戒壇形重相狀第三
The Form and Marks of the Ordination Platform
依名顯相，理有異儀。「場」乃除地令淨，無諸丘坎，俗中治場令平者是也！戲場、戰場例斯可解。至於「壇」相，則出地立基，四郊祠祭諸壇者是也！余案行諸壇，方基者多。唯圓丘一壇，分基九派，各施階隥，其緣如別。今之戒壇初為天造，天工巧妙，理出人謀。然佛指揮，又非凡度，故其相狀不同恒俗。依《別傳》云：「戒壇從地而起，三重為相，以表三空，為入佛法初門，散釋凡惑，非空不遣。三空是得道者遊處，正戒為眾善之基，故限於三重也！昔光明王佛制，高佛之五肘，表五分法身；釋迦如來減為二肘半；上又加二寸，為三層也；其後天帝釋又加覆釜形於壇上，以覆舍利；大梵王又以無價寶珠，置覆釜形上，供養舍利。是則五重，還表五分法身(以初層高一肘，二層高二肘半；三層高二寸，則三分也；帝釋加覆釜，則四重也；梵王加寶珠，則五重。五分具也)。初佛在世，祇桓園中立戒壇訖，大梵王所施寶珠，大如五升瓶，大福德者見之，光照八百由旬；薄福德者見之，如聚墨也。如來一代，常在戒壇，及佛涅槃，珠亦隨沒。尊者大迦葉結集之時，珠復還來，阿難滅度，此珠還去。後大梵王乃以明珠替處，以供養舍利也，珠下以寶蓮華用承之，作九龍以承華足。天帝釋又奉二珠，以供養舍利，用金蓮華承足，下設金柱，柱下安師子；此之二珠結集既竟，並各不現。帝釋二珠，今在忉利天歡喜園中，供養般若波羅蜜。今時諸處立壇，既無珠可供養者，隨力作二明燈。若石若木，常在壇前，高於上層，令光明遠照，上下通曉。其壇上鋪石為地，每有受戒之候，西南角別安高座，使比丘登之；登或艱阻，時大梵王於南面西階道西，化作鐵莖銀龍銀蓮華，開合轉關，華葉相接，對鉤欄上，共高座相當，令使登者而無躓礙。祇桓既殄，斯蹤亦絕，然今後作者，則而施之。」
The name reveals the form, but the principles differ. A "ground" (chǎng) is a cleared and leveled area, free of mounds or pits—like the leveled ground prepared for common gatherings. Performance grounds and battlefields follow the same logic. As for the "altar" (tán), it is raised from the ground with a foundation, like the various altars used for suburban sacrifices. I have inspected many altars, and most have square foundations. Only the Round Mound altar has its foundation divided into nine sections, each with its own steps, the details of which are explained elsewhere.
The ordination platform we have today was originally created by heaven. Heavenly craftsmanship is marvelously ingenious, far surpassing human design. Yet the Buddha's directions were likewise beyond ordinary measure, so its appearance differs from common customs. According to the *Separate Biography*: "The ordination platform rises from the earth in three levels, symbolizing the Three Emptinesses, serving as the initial gate to the Buddhist path. Ordinary delusions are dispersed; without emptiness, nothing can be dispelled. The Three Emptinesses are the playground of those who have attained the Way. The precepts are the foundation of all goodness, hence the restriction to three levels!"
In the time of King Light Buddha, the platform was made five cubits high, representing the Fivefold Dharma Body. Shakyamuni reduced it to two and a half cubits, then added two inches, creating three levels. Later, Indra, King of Gods, added an inverted-bowl-shaped cover on top to enshrine the relics, and Brahma King placed a priceless jewel on top of that cover to honor the relics. Thus, there are five layers altogether, still representing the Fivefold Dharma Body(The first layer is one cubit high, the second two and a half cubits, the third two inches—that's three layers; Indra's cover makes four; Brahma's jewel makes five. The Fivefold Dharma Body is complete.).
When the Buddha first resided in the world, after the ordination platform was completed in Jeta Grove, the jewel offered by Brahma King was as large as a five-liter bottle. Those with great merit could see it shining for eight hundred yojanas; those with little merit saw it merely as a lump of ink. Throughout the Buddha's lifetime, the jewel remained on the platform. When the Buddha entered nirvana, the jewel disappeared as well. When the Venerable Mahākāśyapa convened the council, the jewel returned, but when Ānanda passed away, it departed again. Later, Brahma King replaced it with a bright pearl to honor the relics. Beneath the pearl was placed a jeweled lotus flower, supported by nine dragons as its base. Indra also offered two pearls to honor the relics, placed upon golden lotus flowers with golden pillars beneath, under which were lion figures. After the council concluded, both of these pearls vanished as well. Indra's two pearls now reside in the Joyful Garden of Trāyastriṃśa Heaven, where they are honored as offerings to the Perfection of Wisdom.
Nowadays, when platforms are erected in various places and no pearls are available for offering, people may, according to their means, place two bright lamps—whether of stone or wood—before the platform, higher than the top level, so that their light shines far and illuminates both above and below. The platform's surface is paved with stone. Whenever there is an ordination ceremony, a high seat is placed at the southwest corner for the monks to ascend. If climbing is difficult, Brahma King, at that time, transformed the area west of the southern western staircase into iron stems with silver dragons and silver lotus flowers that opened and closed with revolving mechanisms. The petals connected to form guardrails matching the height of the seat, allowing climbers to ascend without stumbling. But since Jeta Grove was destroyed, these traces have ceased as well. However, for those built nowadays, we follow these models in our construction.
近以乾封二年九月，中印度大菩提寺沙門釋迦蜜多羅尊者，長年人也，九十九夏來向五臺，致敬文殊師利。今上禮遇，令使人將送，既還來郊南，見此戒壇，大隨喜云：「天竺諸寺皆有戒壇。」又述烏仗那國東石戒壇之事，此則東西雖遠，壇禮相接矣。其壇相狀，下之二重以石砌累，如須彌山王形，上下安色道。四面壇身並列龕窟，窟內安諸神王。其兩重基上並施石鉤欄，欄之柱下，師子神王間以列之。兩層四角立高石柱出於壇上，柱外置四天王像，既在露地，並鐫石為之，使久固也。四角欄上，石金翅鳥銜龍於上，表比丘既受戒已，常思惑業而制除也。戒壇周圍布列神影者，表護持久固之相也。斯並大聖之羽儀，生善之弘道，備舒圖傳，具列儀容，各有名號，義難隱伏，事須標牓其名，顯置其狀，則使見者發心，識幽明之協護矣！
In the autumn of the ninth month of the second year of the Qianfeng era, the Venerable Shakyamitra, a monk from the Great Bodhi Temple in Central India, who was advanced in years—having lived through ninety-nine summers—journeyed to Mount Wutai to pay homage to Manjushri. The emperor received him with great courtesy and had attendants escort him on his way. On his return journey, passing south of the capital, he came upon this ordination platform and rejoiced greatly, saying, "All the temples in India have ordination platforms." He also spoke of the stone ordination platform in the east of Udyana, noting that although East and West lie far apart, the tradition of these platforms connects them.
The platform itself consists of two lower tiers built of piled stones, shaped like Mount Sumeru. Colored bands run along its upper and lower parts. Around all four sides of the platform body are niches and alcoves, within which stand various divine guardian kings. On both tiers above the base are stone railings, with lion-shaped spirit kings placed between the pillars. At the four corners of the two levels rise tall stone pillars above the platform, and outside these pillars stand statues of the Four Heavenly Kings, all carved from stone so that they may endure long in the open air. On the railings at the four corners sit stone garudas holding serpents in their beaks, symbolizing that monks, after receiving full ordination, constantly reflect on and overcome their delusions and karmic hindrances. Around the entire platform, divine images are arranged in rows, symbolizing enduring protection and steadfastness.
These are all the majestic ornaments of the great sages, embodying the vast path of cultivating goodness. Their forms have been fully depicted in illustrations and records, each with its own name and title. Their meanings cannot remain hidden, so it is fitting to inscribe their names and display their images openly, so that all who see them may awaken their aspirations and recognize the unseen forces that protect and support.
今案：梁高祖勅釋寶唱著《神鬼錄》，凡有三卷。故其序略云：「自如來出世，至教博遠，天龍鬼神莫不迴向，故能奉侍三尊，擁護四部。」凡諸鬼神各有依住，故依地之神名曰堅牢，乃至寺塔山林河海風雨，如《長阿含經》，並依止所往而守衛之(今以壇圖一面，三方隱映諸神側背，難可圖形。於圖經中，依方列相，或露或覆，時立時坐，後有造者，依經置之)。今前列護佛塔神名，多出《華嚴》、《灌頂》、《孔雀王》、《賢愚》、《大集》、《大智論》等，以繁文故，於此總而敘之。神名跋闍羅波尼(梁言金剛)。神名婆里旱(河但反，梁言力士)。初堅固光曜神、二日光曜神、三須彌華神、四淨雲音神、五阿脩羅王神(取脩羅為名，非脩羅也)、六勝光明神、七樹音聲神、八師子王神(如上，已解)、九淳厚光藏神、十珠髻華光神。右十二金剛力士神王，依《雜阿含經》。金剛神持金剛杵，猛火熾然，經律中亦說：「八金剛神，列侍四面。」又云：「五百金剛，常侍衛佛」。如《華嚴經》：「諸金剛神與微塵數力士俱，久發誓願，侍衛如來，住持遺法。」
今據文求相，不言戒壇，然此戒壇即佛塔也，以安舍利。靈骨瘞中，非塔如何？迷名固執者不足言評。重為提示，原夫「塔」字，此方字書乃是物聲，本非西土之號。若依梵本，瘞佛骨所，名曰「塔婆」。此略下「婆」，單呼上「塔」。所以經中，或名「偷婆」、「窣堵波」等。依如唐言「方墳」，塚也！古者墓而不墳，墳謂加土於其上也。如律中：「如來知地下有迦葉佛舍利，以土增之。」斯即塔婆之相狀矣！今戒壇安佛舍利，層基標別，四列神影守護顯號，固其然乎！前十二神常守護佛塔。
Now, examining the text for its meaning, it doesn't explicitly mention the ordination platform, but this ordination platform is essentially a pagoda, for it houses the relics. The sacred bones are buried within—if not a pagoda, then what? Those who are confused by names and stubbornly attached to them are not worth discussing. Let me emphasize again: originally, the character "塔" (tǎ) in this region's dictionaries refers to the sound of an object, and it is not originally a term from the Western regions (India). According to the Sanskrit original, the place where the Buddha's bones are interred is called "stūpa." This is the abbreviated form, dropping the final "pa," and simply calling it "ta" (塔). Thus, in the scriptures, it is sometimes called "toupo" (偷婆) or "sūtra-stūpa" (窣堵波), etc. In Tang dynasty language, it is called "square mound," which means a tomb! In ancient times, people were buried without raising a mound; a mound refers to piling earth on top of the grave. As it says in the Vinaya: "The Tathāgata, knowing that there were relics of Kāśyapa Buddha underground, added earth on top of it." This is precisely the appearance of a stūpa! Now, on the ordination platform, the Buddha's relics are placed, with distinct layers marking the structure, and four rows of divine images guarding and proclaiming its name—is this not fitting? The twelve deities mentioned before constantly guard the Buddha's pagoda.
下層下據地，壇有五階，階列二神，故有十也！以下層為戒壇基本，其猶金剛，故以十金剛依階而位列也！
下層四角大神，所謂金剛力士、金毘羅、散脂，並護佛塔，故峙列四隅，以護持本也；東南角神名跋闍羅波尼(又領般支分大軍主神)；西南角神名婆里旱(又領般遮羅遮馱大軍主神)；西北角神王名金毘羅(又領婆多祁利大軍主神)；東北角神將名散脂(又領醯摩跋多大軍主神)。下層南面二階，東畔階道(東神名堅固光曜，西神名日光曜)；西畔階道(東神名須彌華，西神名淨雲音)。東面一階道(南神名阿脩羅王，北神名勝光明)；西面一階道(南神名樹音聲，北神名師子王)。北面一階道(西神名淳厚光藏，東神名珠髻華光)。
第二層上四角大神，所謂四天王也，常護佛法及以眾生，豈唯壇塔而在情外，故須造立儀像，依方隅而列之(依《灌頂經》云：「五羅鬼神、鬼子母神五百兒子、及摩醯首羅、摩尼跋陀、脩利犍陀五神，於佛滅後常護塚塔，不使邪人所壞。若破壞者，當知正法欲滅，故使然也。」)。東北角天王名提頭賴吒，領乾闥婆及毘舍闍眾，住東弗婆提洲。《大智論》云：「四天王並壽九百萬歲，各有九十一子，皆護佛法。」其王領四神軍主，出《灌頂經》，下同今配。
戒壇第二層基，東面兩階各二神；南階道二神(南神名地珂，北神名脩涅多羅)，北階道二神(南神名分那柯，北神名迦毘羅)。東南角天王名毘婁勒叉，領鳩槃茶及薜茘多眾，住南閻浮提洲。所領四神軍主，配南面二階各二神，東階道二神(東神名僧伽，西神名優波僧伽)，西階道二神(東神名償起羅，西神名栴陀那)。西南角天王名毘婁博叉，領諸龍及富多羅眾，住西瞿耶尼洲。其所領四神軍主，配西面二階各二神，南階道二神(南神名訶利，北神名訶利枳舍)，北階道二神(南神名波羅赴，北神名冰伽羅)。西北角天王名毘沙門，領夜叉及羅剎眾，住北欝單越洲；多來閻浮提，其王手中掌擎佛塔，古佛舍利在中。佛在時，令其持行，所在作護，佛法久固。又令天王威德勢力領四神軍主，配北面一階邊各二神，西邊二神(一名陀羅那、二名阿羅難陀)，東邊二神(一名欝庾伽波羅、二名別他那)。依《賢愚經》，此等鬼神皆名夜叉，形色青黑，眼赤如血，鉤牙上出，頭髮悉豎，火從口出。經雖如此，及論顯相，義須別態，不可一像。其第二層上，四面七階道頭各有二神，則十六也！必須其名，可如《灌頂經》。四天王所部諸神，隨名便配，且存前數，何由可盡其數量也！
兩層色道內龕窟中神，經中大多，今依《孔雀王經》，明七星神，依方守護；其上層中安窟既少，可列七星神，配坐窟中；然二十八星神出沒增減，常行於世，有大光明，深能利益。東方七星神名：基栗底柯一、虜喜尼二、麋梨伽尸羅三、阿陀羅四、不捺那婆脩五、弗沙六、阿沙離沙七。南方七星神名：訶可一、雨頗二、求尼三、訶莎多四、質多羅五、莎底六、毘釋珂七。西方七星神名：阿㝹羅他一、折沙他二、牟藍三、弗婆莎他四、欝多羅莎他五、阿毘止六、沙羅波那七。北方七星神名：陀薾他一、捨多毘沙二、弗婆跋陀羅三、欝多羅跋陀羅四、離婆底五、阿雖尼六、婆羅尼七。右二十八神，方別七龕依名位列。至於下層亦有龕窟，約方開影，其量則多，臨時分像，依《優波斯那呪經》及《灌頂經》。神名極多，亦依方住，至時檢經，隨龕多少，就列名號，為存繁文，故略不出。
最上第三重，止高二寸，表二諦也；欲明諸佛說法常依二諦，用表受戒出家者，必知二諦為宗歸也！何者？以身、口二業，動必依相，相為俗有；心行所期，離相為本，本為出道之所依也！故二寸為準的量相。上壇四角各立師子，背上有孔，欲行事時，必施尊儀，上安帳竿於孔中也！帳之莊嚴隨力所辦。上壇畟方七尺為量，以表七覺意也！三乘入道不越三十七品，於此品中，七覺意在道思擇，其功最高，故在上而列也！壇外四周一丈內，種四時華藥，已外植華樹八行，種種莊嚴。依《善見論》云：「戒壇極小，容二十一人。」此據出罪之相也。然亦不分壇、場之異也！