---
title: "靈峰蕅益大師宗論 · 選佛譜自序"
description: "靈峰蕅益大師宗論是明末高僧智旭的著作。明末佛教面臨內部僵化與外部挑戰，智旭大師立足天台宗，主張禪教律淨融合，回應時代弊病。該書匯集其書信、註疏與開示，系統闡述性相融通、淨土為歸的佛學思想，強調解行並進與實踐修行。作為中國佛教史上承先啟後的巨著，它深刻影響了後世漢傳佛教的發展，尤其對淨土宗的推廣貢獻卓著，被尊為淨土宗第九祖的智旭，其思想透過此論成為明清佛教的重要指南。"
url: "https://rushiwowen.co/en/r/cmgn46k3s0oplk104xngrjv6l"
---

### 選佛譜自序

> Preface to the Selection of Buddha Records

選佛之語，始於禪客點悟丹霞，而選佛圖，傳創自捺麻僧也。學士解縉，作升官圖，故捺麻僧作選佛圖，必應博諳教乘，深知禪律，未有不達法門中事，輒敢師心自創立者。惜其失傳，無從得見。萬歷己未，曾於留都購一升佛圖，絕無倫次，甚為可嗤。癸亥於武林隨喜一選佛圖，乃幽溪無盡大師所作，具顯十法界升沈之致，足稱盡美。乙丑於松陵睹一圖，統收三教，而理致不清，亦無足取。己巳幻寓靈谷，有別以一圖相示者，云是捺麻作，而文理尤為不通，恐決非舊物，特愚妄者之託名耳。事不獲已，訪幽溪意，自製一圖，兼增凡聖因行，及種性差別，以彰不一之機；設無根信位，及大權護法，以開圓轉之路；逆惡猛心，準《觀經》而許歸淨土，阿鼻極苦，依《華嚴》而徑登兜率；諸天有降德貶墜之苦，無色有窮空輪轉之殃，皆本教乘，非出臆見。又幽溪僅用佛骰一輪，故升沈迥隔，此用四輪齊擲，故轉變無方。辛未梓行吳地，流通已廣。次於古杭西山，別見二圖，亦未全美，故皆不傳。辛巳寓漳南，每思吳門所刻，猶有未允當處，復改一圖，擲用六輪，方得一界還造十界，一擲備顯升沈，癸未刻之檇李，然六輪一擲，六字紛陳，準折詳明，方堪行動，粗心浮氣之人，每以為苦。辛卯冬，歸臥靈峰，深念此圖利益，能使人即遊戲閒，頓知六道往還之疲苦，三乘出要之差別，猛切念佛，求出苦輪，誠為不可思議。而幽溪一圖，則失之簡，予向二圖，並失之繁，展轉反側，竟夕不寐。爰思但用二輪，以為擲行方便。既易於行，仍多轉變。復手書一圖，緇素咸稱盡美盡善。且啟予曰：「此圖行，真足令人通達一切佛法。請更著譜，以申明之。庶俾愚者，亦藉此了知世出世閒道理；雖有智者，亦不敢妄加增損於其閒也。」予韙其說，述譜如左。

> The phrase "selecting a buddha" originated from a Chan adept who awakened Master Danxia. The "Selection of a Buddha Chart" is said to have been created by Master Nama. Scholar Xie Jin created the "Promotion Chart," so when Master Nama created the "Selection of a Buddha Chart," he must have been broadly learned in the scriptures and deeply versed in Chan and Vinaya. No one who did not thoroughly understand the matters of the Dharma would dare to set up such a system based solely on their own ideas. It's a pity that his original work was lost, so I could never see it. In 1619, while in the old capital, I purchased a "Promotion of Buddhas Chart" that was completely disordered and laughable. In 1623, I encountered a "Selection of a Buddha Chart" while visiting a temple in Wulin. It was created by the Great Master Wujin of Youxi and fully displayed the ascending and descending states of the Ten Dharma Realms. It was truly exquisite. In 1625, in Songling, I saw another chart that included all three teachings, but its principles were unclear and unworthy of adoption. In 1629, while staying temporarily at Linggu Temple, someone showed me a chart, claiming it was by Nama, but its reasoning was even more incoherent. I suspect it was certainly not the original, but rather a crude forgery. Having no other option, I examined Master Wujin’s intent and created one myself. I added levels of ordinary and sage conduct and distinctions of spiritual seed-natures to highlight the diversity of capacities. I established a pure-faith stage without direct practice roots, and included the great protective powers of expedient means to open up the path of transformation. For the utterly wicked, I cited the \*Contemplation Sutra\* to allow for rebirth in the Pure Land. For those in Avici Hell, I referenced the \*Avatamsaka Sutra\* to enable a direct leap to Tusita Heaven. The suffering of devas who fall due to the decline of their merit and the calamity of formless beings stuck in the cycle of emptiness all accord with the scriptures and are not my own speculations. Moreover, Master Wujin used only one set of Buddha dice, so the states of rising and falling were far apart. In my version, I used four dice thrown together, so the transitions were endless. In 1631, it was carved in blocks in Wu and became widely circulated. Later, near West Lake in Hangzhou, I saw two other charts, but they were not perfect, so I did not transmit them. In 1641, while staying in Zhangnan, I often thought there were still imperfections in the chart printed at Wumen. So I revised it again, this time using six dice. Only then could one realm produce ten realms, and a single throw fully display the states of rising and falling. In 1643, I had it carved in Zuili. However, with six dice, six characters scatter messily, requiring careful calculation and clear rules to move. Those of coarse mind and restless nature often found it burdensome. In the winter of 1651, I returned to reclusion at Lingfeng. I deeply reflected on the benefits of this chart. It allows people, even while playing a game, to suddenly become aware of the exhausting suffering of cycling through the Six Paths and the distinctions among the Three Vehicles' essential practices. It urges them to recite the Buddha's name earnestly to escape the wheel of suffering—truly a wonderful and inconceivable device. But Master Wujin's chart was too simple, and my two earlier versions were too complex. Tossing and turning, I could not sleep all night. Then I thought: if I use only two dice, it would be easier to play while still allowing many variations. So I created another chart by hand. Both monks and laypeople declared it perfectly complete and supremely excellent. They said to me, "This chart truly enables people to completely understand all the Buddhadharma. We ask you to write a manual explaining it, so that the simpleminded may thereby comprehend the principles of worldly and transcendental paths. Even the wise should not dare to add or remove anything from it." I agreed with their words and have written the manual as follows.