---
title: "靈峰蕅益大師宗論 · 唐氏女繡金剛經跋"
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/cmgn46ma50oy1k1045irdmnxu"
---

### 唐氏女繡金剛經跋

> Preface to Tang's Daughter's Embroidered Diamond Sutra

世之繡花鳥者，曰綾與線也，手也、心也。以美綾、細線、靈心、妙手而繡花鳥，則花鳥矣。轉而繡般若，則般若矣。謂般若與花鳥異，綾線心手果且有異乎哉？謂花鳥與般若同，昇沈苦樂果且有同乎哉？以美綾細線繡花鳥，猶云法身流轉，名眾生也；即以此繡般若，猶云苦即法身，為實相般若也。以靈心繡花鳥，猶云菩提即煩惱也；即以此繡般若，猶云煩惱即菩提，為觀照般若也。以妙手繡花鳥，猶云涅槃即生死也；即以此繡般若，猶云結業即解脫，為文字般若也。夫三般若只在一轉關閒，而綾線不轉、心不轉、手不轉，謂轉三障為三德可，謂即三障是三德可。六祖所云「但轉其名，無實性也。」使無綾線、無心手，不可繡般若，亦豈可繡花鳥？謂花鳥非美綾細線靈心妙手所成，吾不信也。知此，則蛣蜣六即，思過半矣。唐善女，所見金甲神，即自心所具執金剛神，乃徹悟此心、三般若無二體，而以同體大悲願力，護此文字般若，令法界眾生，因斯起觀照，而證實相者也。覽者信唐女之感應，便可信自心感應。信自心感應，便可信感應即非感應，非感應則無所不感，無所不應。是謂應無所住而生其心，是謂感應道交難思議，是究竟般若，是究竟花鳥。

> Those who embroider flowers and birds have silk and thread, hands and mind. With beautiful silk, fine thread, a clear mind, and skillful hands, they embroider flowers and birds, and so flowers and birds appear. Shift to embroidering Prajna (transcendental wisdom), and Prajna appears. If we say Prajna and flowers and birds are different, are the silk, thread, mind, and hands truly different? If we say flowers and birds and Prajna are the same, are rising and sinking, suffering and joy truly the same? Embroidering flowers and birds with beautiful silk and fine thread is like saying the Dharma-body flows and transforms, which is called sentient beings. Using the same to embroider Prajna is like saying suffering is itself the Dharma-body, which is the Reality-mark Prajna (intrinsic wisdom of true reality). Embroidering flowers and birds with a clear mind is like saying Bodhi (awakening) is affliction. Using the same to embroider Prajna is like saying affliction is Bodhi, which is Contemplative Prajna (wisdom of meditative observation). Embroidering flowers and birds with skillful hands is like saying Nirvana is birth-and-death. Using the same to embroider Prajna is like saying karmic bondage is liberation, which is Textual Prajna (wisdom conveyed through words). Thus, the three kinds of Prajna (Textual, Contemplative, and Reality-mark) are merely a turning point. The silk and thread do not turn, the mind does not turn, the hands do not turn. So we can call it turning the three obstacles into the three virtues, or call the three obstacles themselves the three virtues. As the Sixth Patriarch said, "It is merely a change in name, with no change in essence." Without silk and thread, without mind and hands, one cannot embroider Prajna, nor can one embroider flowers and birds. To claim that flowers and birds are not produced by beautiful silk, fine thread, a clear mind, and skillful hands—I do not believe it. Understanding this, one grasps more than half of the principle of "Six Identities" (the teaching on the stages of enlightenment) as illustrated by the dung beetle. The virtuous woman of the Tang Dynasty saw a golden-armored deity: this is the Vajra-wielding deity inherent in her own mind. She thoroughly awakened to the mind in which the three kinds of Prajna are one undivided essence. Through the compassionate vow of this same essence, she protected this Textual Prajna, so that all beings in the Dharma-realm, based on it, might awaken Contemplative Prajna and realize Reality-mark Prajna. Readers who believe in the virtuous woman's response of faith can thus believe in their own mind's response. Believing in their own mind's response, they can believe that response is itself no-response. No-response means no thing is not responded to. This is called "responding while abiding nowhere, yet giving rise to the mind." This is called "the mysterious interpenetration of the response and the supplicant." This is the ultimate Prajna, the ultimate flower and bird.