出版說明
Publisher's Note
《金剛經》，是佛經中流行最廣的一部，也是禪宗藉以弘揚的主要經典。禪宗自梁代南天竺菩提達磨在嵩山少林寺開創，始奉宋求那跋陀羅譯《楞伽經》為印證，傳法慧可、僧璨，至隋唐之交，四祖道信參以般若法門。已稍變其體。繼而五祖弘忍聚徒授課，逕以《金剛經》為主，常勸僧俗持誦。唐咸亨年，慧能（公元六三八～七一三年）因鬻柴棄學。不識一字，由聞誦《金剛經》「應無所住，而生其心」，豁然感悟，遠投弘忍門下，作偈「菩提本無樹，明鏡亦非臺；本來無一物，何處惹塵埃」，直揭心性，見地超羣，得弘忍賞識，傳授法衣，後遂為禪宗「六祖」。慧能更推重《金剛經》，提倡頓悟，不專坐禪，順應了當時特定條件的社會需要。禪宗因之弘大熾盛，對以後的社會思想特別是宋明理學的形成和發展產生了巨大的影響。故凡考察中國社會尤其唐宋以降思想文化的源流遞嬗，不能不追溯到佛教禪宗和《金剛經》。
The Diamond Sutra is the most widely circulated Buddhist scripture and a primary text for the Chan (Zen) school’s propagation. The Chan tradition was founded by Bodhidharma of South India at Shaolin Temple on Mount Song during the Liang dynasty, initially using the *Lankavatara Sutra* translated by Guṇabhadra as a seal of authentication, passing the teaching to Huike and Sengcan. By the transition from the Sui to the Tang dynasty, the Fourth Patriarch Daoxin began incorporating Prajñā (Wisdom) teachings, gradually shifting its style. Later, the Fifth Patriarch Hongren gathered disciples for instruction, directly adopting the *Diamond Sutra* as the core text and often encouraging both monastics and laypeople to recite it.
During the Xianheng era of the Tang dynasty, Huineng (638–713), who worked as a firewood seller and had no formal education—not recognizing a single written character—heard someone reciting the line from the *Diamond Sutra*, “Let your mind arise without dwelling on anything,” and experienced a sudden awakening. He traveled far to study under Hongren and composed the verse:
*The Bodhi tree is originally no tree, The bright mirror is also not a stand. Originally there is not a single thing— Where could dust ever cling?*
This directly revealed the nature of mind, displaying extraordinary insight, and won Hongren’s admiration. Hongren transmitted the robe and teaching to him, and Huineng thus became the Sixth Patriarch of Chan. Huineng further elevated the *Diamond Sutra*, advocating sudden enlightenment and not focusing solely on seated meditation. This approach met the social needs of the time, and as a result, the Chan school flourished greatly, exerting tremendous influence on later social thought—particularly the formation and development of Song and Ming dynasty Neo-Confucianism.
Therefore, anyone examining the origins and evolution of Chinese society, especially intellectual and cultural developments from the Tang and Song dynasties onward, must trace back to Buddhist Chan and the *Diamond Sutra*.
《金剛經》，全稱《金剛般若波羅密經》，意謂以金剛不壞之志和大智慧之心乘度彼岸。佛弟子阿難記述的這篇釋迦牟尼世尊與須菩提的答問，用「如來說世界。非世界，是名世界」的三段論式。闡發了「凡所有相，皆是虛妄」，「實相者則是非相」的唯心主義認識論，以及應以「無上正等正覺之心（阿耨多羅三藐三菩提）」，「即住即降伏其心」，「不取於相，如如不動」的宗教修養理論。
The Diamond Sutra, fully titled *The Diamond Perfection of Wisdom Sutra*, speaks of reaching the other shore with a will as indestructible as diamond and a heart of great wisdom. This dialogue between the World-Honored Buddha Shakyamuni and Subhuti, recorded by the disciple Ananda, employs a three-part pattern of reasoning: “The world spoken of by the Tathagata is not the world; it is merely called the world.” It elucidates an idealist epistemology that “all phenomena are illusory” and “true reality is beyond phenomena,” along with a religious discipline centered on “the mind of supreme, perfect enlightenment (anuttara-samyak-sambodhi),” “settling and subduing the mind right where it is,” and “abiding in suchness, unmoved, without grasping at appearances.”
《金剛經》屬於經藏般若部，有後秦鳩摩羅什、北魏菩提流支、陳真諦、隋達磨笈多、唐玄奘和唐義淨六種漢譯本並傳，各本題目和文字略有異同，世以鳩摩羅什譯本通行。《金剛經》得居佛藏之顯要，自有其社會歷史背景。抑其篇幅簡約，述義深刻。文字通俗，亦屬重要原因。歷來統治者宣揚倡導，使為之注釋者不下數十百家，其間薈萃眾說之集注本為數亦夥。
The Diamond Sutra belongs to the Prajñāpāramitā section of the sutra collection. There are six Chinese translations that have been passed down: one by Kumārajīva of the Later Qin, one by Bodhiruci of the Northern Wei, one by Paramārtha of the Chen dynasty, one by Dharmagupta of the Sui dynasty, one by Xuanzang of the Tang dynasty, and one by Yijing of the Tang dynasty. Their titles and wording vary slightly, but Kumārajīva’s version has become the most widely circulated.
The Diamond Sutra holds a prominent place in the Buddhist canon due to its social and historical context. Moreover, it is concise in length yet profound in meaning. Its accessible language is also an important reason for its popularity. Throughout history, rulers have promoted and advocated for it, leading to no fewer than several dozen or even hundreds of commentaries. Among these, annotated editions that compile various interpretations are also numerous.
《金剛經集注》，原有南宋紹定楊圭十七家釋義四卷，後演為五十三家注四卷。明御纂本摒除五十三家本中傳為梁昭明太子所作三十二分分目，略減注者數家，而益以三十餘種經文或注文，裒成一卷，清黃虞稷《千頃堂書目》著錄有：「《太祖集注金剛經一卷》，成祖御製序。」考本書成祖序文：「朕夙欽大覺，仰慕真如，間閱諸編，選其至精至要經旨弗違者，重加纂輯，特命鋟梓，用廣流傳。」可知此書為成祖自行重纂。明太祖集注本今未之見，但成祖另有永樂九年五月初一御製序（見清鄧晅《金剛經輯注》轉錄），與本書永樂二十一年四月十七日序大異，且超前十餘年，或其即是專為太祖集注本所撰，而本書則是將太祖集注本「重加纂輯」而成的修訂本。
The *Diamond Sutra with Collected Commentaries* originally existed in a four-volume edition from the Southern Song Shaoding period, compiled by Yang Gui, containing explanations from seventeen scholars. It later evolved into a four-volume edition with annotations from fifty-three scholars. The imperially compiled Ming edition removed the thirty-two section headings attributed to Crown Prince Zhaoming of Liang from the fifty-three scholar version, slightly reduced the number of commentators, and added over thirty additional scriptural passages or annotations, compiling them into a single volume. Huang Yuji’s *Qianqingtang Bibliography* from the Qing dynasty records: “*Emperor Taizu’s Collected Commentary on the Diamond Sutra*, one volume, with a preface by Emperor Chengzu.” Examining the preface by Emperor Chengzu in this work: “We have long revered the Great Awakening and admired the True Thusness. Occasionally reviewing various texts, we selected those most essential and precise, not deviating from the sutra’s meaning, recompiled and edited them, and specifically ordered them printed for wide circulation.” From this, it is clear that this book was recompiled by Emperor Chengzu himself. The original collected commentary by Emperor Taizu of the Ming is no longer seen today. However, Emperor Chengzu also wrote another preface dated the first day of the fifth month in the ninth year of the Yongle era (recorded in Qing dynasty Deng Xuan’s *Diamond Sutra Collected Annotations*), which differs greatly from the preface in this work dated the seventeenth day of the fourth month in the twenty-first year of Yongle, and precedes it by over ten years. It may be that the earlier preface was specifically written for Emperor Taizu’s collected commentary, while this work is a revised edition that “recompiled and edited” Taizu’s original collection.
明初版刻，體承宋元，向為藏家珍賞。本書係永樂內府刻本，寫刻俱精，清明朗潤。首末「說法」、「護法」二圖，出水當風，可窺佛教藝術和明代版畫之一斑。
Early Ming dynasty woodblock printing inherited the style of the Song and Yuan periods, and has long been treasured by collectors. This book is a Yongle Imperial Household edition, with exquisite calligraphy and carving, clear and luminous. The opening "Teaching the Dharma" and closing "Protecting the Dharma" illustrations, with their flowing water and wind-blown drapery, offer a glimpse into Buddhist art and the art of Ming dynasty woodblock prints.