The Veneration of Sutras as Contemplation, Transmitted to Future Generations, May Be Broadly Categorized into Three Teachings. In the past, the Venerable Dixin compiled the Dharma Realm Contemplation Gate, which venerates the transformative teachings. The Vinaya Master Chengzhao composed the Contemplation of Purifying the Mind Through Precepts, which venerates the disciplinary teachings. As for those who venerate both the transformative and disciplinary teachings, presenting the nature and characteristics mutually, only the National Teacher Xianshou, in his "Returning to the Source Through the Exhaustion of Delusion," encompassed both. Thus, beings of the perfect and sudden capacity, as well as those of provisional and lesser streams, were universally embraced.

During the Jingyou era of our dynasty, I received this Contemplation Gate from the Venerable Master Huiju of Kunshan.(His Dharma name was Qingben.) This included two scrolls of commentary and one volume of topical analysis, all composed by the Great Master Fadeng. However, the explanations within concerning the preface and the meanings of the various contemplations, though thorough in goodness, were not yet perfected in excellence. Therefore, I selected the essentials to manage the complexities, chose words to elucidate the practice, explored the intent of the commentary by Qingliang, sought the exegetical notes of the "Elucidation," supplemented what was partially good, and accomplished the merit of complete excellence. Hence, it is titled "Supplemental Explanation to the Commentary and Exegesis."

The ancients said: Without cutting through gnarled roots, one cannot test a sharp tool; without analyzing profound texts, one cannot discern a penetrating talent. May future descendants who penetrate our ancestral contemplation of the mind find it brilliantly clear, like the bright sun hanging in the sky, and may it not be obscured by confused emotions. This lies herein.

Dated: The third day after the Summer Retreat, in the second year of the Yuanfeng reign period, cyclical year *jiwei*, composed at the Shanzhu Precious Pavilion in Yunjian.

Within the title, the word "practice" comprehensively encompasses the entire title, indicating that the main text separately presents six gates, which together constitute a single contemplation. The first three gates(1. Essence, 2. Function, 3. Pervasiveness) universally discern and reject attachments, revealing understanding: that a single particle contains and embraces both emptiness and existence. Within the gate of pervasiveness, both true emptiness and illusory form are used to reject the extremes of nihilistic emptiness and substantial form. The fourth gate cultivates four kinds of virtuous practices as the expedient means for perfuming and training in śamatha and vipaśyanā. The fifth gate enters the five cessations, and the sixth gate gives rise to the six contemplations, which then constitute the genuine practice of cultivation and attainment. Therefore, upon entering any one gate, the entire Dharma-realm is fully encompassed.

The preceding section explains the character "cultivation." The following nine characters separately elucidate the essential outline—the profound meaning of the Avataṃsaka Sūtra—which is the scripture relied upon.

The flower symbolizes the myriad practices that adorn the fruit of the tenfold body.

Profound in its depth, it stands as the great source for all scriptures. Vast in its breadth, it embraces all teachings as its family.

When delusions are exhausted, one returns to the source—this is the practice of contemplation. Delusional phenomena have no inherent substance; when they are said to be "exhausted," it means they dissolve back into the one mind, like streams returning to their source. As the poem "Ode to the Water" by Zheng Biao says: "Though the myriad streams may branch, they all arise from the same source; though the currents may differ, they all return to the sea." If one merges with the source of the mind, it is as the Qingliang Master said: "When following the dust of external objects, one drifts away and does not return; when seeing one's true nature, one returns to the source and reverts to the origin."

If that is so, why does the title of the Dharmadhātu Contemplation fully contain six characters? Indeed, the paths of extensive and concise expression diverge, the tracks of composition differ; the forms and structures are myriad, and cannot be measured by a single standard. If one were to criticize Master Xianshou for omitting the four characters "Mahāvaipulya Buddha" in establishing the title, should one not also criticize Master Dixin for omitting the two characters "and preface" below the title? Previous scholars said that directly remaining silent about differences is difficult; subtly criticizing forced interpretations—this is also my intention.

The term "temple" originates from the Sanskrit word "vihāra," which means "a place for wandering and dwelling"—that is, a location where monastics wander and reside. The Guangya dictionary states, "A temple is a place of governance." The Shiming explains, "Those who govern affairs continue their work within it."

The term "śramaṇa" means one who ceases evil, for there is no evil that is not ceased. This is the general designation for the disciples of the Buddha.