一、菩薩像
1. The Bodhisattva Image
八大適子等已成正覺，而由其往昔願力感化應身菩薩相者。彼像造法，南面正坐，與佛像無異。若夫陟位歷地之菩薩(位大乘五位也，一資糧位、二加行位、三通達位亦名見道位、四修習位、五究竟位也。地，即十地)，宜置旁列，與侍奉至尊諸像相類。其制身之縱廣約等十搩，每搩十二指，共為百二十指。而為胎偶之增法，除非鼻準及頦下(各加半指)之外，可宜不加增處不必加增，其必得加分處隨宜加分，各致其曲，而俱不可令彀半指(像傳有附載云，凡夫身量，竪八十四指、橫九十六指為止，縱廣不等。因其二萬一千六百業息故，蓋一晝夜之吸呼二萬一千六百息也。內分十二節，蓋隨十二時也。每節分得息千八百。菩薩自發心進步行道時，業息漸滅，而隨其滅幾數，以慧息遂長幾數，如是方得初地第三位歡喜地，通達位則業息滅盡一節千八百，而慧息長滿一節千八百，以是形於外相，得縱廣相等百八指。如是漸進，踐至第九善慧地，每地兩息減增各一節，而形相各增二指。方至於第十法雲地境，即如前減增一節，此共滿十節，而形相指分共得百二十有四指。越盡十地而至究竟位極處，兩息餘末二節，一減一長皆盡滿，而即得圓滿報身，則外相增一指，共算足滿百有二十五指之句。然而正傳中則總略之如前，今亦從之)。髮攢高八指。頂尖寶嚴二指。面形似鳥卵，具喜悅慈愛之容。目長三指、寬分一指，如蓮華瓣。取長四指。兩脾樞外邊相去十九指。天男相無髭(如將足十六歲童相)，服飾同報身佛像而輕健，以華鬘為絡腋焉。
The eight great Adepts and others had already attained perfect enlightenment, yet through the power of their past vows they manifested as transformation-body Bodhisattvas. The method of making their images: they sit facing south in the main position, no different from Buddha images. As for Bodhisattvas who are ascending through the stages and levels(The five stages of the Mahayana path: (1) the stage of accumulation, (2) the stage of preparation, (3) the stage of insight, also called the path of seeing, (4) the stage of cultivation, (5) the ultimate stage. "Levels" refers to the ten grounds.), they should be placed to the sides, similar to the attendant figures serving the supreme Honored One. The proportions of their bodies are about ten spans, each span twelve finger-widths, totaling one hundred and twenty finger-widths. As for the method of enlarging a molded image, unless it is the tip of the nose and below the chin(each increased by half a finger-width), places that should not be enlarged need not be enlarged, and places that must be increased should be increased accordingly, each achieving its proper curvature, and in no case should the increase reach half a finger-width(The image tradition has a supplementary note: the body measure of an ordinary person is eighty-four finger-widths vertically and ninety-six finger-widths horizontally, not equal in height and width. This is because of their 21,600 karmic breaths, which is the number of breaths in a day and night, 21,600. These are divided internally into twelve sections, corresponding to the twelve hours. Each section contains 1,800 breaths. When a Bodhisattva first arouses the aspiration and progresses along the path, karmic breaths gradually cease, and according to how many cease, wisdom breaths increase by that same number. In this way, one reaches the third stage of the first ground, the Ground of Joy. At the stage of insight, karmic breaths are extinguished by one full section of 1,800, and wisdom breaths increase to fill one section of 1,800. As this manifests in outward form, the height and width become equal at 108 finger-widths. Progressing in this way up to the ninth ground, the Ground of Good Wisdom, at each ground the two breaths decrease and increase by one section each, and the physical form increases by two finger-widths each time. When one reaches the tenth ground, the Ground of Dharma Cloud, the decrease and increase of one section continues as before; with ten sections completed in total, the finger-width measure of the physical form reaches 124 finger-widths. Transcending all ten grounds and reaching the utmost point of the ultimate stage, the remaining final two sections of the two breaths are both completely exhausted in decrease and increase, and one then attains the perfect reward body. The outward form then increases by one finger-width, making a total of exactly 125 finger-widths. However, the orthodox tradition summarizes it as above, and we now follow that.). The hair is piled high at eight finger-widths. The crowning jewel ornament is two finger-widths. The face is shaped like a bird's egg, with an expression of joy and loving-kindness. The eyes are three finger-widths long and one finger-width wide, like lotus petals. The nose is four finger-widths long. The outer edges of the two hips are nineteen finger-widths apart. It has the appearance of a divine male without facial hair(like a youth of about sixteen years), and the clothing and ornaments are the same as those of a reward-body Buddha image but lighter and more agile, with flower garlands as a shoulder drape.
(附)佛之受用身，為淨居天主。變化身，作穢土人師。菩薩之受生，亦莫不托於色欲兩界，天人二種(若隨類變化之應身不與)，故論相者，一面二臂為本元。而祕密部所出，多面廣臂諸異相，或借外相示內義(如怖畏明王相，其九面為示大乘九部契經義等類)或為調伏諸異怪，故現非常相(如囉叉鬼王，因具十頭以自慢。時觀音大士特變十一面喜怒并具之異相，而折絀彼傲氣等類是也。手足義亦然)，亦可以類推也(時輪、盛樂金剛、使畏、大悲觀音等多面廣臂之數分法，諸家傳授互有所異，然其義理不忒。明其一，則餘者可推度而易知也)。今單出一相，以為總軌之元式。如十一面千臂觀世音(功德尼式、番王式等，有番漢數樣。今擇一合本足證者述之)，身量同佛立像，而臍密間添四指，通身白色。元正面縱分同佛面，廣十指，慈相。其右廂面藍色、左廂面紅色，此二面縱分同正面，而廣分只得其半，外添鼻準高分一指(畫像之謂也，若胎偶則橫分只作八指，凸且扁。此三面謂之法身三面)。第二層正面竪橫同作八指，色黃白，悲相，髮際三指(兩眉微顰而無笑容)。其右面正黃色、左面赤黃色，此二旁面縱分同正面，而廣只得其半，外邊添鼻分六麥分(胎偶則廣分六指。此三面謂之增長三面)。第三層正面七指，色赤白，喜相(具微笑容)，髮際同前。而其右面綠色、左面紫色，此二面縱分同正面，而廣分只得其半，外添鼻分五麥(胎偶則廣分作五指。此謂之報身三面。以上三層，右三面皆作顰眉直視微怒相，左三面皆喜悅相)。第四層單面，大怒明王相，竪橫平六指，青色，髮之崇分亦然(髮稍旋凝如獅子鬃鬣)。頂上彌陀佛頭化身面相(紅色或作金色)，頸一指，面輪五指，髮際指半，肉髻一指，寶髻半指。每面分均分十二少分，依常制之各指推捫比較，以度定各面之眉、目、鼻、口及準頭等直曲寬狹。除彌陀面外，餘十面皆俱三目(本教經曰目數千。又三十二)。正面之兩耳貼在旁面之腮上(以上為畫像之準也。胎偶則第二層三層正面之兩耳俱各向前移一分，即前說元正面之廣分。胎偶作十指，同義)。知此一像，則一切具多面像者可以依是推度矣。其廣臂之布設法，自心窩而上比至六指處(胎偶則六指零半指處)，從正中橫量各一搩，至兩腋竪繩，即作點記(上比肩頂三指，下比腋肢三指)，再從兩邊之記號起，向外各去正五十指之地，畫圓圈作環記。所作諸手雖伸，亦不得出此環記之外。手足雖多，根同生於一樞，其式約略似扇把橫軸所攔。適手舉者，餘手從上向下排；適手垂者(裏收者同)，餘手自下往上排(此式以經為徵，且天竺國齎來像軀多見如是。今漢番同俗，不管適手之舉垂，但是餘手盡作由上向下者非是)。千手者，法身八手、報身四十手、化身九百五十二手，共計滿千手也。即從前說環記起，向裏次第各驀四指，復畫五層圓圈。於是從前說兩旁點記起，向外至於內圈，直拉絣線勻分六分(除却身質所佔之分，兩邊各作三分，合算六分)；第二層上兩邊各分作十二分；第三層各分十四分；第四層各分十六分；第五層各分作十八分；第六層(即前說外邊總括環圓記也)兩邊各分作二十分，而以為底盤境框。復次始作法身八臂：二適手當心合掌(兩掌不宜緊貼，中作虛之)，餘右第二手持白水晶念珠，左第二手執白蓮華，右第三手執金輪，第四手作施願印，左第三手執弓箭，第四手持軍持(舊翻澡瓶，因其用而名之也。又有譯作胡瓶者，對華言之也。今合其名實而直翻之曰頂沃。其納口在腹，吐嘴在頂，頸長嘴小)。除二適手，餘六臂俱排開。而畫像不出內圈之外，胎偶亦依此推度之(內圈六分，即為此六也。手頭須排均勻安置。其持數珠、蓮華之手，則對兩肩外邊，手頭向裏覆，而以指捻持之。執輪及弓箭手頭略舉之，餘二手頭略垂之)。報身四十臂，從上向下排，右翼二十手，挨著次第，一擎執佛像(釋迦佛之像)、二如意寶珠、三日精珠、四青優波羅華、五錫杖、六白色金剛杵、七利劍、八鐵鉤、九白拂。左翼二十手亦挨著次第，一寶殿、二寶篋、三月精珠、四紅蓮華、五鉢盂、六金剛鈴、七傍牌、八羂索、九楊柳枝。其左右第十兩手，合拱前面作等融印(對拱臍下四指處，右仰左俯，兩掌合而以兩巨指相把之)。復從右第十一手挨次排下，十一賢瓶(腹大而圓，頸之長分有其腹，竪向三分之二，口向外捲)、十二寶山、十三髑髏杖(髑髏在杖上頭)、十四梵夾、十五鉞鈇、十六金剛鐵椎、十七作施無畏印、十八玉印、十九長槍、二十交杵。復從左第十一手挨次排下，十一寶鏡、十二玉環、十三右旋白螺(身質右旋，其衽則反迴左轉。按螺蟲骨身通是左旋而衽迴右轉，今番僧寺廟為樂器用者即是，謂之凡螺，亦謂逆轉螺，不為貴。傳云：螺身輒轉生螺，連轉五次者即變右旋螺，謂之仙螺，亦謂順運螺，在處大有吉祥，世間甚為罕有)、十四五彩疊雲、十五蓮華心蘂、十六鐵金剛橛、十七禾穗、十八蒲萄、十九鋼叉、二十黃蓮華。此四十手，不出內頭一層圈外(兩翼各二十手，根同一樞，歷歷均勻，展如扇把。其像如千臂俱全者，此二十手俱由上至下只排一行。若不作化身諸手，則起第十一手復始排作一行，而後層諸手次第安排，互現前層諸手隙間)。次作化身手九百五十二臂，照前所畫第二圈，兩邊直繩各有十二分，每分分作六分，除兩邊極下各一分不用外，其餘每分作一手，共得百有四十二手。復次第三圈，兩邊直繩各有十四分，每分分作六分，除兩邊極下各一分不用外，其餘每分作一手，共得百有六十六手。復次第四圈，兩邊各有十六分，如前分除之，共得一百九十手。又次第五圈，兩邊各有十八分，同前分除，共得二百一十四手。復次第六圈，兩邊各二十分，如前每分分作六分，而每分各作一手，則共得二百有四十手。合前諸手，是得滿千手也。此九百五十二手，悉作施願印(手掌側仰之而少垂)，掌中眼目參差互見，一一分明(千手掌中皆有一目)。諸臂相皆極柔順圓好，如正開之蓮華，各不侵礙。數雖千名，而觀者自不覺其多矣。法身八手，形如常制。報身四十手，微細於法身(諸手長分相同，其寬奘分。則此四十手比前八手奘二十分之去一分。以是遞推，凡後層列手奘分，俱照前層諸手二十分之除去一分，只作十九分便得矣)。胎偶者，其四十八手但可收之無礙者，向前隨宜收之，則後層諸手得䯳爽矣。故或舉或垂、或伸或屈，左右對偶，意自相應。蓋亦觀其執物之勢隨宜布置，不必盡以邊圈為度。惟從前往背面，層層次第，離空皆令均勻，則不礙於背光(單作法身八手者甚多，四十八手者已屬罕見，滿作千手者更少矣。蓋因不得其法，難作之故耳。本經雖有持明人依像修習時，不要務必待千臂全修之語。然而解義云，謂其千手乃為賢劫千位輪王，千眼即賢劫千佛焉。則面臂全具之功德自然大也)。凡一切廣臂相。俱以此為元式。其有多足者，則自兩元足外邊，起兩股根樞，畫餘足邊際，漸廣之以至於足指尖。其足趺與諸指，但得分明現見即是。八件寶飾及衣服等，俱同報身佛像(三層面寶冠，下層者不宜遮過上面嘴脣以上)，而以仁獸皮為絡腋(舊作黑鹿皮，未詳其義。按仁獸，梵云吉哩二合斯那二合薩𪢘，華翻黑脊，蓋因其毛皮而稱之耳。常見西番國歲貢物件有此獸皮，形似山羊而小，毛短薄，色多微黃，脊毛純黑色，天性最慈，為人忘己。據使者言，捕時不事獵圍，惟二人執兵尋其棲處。既望見，詐為相鬪狀，喊聲對罵，且作揮兵相擊勢。此獸見之，以為相害，遂欲解救，犇至隔立二人之間，至死不去，遂得而刺焉。本朝官譯名謂之仁獸。其披法，則毛向外，頭前尾後，斜披左肩上，以頭皮遮著左乳，而將右邊後腿皮從像之背後由右腋下，挽過至像之前，與右前腿皮互相交盤縛之。此一件服飾，諸經典未見他像所用，惟獨觀音及慈氏菩薩像有之)，兩足平立，兩胯外邊相去廣量作二十四指。
(Appendix) The Buddha's Enjoyment Body appears as the lord of the Pure Abode heavens. His Transformation Body appears as the teacher of humans in impure lands. Bodhisattvas likewise take birth within the two realms of form and desire, as either gods or humans (Except for responsive bodies that transform according to the type of being, which are not included here.) Therefore, when discussing physical characteristics, one face and two arms are the fundamental form. However, the images that emerge from the Secret Division often have many faces and broad arms with various unusual appearances — sometimes borrowing outer forms to express inner meaning (For example, the fearsome Vidyārāja's appearance: his nine faces represent the meaning of the nine divisions of the Mahāyāna sutras, and so forth.) — or to tame various strange beings, they manifest extraordinary forms (For example, the Rākṣasa ghost king, because he had ten heads and was proud, Guanyin Bodhisattva specially transformed into an eleven-faced form, both wrathful and joyful, to humble his arrogance. The same principle applies to hands and feet.) This can be extended by analogy (The methods of dividing the number of faces and arms for Kālacakra, Saṃvara, Yamāntaka, Mahākāraṇḍava Guanyin, and others differ among various lineages' transmissions, but their meaning is not mistaken. Understand one, and the rest can be inferred and easily known.) Now I shall present a single image as the fundamental model for the general pattern. Take the Eleven-Faced, Thousand-Armed Avalokiteśvara (There are Tibetan and Chinese versions such as the Guṇī style and the Tibetan King style. Here I select one that is complete and well-attested to describe.): the body size is the same as a standing Buddha image, with four finger-widths added between the navel and the secret area, the entire body white. The main front face has the same vertical proportions as a Buddha's face, ten finger-widths wide, with a compassionate expression. Its right side face is blue, the left side face is red. These two faces have the same vertical proportions as the front face, but their width is only half, with an additional nose bridge one finger-width high (This refers to painted images. For clay statues, the horizontal measurement is only eight finger-widths, protruding and flat. These three faces are called the three faces of the Dharma Body.) The second tier's front face is eight finger-widths in both height and width, yellow-white in color, with a sorrowful expression, the hairline three finger-widths (The eyebrows slightly furrowed with no smile.) Its right face is pure yellow, the left face reddish-yellow. These two side faces have the same vertical proportions as the front face, but only half the width, with an additional nose measurement of six barley-grains (For clay statues, the width is six finger-widths. These three faces are called the three faces of Increase.) The third tier's front face is seven finger-widths, reddish-white in color, with a joyful expression (With a slight smile.), the hairline same as before. Its right face is green, the left face purple. These two faces have the same vertical proportions as the front face, but only half the width, with an additional nose measurement of five barley-grains (For clay statues, the width is five finger-widths. These are called the three faces of the Reward Body. Of the above three tiers, the three right faces all have furrowed brows, direct gaze, and a slightly wrathful expression; the three left faces all have joyful expressions.) The fourth tier is a single face, a greatly wrathful Vidyārāja appearance, six finger-widths in both height and width, blue-black in color, and the height of the hair is likewise (The tips of the hair curl and congeal like a lion's mane.) On top is Amitābha Buddha's head in a transformation body appearance (Red or golden in color.), with a neck of one finger-width, a face circumference of five finger-widths, hairline of half a finger-width, uṣṇīṣa of one finger-width, and jewel topknot of half a finger-width. Each face is divided evenly into twelve minor parts. By comparing and measuring according to the conventional finger-widths, one determines the eyebrows, eyes, nose, mouth, and nose-tip of each face — their straightness, curvature, width, and narrowness. Except for Amitābha's face, the remaining ten faces all have three eyes (The original scripture says the number of eyes is a thousand. Also thirty-two.) The two ears of the front face are attached to the cheeks of the side faces (The above is the standard for painted images. For clay statues, the two ears of the front faces of the second and third tiers each shift forward by one part, which is the width measurement of the main front face as previously described. For clay statues it is ten finger-widths; the meaning is the same.) Knowing this one image, all images with many faces can be inferred accordingly. As for the arrangement of the broad arms: from the heart center upward to the height of six finger-widths (For clay statues, at six and a half finger-widths.), measure horizontally one span from the center to each side, to the armpits, and mark with a vertical string (Three finger-widths above the shoulder top, three finger-widths below the armpit.) Then from the marks on both sides, go outward exactly fifty finger-widths and draw a circle as a ring mark. All the hands, even when extended, must not go beyond this ring mark. Although the hands and feet are many, they all originate from a single pivot, arranged roughly like a fan held by a horizontal axis. When the main hand is raised, the remaining hands are arranged from top to bottom; when the main hand hangs down (The same applies to those drawn inward.), the remaining hands are arranged from bottom to top (This pattern is evidenced by the scriptures, and images brought from India mostly appear this way. Nowadays in Chinese and Tibetan custom, regardless of whether the main hand is raised or lowered, all remaining hands are made to go from top to bottom — this is incorrect.) The thousand hands consist of: eight hands of the Dharma Body, forty hands of the Reward Body, and nine hundred fifty-two hands of the Transformation Body — totaling exactly one thousand hands. Starting from the aforementioned ring mark and moving inward, each successive circle is drawn four finger-widths further in, making five concentric circles. Then from the aforementioned marks on both sides, draw straight lines outward to the inner circle, dividing evenly into six parts (Excluding the space occupied by the body itself, each side has three parts, making six parts in total.); the second tier on each side is divided into twelve parts; the third tier into fourteen parts each; the fourth tier into sixteen parts each; the fifth tier into eighteen parts each; the sixth tier (That is, the outer encircling ring mark mentioned above.) into twenty parts on each side — these form the base framework. Next, the eight arms of the Dharma Body are made: the two main hands are joined in prayer at the heart (The palms should not be pressed tightly together; leave a hollow space between them.) The second right hand holds a white crystal rosary, the second left hand holds a white lotus, the third right hand holds a golden wheel, the fourth hand makes the wish-granting mudrā; the third left hand holds a bow and arrow, the fourth hand holds a kuṇḍikā (Previously translated as "bathing bottle," named after its use. Also translated as "foreign bottle," in contrast to Chinese ones. Now, combining name and substance, I directly translate it as "top-pouring." Its intake opening is at the belly, its spout at the top, with a long neck and small mouth.) Except for the two main hands, the remaining six arms are all spread out. In painted images they must not extend beyond the inner circle; for clay statues, one infers accordingly (The six parts of the inner circle correspond to these six arms. The hand positions must be arranged evenly. The hands holding the rosary and lotus face outward from the two shoulders, with the hand tips turned inward and fingers holding the objects. The hands holding the wheel and bow-and-arrow are slightly raised, the remaining two hands slightly lowered.) The forty arms of the Reward Body are arranged from top to bottom. The right wing has twenty hands in sequence: first, holding a Buddha image (An image of Śākyamuni Buddha.); second, a wish-fulfilling jewel; third, a sun-essence pearl; fourth, a blue utpala lotus; fifth, a staff; sixth, a white vajra; seventh, a sharp sword; eighth, an iron hook; ninth, a white fly-whisk. The left wing also has twenty hands in sequence: first, a jeweled palace; second, a jeweled chest; third, a moon-essence pearl; fourth, a red lotus; fifth, an alms bowl; sixth, a vajra bell; seventh, a shield; eighth, a noose; ninth, a willow branch. The tenth hands of both left and right are joined in front making the equanimity-blending mudrā (Facing each other four finger-widths below the navel, right palm up, left palm down, both palms together with the two thumbs clasping each other.) Then continuing from the right eleventh hand in sequence downward: eleventh, a auspicious vase (Large round belly, the neck length being two-thirds of the belly height, the mouth curling outward.); twelfth, a jeweled mountain; thirteenth, a skull staff (The skull is at the top of the staff.); fourteenth, a palm-leaf manuscript; fifteenth, a battle-axe; sixteenth, a vajra iron hammer; seventeenth, making the fearlessness mudrā; eighteenth, a jade seal; nineteenth, a long spear; twentieth, a crossed vajra. Then continuing from the left eleventh hand in sequence downward: eleventh, a jeweled mirror; twelfth, a jade ring; thirteenth, a right-turning white conch (The shell body turns right, but its whorl turns left. Note that conch shells normally have a left-turning body with a right-turning whorl — those used as musical instruments in Tibetan monasteries are these, called common conches or reverse-turning conches, and are not considered precious. Tradition says: when a conch shell gives birth to another conch and this happens five times in succession, it becomes a right-turning conch, called a divine conch or forward-turning conch. It brings great auspiciousness wherever it is, and is extremely rare in the world.); fourteenth, five-colored layered clouds; fifteenth, a lotus heart with stamens; sixteenth, an iron vajra peg; seventeenth, a grain stalk; eighteenth, grapes; nineteenth, a steel trident; twentieth, a yellow lotus. These forty hands do not extend beyond the inner first circle (The two wings each have twenty hands, originating from the same pivot, clearly and evenly arranged, spread like a fan. For images with all thousand arms, these twenty hands are all arranged in a single row from top to bottom. If the transformation-body hands are not made, then starting from the eleventh hand, begin a new row, and subsequent rows of hands are arranged in sequence, each appearing in the gaps between the hands of the previous row.) Next, the nine hundred fifty-two transformation-body hands are made. Following the previously drawn second circle, each side's straight line has twelve parts; each part is divided into six sub-parts. Excluding the lowest one part on each side, each remaining part holds one hand, giving one hundred forty-two hands. Then the third circle: each side's straight line has fourteen parts; each part is divided into six sub-parts. Excluding the lowest one part on each side, each remaining part holds one hand, giving one hundred sixty-six hands. Then the fourth circle: each side has sixteen parts; dividing and excluding as before, giving one hundred ninety hands. Then the fifth circle: each side has eighteen parts; dividing and excluding as before, giving two hundred fourteen hands. Then the sixth circle: each side has twenty parts; as before, each part is divided into six sub-parts, and each sub-part holds one hand, giving two hundred forty hands. Combining all these hands gives exactly one thousand hands. These nine hundred fifty-two hands all make the wish-granting mudrā (The palms tilted sideways and slightly downward.) In each palm, an eye appears distinctly (Every one of the thousand palms has an eye.) All the arms are extremely soft and beautifully rounded, like fully opened lotus flowers, without obstructing one another. Though they number a thousand, the viewer does not feel there are too many. The eight Dharma Body hands follow the conventional form. The forty Reward Body hands are slightly finer than the Dharma Body hands (All hands have the same length; as for their width, these forty hands are one-twentieth narrower than the previous eight hands. By this progression, each subsequent row of hands is one-twentieth narrower than the previous row — that is, made at nineteen parts.) For clay statues, the forty-eight hands can only be those that can be drawn in without obstruction, drawn forward as appropriate; then the hands of the rear rows will have room. Thus whether raised or lowered, extended or bent, with left and right paired, the meaning naturally corresponds. One should also observe the positions of held objects and arrange them appropriately, not necessarily strictly within the boundary circles. Only ensure that from front to back, row by row, the spacing is even and does not obstruct the halo (Images with only the eight Dharma Body hands are very common; those with forty-eight hands are already rare; those with the full thousand hands are rarer still. This is because without knowing the method, they are difficult to make. Although the original scripture says that when a Mantra practitioner cultivates according to the image, one need not necessarily wait to complete all thousand arms — however, the explanation of meaning says that the thousand hands represent the thousand wheel-turning kings of the Bhadrakalpa, and the thousand eyes are the thousand Buddhas of the Bhadrakalpa. Thus the merit of having all faces and arms complete is naturally great.) All images with broad arms use this as the fundamental model. For those with many feet, starting from the outer sides of the two main feet, draw the remaining feet from the two thigh pivots, gradually widening to the tips of the toes. The insteps and toes need only be clearly visible. The eight jeweled ornaments and clothing are the same as for Reward Body Buddha images (The three-tiered jeweled crown's lower tier should not cover above the upper lip.) with a compassionate beast's skin worn as a chest covering (Previously rendered as "black deer skin," whose meaning is unclear. The compassionate beast is called in Sanskrit "kṛṣṇasāra" (kṛṣ-ṇa-sā-ra), translated into Chinese as "black-ridged." It is named after its fur. One often sees this animal's skin among the annual tribute items from western Tibetan countries. It resembles a small goat, with short thin fur, mostly pale yellow in color, with pure black fur along the spine. Its nature is most compassionate; it forgets itself for others. According to the envoy, when capturing it, they do not use hunting encirclement. Two men with weapons seek its dwelling place. Having spotted it, they pretend to fight, shouting and cursing at each other, making gestures of striking with weapons. The animal sees this and, thinking they mean to harm each other, rushes to stand between the two men, refusing to leave even unto death — thus they capture and spear it. The official translation of this dynasty calls it the 'compassionate beast.' Its wearing method: fur facing outward, head in front and tail behind, draped diagonally over the left shoulder, with the head skin covering the left breast, and the right hind leg skin pulled from behind the image through the right armpit to the front of the image, intertwining and binding with the right front leg skin. This item of clothing is not seen on any other image in the scriptures — only Guanyin and Maitreya Bodhisattva images have it.) Both feet standing evenly, the outer sides of the two thighs measuring twenty-four finger-widths apart.