The Record of Scripture Translation Illustrations originated from the hall of the Translation Institute at the Great Ci'en Temple. This hall displays paintings of monastic and lay translators throughout history, beginning with Kāśyapa Mātaṅga and ending with the Great Tang Dynasty's Tripitaka Master. Master Mai composed inscriptions for these wall paintings. Since then, the work of translation has continued uninterrupted. While many have created artistic depictions, none have compiled such a record. Though I, Sheng, lack great talent, I dare to offer this praise. Though the thread and hemp may differ, I hope this lineage will never be broken. May all who read this not find it worthy of ridicule.
The monk Shi Zhitong was strict in his monastic discipline and well-versed in both sutras and commentaries, with a particular focus on the dhāraṇī teachings. He took monastic vows during the Sui Dynasty's Daye era and resided at the Great Zongchi Temple in the capital. Aspiring to travel and study, he went to the translation hall in Luoyang to learn Sanskrit, quickly mastering its intricacies.
During the Tang Dynasty's Zhenguan period, a monk from North India presented a Sanskrit manuscript of the Thousand-Armed, Thousand-Eyed Sutra to the court. Emperor Taizong ordered Zhitong to collaborate with the Indian monk in translating it, resulting in the *Thousand-Eyed, Thousand-Armed Avalokiteśvara Bodhisattva Dhāraṇī and Divine Mantra Sutra* in two volumes.
Later, in the fourth year of the Yonghui era (653 CE), at Zongchi Temple, he translated three more works: the *Thousand-Turn Dhāraṇī Avalokiteśvara Bodhisattva Mantra Sutra* in one volume, the *Avalokiteśvara Bodhisattva Heart Mantra Sutra* in one volume, and the *Pure Avalokiteśvara Samantabhadra Dhāraṇī Sutra* in one volume. In total, he translated four texts comprising five volumes.