[Abstract] The Dunhuang Grottoes are an important window for observing the interaction between the northern and southern esoteric dharma. The main statue on the front wall of Yulin Cave 25 in the Mid-Tang Dynasty represents the rituals of "Vairochana Buddha", which is the seal collection and the Buddha's top statue in the southern tradition. The "Statue of Vairocana Bodhisattva" on the main wall of this cave originated from "Yoga Dharma Ritual on the Buddha's Top" written by Shan Wuwei in the prosperous Tang Dynasty. It was simplified by Bu Kong in "The Dharani Chanting Ritual on the Buddha's Top" and became a typical example of the series of "Buddha's Top" statues in the Dunhuang Grottoes.
The Dunhuang Grottoes are at the center of Northern Buddhism . In addition to containing the Northern Tantric Buddhism, which is mainly based on Huayan thought, it is also the conduit for the Southern Tantric Buddhism to enter China. The Dunhuang Grottoes retain the early sculpture data of the Central and Indian Tantric Buddhism, and the intersection and interaction between the Southern and Northern Tantric Buddhism are a major feature of the Dunhuang Grottoes.
Although the intersection of southern and northern secret dharma began in Mogao Grottoes 148 and other caves, the correspondence between the two statue systems first appeared in Cave 25 of Yulin in Anxi during the Middle Tang Dynasty. The main deity of the Southern Tantric Dharma is "Great Sun Tathagata", while the main deity of the Northern Tantric Dharma is "Lushena Buddha" of the Avatamsaka. The main deity of Cave 25 in Yulin combines the two into one, with a Chinese seal. The "Great Sun Tathagata" in the shape of the Bodhisattva of the Tibetan Realm serves as the ritual of the main deity of this cave, but it is named after the main deity of the Avatamsaka Sutra "Pure Dharmakaya Lushena Buddha", which opened the beginning of the interaction between the two series of esoteric statues. Later, the interaction between the two systems was driven by the idea of Dunhuang Grottoes statues, and it developed in the direction of the Huayan main statue in the north holding the images of the Chinese seal and the gold world. It can be said to be an extension of the idea of Yulin Cave 25.
1. The statue structure on the four walls of Yulin Cave 25 in the Mid-Tang Dynasty
Yulin Cave 25 is divided into front and back rooms. The kings on both sides of the door on the east wall of the front room were original paintings when the cave was opened. On the north side of the door are the kings of Bishamon, holding a tower in his left hand and holding a halberd in his right hand. On the south side of the door is the Southern Growth King, holding a sword in his right hand, both of which are in the shape of the Northern Legend. The Four Heavenly Kings guard the four sides of the grotto, and they have the meaning of "enchantment" to the mandala in the main room. All ghosts and gods are not allowed to invade.
The ground of the main chamber is nearly square, with a square altar in the center. The Buddha statue on the altar is a clear sculpture. There was no statue on the altar when the cave was opened. The statue was temporarily installed as the rituals in the cave were going on, and then removed after the ceremony.
In conjunction with the rituals on the altar, there are painted statues on the four walls and inside the cave. Although the top of the cave is partially peeled off, it can be seen that the four drapes on the top of the dome are separated by boundaries, and each drape is neatly painted with a small seated Buddha statue. This is the expression of the " four-way Buddha " on the top of the Dunhuang Grottoes since the Sui Dynasty. Structurally, it is one of the multiple inclusions of the main statue of the "Huayan" in the grotto.
The two sides of the front wall door are " Manjusri change" and " Samantabhadra change". The two Bodhisattvas Manjusri and Samantabhadra and the Dharmakaya Lushena Buddha on the main wall form the so-called "Three Huayan Saints" and become the second "Huayan" structure of this cave.
The south and north walls of this cave are respectively the "Sixteen Views Sutra" and the "Maitreya Sutra". The content of the "Contemplation Sutra Change" is the traditional Western Pure Land Sutra Change, while the "Maitreya Sutra Change" has several noteworthy connotations: First, the two lower parts of the entire statue represent the second and third meetings of Maitreya, and the scene of ordaining people to become monks completely presents the scene of the ordination of in the Tang Dynasty. The two Maitreya Buddha sit on the high seat as the "monk who has obtained the precepts" (Picture 1, see cover two, the same below), (Note: "Chinese Grottoes Yulin Grottoes in Anxi" [Z], Tokyo: Pingfansha, 1990, Figure 18.) On one side of the monk who has obtained the precepts sit four senior monks wearing cassocks and sitting at the desk, which are the "monks with the honor certificate". The layout of the ordination altar with four venerable monks on each side is the same as the structure of the ordination altar with four small niches on each side in Cave 285 of the Western Wei Dynasty in Dunhuang. In front of the monk's desk, there are the ordination rings. From the lay people in secular clothes to the novices wearing sea blue, their beards are shaved under the guidance of the ceremonial master, and then they put on cassocks and receive the ordination under the witness of the ten masters. The cassocks and purification bottles for offerings are placed on the tables on both sides of the monk who has received the precepts.
In the upper left corner of the statue, there is Maitreya Buddha. After the Dharma Assembly, he led everyone to Qiyuanjue Mountain to see Sakyamuni's disciples Kassapa who were waiting to enter samadhi. Kassapa came out of samadhi and handed Maitreya a cassock that represents the inheritance of thousands of Buddhas. Tan Yao Five Cave The main source of the " Thousand Buddha Clothes " worn by the main deity in Cave 18 is here.
The two pure lands on the north and south walls, one represents the Western Pure Land representing the "Ten Directions", and the other represents the Maitreya Pure Land representing the "Three Worlds". The "Ten Directions" and "Three Worlds" form the third level of the "Huayan" structure of this cave.
Under the three-level Huayan structure of the Northern Tradition, there is a pavement of the main statues of the Chinese and Indian Tantric Dharma and the eight Bodhisattva statues on both sides on the main wall of the cave, which reveals the many features of the statues in this cave.
2. The statues of "Buddha Dharani Chanting Ritual" by Bu Kong in the prosperous Tang Dynasty and its introduction into the main wall and mandala of Yulin Cave 25
In addition to the main statue on the main wall of Yulin Cave 25, there are four seated Bodhisattvas on both sides of the main statue, forming an arrangement of two above and two below. Although the four Bodhisattvas on the right were destroyed, there is still a corner of the Bodhisattva's body in a symmetrical position, so we can know that there are also four Bodhisattvas on the right.
Although only four of the eight Bodhisattvas on both sides of the main statue remain (Figure 3), (Note: Same as above, Figure 37.), it can still be seen that their shapes are in the form of Indian Tantric Buddhism. The four existing Bodhisattvas all have titles: the outer side of the upper row wears a crown, holds beads in his right hand, and places his left hand under the navel, sitting half-lotus, which is " Ksitigarbha Bodhisattva "; the inner side of the upper row, wearing a crown, holding a sword in his right hand, making the fearless seal with his left hand, sitting half-lotus, is " Ksitigarbha Bodhisattva "; the outer side of the lower row, with his head Wearing a crown, holding a lotus in the left hand, making a wishing seal with the right hand, sitting half-lotus, this is " Manjushri Bodhisattva"; on the inside of the lower row, there is a title of wearing a crown, with a stupa in the crown, holding a military holding in the left hand, making a wishing seal with the right hand, sitting half-lotus, this is " Maitreya Bodhisattva".
Since the Eight Bodhisattvas in Cave 25 are incomplete, it may not be correct to compare their classic sources on this basis. In Cave 20 of the same Yulin Cave , the two mandalas on the front wall, when viewed together, not only contain the four Bodhisattvas and identical holding objects in Cave 25, but also the complete names of the eight Bodhisattvas and their rituals: Mi Le Bodhisattva, Ksitigarbha Bodhisattva, Vajrapani Bodhisattva , Karma Remover Bodhisattva, Kongzang Bodhisattva, Guanyin Bodhisattva , Samantabhadra Bodhisattva , Manjushri Bodhisattva . Comparing the complete names of the Eight Bodhisattvas, we know that they come from the "Eight Bodhisattva Mandala Sutra" translated by Fu Kong. However, if we carefully compare the shapes and objects of each Bodhisattva, the four Bodhisattvas in Cave 25 in Yulin are completely consistent with those in Cave 20 in Yulin, but they are not consistent with those in the "Eight Bodhisattva Mandala Sutra". For example, on the inner side of the upper row of cave 25, the person holding a sword in his right hand, making the fearless seal with his left hand, and sitting half-lotus is titled "Kongkongzang Bodhisattva", but the "Eight Bodhisattva Mandala Sutra" is "Samantabhadra Bodhisattva".
So I know that although the statues of the "Eight Bodhisattvas" in Yulin Grottoes come from the same series, they have other origins. However, looking at the entire statue on the main wall of Cave 25, it cannot be based on the "Eight Bodhisattva Mandala Sutra" by Bu Kong. In this sutra, " Vairocana Buddha " has not appeared as the main deity of the "Eight Bodhisattvas". In 1999, Taiwanese Buddhist scholar Lai Wenying pointed out in the article "Yulin Grottoes in Anxi, Tang Dynasty" that the "Reciting Ritual of Dharani on the Buddha's Top" spread by Fu Kong has a complete structure of "Vairochana Buddha" and "Eight Bodhisattvas":
They are divided into nine positions by ropes, and the white altar on the stone is painted with nine positions. Among the nine seats, there is the seat of Vairocana Buddha in the center and the seat of Avalokitesvara Bodhisattva on the right. After meditating on freedom, Ancishi Bodhisattva is seated. Behind the Vairoche figure, there is the seat of the Bodhisattva Kongzang. To the left of this Bodhisattva is the seat of Samantabhadra. To the left of Vairocana Buddha's seat is the Vajrapani Bodhisattva's seat. Under the seat of Vajrapani Bodhisattva, there is the seat of Manjushri Bodhisattva. In front of Vairochana Buddha, the Bodhisattva Remover of Obstacles is installed. To the right of the Obstruction-Removing Bodhisattva position is the Ksitigarbha Bodhisattva position, which is called the Nine Positions.
Comparing the two, it can be seen that the names of the eight Bodhisattvas of the two are consistent, but the "Eight Great Bodhisattva Mandala Sutra" was preached by the Buddha in the palace of the Holy Avalokitesvara Bodhisattva on Mount Luojia, while the "Recitation Ritual of the Supreme Dharani on the Top of the Buddha" was written by Bu Kong.
Bu Kong wrote this ritual and named it "Foding Zunsheng". It can be seen that it comes from the "Foding Zunsheng" series. According to the investigation, Bu Kong wrote the "Yoga Dharma Ritual on the Top of the Buddha" (note: Volume 19 of "Taisho Tibet", pp. 376-383) written by Shan Wuwei. This ritual is more complicated than that of Bu Kong, but Bu Kong retained its main Buddha Vairochana and combined it with the "Eight Bodhisattvas" in the second courtyard to form another ritual, so it was named "Fo Ding Zun Sheng". The method of contemplation also involves contemplating the full moon first, and then contemplating the Bodhisattvas and Vairocana Buddha, which is the same as the connotation of "The Essentials of the Zen of the Fearless Tripitaka".
The Tianwang Hall of the Mid-Tang Dynasty was built based on Shan Wuwei's "Guiyi" (Note: refer to my article "The "Buddha's Summit" Mandala in the Tianwang Hall of Mogao Grottoes in the Mid-Tang Dynasty".), while Yulin Although the main wall of Cave 25 adopts the " Ritual " which is not empty, the relative positions of the eight Bodhisattvas and the main Buddha Lushena are not based on the "Ritual". Instead, the statue structure on the altar of the Heavenly King Hall is used, dividing the eight Bodhisattvas into two rows, one on each side of the main statue. However, the structure of the main wall and the mandala follows what is shown in Fu Kong's "Rituals", and is slightly different from the structure of the mandala of the Tianwang Hall: in a leisure place in the mountains or in a pure room, draw an image of the deity Sheng Dharani, place it on the east wall, and recite it in front of it. The place where he chanted was dug into the ground one and a half cubits deep (for the altar). (Note: Volume 19 of "Daisho Zang", page 364.) "The image of the Lord Shengdharani " is the Bodhisattva-shaped image of Vairochana located in the womb treasure zone on the east wall of Cave 25. Cave 25 is not like the U-shaped mandala of the Tenwang Hall, but has a rectangular mandala in front of the main wall.
Dunhuang Grottoes have had the form of a central mandala since Cave 305 in the Sui Dynasty. However, there are significant differences in the content and function of the statues between this central mandala and the mandala of Tantric Buddhism. After the central mandala of Xianjiao was formed, the main statue on the front wall was moved to the mandala and became the center of the whole cave statues and their corresponding relationships. The original statues on the front wall degenerated and had the same function as the side walls. The entire grotto circulation line in the central mandala became a space for teaching, repentance and practice. In later generations, the Buddhist altars and statues in the main hall of the temple still maintained the same shape and function. Tantric mandalas are different. The main wall is a fixed statue of the main deity and his mandala. There is generally no fixed statue on the central altar, but a specific main deity and the mandala formed by it are placed according to the needs of the Dharma. For example, "The Buddha's Supreme Dharani Reciting Ritual Method":
The husband recited the Dharani method before Samadhi Yaman Chaluo to see the saints, receive empowerment, know the deity, and receive Samaya from his teacher. That is, in a quiet place in the mountains or in a clean room, draw an image of the deity Sheng Dharani and place it on the east wall, facing those who recite it. The place where he recited was dug into the ground one and a half cubits deep,... filled with erect order,... divided into nine positions with ropes, and... among the nine positions, a seat of Vairocana Buddha was placed in the center... (Note: Same as above.)
"The painting of the image of the Lord Shengdharani" is the image of Vairocana Buddha on the east wall. This is a fixed image. It is also like being placed on a vertical wall, "the reciter should face it" to facilitate visualization. When "digging the ground at the chanting place", taking out the impure objects and then filling it up, an altar is set up, and images and offerings are placed on the altar according to the objects of practice to complete the entire ritual. After the ritual is over, the statue on the altar is removed immediately. Therefore, the statues on the secret altar are temporary decorations, focusing on rituals such as cultivating secret methods to gain benefits, ward off disasters, subjugate, and hook.
3. The statues of the "Buddha's Crown" system are shaped into "One Buddha and Eight Bodhisattvas"
From the above discussion, it can be seen that the "Buddha's Crown" system of tantric rituals has experienced a major change since it was introduced into China by Shan Wuwei. The most important change was that Bu Kong simplified the original huge three-court structure of Shanwuwei into the structure of "one Buddha and eight bodhisattvas" in his "Buddha Dharani Chanting Ritual". He took the "Vairocana Buddha" in the first court and combined it with the "eight bodhisattvas" in the second court.
The author believes that this change occurred in Central India and spread to China from time to time. The British Museum has a statue of Lushena and the Eight Bodhisattvas unearthed in Dunhuang from the Mid-Tang Tubo period with Tibetan inscriptions (Note: "Western Region Art" I, Tokyo: Kodansha Co., Ltd., 1982, Figure 17.). It is believed to be a work originating from Central India. It was copied in Tibet and introduced to the Dunhuang area under the pseudo-Tibetan hand.
In addition, the National Museum in New Delhi, India, still retains a 10th-century "One Buddha and Eight Bodhisattvas" statue unearthed in the Bihar area of Central India (Figure 5) (Note: "The Way of Master Tripitaka", Tokyo: Asahi Shimbun, 1999, Figure 96.). The nine statues are arranged in a horizontal row, with the main Buddha statue in the center and four Bodhisattvas on each side. The arrangement is similar to the mandala of the Tianwang Hall in Mogao Grottoes and the main wall of Yulin Cave 25. The main figure does not wear a crown, has the conch hair of the Buddha, is wearing a cassock over his right shoulder, and has no ornaments. His right hand is in the mudra of touching the ground, and he is sitting in the lotus position. It is the shape of the Sino-Indian Buddha who achieved enlightenment under the bodhi tree, not the shape of the great sun in the womb realm or the vajra realm. There is no description of the shape of the main statue in the sutra " Buddha's Crowned Dharani Sutra ". In the formation of Sino-Indian rituals, it may have been influenced by the statue of the Buddha who achieved enlightenment under a tree.
No special shape can be discerned in the crown of the Eight Bodhisattvas. There may or may not be something in the hands. The only thing that can be identified is the leftmost one holding a sword. According to the "Eight Great Bodhisattva Dharani Sutra", it is read as "Samantabhadra Bodhisattva".
After the establishment of the structure of "Buddha's Dingsheng" and "One Buddha and Eight Bodhisattvas" in Yulin Cave 25, it had a long-term influence on later generations of Dunhuang Tantric statues. The Tang Dynasty woodcut folding Buddhist niche with an unknown location is also the structure of Vairocana and Eight Bodhisattvas (Note: Tokyo National Museum htm Compiled by l2: "The Great Art Exhibition", Yomiuri Shimbun, 1996, Figure 225), even the 14th cave of Mogao Grottoes in the late Tang Dynasty, the main wall of Five Dynasties Yulin Grottoes 20 and the East Thousand Buddha Cave Cave 7 are all the same structure. It can be said that the Dunhuang Grottoes have become a major system that is the third of the two realms of the Tibetan Realm and the Diamond Realm.
4. The first appearance of the statue of "Great Sun Tathagata" in the world of Sino-Indian esoteric Buddhism
The main statue on the front wall of Yulin Cave 25 is in Bu Kong's "Buddha" It appears based on the "Vairocana Buddha" in "The Dharani Chanting Ritual". Its shape is a solemn seated Bodhisattva, wearing a crown, high hair, shoulder-length hair, necklace, arm bracelets, draped in heavenly clothes, with hands in the mudra, sitting in lotus position on the three lion thrones (Figure 4). (Note: If the three sides of the lion are counted, there are seven lion seats, which is consistent with the ritual of the Great Sun Tathagata "sitting in lotus position on the seven lion seats" in Shanwuwei's "Yoga Dharma Rituals on the Top of the Supreme Buddha", Taisho Tibetan Volume 19, page 376. The attached picture is quoted from "Chinese Grottoes" Anxi Yulin Grottoes" [Z] Figure 37.) Based on the shape, this is derived from the ritual of the "Great Sun Tathagata" in the Chinese and Indian "Mainiksutra ".
"Maha Vairochana's Divine Transformation and Blessing Sutra" Volume 7 "Ritual Offerings No. 3" Description of the shape of the Great Sun Tathagata with a womb: "Sitting on a cross On the lotus, he is being freed from all kinds of poisons. He is wearing a silk robe and his hair is naturally tied up with a crown. "(Note: Volume 18 of "Daisho Zang", page 48.) "Wearing a silk robe" means wearing heavenly clothes, and "naturally having a hair bun and a crown" means wearing a high bun and wearing a crown. Therefore, it is known that the Bodhisattva is shaped on the great day of the womb.
Therefore, the question that should be raised when studying Yulin Cave 25 is why the shape of "Vairochana Buddha" in the "Foding Zunsheng" series was adopted in the shape of "Great Sun Tathagata" in the womb treasure realm when it appeared in China?
The time and space background and dharma lineage involved in this question must be penetrated by Shan Wuwei, one of the "Three Great Masters of Kaiyuan". Although the "Foding Zunsheng" series of classics was first translated by Buddha Boli, there are sutra-transformed statues in Cave 217, 23, and 31 of Mogao Grottoes in the flourishing Tang Dynasty. However, the specific rituals of this tantric system were first seen in the "Yoga Dharma Rituals on the Top of the Supreme Buddha", which was spread by Shan Wuwei. It was originally a huge structure of three courtyards, and there were statues in the Tianwang Hall of Mogao Grottoes in the middle Tang Dynasty. On the top of the Tenwang Hall, there are divisions between "Vairocana Buddha" and " Five Directions Buddha ". The shape of Vairochana Buddha is located in the center of the roof. It is a Bodhisattva with a high crown, a long hair and a shawl, and a lotus seat. However, due to its age, the handprints are unclear.The ritual is based on "Vairocana Tathagata, wearing five Buddha crowns , and various The light of precious flowers is sitting in lotus position on the seven lion seats, with the hands forming the seal of the Dharma Realm." (Note: "Taisho Tibet", Volume 19, page 376.) It is the same as the statue of the Bodhisattva mentioned in the "Great Sun Tathagata" ritual mentioned in the Mahavairocana Sutra.
Shan Wuwei's "Zunsheng" ritual was later simplified by Fu Kong. It was reduced to three courtyards, but the "Eight Bodhisattvas" at the west gate of the second courtyard were taken to form the "Buddha Summit Zunsheng Dharani Chanting Ritual". There is a statue on the main wall of Yulin Cave 25, and its main statue is determined to be the "Great Sun Tathagata" in the shape of the Bodhisattva from the "Mahayinika Sutra".
The Mahavairocana and the rituals of the Womb Realm were also spread by Shan Wuwei in China. There is a line of Dharma lineage spread in China. If it is not empty, it has the inheritance of both metal and fetal realms. Therefore, the statue of the "Great Sun Tathagata" on the front wall of Cave 25 in Yulin can be said to be the earliest known example of the "Great Sun Tathagata" ritual in the "Great Sun Sutra" transmitted by Shan Wuwei being preserved in China.
Therefore, from the comparison between the Tianwang Hall of Mogao Grottoes and Yulin Cave 25 in the Middle Tang Dynasty, it can be seen that in the inheritance of early Chinese Tantric Dharma, the "Buddha's Summit" series and the "Womb Treasure" series are consistent in the shape of the main statue of Vairocana.
5. The main statue on the front wall of Cave 25 is a combination of Huayan "Rushena Buddha" and "Buddha Ding Sheng" "Vairochana Buddha"
The inscription on the main wall of Yulin Cave 25 is still well preserved: □Pure Dharmakaya Lushena Buddha, which can be interpreted as "Pure Dharmakaya Lushena Buddha". The title of "Lushena Buddha" for the highest state of "pure Dharmakaya" comes from the Jin translation of the Avatamsaka Sutra, which is different from the title of "Vairocana Buddha" in the Tang translation of the Avatamsaka Sutra, the Mahavama Sutra, and the Vajra Crown Sutra.
Another question in the study of Yulin Cave 25 is why the name of the main deity created according to the ritual of "Buddha's Ding Zun Sheng" in the tantric method adopts the title of the main deity in the Sutra of Sutra. The answer to this question involves the interaction of northern and southern Buddhism in the Dunhuang Grottoes. Dunhuang, which has always been the domain of Northern Buddhism, introduced the Sino-Indian esoteric Buddhist statues of the Dharani Sutra on the Top of the Buddha from Cave 217 in the Tang Dynasty. (Note: Reiko Shimono: "New Interpretation of Sutras on the South Wall of Cave 217, Dunhuang Mogao Grottoes", Art History No. 157.) After further introducing its rituals in the Tianwang Hall of the Mid-Tang Dynasty, traditional Buddhism in Dunhuang began to respond.
The response is divided into two aspects. In terms of thought, traditional Buddhism re-proposed the "Diamond Sutra Change" translated by Luo Shi 400 years ago as the representative of the Kongzong, in order to target the Sino-Indian sutra changes. In the late Tang Dynasty, Cave 31 was launched at the same time as the "Foding Zunsheng Dharani Sutra Change". In terms of specific rituals, based on the experience of establishing the "Huayan Tantra" in Luoyang in the early Tang Dynasty, the realm of "Losena Buddha", the main deity in the "Huayan Sutra", corresponds to the "Vairocana Buddha" of the "Buddha Summit" series, and even the "Great Sun Tathagata" of the "Mahayinari Sutra" series.
From the four walls of Yulin Cave 25, the "Pure Land of Maitreya of the Three Worlds", the "Pure Land of Amitabha in Ten Directions" and the multiple ornate structures of Manjusri and Samantabhadra on both sides of the east wall gate, it can be seen that in addition to the tantric rituals on the front wall, Cave 25 also uses the Lusena structure of the entire cave to define the connotation of the main deity.
The statue of the main statue on the front wall of Cave 25 in Yulin not only shows the combination of Huayan "Lushena Buddha" and Tantric "Vairochana Buddha", but also reveals the entry point of Northern Buddhism into Southern Buddhism, triggering a series of interactions between Dunhuang Buddhism and Esoteric Buddhism.
Finally, due to the explanation of the main deity on the main wall, it also incidentally explains the appearance of the "Medicine Buddha" holding a medicine bowl and a staff on the side of the main deity on the main wall. This cave is based on the Huayan thought of the exoteric Buddhism to enter into the "Great Sun Tathagata" of the Tantric Buddhism. However, the shape of the main statue of the Cave is the shape of the Great Sun hidden in the womb of the Tantric Buddhism. Only the title of Huayan "Lushena" is retained in the name. Therefore, like Cave 14 of the Mogao Grottoes, an additional "Lushena" seated Buddha of the Exoteric Buddhism is built on the main wall. It is not suitable when the main deity of Cave 25 already exists. Therefore, a statue of a pharmacist standing upright with sutra teachings was built next to the main statue of Tantric Dharma to serve as a balance between Sutra and Tantra.
The role of this Medicine Buddha became clearer when the statue on the front wall of Cave 25 was later extended to the statue on the front wall of Cave 20 in Yulin during the Five Dynasties. The sutra and eight bodhisattvas on the main wall of the former, together with the other eight bodhisattvas of the tantric religion, were split into two independent pavilions of "one Buddha and eight bodhisattvas" mandala. One pavilion has the "Pure Dharmakaya Vairochana Buddha" of Huayan as the main deity, and the other pavement has the tantric "Great Sun Tathagata" as the main deity. Each has a clear title. The standing Pharmacist Buddha in Cave 25 was transformed into a "Pharmacist Sutra" in the center of the main wall of Cave 20 to capture the sutra mandalas on both sides.
6. Examples of using Huayan thoughts to perform secret mantras and rituals in Dunhuang
In addition to the content and thoughts of the statues, documents unearthed in Dunhuang can also explain how to use Huayan thoughts to perform secret mantras and rituals in a cave with a similar structure to Yulin Cave 25. S.3427 "Essence at the Altar, Dedicating Eating and Dedicating Vows" (Note: For the text, see "Dunhuang Buddhism. Buddhist Affairs Chapter" [Z] compiled by Wang Shuqing, Lanzhou: Gansu Ethnic Publishing House, 1995, pp. 39-40.):
On a certain day of a certain month of this year, disciple A sincerely prays to the Pure Dharmakaya Vairocana Buddha, to the Perfect Sambhogakaya Lusena Buddha, and to the tens of billions of incarnations of the Buddha Sakyamuni Buddha. Invite the Twelve Vow Medicine Masters in the East, the Glazed Light Buddha, in the West the Amitabha Buddha in the Land of Ultimate Bliss, invite the Joyful Hidden Mani Treasure Buddha, invite the Maitreya Buddha who will be reborn in the future, and invite the Tathagata Buddha in the Sea of Auspicious Merit and the Tathagata of the Glazed Golden Mountain Treasure. Invite the great sage Manjushri Bodhisattva, the great sage Samantabhadra Bodhisattva, the great compassionate Wish-fulfilling Wheel Bodhisattva, the great compassionate Avalokitesvara Bodhisattva, the great compassionate Mahasthamaprapta Bodhisattva , the great compassionate Ksitigarbha Bodhisattva. He also invites all the Buddhas of the ten directions and three times in the past, present and future... He also invites the King of Titou Laizha in the East... He also invites the King of Pilulucha in the South... He also invites Shiti Huanyin from above... He also invites the God of Solid Earth from below... He also invites the Good God of the World Protector, the Great General of Sanzhi, and the Protector. The God Jialan, the Vajra Secret Collection, the Twelve Yakshas, the Eight Dragon Kings from all over the world, and the gods in charge of the land... came to the dojo... They set up an altar somewhere, lit lamps, recited mantras, turned scriptures, gave up their wealth, and took meals for three mornings and three nights... The mantra master raised his own hand seals, issued the curse again and again, and blessed the mantras, and then exited.
The above quotation is an example of how secret mantras are performed in the Dunhuang Mitan Grottoes. It is particularly suitable to explain Yulin Cave 25. From the analysis below, it can be seen that the statues on the two sides of the cave do not have the phenomenon of facing each other in the late Tang Dynasty, so the date should be slightly earlier than the late Tang Dynasty. The content of the statues, the overall cave thoughts and the tantric rituals are divided into the third aspect to explain the consistency between the quotation and the 25 caves.
First of all, this "Vow" welcomes the three bodies of the Huayan Lord Vairochana, Lusena, Sakyamuni "Dharma Retribution Transformation". This is the main statue on the main wall of Cave 25. Then invite Medicine Master Tathagata . This Buddha statue is located on both sides of the main statue on the main wall. The "Happy to hide the Buddha with Mani Treasures" in Mogao Grottoes can only be found on the north wall of Cave 148 in the Tang Dynasty (Note: For the inscription of "Happily to hide the Buddha with Mani Treasures" Chief editor: "The Complete Works of Dunhuang Grottoes" [Z] 10 Esoteric Picture Scrolls, Hong Kong: Commercial Press , 2003, Figure 25 and description. Also refer to my article "The Organization of Early Sino-Indian Tantric Statues in Cave 148 of Mogao Grottoes in the Tang Dynasty"), and then invite the Western Amitabha and the current Maitreya Buddha. These two statues are the main deities of the Western Pure Land and Maitreya Pure Land on the two sides of Cave 25. Then the two great sages Manjusri and Samantabhadra were invited, located on both sides of the gate of Cave 25.
The last three of the four Bodhisattvas, namely, the Wishful Wheel, Avalokitesvara, Mahasthamaprapta and Ksitigarbha, are just inside the "Eight Great Bodhisattvas" on both sides of the main statue of the pure Dharmakaya Lushena Buddha on the main wall. Then he invites the Buddhas of the "Ten Directions and Three Times", among which " Buddha of the Ten Directions " is located on the four drapes separated by boundaries on the top of the cave. Then the King of the East and the King of the South are invited, and there are the King of the North and the King of the South on both sides of the east wall of the front room of Cave 25. Although not all of the gods of heaven and earth, Dharma protectors, dragon kings, Vajras, etc. that were then invited are seen in the statues in Cave 25, these gods, together with the aforementioned Buddhas and Bodhisattvas of Avatamsaka, form a sea of people in the Avatamsaka Sutra, which shows that this "Vow" is based on the thought of Avatamsaka as its background. The next two paragraphs of the quotation explain how the secret mantra ritual is performed in such a secret cave, which is divided into two parts: the sequence of the overall ritual and the actions of the presiding mantra master.The content and sequence of the ritual are "making an altar, lighting lamps, chanting incantations, turning prayers, giving away wealth and taking food". The entire ceremony is carried out around the large square altar in front of the main wall. The incantation master in charge sits in front of the altar, and the person who makes the vow is listed behind the incantation master. As the ceremony progresses, the mantra master may perform "self-imposed mudra", "repeated attacks" or "blessing with mantra seals" for a total of three days and three nights.
7. Conclusion
The main statue on the main wall of Cave 25 in Yulin in the Tang Dynasty represents the Southern Chuanzhong The seal chamber and the statue on the top of the Buddha are related to the rituals of "Vairochana Buddha", while its title "Pure Dharmakaya Vairocana Buddha" and the statues on the four walls of this cave represent the main deity of Huayan Tantric Dharma in the North. The corresponding relationship between the two in this cave opened the interaction between the southern and northern tantric dharma.
The "Statue of Vairocana Bodhisattva" on the main wall of the cave originated from the "Yoga Dharma Orbit of the Buddha on the Top of the Buddha" written by Shan Wuwei in the prosperous Tang Dynasty, and was simplified by Bu Kong in the "Dharani Chanting Ritual of the Buddha on the Top of the Buddha". It became a typical example of the "Buddha on the Top" series of statues in the Dunhuang Grottoes, and has a common shape with the Great Sun Lord of the womb.
From: "Chinese Tibetology" Issue 4, 2007
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-