---
title: "翻譯名義集 · 60 犍稚道具篇"
description: "《翻譯名義集》由宋代高僧法雲編撰，成書於北宋宣和年間，是一部系統解釋佛教經典中梵文音譯術語的辭典。全書共分六十四篇，收錄二千餘條詞目，對音譯詞彙進行漢語義譯和教理闡釋，涵蓋名數、法寶、人物、地理等範疇。該書融合了唐代以來的譯經傳統與宋代佛教學術特點，被譽為佛教翻譯史上的里程碑之作，為研究佛典語言、教義及中外文化交流提供了權威依據，歷代被收入大藏經並廣為流傳。"
url: "https://rushiwowen.co/en/r/cmcxxi75j29xqky04jm30gp5i"
---

### 犍稚道具篇第六十

> Chapter 60: The Bell and Implements

《菩薩戒經》云：「資生順道之具。」《中阿含》云：「所蓄物可資身進道者，即是增長善法之具。」《辯正論》云：「沙門者，行超俗表，心游塵外，故應器非廊廟所陳，染衣異朝宗之服。」《北山錄》云：「簠音甫、簋音軌，祭器，內圓外方、俎莊呂切，肉爼也豆，制度文章，為禮之器。升降上下周旋裼先的襲似立，為禮之文。鐘鼓管磬，羽籥干戚籥音藥，先王制舞，文以羽籥干戚。籥如笛，三孔而短。干，盾也。戚，矛也為樂之器。屈伸俯仰，綴兆舒疾，為樂之文。置茲則禮樂廢矣。繕寫繢刻，香臺法机，為道德之器。髠祖拜繞，禪講齋戒，為道德之文。弛茲則道德微矣。」

> The \*Bodhisattva Precepts Sutra\* says: "These are the necessities that support life and advance on the path." The \*Madhyama Āgama\* states: "What one accumulates that can support the body and aid progress on the path is that which increases wholesome qualities." The \*Debate on Correct Views\* says: "A monastic transcends worldly appearances, with a mind dwelling beyond the dust of the world. Thus, their alms bowl is not displayed in royal courts, and their dyed robes differ from the formal attire of courtiers." The \*Record of the Northern Mountain\* says: "Ritual vessels—the round-inside, square-outside food containers, the meat boards—with their regulated forms and patterns, are the implements of propriety. The movements of ascending and descending, the turning about, the baring and covering of the body—these are the expressions of propriety. Bells, drums, pipes, and stone chimes, along with feather banners, flutes, shields, and axes—these are the instruments of music. Bending and stretching, looking up and down, the arrangement and pacing of the dance—these are the expressions of music. Remove these, and propriety and music collapse. "In the same way, the copying of scriptures, the carving of images, the incense platform, and the Dharma seat—these are the implements of the moral path. Shaving the head, baring the shoulders, bowing and circumambulating, meditating, preaching, and observing precepts—these are the expressions of the moral path. Neglect these, and the moral path weakens."

【犍巨寒椎音地】《聲論》翻為磬，亦翻鐘。《資持》云：「若諸律論，並作犍槌，或作犍椎。今須音槌為地。又羯磨疏中，直云犍地，未見椎字呼為地也。後世無知，因茲一誤。至於鈔文，一宗祖教，凡犍槌字，並改為稚，直呼為地。請尋古本，及大藏經律，考之，方知其謬。今須依律論，并作犍槌。至呼召時，自從《聲論》。」《增一》云：「阿難升講堂擊犍椎者，此是如來信鼓也。」《五分》云：「諸比丘布薩時，不時集，妨行道。佛言：『當唱時至，若打犍椎，若打鼓吹螺，使舊住沙彌淨人打，不得多，應打三通。若唱二時至，亦使沙彌淨人唱，住處多，不得遍聞，應高處唱。猶不知集，更相語知。若無沙彌，比丘亦得打。』」《事鈔》云：「若尋常所行，生椎之始，必漸發聲，漸希漸大，乃至聲盡，方打一通。佛在世時，但有三下，故《五分》云打三通也。後因他請，方有長打。然欲初鳴時，當依經論，建心標為，必有感徵。應至鐘所，禮三寶訖，具儀立念：『我鳴此鐘者，為召十方僧眾，有得聞者，並皆雲集，共同和利。又諸惡趣，受苦眾生，令得停息。』故《付法藏傳》中，罽膩吒王以大殺害故，死入千頭魚中，劍輪繞身而轉，隨斫隨生。羅漢為僧維那，依時打鐘。若聞鐘聲，劍輪在空。如是因緣，遣信白令長打，使我苦息。過七日已，受苦即息。江南上元縣一民，時疾暴死，心氣尚煖。凡三日復甦，乃誤勾也。自言至一殿庭間，忽見先主被五木縲械甚嚴，民大駭，竊問曰：『主何至於斯耶？』主曰：『吾為宋齊丘所誤，殺和州降者千餘人，以冤訴囚此。』主問其民曰：『汝何至斯耶？』其民具道誤勾之事。主聞其民却得生還，喜且泣曰：『吾仗汝歸，語嗣君，凡寺觀鳴鐘，當延之令永。吾受苦，惟聞鐘則暫休，或能為吾造一鐘尤善。』民曰：『我下民耳，無緣得見。設見之，胡以為驗？』主沈慮曰：『吾在位，嘗與于闐國交聘，遺吾一玉瑞天王。吾愛之，嘗置於髻，受百官朝。一日如廁，忘取之，因感頭痛。夢神謂我曰：「玉天王寘於佛塔，或佛體中，則當愈。」吾因獨引一匠，𢹂於瓦棺寺，鑿佛左膝以藏之，香泥自封。無一人知者，汝以此事可驗。』民既還家，不敢輒已，遂乞見主具白之，果曰冥寞何憑？民具以玉天王之事陳之。主親詣瓦棺，剖佛膝果得之，感泣慟躄，遂立造一鐘於清涼寺，鐫其上云：『薦烈祖孝高皇帝脫幽出厄，以玉像建塔，葬於蔣山智興鳴鐘事出《法苑》。』」《增一》云：「若打鐘時，一切惡道諸苦，並得停止。」應法師準《尼鈔》云：「時至應臂吒犍槌。」應師釋云：「梵語臂吒，此云打；梵語犍槌，此云所打之木，或檀或桐，此無正翻，彼無鐘磬故也。」《音義指歸》斥云：「祇如梵王鑄祇桓寺金鐘。又迦葉結集，撾陟瓜切，椎也銅犍槌，豈無鐘耶？但天竺未知有磬。」《五分律》云：「隨有瓦木銅鐵鳴者，皆名犍地。」又律中集僧有七種法：一量影，二破竹作聲，三作煙，四吹貝，五打鼓，六打犍槌，七唱諸大德布薩說戒時到。《事鈔》明入堂法，應在門外，偏袒右肩，斂手當心，攝恭敬意，擬堂內僧，并同佛想，緣覺羅漢想。何以故？三乘同法食故。次欲入堂，若門西坐者，從戶外旁門西頰，先舉左脚，定心而入。若出門者，還從西頰，先舉右脚而出。若在門東坐者，反上可知，不得門內交過。若欲坐時，以衣自蔽，勿露形醜。須知五法：一須慈敬，重法尊人；二應自卑下，如拭塵巾；三應知坐起，俯仰得時；四在彼僧中，不為雜語；五不可忍事，應作默然。凡徒眾威儀，事在嚴整清潔，軌行可觀，則生世善心，天龍叶贊。《華嚴》云：「具足受持威儀教法，是故能令僧寶不斷。」《智論》云：「佛法弟子，同住和合。一者賢聖說法，二者賢聖默然。準此處眾，唯施二事，不得雜說世論，類於污家俳說俳戲也。又貴靜攝，不在喧亂。誦經說法，必須知時。」《成論》云：「雖是法語，說不應時，名為綺語。」後裔住持，願遵斯式。

> 【Jian<note>jù hán</note> Chui<note>yīn dì</note>】According to the \*Shēnglùn\* (Treatise on Sound), this term is translated as "qing" (a stone chime) or "bell." The \*Zīchí\* commentary says: "In various vinaya texts and treatises, it is written as 'jianchui' or 'jianzhui.' Now, the character 'chui' should be pronounced as 'dì.' Also, in the \*Jiemo shū\*, it is directly written as 'jiandì,' and the character 'zhui' is not seen pronounced as 'dì.' Later generations, lacking knowledge, made this one error. Even in the \*Chāo wén\*—a foundational text of our school—wherever 'jianchui' appears, it was changed to 'zhi' and pronounced as 'dì.' Please consult ancient editions and the vinaya texts in the Great Treasury of Scriptures to verify this and see the mistake. Now, we should follow the vinaya and treatises and write 'jianchui.' When it comes to calling it aloud, we follow the \*Shēnglùn\*." The \*Zēngyī Āhán\* says: "When Ānanda ascended to the lecture hall and struck the jianchui, this is the 'faith drum' of the Thus-Come One." The \*Wǔfēn\* (Five-Part Vinaya) says: "When the bhikshus did not gather on time for the uposatha, hindering the practice of the path, the Buddha said: 'You should announce that the time has come. You may strike the jianchui, beat a drum, or blow a conch. Have the resident shramanera or pure-lay person do the striking. Do not strike excessively; you should strike three times. If announcing that the two times have arrived, also have the shramanera or pure-lay person do the announcing. If the residence is large and not everyone can hear, announce from a high place. If still not gathered, have them notify each other. If there is no shramanera, a bhikshu may also do the striking.'" The \*Shìchāo\* says: "In ordinary practice, when beginning to strike, the sound should gradually arise—first faint, then growing, until the sound fades, and then one full round is struck. During the Buddha's time, only three strikes were made, hence the \*Wǔfēn\* says 'strike three times.' Later, due to someone's request, the long striking was introduced. When about to begin the sound, one should follow the scriptures and treatises, establish the intention with a focused mind, and there will surely be a responsive sign. One should go to the bell, pay respects to the Three Jewels, and with proper demeanor, make this thought: 'I strike this bell to summon the sangha of the ten directions. All who hear it shall gather together for mutual benefit. May the beings in the evil realms who suffer also find respite.'" Thus, in the \*Fùfǎzàng Zhuàn\* (Transmission of the Dharma Treasury), King Kaniṣka, because of his great slaughter, was reborn as a fish with a thousand heads, with a wheel of swords revolving around his body, cutting and regenerating endlessly. An arhat, serving as the temple's rector, struck the bell at the proper times. Whenever the bell sounded, the sword wheel would hang in the air. For this reason, he sent word requesting a long striking so his suffering might be relieved. After seven days, his suffering ceased. In Jiangnan, in Shangyuan County, there was a commoner who suddenly fell ill and died, though his chest remained warm. After three days, he revived, explaining he had been seized by mistake. He said he was brought to a palace courtyard where he saw a former ruler bound in heavy wooden restraints. Terrified, he quietly asked, "How did you end up in such a state?" The ruler replied, "I was misled by Song Qiqiu. I killed over a thousand surrendered people in Hezhou, and now I am imprisoned here because of their grievances." The ruler then asked the commoner, "Why have you come here?" The commoner explained his mistaken seizure. Hearing that the commoner would return to life, the ruler wept with joy and said, "I rely on you to return and tell my successor: whenever bells are rung at temples and monasteries, let them be prolonged. In my suffering, only the sound of the bell gives me temporary rest. If you could have a bell made for me, that would be even better." The commoner said, "I am but a commoner; who would believe me? Even if I could gain an audience, what proof would I offer?" The ruler pondered deeply and said, "During my reign, I had diplomatic exchanges with the Kingdom of Khotan. They gifted me a jade guardian king. I cherished it so much that I kept it in my hair bun while receiving the court. One day, when using the latrine, I forgot to remove it and developed a headache. A spirit appeared in a dream and told me: 'Place the jade king in a Buddhist pagoda or within a Buddha statue, and you will be cured.' I then secretly brought a single craftsman to the Tile Temple (Waguan Temple), chiseled open the left knee of a Buddha statue, hid the jade inside, and sealed it with fragrant clay. No one knew. Use this as proof." When the commoner returned home, he did not dare keep silent, so he sought an audience with the ruler and told him everything. Indeed, the ruler asked, "How can such a thing be verified in the netherworld?" The commoner recounted the matter of the jade king. The ruler personally went to the Tile Temple, opened the Buddha's knee, and indeed found it. Moved to tears and prostrations, he had a bell cast at Qingliang Temple, with an inscription: "Dedicated to Emperor Liezu, the Filial and High, to release him from darkness and suffering; with a jade image, a pagoda was erected and buried at Jiangshan<note>The matter of Zhixing striking the bell comes from the \*Fǎyuàn\*</note>." The \*Zēngyī Āhán\* also says: "When the bell is struck, all the sufferings of the evil realms are temporarily halted." Master Yìng (Yìngfǎshī), citing the \*Nīchāo\*, says: "When the time arrives, one should strike the 'bìzhà jiànchuí.'" Master Yìng explains: "In Sanskrit, 'bìzhà' means 'to strike,' and 'jiànchuí' means 'the wood that is struck,' whether sandalwood or paulownia. There is no direct translation because they had no bells or chimes." The \*Yīnyì Zhǐguī\* criticizes this: "But didn't King Brahmā cast a golden bell for Jetavana Monastery? And when Kāśyapa gathered the council, wasn't a copper jianchui struck? How could there be no bells? It's just that India did not know of stone chimes." The \*Wǔfēn Vinaya\* says: "Whatever makes a sound—clay, wood, bronze, or iron—is called a 'jiandì.'" Also in the vinaya, there are seven methods to assemble the sangha: 1) measuring the shadow, 2) making sounds by splitting bamboo, 3) making smoke, 4) blowing conch shells, 5) beating drums, 6) striking the jianchui, and 7) announcing, "Venerable ones, the time for uposatha and recitation of the precepts has come." The \*Shìchāo\* explains the method of entering the hall: One should stand outside the door, bare the right shoulder, gather the hands at the heart, maintain a respectful and focused mind, and regard the monks inside as the Buddha himself, as pratyekabuddhas and arhats. Why? Because all three vehicles share the same Dharma and food. When about to enter, if seated on the west side of the door, one should enter from the outer side of the west doorframe, first lifting the left foot, with a settled mind, and enter. When leaving, one should exit from the west side, lifting the right foot first. If seated on the east side, do the opposite. One should not cross over in front of the door. When sitting, one should cover oneself with robes, not exposing anything unsightly. One must know five principles: 1) Maintain loving-kindness and respect, honoring the Dharma and venerating others; 2) Be humble, like a dust cloth; 3) Know when to sit and rise, in due season; 4) Among the sangha, do not engage in idle chatter; 5) If an unbearable matter arises, remain silent. All deportment of the assembly should be dignified, clean, and orderly, with conduct worthy of respect, so that worldly people develop wholesome hearts and the devas and dragons rejoice in harmony. The \*Avataṃsaka Sūtra\* says: "Fully uphold the teachings of deportment and practice, thereby ensuring the continuity of the Sangha treasure." The \*Prajñāpāramitā Śāstra\* says: "Disciples of the Buddha dwell together in harmony. One is the noble ones' teaching of Dharma, and the other is the noble ones' noble silence." Based on this, when in assembly, only these two activities should be engaged in; worldly discussions, which are like the idle banter of entertainers<note>pái means theatrical play</note>, must not be mixed in. Moreover, stillness and collectedness are prized, not noise and disorder. Reciting scriptures and giving teachings must be done at the appropriate time. The \*Satyasiddhi Śāstra\* says: "Even though it is Dharma speech, speaking at an unsuitable time is called 'idle talk.'" May future generations who carry on the tradition respectfully follow these guidelines.

【舍羅】《四分》：「此云籌。」《五分》：「籌極短並五指，極長拳一肘，極麁不過小指，極細不得減箸。」《十誦》云：「為檀越問僧不知數，佛令行籌，不知沙彌數，行籌數之。若人施布薩物，沙彌亦得。雖不往布薩羯磨處，由受籌故。」《四分》：「為受供行籌，通沙彌也。若未受十戒，亦得受籌，以同受供故。」《業疏》三種行籌：一頭露，二覆藏以物覆籌，三耳語耳畔勸勉。《事鈔》云：「今僧寺中有差僧次請而簡客者，此僧次翻名越次也。即令客僧應得不得，主人犯重，隨同情者多少，通是一盜。」

> 【She Luo】According to the Four-Part Vinaya: "This is called a counting stick." The Five-Part Vinaya states: "The counting stick should be no shorter than five fingers in length, no longer than one cubit from the fist, no thicker than the little finger, and no thinner than a chopstick." The Ten Recitations Vinaya says: "When donors ask about the number of monks and it is unknown, the Buddha allowed the use of counting sticks. If the number of novices is unknown, counting sticks are used to tally them. If someone gives offerings for the Uposatha ceremony, novices also receive a share. Even though they do not attend the Uposatha assembly, they receive the offering because they have received a counting stick." The Four-Part Vinaya states: "Counting sticks are distributed for receiving offerings, and novices are included. Even those who have not yet taken the Ten Precepts may receive a counting stick, because they equally receive offerings." The Karmic Practices Commentary describes three ways of distributing counting sticks: first, open distribution; second, concealed distribution, where the stick is covered with an object; third, whispered distribution, where encouragement is whispered into the ear. The Four-Part Vinaya Commentary says: "In monasteries today, there are those who arrange invitations by seniority and exclude visiting monks. This practice of 'by seniority' actually means 'skipping the order.' If visiting monks who should receive offerings are denied them, the host commits a heavy offense. Regardless of how many people collude in this, it is collectively an act of stealing."

【隙棄羅】此云錫杖，由振時作錫錫聲故。《十誦》名聲杖，《錫杖經》又名智杖。亦名德杖，彰智行功德故。聖人之幖幟，賢士之明記，道法之幢。《根本．雜事》云：「比丘乞食，深入長者之家，遂招譏謗。比丘白佛，佛云：『可作聲警覺。』彼即呵呵作聲喧閙，復招譏毀。佛制不聽，遂拳打門。家人怪問：『何故打破我門？』默爾無對。佛言：『應作錫杖。』苾芻不解。佛言：『杖頭安鐶圓如醆仄限口，安小鐶子，搖動作聲，而為警覺。動可一二，無人聞時，即須行去。』」《五百問論》持錫有多事，能警惡蟲毒獸等。義淨云：「錫杖都有三分：上分是錫，中木，下或牙角也。若二股六鐶，是迦葉佛製；若四股十二鐶，是釋迦佛製。」齊稠禪師，在懷州王屋山，聞虎鬪，以錫杖解之。因成頌云：「本自不求名，剛被名求我；巖前解二虎，障却第三果。」又鄧隱峯飛錫空中，解於二陣。

> \*\*Xìqìluó\*\* — This is what is called a \*tin staff\* (Skt. \*khakkhara\*), named for the "tin-tin" sound it makes when shaken. In the \*Ten Recitations Vinaya\*, it is called the "sound staff." The \*Staff Sutra\* also calls it the "wisdom staff," and it is also known as the "virtue staff," because it embodies the merit of wisdom and virtuous conduct. It is the banner of the sages, the clear mark of the noble, and the standard of the Dharma. According to the \*Mūlasarvāstivāda Vinaya: Miscellaneous Matters\*: > "A monk, while going for alms, went deep into a householder's home and drew criticism and ridicule. The monk reported this to the Buddha, and the Buddha said: 'You may make a sound to alert others.' The monk then made loud "he-he" noises, causing a commotion, and again drew criticism. The Buddha then forbade that and told him to knock on the door with his fist. The householder, surprised, asked: 'Why are you breaking my door?' The monk stood silent, with no reply. The Buddha then said: 'You should use a tin staff.' The monk did not understand. The Buddha said: 'Attach a ring on top of the staff, round like the rim of a cup, and add small rings within it. When shaken, it makes a sound to alert people. You may shake it once or twice; when no one hears it, you should leave.'" The \*Five Hundred Questions Treatise\* states that carrying the tin staff serves many purposes, including warding off harmful insects, wild beasts, and other dangers. Yijing (the translator) says: > "The tin staff has three parts: the upper part is tin, the middle is wood, and the lower part is either ivory or horn. If it has two prongs with six rings, it is the style of Kāśyapa Buddha; if it has four prongs with twelve rings, it is the style of Śākyamuni Buddha." Master Qí Chán (Dense Meditation Master) was at Mount Wangwu in Huai Prefecture when he heard two tigers fighting. He separated them with his tin staff. This gave rise to the verse: > "Originally I sought no fame, > Yet fame came seeking me; > Before the cliff, I parted two tigers, > And blocked the third fruition." Also, Dèng Yǐnfēng once flew his tin staff through the air and separated two opposing armies.

【剌竭節】此云杖。頌云：「楖栗橫擔不顧人，直入千峯萬峯去。」

> "Lajie Jie" (剌竭節) means "staff" (or "walking stick") in this context. The verse says: "Shouldering the staff horizontally, paying no heed to others, I go straight into the thousand peaks and ten thousand peaks."

【軍遲】此云瓶。《寄歸傳》云：「軍持有二：若甆瓦者，是淨用；若銅鐵者，是觸用。」《西域記》云：「捃稚迦，即澡瓶也。舊云軍持，訛略也。西域尼畜軍持，僧畜澡灌，謂雙口澡灌。」《事鈔》云：「應法澡灌。」《資持》云：「謂一斗已下。」

> 【Jun Chi】This refers to a bottle. According to the "Records of the Inner Law," "Jun Chi has two types: if made of porcelain or clay, it is for purification; if made of copper or iron, it is for contact." The "Records of the Western Regions" states, "Jun Zhi Jia, which is a bathing bottle. The old term 'Jun Chi' is a corruption. In the Western Regions, nuns carry Jun Chi, while monks carry bathing vessels, known as dual-mouth bathing vessels." The "Shi Chao" says, "It should be a proper bathing vessel." The "Zi Chi" explains, "It refers to vessels with a capacity of one dou or less."

【鉢里薩羅伐拏】此云濾水羅。《會正記》云：「西方用上白㲲，東夏宜將密絹。若是生絹，小蟲直過，可取熟絹四尺，捉邊長挽，兩頭刺著，即是羅樣。兩角施帶，兩畔直怐音冠，似鼎銨也，中安橫杖尺六，兩邊繫柱，下以盆承。傾水時，罐底須入羅內。如其不爾，蟲隨水落，墮地墮盆，還不免殺。」《僧祇》蟲細者三重漉。《毘尼母》應作二重漉水囊。若猶有，應作三重不得夾作。恐中間有蟲難出，當各作捲，逐重覆却，方護生也。《根本．百一羯磨》明五種水羅：一方羅，用絹三尺或二尺，隨時大小作；二法瓶，陰陽瓶也；三君遲，以絹繫口，以繩懸沈於水中，待滿引出；四酌水羅；五衣角羅，但取密絹，方一搭手，或繫瓶口，或安鉢中，濾水用也。

> \*\*\[Water Filtering Device\]\*\* This is called a water filter. According to the \*Huizheng Ji\*: "In the West (India), fine white cloth is used, while in the East (China), tightly woven silk is preferred. If raw silk is used, small insects can pass right through. Instead, take four feet of boiled silk, hold the edges and stretch it lengthwise, then sew the two ends together—this forms the filter shape. Attach straps at the two corners, and at both sides let it hang straight down<note>pronounced 'guan,' resembling a cauldron rim</note>. Place a horizontal rod of one foot six inches in the middle, tie it to posts on both sides, and set a basin underneath to catch the water. When pouring water, the bottom of the jar must be inserted into the filter. If not, insects will fall out with the water, landing on the ground or in the basin, and thus still be killed." According to the \*Sarvāstivāda Vinaya\*, if insects are very fine, filter three times. The \*Vinaya-mātṛkā\* says a two-layered filter should be made. If insects still remain, make a three-layered filter, but do not sew the layers together—otherwise insects trapped between layers may be hard to remove. Each layer should be made separately, then folded over one another to truly protect life. The \*Mūlasarvāstivāda Vinaya Kṣudraka Vastu\* (Hundred Karmic Verses) describes five types of water filters: 1. \*\*Square filter\*\*: Made with three or two feet of silk, sized according to need. 2. \*\*Dharma bottle\*\*: A bottle with yin-yang openings. 3. \*\*Jun-chi\*\*: A silk cloth tied over the mouth of a jar, suspended by a rope and submerged in water; when full, it is lifted out. 4. \*\*Dipper filter\*\*: A ladle used for filtering water. 5. \*\*Robe-corner filter\*\*: Using a piece of finely woven silk about the size of a palm, either tied to the mouth of a bottle or placed inside a bowl, used for filtering water.

【鉢塞莫】或云阿唎吒迦二合。此云數珠。《木槵子經》云：「當貫木槵子一百八個，常自隨身，志心稱南無佛陀、南無達摩、南無僧伽，乃過一子。」具如彼經。

> "Bosa Mo," also known as "Alizhajia," is called a prayer bead in this context. The \*Muwuanzi Sutra\* says: "One should string one hundred and eight Muwuanzi seeds and carry them with you at all times. With a focused mind, recite 'Namo Buddha, Namo Dharma, Namo Sangha,' and move one bead for each recitation." This is as described in that sutra.

【鉢多羅】此云應器。《發軫》云：「應法之器也，謂體色量三，皆須應法。體者，大要有二：泥及鐵也；色者，熏作黑赤色，或孔雀咽色、鴿色；量者，大受三斗，小受斗半，中品可知。又翻為薄，謂治厚物令薄，而作此器。」南山云：「此姬周之斗也。準唐斗，上鉢一斗，下鉢五升。」《五分》云：「佛自作鉢坏，以為後式。」受時，準《十誦》云：「大德一心念，我比丘某甲，此鉢多羅應量，受常用故三說。若捨，準衣。」律云：比丘持木鉢，佛言不應持如是鉢，此是外道法。

> 【Pātra】This is translated as "Vessel of Response" (應器). The \*Fazhen\* commentary says: "It is a vessel that accords with the Dharma, meaning that its substance, color, and size must all conform to the Dharma. As for substance, there are two main types: clay and iron. As for color, it is smoked to a black-red hue, or the shade of a peacock's throat or a pigeon. As for size, the largest holds three \*dou\*, the smallest holds one and a half \*dou\*, and the middle size can be inferred accordingly." It is also translated as "thin," referring to the process of hammering thick material thin to make this vessel. The Venerable Nanshan says: "This refers to the \*dou\* of the Zhou dynasty. According to the Tang \*dou\*, the upper bowl holds one \*dou\*, and the lower bowl holds five \*sheng\*." The \*Five Divisions Vinaya\* says: "The Buddha himself made a clay bowl as a model for the future." When receiving a bowl, according to the \*Ten Recitations Vinaya\*, one should say: "Venerable ones, with single-minded attention, I, the monk so-and-so, accept this \*pātra\* of proper measure, to be used as my constant alms bowl<note>recite three times</note>." If one wishes to give it up, it follows the same procedure as for robes. The Vinaya says: If a monk carries a wooden bowl, the Buddha said, "One should not carry such a bowl; this is the practice of heretics."

【鍵音䖍𨩲音咨】母論譯為淺。《鐵鉢經音疏》云：「鉢中之小鉢，今呼為鐼音訓子。」《十誦律》云：「鉢半大鍵𨩲，小鍵𨩲。」《四分律》云：「鍵𨩲入小鉢，小鉢入次鉢，次鉢入大鉢。」或作揵茨、建鎡，並梵音輕重。

> 【Key<note>pronounced qián</note> and Zi<note>pronounced zī</note>】The mother commentary translates this as "shallow." The \*Iron Bowl Sutra Phonetic Commentary\* says: "The small bowl placed inside the main bowl is now called a 'small bowl' <note>pronounced xùn</note>." The \*Ten Recitation Precepts\* states: "There are half-large bowls, large bowls, and small bowls." The \*Four Part Precepts\* says: "The small bowl goes inside the medium bowl, the medium bowl inside the large bowl, and the large bowl is the outermost." Sometimes written as "jiàn cí" or "jiàn zī," these are just variations in the Sanskrit pronunciation.

【俱夜羅】此云隨鉢器。《法寶解》云：「即匙、筯、鍵𨩲等。」

> \[Kulika\] This refers to what is called "following the bowl and utensils." According to the \*Dharma Treasure Commentary\*, "It means the spoon, chopsticks, and keys."

【浮囊】《五分》云：「自今聽諸比丘畜浮囊，若羊皮，若牛皮。」傳聞西域渡海之人，多作鳥翎毛袋，或齎巨牛脬，海船或失，吹氣浮身。

> A floatation bag. According to the Fivefold Vinaya: "From now on, I permit monks to carry floatation bags, whether made of sheepskin or cowhide." It is said that people crossing the sea in the Western Regions often make bags from bird feathers or carry large ox bladders. If a ship is lost at sea, they blow air into these to stay afloat.