念比丘僧」「除無量億劫極重惡業」「五百億寶樓」諸語，除本帙原典層、鏡源逐行檔與同軸《阿彌陀經》帙之通贊疏引文外，他帙無一命中。「不鼓自鳴」一語於他帙雖有命中，然所繫者為《金光明經》之文——見《金光明經》帙——非本經，逐處辨明，不計入承衍）。誠實記之。
九、校本定位
大正藏校記於本單元域內共二處（今行式）：
| 錨 | 底本 | 異讀 | 見證 |
|---|---|---|---|
| 0342c06 | 「佛告阿難及韋提希」八字 | 無此八字 | 宋·元·明·流布本 |
| 0342c07 | 「樓」（「五百億寶樓」之「樓」） | 樓閣 | 流布本 |
首條與前單元末十六字合成大正藏原式之二十四字一條；今行校記分作十六字、八字二條，本帙依今行之分而記其界。不據以改底本一字，不代裁其孰為原文。
本單元末之「作是觀者，名為正觀。若他觀者，名為邪觀。」十六字，大正藏無校記——與第二、第四、第五單元末同式之十六字被記為三本所無者不同。逐處記之，不概括為「皆作」或「皆無」。
與異讀相涉而並錄者二事（誌錄不判）：
①二疏之科皆起於「眾寶國土」——善導「初、言眾寶國土者，即是總舉觀名」〔T37n1753 0265b21〕；智顗「「眾寶國土」下，明總觀」〔T37n1750 0192a16〕。二疏皆不以「佛告阿難及韋提希」起科。此與首條異讀並列，誌錄不判。
②二疏於本觀之末皆立辨觀邪正一科——善導「十一、從作是觀者下，至邪觀已來，辨觀邪正之相」〔T37n1753 0265c10〕；智顗「「作是觀」下，第四、顯觀邪正」〔T37n1750 0192a19〕。此與本單元末十六字無校記一事並列，誌錄不判，不作因果之斷。
gaiji：本單元零命中。
夾註（place="inline" note）：本單元零命中。
全形空格（U+3000）：本單元零命中。
CBETA 新增校注：本單元零命中（本經五條之次者在〔T12n0365 0342c19〕，屬下一單元）。
Placement of the passage as a whole. This unit is the sixth of the sixteen contemplations, and the whole passage runs to one hundred and fifty-five characters. The sūtra brings out the five hundred koṭis of jeweled towers upon each and every tract of ground in the land formed of many jewels, the celestial music made by the gods within the pavilions, the instruments hanging in space that sound of themselves without being struck, and the three recollections spoken among the many sounds; it then gathers up what the preceding contemplations have gained with 「此想成已，名為粗見極樂世界寶樹、寶地、寶池」—“when this image has been accomplished, it is called having roughly seen the jeweled trees, the jeweled ground, and the jeweled pools of the world of Ultimate Bliss,” concludes generally as the general image, the sixth contemplation, and last brings out the benefit (the gravest evil karma of measureless koṭis of kalpas removed; at the end of life, surely born in that land) and judges right from wrong. This contemplation is the last of the six contemplations of the common support within the dependent recompense — in the Section on the Profound Meaning Shandao’s Commentary in Four Fascicles judges 「從瑠璃地下至寶樓觀已來是其真依」—“from the beryl ground down to the contemplation of the jeweled towers is its true support,” and this contemplation is precisely the end of the true support; with the next contemplation, the Flower Throne, it turns to 「別依」, the particular support, which belongs to Amitābha alone. Further, the word 「總」, general, in this contemplation carries two senses: one is the general gathering in of the objects of the preceding contemplations (the jeweled trees, the jeweled ground, the jeweled pools), the other is the general judgment that the dependent recompense is now finished. Two items of collation; see the ninth topic.
I. Doctrinal-Outline Placement
Shandao’s Commentary in Four Fascicles divides this contemplation into eleven segments:
「六、就寶樓觀中，亦先舉，次辨，後結。即有其十一。」—“Sixth, within the contemplation of the jeweled towers there is likewise first the raising, next the distinguishing, and last the conclusion — there are eleven in all” 〔T37n1753 0265b20〕.
| The commentary’s eleven segments | The commentary’s marked span (verbatim) | Anchor | Segment in this edition’s Plain Reading |
|---|---|---|---|
| 1 · General raising of the name of the contemplation | 「初、言眾寶國土者，即是總舉觀名，牒前生後。此明淨土雖有寶流灌注，若無寶樓宮閣亦未為精，為此依報莊嚴種種圓備也。」—“First, the words ‘the land formed of many jewels’ are the general raising of the name of the contemplation, citing what precedes and giving rise to what follows. This clarifies that though the pure land has jeweled streams pouring through it, without jeweled towers and palace pavilions it would still not be fine; for this reason the adornment of the dependent recompense is complete in every kind.” | 〔T37n1753 0265b21〕 | 〔一〕 |
| 2 · Where the jeweled towers stand | 「二、言一一界上者，正明寶樓住處，地界遍於彼國，樓亦無窮也。」—“Second, the words ‘upon each and every tract of ground’ directly clarify where the jeweled towers stand: the tracts of ground extend throughout that land, and the towers too are without end.” | 〔T37n1753 0265b24〕 | 〔一〕 |
| 3 · Showing their number | 「三、言有五百億者，正顯其數。一界之上既然，遍滿彼國亦皆如是。應知。」—“Third, the words ‘there are five hundred koṭis’ directly show their number. Since it is so upon a single tract, so it is throughout that land as well. This should be known.” | 〔T37n1753 0265b25〕 | 〔二〕 |
| 4 · The adornment within the pavilions | 「四、從其樓閣中下，至作天伎樂已來，正明閣內莊嚴。」—“Fourth, from ‘within those towered pavilions’ down to ‘making celestial music’ directly clarifies the adornment within the pavilions.” | 〔T37n1753 0265b27〕 | 〔三〕 |
| 5 · The adornment outside the towers | 「五、從又有樂器下，至不鼓自鳴已下，正明樓外莊嚴。寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」—“Fifth, from ‘there are also musical instruments’ down to ‘sounding of themselves without being struck’ directly clarifies the adornment outside the towers. The jeweled music flies in the air, its sound streaming forth the tones of the Dharma, through the six periods of day and night like the jewel banners of the heavens; with no thought raised, the thing accomplishes itself.” | 〔T37n1753 0265b28〕 | 〔四〕 |
| 6 · The music has the power to speak the Dharma | 「六、從此眾音中下，至念比丘僧已來，正明樂雖無識，即有說法之能。」—“Sixth, from ‘among these many sounds’ down to ‘recollecting the saṅgha of bhikṣus’ directly clarifies that the music, though it has no consciousness, yet has the power to speak the Dharma.” | 〔T37n1753 0265c02〕 | 〔五〕 |
| 7 · Showing the sign that the contemplation is accomplished | 「七、從此想成已下，至寶池已來，正明顯觀成相。此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」—“Seventh, from ‘when this image has been accomplished’ down to ‘the jeweled pools’ directly clarifies the showing of the sign that the contemplation is accomplished. This clarifies that dwelling single-mindedly upon the object, hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together.” | 〔T37n1753 0265c03〕 | 〔六〕 |
| 8 · General conclusion | 「八、從是為下，總結。」—“Eighth, from ‘this is’ onward is the general conclusion.” | 〔T37n1753 0265c06〕 | 〔七〕 |
| 9 · Citing what precedes and giving rise to what follows | 「九、從若見此者，牒前觀相，生後利益。」—“Ninth, from ‘one who sees these’ it cites the appearance contemplated above and gives rise to the benefit below.” | 〔T37n1753 0265c06〕 | 〔八〕 |
| 10 · Showing the benefit | 「十、從除無量下，至生彼國已來，正明依法觀察除障多劫，身器清淨應佛本心，捨身他世必往無疑。」—“Tenth, from ‘removes the measureless’ down to ‘born in that land’ directly clarifies that observing according to the method removes the obstructions of many kalpas; the vessel of the body being pure, it accords with the Buddha’s fundamental mind, and casting off the body for another world one will surely go there, beyond doubt.” | 〔T37n1753 0265c07〕 | 〔八〕 |
| 11 · Distinguishing the contemplation as wrong or right | 「十一、從作是觀者下，至邪觀已來，辨觀邪正之相。上來雖有十一句不同，廣明寶樓觀竟。」—“Eleventh, from ‘to make this contemplation’ down to ‘wrong contemplation’ distinguishes the signs of the contemplation as wrong or right. Although the eleven sentences above differ among themselves, the extensive clarification of the contemplation of the jeweled towers is herewith finished.” | 〔T37n1753 0265c10〕 | 〔九〕 |
The commentary’s outline begins at 「眾寶國土」, the land formed of many jewels, and does not begin its outline at 「佛告阿難及韋提希」, the Buddha told Ānanda and Vaidehī; and at the end of this contemplation it sets up a separate item distinguishing the contemplation as wrong or right — both matters are set side by side with the variant readings of the ninth topic, recorded without adjudication.
The witness column · Zhiyi’s outline of this passage (recorded without adjudication):
「第六總觀。中有四：「眾寶國土」下，明總觀，初寶樓、二樹、三地、四池。」—“The sixth, the general contemplation. Within it there are four. From ‘the land formed of many jewels’ onward clarifies the general contemplation: first the jeweled towers, second the trees, third the ground, fourth the pools” 〔T37n1750 0192a16〕. 「觀樓中，初正觀樓，次觀上及虛空中諸音樂聲，結成觀想名為粗見。」—“Within the contemplation of the towers, first one directly contemplates the towers, next one contemplates the sounds of all the music above them and in space; and the concluding of the contemplation and the image is called being roughly seen” 〔T37n1750 0192a17〕. 「從「是為」下，二、結。從「若見」下，第三、利益。「作是觀」下，第四、顯觀邪正。」—“From ‘this is’ onward is the second, the conclusion. From ‘one who sees’ onward is the third, the benefit. From ‘makes this contemplation’ onward is the fourth, showing the contemplation to be wrong or right” 〔T37n1750 0192a19〕.
Zhiyi’s outline likewise begins at 「眾寶國土」, and likewise sets up an item showing the contemplation to be wrong or right; and he marks out plainly that what this contemplation gathers is four matters, the towers, the trees, the ground, and the pools — what 「總」, the general, refers to Zhiyi sets at four, while the sūtra lists three (the jeweled trees, the jeweled ground, the jeweled pools) plus the jeweled towers that are contemplated. Recorded without adjudication.
II. Collation with the Alternate Translations — recorded without adjudication
There is no second Chinese translation of this sūtra — there is no alternate translation against which to collate. Recorded honestly.
Parallel text in the other sūtras of this same axis (not alternate translations; recorded without adjudication):
| Matter | The Amitābha Sūtra, T12n0366 (Kumārajīva) | Anchor | The Sūtra on Praising the Pure Land and the Buddha’s Embrace, T12n0367 (Xuanzang) | Anchor |
|---|---|---|---|---|
| Towered pavilions | 「上有樓閣，亦以金、銀、琉璃、頗梨、車𤦲、赤珠、馬瑙而嚴飾之。」—“Above them are storied pavilions, adorned likewise with gold, silver, beryl, crystal, giant-clam shell, red pearl, and agate.” | 〔T12n0366 0347a02〕 | This passage has no corresponding text of towered pavilions | — |
| Celestial music | 「彼佛國土，常作天樂」—“in that buddha-land celestial music is constantly played” | 〔T12n0366 0347a07〕 | 「自然常有無量無邊眾妙伎樂，音曲和雅甚可愛樂。」—“There are naturally and constantly measureless, boundless kinds of wondrous music, its tones harmonious and refined and most delightful.” | 〔T12n0367 0349a11〕 |
| The three recollections | 「皆悉念佛、念法、念僧。」—“All of them recollect the Buddha, recollect the Dharma, recollect the saṅgha.” | 〔T12n0366 0347a16〕 | 「各得念佛、念法、念僧無量功德熏修其身。」—“Each obtains the measureless merit of recollecting the Buddha, recollecting the Dharma, recollecting the saṅgha, which perfumes and cultivates their bodies.” | 〔T12n0367 0349b07〕 |
| Hearing the sounds and giving rise to recollection | 「皆自然生念佛、念法、念僧之心。」—“In all of them there naturally arises the mind that recollects the Buddha, recollects the Dharma, recollects the saṅgha.” | 〔T12n0366 0347a23〕 | 「起佛、法、僧念作意等無量功德。」—“They give rise to the measureless merits of the recollection of the Buddha, of the Dharma, and of the saṅgha, to the directing of attention, and the rest.” | 〔T12n0367 0349b20〕 |
Where the three sūtras differ (recorded without adjudication): first, this sūtra reads 「念比丘僧」, recollecting the saṅgha of bhikṣus, while both the other sūtras read 「念僧」, recollecting the saṅgha — the two added characters 「比丘」, bhikṣu, are the most marked verbal difference between this sūtra and the other two. Second, the towers of this sūtra stand 「一一界上」, upon each and every tract of ground, and are numbered 「五百億」, five hundred koṭis, whereas the towers of the other two stand upon the stepped paths of the pools and are given no number. Third, neither of the other two sūtras has any text on the extinction of offences; this contemplation brings out 「除無量億劫極重惡業」, the removal of the gravest evil karma of measureless koṭis of kalpas, the second occurrence of language on the extinction of offences among the sixteen contemplations (the first being at the third, the contemplation of the ground).
For the two phrases 「不鼓自鳴」, sounding of themselves without being struck, and 「粗見」, roughly seen, nothing was found in either — the whole of The Amitābha Sūtra, T12n0366, and of The Sūtra on Praising the Pure Land and the Buddha’s Embrace, T12n0367, has been searched. Recorded honestly.
III. Scriptural and Treatise Grounding (the “eye”)
This contemplation is the end of the true support — according to the judgment in Shandao’s Section on the Profound Meaning:
「又就此六中即有真有假。言假者，即日想、水想、氷想等是其假依，由是此界中相似可見境相故。」—“Further, within these six there is the true and the provisional. As for ‘the provisional,’ the image of the sun, the image of water, the image of ice and the like are its provisional support, because they are objects of this world that resemble it and can be seen” 〔T37n1753 0246c17〕.
「言真依者，即從瑠璃地下至寶樓觀已來是其真依。由是彼國真實無漏可見境相故。」—“As for ‘the true support,’ from the beryl ground down to the contemplation of the jeweled towers is its true support, because they are the real, outflow-free, visible objects of that land” 〔T37n1753 0246c19〕.
Above this there is a further division into the common and the particular support:
「言別者，華座一觀是其別依，唯屬彌陀佛也。餘上六觀是其通依，即屬法界之凡聖，但使得生者共同受用故言通也。」—“As for ‘the particular,’ the single contemplation of the Flower Throne is its particular support, belonging to Amitābha alone. The other six contemplations above are its common support, belonging to the ordinary beings and the sages of the dharma-realm; because all who gain birth there use them in common, they are called common” 〔T37n1753 0246c14〕.
This contemplation is therefore a major joint in the structure of the whole sūtra: from the contemplation of the sun to this one, six contemplations are the common support, used in common by those who gain birth there; the next contemplation, the Flower Throne, is the particular support, belonging to Amitābha alone. The 「總」, the general, of this contemplation gathers up precisely here.
Why towers come after pools:
「此明淨土雖有寶流灌注，若無寶樓宮閣亦未為精，為此依報莊嚴種種圓備也。」—“This clarifies that though the pure land has jeweled streams pouring through it, without jeweled towers and palace pavilions it would still not be fine; for this reason the adornment of the dependent recompense is complete in every kind” 〔T37n1753 0265b22〕.
Instruments without consciousness that can speak the Dharma: 「正明樂雖無識，即有說法之能。」—“directly clarifies that the music, though it has no consciousness, yet has the power to speak the Dharma” 〔T37n1753 0265c03〕 — this judgment runs along the same line as the water’s sound speaking the Dharma in the contemplation before and the wind striking the instruments to speak the Dharma in the second contemplation: what speaks the Dharma in that land is not confined to what has feeling.
The scriptural warrant Zhiyi attaches to this contemplation: nothing was found in this passage — the outline of this contemplation in the Commentary on the Sūtra on Contemplating the Buddha of Measureless Life, T37n1750 (0192a16–0192a20), has been searched, and it cites neither sūtra nor treatise. Recorded honestly.
IV. Essentials of the Commentary on This Passage (the Commentary in Four Fascicles, line by line)
The extent of the jeweled towers and their number:
「二、言一一界上者，正明寶樓住處，地界遍於彼國，樓亦無窮也。」—“Second, the words ‘upon each and every tract of ground’ directly clarify where the jeweled towers stand: the tracts of ground extend throughout that land, and the towers too are without end” 〔T37n1753 0265b24〕. 「三、言有五百億者，正顯其數。一界之上既然，遍滿彼國亦皆如是。應知。」—“Third, the words ‘there are five hundred koṭis’ directly show their number. Since it is so upon a single tract, so it is throughout that land as well. This should be known” 〔T37n1753 0265b25〕.
The division of inside the towers from outside them — the commentary divides the two clauses of the sūtra by the words 「閣內」, within the pavilions, and 「樓外」, outside the towers:
「四、從其樓閣中下，至作天伎樂已來，正明閣內莊嚴。」—“Fourth, from ‘within those towered pavilions’ down to ‘making celestial music’ directly clarifies the adornment within the pavilions” 〔T37n1753 0265b27〕. 「五、從又有樂器下，至不鼓自鳴已下，正明樓外莊嚴。寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」—“Fifth, from ‘there are also musical instruments’ down to ‘sounding of themselves without being struck’ directly clarifies the adornment outside the towers. The jeweled music flies in the air, its sound streaming forth the tones of the Dharma, through the six periods of day and night like the jewel banners of the heavens; with no thought raised, the thing accomplishes itself” 〔T37n1753 0265b28〕.
「無思成自事」, with no thought raised the thing accomplishes itself — the instruments need raise no mind, and the matter completes itself: this is the eye of the passage.
The sign that the contemplation is accomplished:
「七、從此想成已下，至寶池已來，正明顯觀成相。此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」—“Seventh, from ‘when this image has been accomplished’ down to ‘the jeweled pools’ directly clarifies the showing of the sign that the contemplation is accomplished. This clarifies that dwelling single-mindedly upon the object, hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together” 〔T37n1753 0265c03〕.
— what is hoped to be seen is the jeweled towers alone, while what appears is the whole body of adornment from the ground upward: here lies the meaning of 「總觀」, the general contemplation.
The benefit:
「十、從除無量下，至生彼國已來，正明依法觀察除障多劫，身器清淨應佛本心，捨身他世必往無疑。」—“Tenth, from ‘removes the measureless’ down to ‘born in that land’ directly clarifies that observing according to the method removes the obstructions of many kalpas; the vessel of the body being pure, it accords with the Buddha’s fundamental mind, and casting off the body for another world one will surely go there, beyond doubt” 〔T37n1753 0265c07〕.
Wrong and right: 「十一、從作是觀者下，至邪觀已來，辨觀邪正之相。」—“Eleventh, from ‘to make this contemplation’ down to ‘wrong contemplation’ distinguishes the signs of the contemplation as wrong or right” 〔T37n1753 0265c10〕.
V. Divergent Readings of the Commentators (in parallel columns — recorded without adjudication)
| Point | Shandao, Commentary in Four Fascicles (Tang) | Anchor | Zhiyi’s commentary (Sui, Tiantai) | Anchor |
|---|---|---|---|---|
| The name of this contemplation | 「就寶樓觀中」—“within the contemplation of the jeweled towers” — he names it the contemplation of the jeweled towers | 〔T37n1753 0265b20〕 | 「第六總觀」—“the sixth, the general contemplation” 〔T37n1750 0192a16〕; in the general list of the sixteen contemplations it reads 「六總觀觀一切樓地池等」—“sixth, the general contemplation, contemplating all the towers, ground, pools, and the rest” | 〔T37n1750 0191c08〕 |
| The division into segments | Eleven segments | 〔T37n1753 0265b20〕 | Four segments (the general contemplation · the conclusion · the benefit · showing the contemplation to be wrong or right) | 〔T37n1750 0192a16〕 |
| What 「總」, the general, refers to | He sets up no separate item for what is generally gathered, but glosses it with 「自上莊嚴總現」—“all the adornments from the ground upward appear together”, as its explanation | 〔T37n1753 0265c06〕 | 「初寶樓、二樹、三地、四池」—“first the jeweled towers, second the trees, third the ground, fourth the pools” — set up as four matters | 〔T37n1750 0192a16〕 |
| Inside and outside the towers | He divides two clauses, 「閣內莊嚴」, the adornment within the pavilions, and 「樓外莊嚴」, the adornment outside the towers | 〔T37n1753 0265b27〕 | 「初正觀樓，次觀上及虛空中諸音樂聲」—“first one directly contemplates the towers, next one contemplates the sounds of all the music above them and in space” | 〔T37n1750 0192a17〕 |
| Where this contemplation stands within the dependent recompense | The end of the true support · the last of the six contemplations of the common support (the next contemplation, the Flower Throne, being the particular support) | 〔T37n1753 0246c14〕 | 「初六觀觀其依果」—“the first six contemplations contemplate the dependent fruit” — this contemplation is the last of the dependent fruit | 〔T37n1750 0191c13〕 |
The two houses give it different names and point to the same thing: Shandao names it from the object contemplated (the contemplation of the jeweled towers), Zhiyi from the meaning it gathers (the general contemplation), while the sūtra marks it of itself as 「總觀想」, the general image. Three names appear together, recorded without adjudication. As for what 「總」, the general, takes in, Shandao lists no items for it and encompasses it with 「自上莊嚴總現」—“all the adornments from the ground upward appear together,” while Zhiyi lists plainly four matters, the towers, the trees, the ground, and the pools — the sūtra raises three, the jeweled trees, the jeweled ground, and the jeweled pools, and beyond those three Zhiyi adds the jeweled towers that are contemplated, making four. Recorded without adjudication.
VI. Terms (first occurrences — all glosses drawn from the two mirrors)
| Term | The commentary’s gloss, verbatim | Anchor | Mirror |
|---|---|---|---|
| The general contemplation | 「此明專心住境，悕見寶樓，剋念不移，自上莊嚴總現。」—“This clarifies that dwelling single-mindedly upon the object, hoping to see the jeweled towers, holding the thought fast without shifting, all the adornments from the ground upward appear together.” | 〔T37n1753 0265c05〕 | Shandao |
| Sounding of themselves without being struck | 「寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」—“The jeweled music flies in the air, its sound streaming forth the tones of the Dharma, through the six periods of day and night like the jewel banners of the heavens; with no thought raised, the thing accomplishes itself.” | 〔T37n1753 0265b29〕 | Shandao |
| Roughly seen | 「五明凝心不絕即見淨土之相，此名想心中見，猶有覺想故。」—“Fifth, it clarifies that when the mind is gathered without a break one sees the appearance of the pure land; this is called seeing within the imaging mind, because awareness and imaging are still there.” | 〔T37n1753 0263c13〕 | Shandao |
| The common support · the particular support | 「言別者，華座一觀是其別依，唯屬彌陀佛也。餘上六觀是其通依」—“As for ‘the particular,’ the single contemplation of the Flower Throne is its particular support, belonging to Amitābha alone. The other six contemplations above are its common support.” | 〔T37n1753 0246c14〕 | Shandao |
The phrase 「念比丘僧」, recollecting the saṅgha of bhikṣus — Shandao cites the text in this passage but does not separately gloss the difference between 「比丘僧」, the saṅgha of bhikṣus, and 「僧」, the saṅgha; his citation runs 「至念比丘僧已來」—“down to ‘recollecting the saṅgha of bhikṣus’” 〔T37n1753 0265c02〕, and Zhiyi does not cite this sentence in this contemplation at all. The whole of the Commentary in Four Fascicles, T37n1753, and of Zhiyi’s commentary, T37n1750, has been searched: for a gloss on the three characters 「比丘僧」 nothing was found. Recorded honestly; this edition does not supply a gloss in their stead.
The anchor for the entry 「粗見」, roughly seen, lies at the third contemplation — Shandao does not gloss it in this contemplation; his gloss stands at the contemplation of the ground. That gloss is taken here to serve, and the anchor given is the one where it actually stands. Recorded honestly.
For the transcribed terms of this passage (bhikṣu, kalpa, Ānanda, Vaidehī, and the rest), the two commentaries give in this passage neither rendered names nor Sanskrit forms, and this edition does not supply them in their stead.
VII. Similes and Rhetoric
The one simile the sūtra uses of itself:
| Simile | The sūtra verbatim | Anchor | What it likens |
|---|---|---|---|
| The jewel banners of the heavens | 「又有樂器懸處虛空，如天寶幢不鼓自鳴」—“there are also musical instruments hanging in space, like the jewel banners of the heavens, sounding of themselves without being struck” | 〔T12n0365 0342c08〕 | The look of instruments hanging in the air |
The commentary cites this simile and unfolds its meaning: 「寶樂飛空聲流法響，晝夜六時如天寶幢，無思成自事也。」—“The jeweled music flies in the air, its sound streaming forth the tones of the Dharma, through the six periods of day and night like the jewel banners of the heavens; with no thought raised, the thing accomplishes itself” 〔T37n1753 0265b29〕.
Similes set up by the mirror commentaries: nothing was found in this passage — the outline of this contemplation in the Commentary in Four Fascicles, T37n1753 (0265b20–0265c12), has been searched, and apart from the jewel banners of the heavens cited from the sūtra the commentary sets up no simile of its own. Recorded honestly.
Three things may be recorded as rhetoric. First, the passage is framed on the word 「有」, there are, appearing three times — there are five hundred koṭis of jeweled towers, there are measureless gods, there are also musical instruments — from things to persons to instruments, three raisings and it stops, after which the text turns to the accomplishing of the contemplation and to the benefit. Second, the four characters 「不鼓自鳴」, sounding of themselves without being struck, are the sparest sentence of the passage, and yet they stand upon the two contemplations before: the second contemplation had 「八種清風從光明出，鼓此樂器」—“eight kinds of pure wind issue from the light and strike these instruments,” where wind had to come and strike before there was sound; the instruments of this contemplation do not even need the wind. From having something to depend on to depending on nothing is one step between the two contemplations. Third, it closes with the two characters 「粗見」, roughly seen, answering the 「粗見極樂國地」, roughly seeing the ground of the land of Ultimate Bliss, of the third contemplation, the contemplation of the ground — the same word, where before what was roughly seen was the ground alone and here what is roughly seen is three matters, the jeweled trees, the jeweled ground, and the jeweled pools; the measure of what is seen has widened and the quality of the seeing is still called rough, which is where the diction of this sūtra is exact.
VIII. Citation and Carrying Forward
- Kuiji’s Comprehensive Praise Commentary on the Amitābha Sūtra cites this passage in two places:
- 「《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」—“The Contemplation Sūtra says: measureless musical instruments hang in space and sound of themselves without being struck; whether upon groves or upon banners, instruments hang everywhere and all sound in harmony of themselves, playing the tones of the Dharma according to the wishes of sentient beings” 〔T37n1758 0339c14〕 — on examining this sūtra, 「懸處虛空，如天寶幢不鼓自鳴」, hanging in space, like the jewel banners of the heavens, sounding of themselves without being struck, stands in this unit 〔T12n0365 0342c08〕, while the four characters 「無量樂器」, measureless musical instruments, stand in the second contemplation, the image of water 〔T12n0365 0342a17〕. What the commentary cites therefore joins the text of two places into one, and for what follows from 「或林或幢」, whether upon groves or upon banners, nothing was found in this sūtra. Recorded verbatim, without adjudication.
- 「《觀經》云：處處皆有眾寶樓閣莊嚴池上也。」—“The Contemplation Sūtra says: everywhere there are towered pavilions of many jewels adorning the pools.” 〔T37n1758 0339b23〕 — for the four characters 「眾寶樓閣」, towered pavilions of many jewels, nothing was found in this sūtra (this sūtra reads 「一一界上有五百億寶樓」—“upon each and every tract of ground there are five hundred koṭis of jeweled towers” 〔T12n0365 0342c06〕). What the commentary cites is not the verbatim text of this sūtra; recorded without adjudication.
- The point of cross-reading within this axis: the apparatus layer of the Amitābha Sūtra volume.
- A line in the general praise at the end of the Section on the Good of Concentration takes in this contemplation: 「寶樹垂瓔間雜果，池流德水注華中，寶樓寶閣皆相接」—“jeweled trees hang with strings of gems among their mingled fruits; the pools stream with the water of excellent qualities, pouring in among the flowers; jeweled towers and jeweled pavilions all adjoin one another” 〔T37n1753 0270a20〕.
- Where this contemplation stands within Shandao’s general judgment of the dependent recompense: 「又就前請中，初、從日觀下，至華座觀已來，總明依報。」—“Further, within the request above, first, from the contemplation of the sun down to the contemplation of the Flower Throne, the dependent recompense is clarified in general” 〔T37n1753 0270b03〕.
- For citation of this passage by the other editions of this corpus, nothing was found (the whole tree has been searched for 「念比丘僧」, recollecting the saṅgha of bhikṣus, 「除無量億劫極重惡業」, removing the gravest evil karma of measureless koṭis of kalpas, and 「五百億寶樓」, five hundred koṭis of jeweled towers: apart from the source layer of this edition, the line-by-line mirror files, and the citations in the Comprehensive Praise Commentary within the Amitābha Sūtra volume on the same axis, no other edition yields a single hit. The phrase 「不鼓自鳴」, sounding of themselves without being struck, does yield hits in other editions, but what they belong to is the text of The Sūtra of Golden Light — the Sūtra of Golden Light volume — and not to this sūtra; each is distinguished in place and none is counted as carrying forward). Recorded honestly.
IX. Placement Among the Recensions
The Taishō collation notes within the domain of this unit come to two in all (in the form now current):
| Anchor | Base text | Variant | Witnesses |
|---|---|---|---|
| 0342c06 | The eight characters 「佛告阿難及韋提希」 (the Buddha told Ānanda and Vaidehī) | These eight characters absent | Song · Yuan · Ming · current-circulation printing |
| 0342c07 | 「樓」 (the tower — in 「五百億寶樓」, five hundred koṭis of jeweled towers, the character 「樓」) | 樓閣 (towered pavilion) | Current-circulation printing |
The first item, together with the last sixteen characters of the preceding unit, makes up the single item of twenty-four characters in the Taishō’s original form; the collation notes as now current divide this into two items, of sixteen characters and of eight, and this edition records the boundary according to the current division. Not one character of the base text is altered on that account, and no judgment is made in their stead as to which is the original text.
For the sixteen characters at the end of this unit, 「作是觀者，名為正觀。若他觀者，名為邪觀。」—“to make this contemplation is called right contemplation; to make another contemplation is called wrong contemplation,” the Taishō has no collation note — unlike the sixteen characters of the same form at the end of the second, the fourth, and the fifth units, which are recorded as absent from three witnesses. Each is recorded in place, and it is not generalized into 「皆作」, all read thus, or 「皆無」, all lack it.
Two matters bearing on the variants are recorded alongside them (recorded without adjudication):
First, the outlines of both commentaries begin at 「眾寶國土」, the land formed of many jewels — Shandao: 「初、言眾寶國土者，即是總舉觀名」—“First, the words ‘the land formed of many jewels’ are the general raising of the name of the contemplation” 〔T37n1753 0265b21〕; Zhiyi: 「「眾寶國土」下，明總觀」—“From ‘the land formed of many jewels’ onward clarifies the general contemplation” 〔T37n1750 0192a16〕. Neither commentary begins its outline at 「佛告阿難及韋提希」, the Buddha told Ānanda and Vaidehī. This is set side by side with the first variant, recorded without adjudication.
Second, both commentaries set up at the end of this contemplation an item distinguishing the contemplation as wrong or right — Shandao: 「十一、從作是觀者下，至邪觀已來，辨觀邪正之相」—“Eleventh, from ‘to make this contemplation’ down to ‘wrong contemplation’ distinguishes the signs of the contemplation as wrong or right” 〔T37n1753 0265c10〕; Zhiyi: 「「作是觀」下，第四、顯觀邪正」—“From ‘makes this contemplation’ onward is the fourth, showing the contemplation to be wrong or right” 〔T37n1750 0192a19〕. This is set side by side with the fact that the sixteen characters at the end of this unit have no collation note, recorded without adjudication, and no causal inference is drawn between them.
Gaiji: nothing found in this unit.
Inline glosses (place="inline" notes): nothing found in this unit.
Ideographic space (U+3000): nothing found in this unit.
Newly added CBETA collation notes: nothing found in this unit (the second of the five in this sūtra stands at 〔T12n0365 0342c19〕, which belongs to the next unit).