--- title: "南山律在家備覽略編 · 第一支　中國造立元緣" description: "南山律在家備覽略編由近代高僧弘一法師編撰。該書成於民國時期，是對唐代道宣律祖南山律的系統整理與精要闡釋，旨在為在家居士提供清晰可行的戒律指南。內容涵蓋皈戒、持戒、懺悔等核心議題，提煉南山律精髓，並結合時代需求予以簡明詮釋。此書被譽為漢傳佛教在家律學的權威入門典籍，對現代居士持戒修行具有重要指導意義，在佛教律學傳承中佔有承先啟後的關鍵地位。" url: "https://rushiwowen.co/en/r/cmgn0mocd2zhcl404uys4uwmn" --- ### 第一支　中國造立元緣 > Chapter 1: The Origins of Buddhist Statues in China ▲事鈔云『恐後生造像無所表彰。故目連躬將匠工、上天圖取。如是三反、方乃近真。　至於下天、此像垂地來迎。世尊命曰、汝於來世廣作佛事。　因垂敕云。我滅度後、造立形像一一似佛。使見者得法身儀則。乃至幡華供養、皆於來世得念佛三昧、具諸相好。如是造立是佛像體。』 > The \*Shishi Chao\* (a commentary on monastic precepts) says: "Worried that future generations would have no proper model when creating Buddha images, Maudgalyayana personally took artisans up to the heavens to sketch the Buddha's appearance. This was done three times before the likeness was accurate. When the artists descended back to earth, the image seemed to bow down to greet them. The World-Honored One then instructed: 'In future ages, you shall widely spread the Buddha's work.' He further decreed: 'After my passing, when making images, each one should resemble the Buddha himself, so that those who see them may gain a sense of the Dharma-body's form and bearing. Moreover, offering banners, flowers, and other items will lead to the attainment of the Buddha-recitation samadhi and the perfection of all auspicious marks in future lives. This is how one properly embodies the true form of a Buddha image.'" 資持釋云『先敘目連圖寫。以佛生七日、摩耶命終、生忉利天。佛後成道、思報母恩、昇天說法、經於一夏。按造像經、時優填王思念如來、命目連引三十二匠往彼天中、以栴檀木各圖一相、如是至三方得圓足。文云恐者若論圖寫似指目連、取後垂誡須推佛意。雖緣在優填、意存來世。　後引如來垂誡中二、初明授記。即優填王聞佛下天、將像至寶堦所、像即迎佛自行七步。佛為摩頂授記、辭如鈔引。低首曲身故云垂地。　因下次正誡敕。法身儀則者威容相好、法身之表故。得念佛三昧者由見色像、三昧易成故。具相好者由生欣慕、能感勝報故。如是者即指檀像、敕後効之。』見事鈔記卷三十七 > The commentary from Zichi states: "First, it recounts how Maudgalyāyana was commissioned to create an image of the Buddha. Because seven days after the Buddha's birth, his mother Queen Māyā passed away and was reborn in the Heaven of the Thirty-Three Gods. After the Buddha attained enlightenment, he wished to repay his mother's kindness. He ascended to that heaven to teach the Dharma for an entire summer. According to the Sūtra on Making Images, King Udayana, longing for the Tathāgata, asked Maudgalyāyana to lead thirty-two artisans to that heaven, where they each depicted one of the Buddha's distinctive features using sandalwood. Only after three attempts did they complete a perfect likeness. The text says 'fearing'—if we are speaking of the depiction itself, it points to Maudgalyāyana; but the later admonition must be understood as coming from the Buddha's intention. Though the occasion arose from King Udayana, the deeper purpose was to benefit future generations. Next, regarding the Buddha's admonition to later generations, there are two parts. First, the prophecy of future attainment. This refers to when King Udayana heard the Buddha was descending from heaven. He brought the image to the jeweled staircase, and the image itself came forward to greet the Buddha, walking seven steps on its own. The Buddha then touched its head and gave a prophecy, the wording of which is as quoted in the Summary. The image bowed its head and curved its body—hence the description 'reaching the ground.' Second, the actual instruction that follows. 'The form of the Dharma body' refers to the majestic appearance and fine marks, which are the outward expression of the Dharma body. 'Attaining the samādhi of contemplating the Buddha' means that by seeing the physical image, samādhi is more easily achieved. 'Possessing the excellent marks' means that by generating admiration and longing, one can attract superior karmic rewards. 'Thus' refers to this sandalwood image—the instruction is for later generations to follow its example." See Record of Practices Commentary, Vol. 37