---
title: "佛說造像量度經解"
description: "佛說造像量度經解由清代蒙古學者工布查布譯解，成書於乾隆年間。該書依據藏文佛經系統闡述佛教造像的標準量度與儀軌，涵蓋佛像比例、姿態、手印及飾物等細節，旨在確保造像如法莊嚴。作為漢傳佛教重要藝術典籍，它為佛像塑造提供了權威依據，深刻影響了明清以來佛教藝術的規範化發展，兼具宗教神聖性與藝術指導價值。"
url: "https://rushiwowen.co/en/r/cmcx2jv8t008pjp04l563lqu3"
---

如是我聞：

> Thus have I heard:

一時佛在舍衛國祇樹給孤獨園，與諸菩薩聲聞弟子，一切人、天、龍神，無量眷屬大眾俱。正乃世尊因為母說法，將升忉利天土時也。爾時賢者舍利弗向佛敬禮而作是言：「世尊不住斯間，若有善人不勝懷慕，思覩世尊，願造容像者，則其法如何為之？」佛言：「善哉！舍利弗！我今暫升天土，未旋斯間，或示無餘涅槃之後，若有善人思覩瞻仰，及為自他利益作福田故，願造容像者，則須遵準量度法為之。如來身量，縱廣相稱，如尼拘𡀩二合陀樹，滿自一尋。今其體肢大小節分，竪橫制度，起從頂髻，略說於汝。諦聽，善思念之。」

> At one time, the Buddha was staying in the Garden of the Benefactor of Orphans and the Solitary in the kingdom of Shravasti, together with a great assembly of Bodhisattvas, disciples who heard the Dharma, and countless beings—humans, devas, dragons, and spirits. It was precisely the time when the World-Honored One was about to ascend to the Heaven of the Thirty-Three to teach the Dharma to his mother. At that moment, the venerable Shariputra paid homage to the Buddha and asked: "World-Honored One, when you are not present in this world, if virtuous people, overcome with longing and yearning to see you, wish to create a statue of your likeness, what method should they follow?" The Buddha replied: "Excellent, Shariputra! I am now ascending temporarily to the heavenly realm and will not return to this world for a while—or, after I have entered final Nirvana, if virtuous people wish to see me, and for the benefit of themselves and others wish to plant fields of merit, they may create statues of my likeness. They must do so according to the proper rules of measurement. The proportions of the Tathagata's body are balanced—like the banyan tree, full and one fathom in height. I will now explain to you in brief the standards for the size and proportion of each limb, from the topknot on the crown down. Listen carefully, and reflect on this well."

縱廣，猶竪橫也。尼拘𡀩二合陀，樹名，梵語也，華云無節，狀如柳。此樹株身之高分，與其週圍垂梢彼此間深裏向竪橫相等。佛身亦如是，從頂至脚底之縱分，與其平舒兩肱二中指尖相去間廣分無不相稱，各滿自己一尋也。

> "Long and wide" refers to vertical and horizontal dimensions. The nigrodha tree, named in Sanskrit, is called "no joints" in Chinese, resembling a willow in shape. The height of its trunk corresponds equally to the span of its surrounding drooping branches, both vertically and horizontally, matching each other in depth. Likewise, the Buddha's body, from the crown of his head to the soles of his feet, corresponds in length to the distance between the tips of his middle fingers when his arms are outstretched, each measure perfectly filling his own fathom.

於是世尊即說伽陀日：

> Then the World-Honored One spoke these verses:

伽陀，梵語也，華云偈。義詳辭約，為學者易持也。

> A gatha, a Sanskrit term, is called a "verse" in Chinese. Its meaning is profound yet concise, making it easy for practitioners to memorize.

「以自手指量，百有二十指。肉髻崇四指，髮際亦如此。」

> "Measuring with one's own fingers, it is one hundred and twenty fingers tall. The ushnisha rises four fingers high, and the hairline also measures the same."

按西來專業像家量度法，微塵、髮梢、蟣、芥子、麥，後復增八倍。一麥分為一小分，二麥並布為一足，四足為指，又謂中分。十二指為搩音桀，以手度物曰搩，俗謂大扎，亦謂大分。倍搩為肘，四肘為尋，即一庹俗作托也。以自手指量者，言現今所造佛像大小幾許，即以自身手指量之，應得自己一尋之分量。即以自搩十搩，以自指百二十指之分也。肉髻，佛頭巔頂上有肉塊，高起如髻，形似積粟覆甌，高四指。由其根下至髮際之分量，亦如此四指也。若胎偶則多得半指。譬如現今欲造立像一丈二尺，則此丈二即是本像之一尋，而其一寸即本像之一指分。如是竪橫各得百二十指，乃㡧像之比量。是為《戒生大教王經》中說量度法之義也○分別其節目，則肉髻、髮際、頸喉各縱四指，共湊成滿一搩也。面輪及自喉至心窩，由是至肚臍，由是至陰藏，各一搩，是上身之五搩也。牌樞即胯骨也、膝骨、足踵，各縱四指，共湊一搩，股、脛各二搩，是下身之五搩。合較滿十搩，十搩即一尋。每搩十二指，十箇十二即一百二十，此乃比量竪縱之分法也。度橫廣之法，則自心窩而上，比至六指處胎偶則六指零一足處，從正中橫量至兩腋各一搩，由是順手至肘以裏，兩臑各長二十指，由是至手腕兩臂各十六指，由是兩中指梢各一搩，共計亦百二十指也○若造坐像，其法陰藏中為正中，即身之半也。其下添四指處，平彈絣線絣音伻，以繩直物也，而彼與梵絣㡧像之主心準繩曰梵絣相接處，即跏趺交會之下隅也。又加四指，為法身之下邊、寶座之上面也。從趺會下隅起，直上立彈絣線，比至眉間白毫中之分量，與其趺坐雙膝外邊相去間闊分長短平等，而兩踵相離分得四指焉。

> According to the detailed measurement methods used by Western experts, particles, hair tips, nits, mustard seeds, and barley grains each increase eightfold in size progressively. One barley grain is divided into one small unit, and two barley grains placed side by side make one "foot." Four such feet make one finger, also called a "middle division." Twelve fingers make one span, also known as a "large division." Doubling the span gives one cubit, four cubits make one fathom, which is also called a full stretch of the arms. To measure by one's own fingers: when determining the size of a Buddha image to be made, one uses their own fingers to measure, and the image should correspond to one's own fathom. That is, ten of one's own spans, or one hundred and twenty of one's own fingers. The fleshy protuberance on the crown of the Buddha's head—a raised mass like a topknot, shaped like piled grain covered by a bowl—is four fingers high. The distance from its base to the hairline is also four fingers. For clay or cast images, this is often half a finger more. For example, if one wishes to make a standing image one zhang and two chi tall, this measurement serves as the image's own fathom, and one cun of it corresponds to one finger of the image. Thus, both vertically and horizontally, the image measures one hundred and twenty fingers, which is the proportional measurement for a painted or sculpted image. This is the meaning of the measurement method as taught in the Sutra of the Great King of Precepts and Life. Now, detailing the specific parts: the fleshy protuberance, the hairline, and the throat each measure four fingers vertically, together forming one full span. The face, from the throat to the heart center, from there to the navel, and from there to the hidden organ, each measure one span—these make up the five spans of the upper body. The hip bone, the kneecap, and the heel each measure four fingers vertically, together forming one span; the thigh and calf each measure two spans—these make up the five spans of the lower body. In total, this makes ten spans, and ten spans equal one fathom. Each span has twelve fingers, and ten spans of twelve fingers give one hundred and twenty—this is the method for measuring the vertical proportions. As for measuring the horizontal breadth: from the heart center upward, at a point six fingers away (for clay or cast images, six fingers plus one foot), measure outward from the center to each armpit, which is one span on each side. From there, following down the arm to the inside of the elbow, each upper arm is twenty fingers long. From there to the wrist, each forearm is sixteen fingers. From there to the tips of the middle fingers, each is one span. Altogether, this also totals one hundred and twenty fingers. If one is making a seated image, the method is as follows: the hidden organ marks the center, which is the midpoint of the body. Four fingers below this point, a level line is struck with a taut cord. Where this line meets the central plumb line of the image, that is the lower corner where the crossed legs meet. Four fingers further down marks the lower edge of the dharma body and the top of the jeweled throne. From the lower corner of the crossed legs, a straight vertical plumb line is drawn upward to the point between the eyebrows where the white curl lies. The distance there should equal the width between the outer edges of the two knees in the crossed-legged posture, and the two heels should be four fingers apart.

「面輪竪縱度，帶半十二指，分三為額鼻，及頦俱得一。」

> The face is vertical and horizontal in measure, with a width half of twelve finger-widths, divided into three parts for the forehead, nose, and chin.

首面與四體，釋典謂之五輪。帶半，加半指也，言面之長逕一搩加半指。將此一搩半指，分為兩箇四指及一箇四指半。三分，而自髮際至山根之眉間白毫中心，額顱之崇作一箇四指分，由是至準頭，鼻之長得其一四指分；由是至頦下邊，得其帶半指之一分，依胎偶而言之也。若㡧像，則不加半指，只本分一搩，平分三分，而額、鼻、頦各均得四指之分也。凡搩分多加半指者，皆是胎偶之比量法。是乃《時輪大教王經》中說制度之義也。夫胎偶者，有骨肉之相，因以凸高顯露，故皮面須加每搩上半指也。面輪之半指在頷頦；上身之湊成一搩分上，應加之半指在髮際；下身之湊成一搩分上，應加之半指在踵際；其餘心窩、肚臍、陰藏此三處各間加半指，股、脛各加滿指此兩骨節本來各有二搩，故合而宜加滿指之分也，是縱裏向共總增出五筒滿指分也。自胸中平量至兩腋間之分各加半指，兩肘各得三足零三分足之一，兩手腕各有二足零三分足之二，兩手頭各加半指，如是廣裏向共增出五滿指。合較縱廣，俱各得百二十有五指也。至於梵絣與𭘭木胎偶之主心木也之制，則更無有少異矣。密藏倚在脊尖尾骶之前，故數上身以上六十指。脾樞雖貼於脊骨，而在密藏之上邊，其因結援腿根為足之生處，故數下身以下六十指。然而須知其交接法為要安𭘭木法見裝藏章○鼻準上，胎偶則添一滿指之分，而去其髮際之半指。鼻柱高一指，亦不在正數之內。㡧像之準頭及頦下，亦各添半指，而不言增添，何也？蓋凡繪事筆法，借高鋪地、凹凸增添，雖有幾分增出之筆，仍有被所遮掩之分，因地面平坦故。雖有增添之劃文，而無加益之實跡也。

> The face and the four limbs are called the "five wheels" in the Buddhist scriptures. For a sculpted figure, add half a finger to each span. This means the face's vertical measurement is one span plus half a finger. Divide this one span plus half a finger into two segments of four fingers each and one segment of four and a half fingers. Then, in three parts: from the hairline to the center of the white curl between the eyebrows at the nose bridge, the forehead's height takes one four-finger segment; from there to the tip of the nose, the nose's length takes one four-finger segment; from there to the lower edge of the chin, it takes the one segment with the extra half finger. This is spoken according to the method for sculpted figures. For painted images (thangkas), however, do not add the half finger—only use the standard span, divide it evenly into three parts, and the forehead, nose, and chin each equally receive four fingers. Whenever a span is increased by half a finger, it is the proportional method for sculpted figures. This is what the \*Kalachakra Great King of Tantras\* explains regarding the rules of proportion. For sculpted figures, because they have bone and flesh, their forms bulge and project, so the skin surface requires an extra half finger per span. The half finger on the face's outline is at the chin; the half finger to be added to the upper body's completed one-span portion is at the hairline; the half finger to be added to the lower body's completed one-span portion is at the heels. At the other three places—the heart center, the navel, and the hidden organ—half a finger is added at each interval. The thighs and shins each add a full finger<note>These two bone segments each originally measure two spans, so combined they should appropriately add a full finger</note>. Thus, in the vertical direction, five full fingers are added in total. Measuring horizontally from the chest's center to the armpits, half a finger is added on each side. Each elbow measures three feet plus one-third of a foot; each wrist measures two feet plus two-thirds of a foot; each hand's tip adds half a finger. In this way, in the horizontal direction, five full fingers are added. Comparing vertical and horizontal, both reach one hundred twenty-five fingers. As for the brahma cord and the central support stick<note>the central heart stick of a sculpted figure</note>, there is no difference at all. The secret treasury (the hidden organ) leans before the tailbone at the spine's tip, so it is counted within the upper body's sixty fingers. Although the hip joint sticks to the spine, it lies at the upper edge of the secret treasury, and because it connects with the thigh root as the origin of the legs, it is counted within the lower body's sixty fingers. However, one must know the joining method as essential<note>for the method of installing the central stick, see the chapter on filling the sacred contents</note>. At the nose tip, for a sculpted figure, add a full finger's width and remove the half finger at the hairline. The nose bridge's height is one finger, which is also not counted in the regular number. For painted images, the nose tip and the lower chin also each add half a finger, yet this addition is not mentioned—why? In all painting techniques, the brush method uses shading to create height and adds highlights and shadows. Although there are several strokes that add dimension, they are still partially concealed, because the ground is flat. Thus, even though there are added lines, there is no actual increase in substance.

「下分四指半，頦身只二指。廣向十六足，深分逕四指。」

> "Below, four and a half fingers down, the chin and body are only two fingers. Extending sixteen feet wide, with a depth of four fingers."

下分，即前說三分之末分也。言面之縱分雖分三分，而上分為額、中分為鼻，各得四指之分。其末分為頷頦者，連嘴共有四指加半指也。頦身者，自下唇根至於頦下際也。其縱分只二指，而飽滿光滑，旁曠而邊圓。頦之廣分寬裏向十六足，即四指，若笑容則隨宜增加分量。其自頦際至喉深分亦四指，有沿邊疊摺，似重頦之相焉○凡胎偶之凸凹分，除非頦際及梢尖等處可畫之外，皆㡧像之所不得而用也。

> Now for the lower section, which is the final part of the three divisions mentioned earlier. Although the face's vertical length is divided into three parts — the upper part being the forehead, the middle part the nose, each measuring four finger-widths — the final section is the chin. Together with the mouth, it measures four and a half finger-widths. The chin itself, from the root of the lower lip to the lower edge of the chin, spans only two finger-widths vertically. It should be full, smooth, broad on the sides, and rounded at the edges. The width of the chin measures four finger-widths across, or sixteen "feet" as measured inward. When smiling, the fullness may increase accordingly. From the chin's edge down to the throat, the depth is also four finger-widths, with layered folds along the rim, creating the appearance of a double chin. In all sculpted figurines, the raised and recessed contours — except for areas like the chin's edge and certain tips — are details that painted images cannot and do not employ.

「上唇長二指，寬有其半矣。中顯頻婆形，邊角各一指。口長度四指，賢者須要知。牙齒數四十，堅密白淨齊。下唇長六足，寬深亦如是。人中凹槽闊，三分指之一。」

> His upper lip is two finger-widths long, and half that in width. In the center, it shows the shape of a bimba fruit, with each corner one finger-width. The mouth measures four finger-widths in length—the wise should know this. He has forty teeth, firm, close-set, white, pure, and even. His lower lip is six finger-widths long, and likewise wide and deep. The philtrum's groove is one-third of a finger-width in breadth.

從鼻柱根至閉口處，直量一指半。上唇之長分二指，寬有其半者，言二指之半即一指也。唇之寬厚分三足，而人中槽下際凹入嘴唇邊一麥之分，其外尖凸出一足之分，似乎頻婆形。與前說之三足合為四足，即一指矣。頻婆，梵語，果名，華云相思果，色丹而潤。蓋不但喻其形，兼唇之色而言之矣。兩邊角各一指，總口之長分有四指也。齒數具正四十常人但有三十二、三十六齒，堅固齊密，潔淨瑩白，似乎𤥭𭸾，然平素不露牙齒也。下唇長指半，寬分，其邊與齒根相去亦如是指半。而其一指，即厚之分，上面有凹承上唇之凸尖，下面亦有微凹平且闊，合之形如弓弝，其邊兩彎垂外際。比上唇之寬分各多一麥。二唇脗之而竪裏向直量，則只得一滿指。口之兩角寬半麥之分，其梢向上翹起，如華瓣之尖，美妙含笑之容，具為口相也。人中槽闊三分指之一，而深裏向宜得一足零一麥之多半分矣。

> From the base of the nose bridge to where the lips meet, measure one and a half fingers straight down. The upper lip is two fingers long, and its width is half that—meaning one finger. The lip's thickness is three-quarters of a finger, whereas the groove beneath the philtrum dips into the lip's edge by about one barley grain's width. The outer protruding point extends one-quarter finger, resembling the shape of a bimba fruit. Combined with the earlier three-quarters, this totals one full finger. Bimba, a Sanskrit term, is a fruit known in Chinese as the "yearning fruit," red in color and moist in texture. This comparison refers not only to the shape but also to the lip's color. Each corner of the mouth measures one finger, making the entire mouth four fingers long. The teeth number a full forty<note>ordinary people have only thirty-two or thirty-six teeth</note>, firm, evenly set, clean, and lustrous white, like polished conch shells, yet they are not ordinarily exposed. The lower lip is one and a half fingers long and one finger wide, and its edge sits one and a half fingers from the tooth roots. Of that, one finger accounts for thickness, with a slight hollow on top to receive the upper lip's protrusion, and a subtle, flat, and broad concavity below. Together they form a shape like a bow's grip, with both edges curving outward at the corners. Each side is one barley grain wider than the upper lip. When the two lips meet and are measured vertically from the inside, they span exactly one full finger. The mouth's corners are half a barley grain wide, their tips turning upward like flower petals, giving a beautiful, smiling expression—this constitutes the mouth's characteristics. The philtrum groove is one-third of a finger wide, and in its interior depth, it should measure slightly over one-quarter finger plus half a barley grain.

「鼻寬二指量，準高指半矣。鼻孔圓且藏，竅闊有半指。雙翹勻真圓，鼻柱橫半指。」

> "The nose is as wide as two finger-widths, and the bridge is one and a half finger-widths high. The nostrils are round and hidden, with apertures half a finger-width wide. Both sides flare evenly and truly round, and the nasal septum spans half a finger-width across."

鼻之寬闊，略量有二指。雙目前角間為山根，高寬俱一指，浸長高而直美。鼻梁作略顯不顯之些微弓彎，準頭圓滿，高分連鼻柱一指半。鼻孔規圓，而睨視之不見竅孔，闊量半指，深分作一指。鼻之兩翹彎回，規圓均美，凸凹真刻，厚分各得一足半。鼻柱及兩孔各寬半指。共合鼻身寬二指一足也。鼻孔之邊與鼻柱相齊，高分有一指焉。

> The nose is broad, measuring about two finger-widths across. The area between the front corners of the eyes is the bridge of the nose, which is one finger-width in both height and breadth, extending downward with a tall, straight, and graceful form. The nasal bridge has a slight, subtle curve—neither too prominent nor too faint. The tip of the nose is full and round, elevated and connected to the nasal bridge at a point one and a half finger-widths down. The nostrils are round in shape, yet when viewed from the front, their openings are not visible; each nostril spans half a finger-width in breadth and extends one finger-width in depth. The two wings of the nose curve back gracefully, round and beautiful, with finely defined contours—carved with natural ridges and hollows. Each wing is one and a half "feet" thick. The nasal bridge and both nostrils each measure half a finger-width across. Altogether, the full width of the nose is two finger-widths plus one "foot." The edges of the nostrils align evenly with the bridge, standing one finger-width in height.

「目間曠八足，長分應四指。白黑睛三分，各分得滿指。黑珠作五分，正中是眸子。眼寬只一足，其胞有三指。式如蓮華瓣，清瑩金精色。印堂白毫地，廣帶半一指。眉如初月牙，中高長四指。」

> Eye width spans eight finger-widths across, Length should measure four fingers in full. White and black of the eye divide in three, Each portion gets a full finger's breadth. The dark pupil makes up five parts, Dead center lies the eye's true essence. Eye width is but one foot, Its lid extends three fingers wide. Shaped like a lotus petal, Clear and bright, the hue of golden light. Between the brows, the white hair's ground, Spanning half a finger's width. Eyebrows curve like a new crescent moon, Rising high in the middle, four fingers long.

雙目之間曠空處闊二指，自白毫而下比至二指之地，向兩旁橫量各至一指處為大眼角。胎像則加半指，因為山根之高分也。由是向外比兩旁各去四指處為小眼角，尖正對耳孔中間，兩角各縱半指，合得一指之分，而餘三指均分。其正中一指作黑珠，在兩邊之二指作白珠。又彼黑珠平分五分，而以其中分為眸子，色甚黑而發金光如電眸子邊圍畫金圈以相之，眼之寬分只一足，為入定之相，形似長弓，其弝前面之寬只一麥半之分，弝後面之寬分纔滿一足。白珠雖有一指，只見其三足半之分。而近於眼兩角之各得一麥分，則不得見焉。眼胞高一足、闊三指，形如蓮華瓣。白睛珍珠色，黑睛紺青色，分明潤美光滑。眼角肉淡紅色。眼睫亦紺青色，而殊勝如牛王睫，長有一麥之分焉。印堂，安白毫之地也。自髮際以下比三指處，作白玉毫清淨柔軟，右旋彎轉而末向上。底盤圓滿，廣闊一指。由是而下，比三麥半之處起，向兩旁橫量各至足半處，即兩眉前梢也。由是至後梢長四指，後梢對耳尖底一足，形似初二三之月牙。眉之中身寬處有二麥之分，而兩梢漸細也。

「耳廣有二指，尖等眉中齊，洞門寬四足，竅孔得半指。耳朵高四麥，橫分應滿指。耳內上下略，四分指之一。連槽深分總，二指加半指。耳葉四指半，耳垂長五指。輪郭髮際邊，可愛盡難比。」

耳之前面橫寬平量二指，畫像相同。背面寬指半，其尖齊比眉之中。洞門闊一指，竅孔半指，俱圓而不顯。耳朵，俗謂耳樁，遮攬洞門旁立，豎半指、橫一指，而中有凹正對小眼角。上凸圓而上凸匾，形如將開未開之華朵。洞門外耳槽橫一指一足。胎偶則連其隰深分得二指，加輪郭之半指，共總二指半也。耳內上下括而言之也，四分指之一，即一足也。分別而言之，則耳槽邊厚一足，向裏彎緣耳葉而下至於離底根一指。斜對耳朵處轉起一凸，高亦一足。形類耳朵，復落彎回而為底根闇合，與耳朵根相連。槽邊上身分作兩岔，厚分各亦一足。其內枝漸細，而尖伏入藏於耳輪綱邊之下。外枝稍漸漸散沒，從其岔處上至耳尖一指半、闊一指一足。耳之輪綱上稍，自槽內與耳朵相隔竅孔反勾而生起，稍稍增高加寬分以轉上，過耳朵之上、彎至耳根上邊以上寬一足，而邊陵向裏彎而下至耳葉外邊之半處以下，漸減而細，不斷不沒。至於耳根底相對處以下綏然而為取焉取，之列切，耳垂也。總說之，耳葉縱四指半而直立，耳垂長五指、寬指半，而面向前。復言耳輪與髮際之邊，俱有高底進出曲彎折角，美妙可愛，難以言辭可盡詮者也。凡此等處，當竭盡工力，隨宜而致其美妙，乃為合法。

「首圍面三倍，如寶蓋適意。兩耳面相去，十有八布指。復其背後間，相去十四指。合較週匝度，三十有六指。頸瓶廣八指，圓二十四指。」

頭相規圓，觀之適意，似寶蓋頂。對髮際處，圍繞四十五指。普邊增二指，為純髮之分，兩邊與耳邊齊。肉髻週十二指，其上無見髻相。寶髻高二指，週六指，桃形，金色。對兩耳洞門處橫比之，逕十八指；畫像則十二指。耳背根彼此相去十四指。共計三十二指。而兩耳根盤各一指，鼻之高分得二指，共三十六指也。凡物之規圓者，其正中之橫逕分幾許，則其週圍之量必得若許。三分佛面，縱橫逕十二指，因對面之正中處週圍應準三十六指也。故啟句曰首圍面三倍也。𩓐項規圓如瓶頸，廣度八指，巨週二十四指。喉下有三級紋，自頷根以下比一足半處作上紋，由是以下一指零一足處作中紋，由是以下二指處作下紋。俱圓彎而兩梢漸細向上，合項之橫以為長分焉。

「頸邊至肩甲，平量十二指。手長總四搩，臑長二十指，臂有十六指，巨週亦如此。肩尖圓且滿，根圍二十四。從起中指尖，手頭正一搩。掌縱應七指，廣分是五指。掌肉平飽滿，滋潤光滑赤，顯諸吉祥紋，螺輪華鉤飾。將指之長分，前面得五指。此指梢節中，食指之尖至，屈指之長分，比將矮半指。小梅指頭尖，至屈末半節，四皆具三節，甲蓋半節矣。巨指長四指，其週亦如是。此指只兩節，甲遮如前矣。巨指食指根，相去為三指。小指根以下，四指半至基。」

自頸喉之根外邊橫比至肩頂，十二指零二足。而若自頸之正中向兩旁橫量，則各十六指。肩頂凸處圓美滿盈，闊四指。從肩頂以下直至兩腋，各六指。從腋斜至肩膀邊，九指。自肩至肘謂之臑，臑之長分及其根之巨週，俱二十指，徑寬分得其三分之一。若垂手勢，則兩肩橫制邊各加四指。自肘至腕曰臂，臂之長分及其根之週量，皆十六指，寬得其三分之一。手頭，自中指尖至手腕也，長一搩。手肘，三足零三分足之一。手腕，二足零三分足之二此兩分，畫像之所不用也。手掌縱七指、廣五指，平坦充滿光滑，色如丹砂。掌中心有千輻輪相，而其外圍繞，具右旋螺貝、吉祥字、蓮華、慈鉤、慧劍等諸般福德相。紋細密深且真刻，普遍散列為嚴飾。將指，中指也，其指在掌面之長分五指，此指者即指將指而言之也。食指，二拇指也，其長至中指末節之半。屈指，無名指也，其長分比將指矮半指。此三指之生根大概相齊，而中指根節微乎高，小指根比中指根矮半指，而其梢與屈指末節縫過一足。以上三指，各具三節。而自掌面觀之，節節長分一般，自背面則將指上節長二指、中節長二指半、下節三指。手背一節長四指半，餘三指亦如是推度，而隨宜分為四節。指根巨週得其長制三分之二，指梢巨週得三分之一。巨指者，大拇指也，長週俱四指，只有兩節，其根比食指根矮三指，而自其根至手腕五指。手腕巨週十二指、寬四指。從掌基裏邊至將指根，縱分七指、廣分極寬處亦然，對生指處寬五指。掌基寬六指。諸指末節上半被爪甲蓋之，甲形如𭺢瓦，色如紅銅而明亮，其梢邊離肉分一麥，而色亮白如瑠璃無垢也。巨指下節與食指根，及餘三指下節，俱以薄皮相連，如鵝王掌，表裏明瑩并展不歉。指底面色與掌色同。指肚飽滿光滑，字紋從中起，自左向右旋繞。指甲根邊沿皮寬半麥之分。總言手長四搩，不露骨節，而柔和如意、屈伸悠然，猶如象鼻之彎轉焉。

「項心臍乳間，帶半十二指。自乳尖至腋，平量六指矣。兩腋相去度，二十有五指。胸堂週圍繞，正五十六指。自從雙乳絣，十六指至臍。臍圓有摺旋，深闊皆一指。此處腰圍繞，四十有八指。」

自咽喉至心窩，由是至肚臍，各間俱一搩零半指；畫像不加半指。乳尖闊二足，高滿足。其圓光寬一足，週三指，醬色。由是至兩腋各有六指。兩腋相去間，前胸後背各二十五指。腋下脇肋厚分各八指。對此處週圍六十六指。兩乳相去間一搩胎偶加半指，畫像不用加處如前，後皆倣此。此處身之前後，各橫闊二十二指半。兩肋厚各滿搩。共計週圍六十九指。自乳尖以下二指處，身前後闊各二十指，肋厚各十指，共六十指。臍上比一指地，乃腰之極細處也，橫闊十五指。巨週四十五指，自乳至臍十六指，兩乳至兩肩各一搩。臍之闊深皆一指，其孔圓，自左右旋向內之摺而不顯露。對此處身前後寬十六指，圍繞四十八指焉。

「髀樞邊向裏，平量二十四指。從臍至陰藏，滿搩加半指。陰藏如馬王，密囊有四指。」

髀樞胯骨之上際，與臍分之橫線下離四指。而下結連腿根兩胯，彼此兩外邊相去闊二十四指，週圍五十四指。自臍至陰藏一搩，對此處之闊二十五指。胯間為三角形，正中縱量八指，每角各方十指。其前角即按密藏處，後兩角即為兩臀尖處也。陽莖縱四指，其頂二指，週六指，向內縮藏不露，同馬王陰相。密囊縱垂五指、闊四指，而亦不令顯露。髀骰下邊之制與胯下齊。臂尖圓之處，縱廣俱八指，高分應三指焉。

「股奘三十二，長二十五指。近膝圍繞度，二十有八指。連節膝四指，踝骨縱三指。鹿腨纖圓直，長二十五指。中間週圍繞，二十有一指。踝圍十四指，其邊寬二指。以下四指踵，凸闊得三指。足底竪一搩，厚分有二指。四指俱三節，甲遮末半矣。將指惟二節，圍繞五指是。長度滿三指，食指亦如是，十六次八分，中屈及小指。大指厚六足，餘漸止滿指。指根連縵網，趺高如龜背。掌平滿柔軟，滋潤色丹赤。輪螺吉祥字，諸妙相深微。如是如來相，一切福德備。」

兩股之當中奘分，巨週三十二指，闊分得其三分之一。根之闊一搩，週三搩。長裏向二十五指，即二搩，依胎偶而言之也。近膝處圍繞二十八指。膝蓋骨竪四指、闊九指。巨週應得二十七指，而凸阜上均得一指，故作二十八指也。腨，腓腸也，直且纖圓，如鹿王腨，其長分同股之量。當中巨週二十一指，腓梢巨週十四指。踝骨縱廣俱有三指而不露。自踝後邊橫比之，攬筋寬二指，足踵縱分四指，其凸尖闊三指，盈滿規圓。足底長一搩。將足以大拇指為將指食二指，肚面長二指，共一搩二指。生指根處寬六指，脚心中寬五指，踵底寬四指。趺高飽滿似龜背，其生根比踵之生根高半指。足底裏邊厚二指，向外漸薄，而至外邊厚分只一指。將指旁邊及背面皆長三指，巨週五指，厚六足。食持長分與將指同，而厚分微淺。餘三指亦隨脚底漸次薄，而至於小指厚分只一滿指為止。其各長分，則以食指平分為十六分，以此十五分量中指。以中指分為八分，以此七分量屈指。以屈指分為八分，以此七分量小指。巨週俱各以其長分比量。此四指，從底面觀之似兩節，而實三節。爪甲蓋其末節之半，色形及縵網俱同手指。足掌平滿柔軟滋潤，而色如丹砂，中心有輪相，其圍螺貝、吉祥字等諸般妙紋具全，與手掌相同。收尾總結之曰，如是如來殊特妙相，皆悉如來宿因屢劫積功修行力，以自然感獲一切福德莊嚴全備。非但如世間紅福果報、人天尊貴容貌所得比喻者也○經文大旨，依義詮解，準法具明。至於週身骨節脈絡，隱伏藏密，為粗為細、凸凹曲彎，增減各處、漸起稍落，不害均勻等，筆舌所難詮述者，則賴良師信徒之相得、授受之明爽、聰慧變通之功力也○右像法，乃是三世尊佛、彌陀、藥師、七如來、八十八佛、賢劫千佛等。凡離塵修行相者亦謂之化身相，一概以此為準式。若夫無量壽及嚧舍那、毘嚧等五部如來，一切受用五欲祕密相者亦謂之報身相，則寶髻作五股金剛杵之上半節，其崇高之分及巨週分量，俱同前說寶髻之分量。髮攢高十指，肉髻含於其中。而其根巨週十二指。肉髻上邊處週十指，頂週八指。此兩節俱被金帶緊圍，餘髮編作四繩，從兩肩下垂，而其梢略過手肘。其餘尺寸形相，一一同前也○衣服莊嚴，則三尊等化身佛相皆宜著上下法衣。五衣著下身，七衣著上身。五部等報身佛相，以八件寶飾為莊嚴。何者為八件？一寶冠，即五佛冠也；二耳環；三項圈；四大瓔珞；五手釧及手鐲；六脚鐲；七珍珠絡腋；八寶帶也，謂之大飾。耳垂上前臨優波羅華，冠左右下垂寶帶，脚鐲上圍繞碎鈴戒指等，謂之小飾，隨宜妙繒。雲肩飄繙為上衣，雜色長短重裙為下裳○論座位，則有備便之別。備者，義制全備也，有通別二者之分。通者，即獅子寶座，諸佛及經函塔幢所通用也。別者，謂祕密五部主佛，各有宜用分別。如來部主毘盧佛，坐獅子王座。金剛部主阿閦佛，象王座。寶部主寶生佛，馬王座。蓮華部主彌陀佛，孔雀王座。羯磨部主不空佛，鵬鳥王座。若他佛及諸佛母，但知其所屬何部，則隨其部主而用之。詳其義制，則獅子喻無畏之相，象大力相，馬神足相，雀自在相，鵬無礙相。背光，制有云六拏具者。一曰伽噌拏，華云大鵬，乃慈悲之相也鵬鳥與慈悲，梵名相近，故借其音而因以有形表示無形之義。餘皆倣此；二曰布囉拏，華云鯨魚，保護之相也；三曰那囉拏，華云龍子，救度之相也；四曰婆囉拏，華云童男，福資之相也；五曰舍囉拏，華云獸王，自在之相也；六曰救囉拏，華云象王，善師之相也。是六件之尾語俱是拏字，故曰六拏具。又以合為六度之義。其尺寸色飾，則西番書有上中下之分。且漢地舊有其式，故不具錄。所云便者，則隨便取用之辭，如蓮華座、月輪墊是也怒相用日輪。形規圓，或隨照跏趺之式亦可。座厚分十指，墊厚二指也。

佛說此經已，賢者舍利弗及諸弟子，一切大眾，聞佛所說，皆大歡喜，信受奉行。

## 佛說造像量度經

右經梵名：舍思多二合羅一尼拘𡀩二合陀波哩曼那羅二佛陀波羅二合底麻三羅乞善二合那引麻四。譯曰：舍思多二合羅，開示謂經也。尼拘𡀩二合陀波哩曼那羅，縱廣平等，如無節樹。佛陀波羅二合底麻，佛像。羅乞善二合那引麻，相制名謂。順其辭而合貫之曰：開示佛像，縱廣平等，如無節樹，相制名謂經。今掇其義而約名之，云佛說造像量度經。按此經凡有三譯、一疏。而是本乃西天三藏達磨多囉，與亞哩弄地名譯師查巴建參同，在恭唐邑翻成者也。愚雖不肖，承諸善智師慈力，對勘諸經，以彼準此，修正其訛、填補其缺，但以辭達為務。至於纂述文義以及附載同類編章，則悉遵《時輪》、《戒生》二經以為考正云爾。