菩提場所說一字頂輪王經卷第二
Volume 2 of the One-Syllable Uṣṇīṣa-Cakravartin Sutra Spoken at the Bodhimaṇ
開府儀同三司特進試鴻臚卿肅國公食邑三千戶賜紫贈司空諡大鑒正號大廣智大興善寺三藏沙門不空奉 詔譯
Translated by the State Preceptor, Tripitaka Master Amoghavajra of Daxingshan Temple, with the Titles of Kaif
畫像儀軌品第三
爾時，釋迦牟尼佛以佛眼觀一切眾生界，告金剛手祕密主言：「祕密主！為有情利益故，我今說大明王儀軌，一切佛所說，一切世間、出世間真言明像中上上。佛頂輪王本身形狀能滅一切罪，令一切有情得大涅槃，以殊勝三摩地佛色身變化而現。我今說世尊佛頂輪王畫像法：
At that time, the Buddha Shakyamuni, observing all realms of sentient beings with his Buddha-eye, addressed the Vajra-Holder, the Lord of Secrets, saying: “Lord of Secrets! For the benefit of all beings, I shall now proclaim the ritual of the Great King of Mantras. Among all the mantras and sacred forms spoken by all Buddhas—both worldly and transcendent—this is the supreme. The very form of the Buddha-Crown Wheel King can eradicate all transgressions, enable all beings to attain the great Nirvana, and manifest through the wondrous transformation of the Buddha’s Sambhogakaya, born from supreme samadhi. I shall now explain the method for painting the image of the World-Honored Buddha-Crown Wheel King.”
「修行者先應入曼茶羅，從師受得印契儀軌，曾入佛頂輪王壇、或無能勝忿怒壇、或勝佛頂壇，見三三昧耶，得受灌頂。得阿闍梨印可，無上涅槃道入修行，當依儀軌應作先行，先行已然後畫像。令婆羅門童女大族姓生者授與齋戒，縒縷令織。依教織緤、或依餘教、或如來部所說，長六肘、橫四肘——若不辦，五肘亦得。或緣畫像要買物者，勇士不應酬價。其緤織已，以香水洗之，擇去毛髮。
The practitioner should first enter the mandala and receive the mudra rituals from their teacher. They must have previously entered either the Buddha's Crown Wheel King altar, the Invincible Wrathful altar, or the Supreme Buddha Crown altar, witnessed the three samayas, and received the empowerment. Having obtained the master's approval, they may then enter the practice of the supreme nirvana path. They must follow the prescribed rituals to perform the preliminary practices. Only after completing these preliminaries should they proceed to create the image.
Select a young girl of pure Brahmin lineage, born into a noble family, and have her observe fasting and precepts. Give her threads to weave the cloth. According to the teachings, the cloth should be woven as instructed—or following other teachings, or as described in the Tathagata section—measuring six cubits in length and four cubits in width. If this is not feasible, five cubits will also suffice. If materials need to be purchased for the image, the practitioner should not haggle over the price.
Once the cloth is woven, wash it with fragrant water and carefully remove any stray hairs.
「其畫像應用佛神通三長齋月白分，取具諸根畫匠淨信三寶者，先令澡浴清淨，著新淨衣，授與八戒，然後令畫。應擇端嚴順吉祥宿曜時日，或於山間、或巖窟、或於牛欄、或於佛堂精室、或聖賢得道處、離臭穢有蟲水地處，置㡧應畫。
For creating the image, you should use the Buddha's spiritual power during the three long fasting months, in the bright half of the lunar cycle. Choose a skilled painter with all faculties intact, who has pure faith in the Three Jewels. First, have them bathe to purify themselves, put on new, clean clothes, and receive the Eight Precepts; only then let them paint.
Select an auspicious day and time, with favorable constellations and planets, when the appearance is dignified and harmonious. The painting should be done in a place such as a mountain retreat, a rock cave, a cattle pen, a Buddha hall or pure chamber, a site where sages or saints attained realization, or any location free from foul odors, insects, or stagnant water. Set up the canvas there and proceed with the painting.
「先於中畫佛世尊坐師子座，其座種種寶莊嚴，作說法相，普遍爓光如輪圍遶，從頂流出種種光明，佛具大丈夫相，倚菩提樹。
First, in the center, draw the Buddha, the World-Honored One, seated on a lion throne. The throne is adorned with various precious gems. He is depicted in the posture of teaching the Dharma, surrounded by a halo of radiant light like a wheel. From the crown of his head, streams of various lights flow forth. The Buddha possesses the marks of a great being, leaning against the Bodhi tree.
「其菩提樹有種種葉，如真多摩尼樹，或於枝繫繒綵、或繫吠琉璃寶、或繫菓、或繫鈴鐸、或繫天妙菓、或垂雲降雨、或種種花菓、或菩提樹牙、或真珠、吠琉璃、車𤦲、珊瑚、玉，皆畫於上。或樹上有吉祥鳥眾坐於枝間，或作種種葉，雲電降雨，枝葉相交。作如是大菩提劫樹，世尊兩肩後倚著其樹。
The Bodhi tree is depicted with various leaves, resembling the true mani tree. Some branches are adorned with colorful silks, others with vaidurya gems, some bear fruits, some have bells, some hold celestial fruits, some bring clouds and rain, some display various flowers and fruits, some show Bodhi tree sprouts, and some are painted with pearls, vaidurya, cat's eye gems, coral, and jade. On the tree, auspicious birds perch among the branches. Some leaves are shown with clouds, lightning, and rain, their branches and leaves intertwined. In this magnificent Bodhi tree of the great kalpa, the World-Honored One leans his two shoulders against the tree.
「佛右邊轉輪大王，如輪王形，坐白蓮花，作觀佛勢，其身金色，周遍光明，七寶成就——唯輪寶以光圍遶在蓮花上——釋迦牟尼佛復觀頂輪王。
To the right of the Buddha is the Great Wheel-Turning King, appearing in the form of a wheel-turning monarch, seated upon a white lotus, observing the majestic presence of the Buddha. His body is golden, radiating light all around, adorned with the seven treasures—only the wheel treasure is encircled by light upon the lotus. Śākyamuni Buddha then gazes upon the Crown Wheel King.
「於佛左邊不遠畫白傘蓋頂王，如大王形，其身金色，坐在蓮花上，手持蓮花，目觀輪王。去白傘蓋頂王不遠畫高頂王，形如大王，坐白蓮花上，手持俱緣果，瞻睹輪王。去頂輪王不遠不近畫光聚頂王，坐白蓮花上，種種光明圍遶，在熾盛光明中坐，身作金色，手持真多摩尼寶。於光聚佛頂王下畫持誦者，䠒跪而坐，瞻仰頂輪王。輪王舒手作施願印，顧視持誦者。近光聚頂王，圓光不相掩，應畫勝佛頂，身形金色，左手持寶，右手施願，目觀輪王。如是等悉皆是佛頂王，各各形如大王，各有熾盛光爓，悉皆金色，坐白蓮花上。
To the left of the Buddha, not far away, paint the White Canopy Crown King. He appears like a great king, his body golden in color, seated upon a lotus flower, holding a lotus in his hand, his gaze fixed upon the Wheel-Turning King.
Not far from the White Canopy Crown King, paint the High Crown King. His form is like that of a great king, seated upon a white lotus, holding a *juyuan* fruit, looking upon the Wheel-Turning King.
Not too far and not too near from the Wheel-Turning King, paint the Radiant Assembly Crown King. He sits upon a white lotus, surrounded by various lights, seated amidst blazing, brilliant radiance. His body is golden, and he holds a *cintāmaṇi* jewel.
Beneath the Radiant Assembly Buddha Crown King, paint the practitioner, kneeling and seated, gazing up at the Crown Wheel-Turning King. The Wheel-Turning King extends his hand in the gesture of granting wishes, looking upon the practitioner.
Near the Radiant Assembly Crown King, their halos not obscuring one another, paint the Victorious Buddha Crown. His form is golden, his left hand holds a jewel, his right hand grants wishes, and his eyes behold the Wheel-Turning King.
All of these are Buddha Crown Kings. Each one has the form of a great king, each is surrounded by blazing, brilliant flames of light, all are golden in color, and all are seated upon white lotus flowers.
「佛右邊應畫普賢菩薩，手持白𤛆拂；佛左邊畫慈氏菩薩，手執白拂。此二菩薩比佛身量稍小。佛前應畫聖觀自在菩薩、金剛手祕密主菩薩，各坐寶蓮花上，皆悉合掌，作禮佛勢。
To the right of the Buddha, one should paint Samantabhadra Bodhisattva, holding a white yak-tail whisk. To the left of the Buddha, paint Maitreya Bodhisattva, holding a white whisk. The stature of these two bodhisattvas should be slightly smaller than that of the Buddha. Before the Buddha, one should paint the noble Avalokiteśvara Bodhisattva and the secret lord Vajrapāṇi Bodhisattva, each seated upon a precious lotus flower, with palms joined, in the posture of paying homage to the Buddha.
「近普賢菩薩應畫文殊師利童真菩薩、無垢慧菩薩、寂靜慧菩薩、無盡慧菩薩、虛空藏菩薩、虛空無垢菩薩、大慧菩薩……，如是等大菩薩次第而畫，各各合掌坐蓮花上，作禮佛勢。已次漸小，身形寂靜，皆作金色，種種莊嚴，以綃縠為裙衣。
"Next to Samantabhadra Bodhisattva, one should paint Manjushri, the Youthful Pure Bodhisattva; Bodhisattva of Unstained Wisdom; Bodhisattva of Tranquil Wisdom; Bodhisattva of Boundless Wisdom; Bodhisattva of the Vast Treasury of Space; Bodhisattva of the Pure and Unstained Void; Bodhisattva of Great Wisdom... and so on. These great bodhisattvas should be painted in sequence, each seated on a lotus flower with palms joined in reverence, in a posture of paying homage to the Buddha. Their forms should gradually diminish in size, their postures serene and tranquil. All should be painted in golden color, adorned with various ornaments, wearing skirts and robes of fine silk gauze."
「次，慈氏菩薩不遠不近應畫佛眼明妃，形如女天，坐寶蓮花，種種莊嚴，身如金色，目觀眾會，著輕縠衣，角絡而披，右手持如意寶，左手施願，圓光周遍，熾盛光明，身儀寂靜。去佛眼聖尊不遠應畫佛毫相尊，如女天形。有何差別？右手持蓮華，左手施願，目觀輪王。近佛眼尊下應畫孫那唎大明妃，形如天女，種種瓔珞莊嚴，其身青色，手執蓮花，坐於寶山，觀佛世尊。
Next, not far from Maitreya Bodhisattva, one should paint the Buddha-Eye Bright Consort. Her form resembles a celestial maiden, seated upon a precious lotus, adorned with various ornaments. Her body is golden in color, her gaze observing the assembly. She wears a light, sheer garment draped over her shoulders. In her right hand, she holds a wish-fulfilling jewel; her left hand bestows blessings. A perfect halo surrounds her, radiating brilliant light, while her demeanor is serene.
Not far from the Buddha-Eye Sacred One, one should paint the Buddha-Ushnisha Mark Deity. Her form is also like that of a celestial maiden. What is the difference? Her right hand holds a lotus flower, her left hand bestows blessings, and her gaze is upon the Wheel-Turning King.
Close below the Buddha-Eye Deity, one should paint the Sundari Great Bright Consort. Her form is like a celestial maiden, adorned with various jeweled ornaments. Her body is blue in color, holding a lotus flower in her hand, seated upon a precious mountain, gazing upon the Buddha, the World-Honored One.
「近金剛手畢須畫甘露軍吒利，近彼尊畫金剛軍、蘇摩呼、頂行，此三聖者各持童子形，種種瓔珞莊嚴其身，皆目瞻輪王，作驚竦勢。
Beside Vajrapāṇi, one should paint Amṛtakuṇḍalin. Next to that honored one, paint Vajrasena, Somāhū, and Śikhivartin. These three holy ones should each be depicted in the form of a youth, their bodies adorned with various ornaments. All of them should gaze at the Wheel-Turning King, assuming an awe-inspiring posture.
「於觀自在菩薩右邊畫賀耶仡哩(二合)嚩大明王，身如火色，作忿怒形，鼻如猿猴，以蛇莊嚴瓔珞臂釧、髆釧，頭繫蓮花鬘，作瞻覩輪王勢。近彼應畫蓮花孫那利，四臂，右第一手持羂索、左第一手持鉞斧、右第二手施願、左第二手持菓，坐於蓮花。
To the right of Avalokiteśvara Bodhisattva, paint the Great Bright King Hayagrīva. His body is the color of fire, wrathful in form, with a nose like a monkey’s. He is adorned with snakes as ornaments—necklaces, armlets, and shoulder bands—and wears a lotus garland on his head, assuming the posture of the Cakravartin King. Nearby, paint Padmasundarī, who has four arms. Her first right hand holds a noose, her first left hand holds an axe, her second right hand is in the gesture of granting wishes, and her second left hand holds a fruit. She is seated upon a lotus.
「又近輪王佛頂畫無能勝忿怒王，身白色，四面四臂，嚬眉，面嗔怒。虎皮為裙，蟒蛇為耳璫，得叉迦龍王以為腰絛，婆蘇枳龍王以為神線，角絡披耽，肚身形短。以毒蛇莊嚴髻冠，咬下唇，遍身火爓，熾盛光明圓光。右第一手持金剛杵，第二手作期剋勢，左第一手持三戟叉，第二手鉞斧。正面作阿吒吒賀娑笑聲勢，從口出火焰種種色相，右邊面瞻觀輪王，左邊面觀持誦者，頭上面觀一切眾會，住於寶蓮花上。無能勝忿怒王應如是畫。
"Also, near the Wheel-Turning King, depict the Unconquerable Wrathful King. His body is white, with four faces and four arms, his brows furrowed, his expression fierce and angry. He wears a tiger skin as a skirt, with a python as his earrings. The Takshaka Naga King serves as his waist cord, and the Vasuki Naga King as his sacred thread. He is draped in a net of horns, with a short and stout body. His hair is adorned with a crown of venomous snakes, biting his lower lip. His entire body is ablaze with flames, surrounded by a brilliant, radiant halo of light. In his first right hand, he holds a vajra; the second right hand makes a threatening gesture. In his first left hand, he holds a trident; the second left hand holds a battle-axe. His front face makes the sound of 'Aṭaṭa Hāsa' laughter, with flames of various colors issuing from his mouth. The face on the right side gazes upon the Wheel-Turning King; the face on the left side observes the practitioner; the face on top looks upon all the assembled beings. He stands upon a jeweled lotus flower. The Unconquerable Wrathful King should be depicted in this manner."
「於彼尊下畫地天，身白色，以二手捧寶花籠子，二膝跪地。近地天畫尼連禪河神，靘黑色，如龍女形，七頭，合掌作禮佛勢。近尼連禪河神互相近畫嚩里迦大龍王、母止隣陀龍王，此二龍王曾見無量諸佛，皆七頭，合掌跪地。近地天畫阿難陀龍王、無熱惱龍王、娑竭羅龍王，持蓮華鬘，曲躬合掌。
Beneath the honored one, paint the Earth Goddess. Her body is white, and with both hands she holds a precious flower basket, kneeling on both knees. Near the Earth Goddess, paint the Nairañjanā River Goddess. She is dark blue, shaped like a dragon maiden, with seven heads, her palms joined in a gesture of reverence toward the Buddha. Near the Nairañjanā River Goddess, close to each other, paint the Great Nāga King Vāri and the Nāga King Mucilinda. These two nāga kings have seen countless Buddhas. Both have seven heads, their palms joined, kneeling on the ground. Near the Earth Goddess, paint the Nāga Kings Ananda, Anavatapta, and Sāgara. They hold lotus garlands, bowing with palms joined.
「大慧菩薩右邊畫白衣觀自在，以蓮花鬘莊嚴其身，以寶繒角絡披，右手把真多摩尼寶，第二手施願。此菩薩是蓮花族母，應於蓮花上坐。
On the right side of Bodhisattva Mahāmati, paint White-Robed Avalokiteśvara, adorned with a garland of lotus flowers, draped with a precious silk scarf. In the right hand, hold the Cintāmaṇi jewel; the second hand bestows blessings. This bodhisattva is the mother of the lotus family and should be seated upon a lotus.
「近佛毫相應畫摩莫枳菩薩，淡紫青色，種種瓔珞莊嚴，坐於蓮花，身儀寂靜，住般若波羅蜜自性，右手持梵夾，左手持真多摩尼，作施願勢。是一切佛菩薩之母大聖般若波羅蜜多，住摩莫枳形，則此尊是金剛族母，稍似童女，形不太高，顏極令悅意，應作如是相。
The Bodhisattva Mamaki should be depicted near the Buddha's urna, with a pale purple-blue hue, adorned with various jeweled ornaments, seated upon a lotus. Her posture is serene, abiding in the intrinsic nature of Prajñāpāramitā. In her right hand, she holds a Sanskrit scripture, while in her left, she holds a cintāmaṇi jewel, forming the gesture of granting wishes. She is the great holy Prajñāpāramitā, the mother of all Buddhas and Bodhisattvas, manifesting in the form of Mamaki. This deity is the mother of the Vajra family, resembling a young maiden, not too tall in stature, with an exceedingly pleasing countenance. Such should be her appearance.
「畫此尊眷屬金剛鉤、金剛拳、金剛雹，此等皆是大明妃以為眷屬，各住本形。
Paint these attendants: Vajra Hook, Vajra Fist, and Vajra Hail. These are all great wisdom consorts serving as attendants, each depicted in their own form.
「近白衣觀自在下應畫多羅尊，種種嚴具莊嚴，著輕縠衣，其形不太麁、不太細，中庸形，右手持青蓮，左手施願，坐蓮花上，作淺綠色。近於彼尊畫毘俱胝，身白色，三目四臂，右第一手持杖、左第一手持瓶、右第二手持念珠、左第二手持蓮花，身儀寂靜，於像二角作鼓音樂天子。
Near the lay practitioner Guanyin, one should paint the venerable Tara, adorned with various ornaments, wearing a light silk garment. Her form is neither too stout nor too slender, but of moderate build. In her right hand she holds a blue lotus, and in her left hand she makes the gesture of granting wishes. She sits on a lotus flower and is depicted in a light green color. Close to that venerable figure, paint Vajravarahi, whose body is white, with three eyes and four arms. In her first right hand she holds a staff, in her first left hand a vase, in her second right hand a rosary, and in her second left hand a lotus flower. Her demeanor is serene. On the two sides of the image, depict heavenly beings playing drums and making music.
「於佛上畫淨居天子，在雲中湧出散花供養。
In the painting, a Pure Abode Deva appears above the Buddha, emerging from the clouds to scatter flowers as an offering.
「各依方而畫護世四王：東方畫持國天王、南方夜摩天、西方水天、北方俱尾羅天，各隨方四邊畫。如是，四隅：東北方伊舍那、東南方火天、西南方羅剎主、西北方風天，各依本形畫。
Arrange the Four Heavenly Kings, protectors of the world, according to their respective directions: In the east, depict the Heavenly King Who Upholds the Realm; in the south, Yama, Lord of the Dead; in the west, Varuna, Lord of Waters; and in the north, Kubera, Lord of Wealth. Each should be painted on the side corresponding to his direction.
Likewise, in the four corners: In the northeast, depict Ishana; in the southeast, Agni, Lord of Fire; in the southwest, the Lord of the Rakshasas; and in the northwest, Vayu, Lord of the Wind. Each should be painted in his own form.
「近忿怒無能勝王下畫持誦人，如本形跪地，手持香爐瞻仰輪王。
Below the Fierce and Invincible King, draw the practitioner in their own form, kneeling on the ground, holding an incense burner and gazing up at the Wheel-Turning King.
「金剛手！此輪王佛頂大畫像儀軌，無量佛宣說。纔見，一切罪悉皆消滅。金剛手！若得圓具依法畫，纔見，眾生滅除五無間罪，遠離一切罪。若見此微妙像，一切如來之所說，其人現世有報，今世及他世俱胝劫作一切罪，由見此像悉皆消滅；由見此最勝像，一切悉地皆得現前，一切如來大明真言任運得成就，隨意念誦成辦一切事；諸餘部中真言難成者，對此像前決定得成。」
Vajrapani! This grand ritual for painting the image of the Cakravartin Buddha's Crown has been proclaimed by countless Buddhas. Merely seeing it causes all sins to be entirely eradicated. Vajrapani! If one fully and properly paints it according to the method, then merely seeing it enables beings to eliminate the five heinous crimes and to be freed from all offenses. If one beholds this sublime image, as spoken of by all Tathagatas, that person will receive blessings in this very life. All sins committed over countless eons, in this life and others, are completely destroyed by seeing this image. By seeing this supreme image, all accomplishments manifest; all the great mantras of the Tathagatas are effortlessly perfected; all endeavors are fulfilled by reciting as one wishes. Even mantras from other sections that are difficult to accomplish will be decisively achieved before this image.
爾時，世尊誥金剛手祕密主言：「祕密主！汝今復聽，說白傘蓋頂王畫像能成辦一切事業、利益一切於生死流轉怖畏有情故，恒河沙數俱胝佛同共宣說。
At that time, the World-Honored One addressed Vajrapāṇi, the Lord of Secrets, saying: "Lord of Secrets! Listen once more. I shall now explain the method for painting the image of the White Canopy Crowned King, which accomplishes all activities and benefits all sentient beings who are fearful of the cycle of birth and death. This teaching has been proclaimed in unison by as many buddhas as the sands of the Ganges River."
「先當如輪王儀則所說織，可方三肘，不應截屈，不得用皮膠和色。畫人與授八戒。於緤中央應畫佛形，黃白色，坐師子座，具諸相好。佛左畫金剛手菩薩，左手持白拂，右手持金剛杵。金剛手左邊畫淨居天子眾，著天衣裙。於佛前應畫佛頂王，身金色如鑄金像，具諸相好，手持蓮華。佛下畫持誦者，手持香爐。於像四邊應畫種種華。金剛手！此白傘蓋佛頂王畫像法，先佛所說。」
"First, according to the method described for a Wheel-Turning King, the cloth should be square, three cubits in size, without folds, and no animal glue or colors should be used. The painter must be given the Eight Precepts. In the center of the cloth, paint the image of the Buddha, with a golden-white complexion, seated on a lion throne, adorned with all the auspicious marks. To the left of the Buddha, paint Vajrapani Bodhisattva, holding a white whisk in his left hand and a vajra in his right hand. To the left of Vajrapani, paint the assembly of Pure Abode Devas, wearing heavenly garments. In front of the Buddha, paint the Buddha-Crown King, with a golden body like a cast-gold statue, adorned with all the auspicious marks, holding a lotus flower. Below the Buddha, paint the practitioner, holding an incense burner. Around the image, paint various flowers. O Vajrapani! This method of painting the White Parasol Buddha-Crown King was taught by the Buddha in the past."
爾時，世尊復告金剛手言：「金剛手！諦聽諦聽，極善聽作意，吾當為汝說光聚佛頂王畫像軌則，於一切世間出世間真言明教法上上。頂王光聚依輪王儀軌，香水洗緤，三肘、或一肘，彩中不應用皮膠，受八戒畫匠令畫。應畫佛坐於白蓮華上，作說法相，諸相具足。於像上應畫山峯，像下應畫蓮華池，從佛頂出種種光明。佛下右邊畫持誦者，䠒跪，持香爐，畫彼本形。祕密主！此光聚佛頂王儀軌，一切如來之所宣說，為令調伏諸有情故，此光聚佛頂王成辦一切事業最勝畫像法。」
At that time, the World-Honored One again addressed Vajrapāṇi, saying: "Vajrapāṇi, listen carefully, listen attentively, with utmost mindfulness. I shall now explain to you the method for painting the majestic image of the Buddha’s Crown of Radiant Light, supreme among all worldly and transcendental mantra teachings.
The Crown of Radiant Light follows the royal ceremonial method. The cloth should be washed with fragrant water, measuring three cubits or one cubit. In the pigments, hide glue should not be used. The painter should observe the eight precepts while painting.
The Buddha should be painted seated on a white lotus, in the posture of teaching the Dharma, with all marks complete. Above the image, mountain peaks should be painted; below the image, a lotus pond should be painted. From the crown of the Buddha’s head, various rays of light emanate.
To the right below the Buddha, the practitioner should be painted, kneeling, holding an incense burner, depicted in his own form.
O Secret Lord! This ceremonial method of the Buddha’s Crown of Radiant Light has been proclaimed by all Tathāgatas. It is for the purpose of subduing sentient beings. This painting method of the Buddha’s Crown of Radiant Light accomplishes all activities most excellently."
爾時，釋迦牟尼佛復誥祕密主言：「祕密主！我今說高佛頂王畫像法。依輪王儀軌，於三肘、或一肘新緤上，擇去毛髮，受齋戒畫匠令畫。應畫佛世尊坐七寶蓮華上，結跏趺坐，諸相具足，右手施願，左手在臍下仰掌，從佛頂出種種光明。於像上兩角各畫淨居天手，佛右邊畫持誦者瞻仰如來。祕密主！此是高佛頂王畫像法，一切佛之所說、一切佛所稱讚，矜愍一切有情故說。」
At that time, Shakyamuni Buddha again addressed the Secret Lord, saying: “Secret Lord! I shall now explain the method for painting the image of the High Buddha-Crown King. According to the Wheel-Turning King’s ritual, on a new cloth of three cubits or one cubit, free of stray threads, a painter who observes the precepts and maintains purity should be commissioned to paint. He should paint the World-Honored One seated upon a seven-jeweled lotus flower, in full lotus posture, with all marks perfected. His right hand grants blessings, and his left hand rests below the navel, palm upturned. From the crown of the Buddha’s head radiate various beams of light. In the two upper corners of the image, paint the hands of the Pure Abode Devas. To the right of the Buddha, paint the practitioner gazing reverently upon the Tathagata. Secret Lord! This is the method for painting the image of the High Buddha-Crown King. It has been spoken by all Buddhas, praised by all Buddhas, and is taught out of compassion for all sentient beings.”
爾時，釋迦牟尼復誥金剛手祕密主言：「祕密主！我今說勝佛頂王畫像儀軌，先佛所稱讚。依輪王佛頂儀軌作緤，或三肘、或一肘，離毛髮，受齋戒畫匠令畫。應畫佛形，作金色相，坐師子座，持說印，具大丈夫相，從佛頂流出種種光明。像下畫持誦者，如本形䠒跪坐，手執香爐，瞻仰如來。金剛手！此勝佛頂王畫像儀軌，一切如來宣說。
At that time, Shakyamuni Buddha again addressed Vajrapani, the Lord of Secrets, saying: "Lord of Secrets! I will now explain the superior ritual for creating an image of the Buddha-Crown King, praised by the Buddhas of the past.
According to the ritual of the Wheel-Turning Buddha-Crown, prepare a canvas—either three cubits or one cubit in size. The painter must abstain from impure foods and observe the precepts.
The image should depict the Buddha’s form, radiant with a golden hue, seated on a lion throne, displaying the teaching mudra, endowed with the marks of a great being, with streams of light flowing from the crown of his head.
Below the image, paint the practitioner in their own likeness, kneeling respectfully, holding an incense burner, gazing up at the Tathagata.
Vajrapani! This superior ritual for creating the image of the Buddha-Crown King has been proclaimed by all the Buddhas."
「金剛手！如來世尊及大威德菩薩無量種色身隨意而畫，或緤、或素、或於板上、或牆、或壁，亦無過失。或使畫匠、或復自畫，或巧畫匠隨自意形狀而畫之。或畫菩薩形、或畫真言聖天，乃至於經夾上畫、或樺皮上畫，或畫最勝像，或一搩量、或一小搩量、或一大指量，或隨意樂處應畫亦無過失。」
Vajrapani! If one paints the Tathagata, the World-Honored One, or the great and mighty bodhisattvas in countless forms and colors, whether on silk, on plain cloth, on wooden boards, on walls, or on partitions, there is no fault. Whether one employs a painter or paints oneself, or whether a skilled painter follows his own inspiration in depicting the forms—whether painting the figure of a bodhisattva or painting a sacred deity of mantra—even if painted on a sutra cover, on birch bark, or as a supreme image, whether one span in size, one small span, one thumb’s length, or painted wherever one wishes, there is no fault.
爾時，世尊說伽他曰：
At that time, the World-Honored One spoke these verses:
「隨意樂而畫， 慧者起悲心，
利益諸有情， 我成就思惟，
亦不為愆過， 攝受有情故。
是故當慇懃， 常懷悲愍心，
恒行於捨施、 及護持淨戒、
忍辱及精進、 禪定與般若，
常應而修習， 彼悉地不難。
若無有畫像， 當住菩提心，
及持於大印， 獲最上成就。」
"Paint with a joyful heart, The wise cultivate compassion, Bringing benefit to all beings, I hold this intention, And it is no fault, For the sake of guiding beings.
Therefore, be diligent, Always harbor a compassionate heart, Constantly practice generosity, And uphold pure precepts, Patience and diligence, Meditation and wisdom, Continuously cultivate these, And attainment will not be difficult.
If there is no image to paint, Abide in the mind of awakening, And hold the great seal, To attain the highest accomplishment."