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203 The Creation Legend of the True-Presence Icon of Bodhisattva Mañjuśrī at Huayan Monastery This appendix includes the Chinese texts and my translations of all three extant versions of the creation legend of the icon of Mañjuśrī riding a lion, the most important iconic representation of the bodhisattva in the medieval history of Mount Wutai. The terms “true presence” (zhenrong) and “true body” (zhenshen), and closely related terms, are underlined in both the original text and translation. 1. Ennin, Nittō guhō junrei gyōki 入唐求法巡禮行記, ca. 847–858 初造此菩薩時，作了便裂，六遍捏作，六遍頹裂。其博士惆悵而云：「吾此一才， 天下共知，而皆許孤秀矣，一生來捏作佛像，不曾見裂損之。今時作此像， 齋戒至心，盡自共巧之妙，欲使天下人瞻禮，特為發心之境。今既六遍造， 六遍皆催裂，的應不稱大聖之心。若實然者，伏願大聖文殊菩薩為我親現真容， 親睹金顏，即仿而造」。才發願了，開眼見文殊菩薩騎金色獅子，現其人前。 良久，乘五色雲騰空飛去。博士得見真容，歡喜悲泣，方知先前所造不是也。 便改本樣，長短大小容貌仿取所現之像，第七遍捏作此像，更不損裂。每事易為， 所要者皆應矣。其人造此像了，安置此殿，露光，眼中注汨。乃云；大奇！ 曾來未曾見者，今得見也。願劫劫生生常為文殊師利弟子，言竟身亡。向後， 此像時時放光，頻現靈瑞。 When the [statue] of the bodhisattva was made, it cracked every time before it was completed. It was molded six times, and the statue cracked badly six times. The artisan was frustrated and said, “My skill is well known throughout the land and everyone praises my unmatchable talent. I have made Buddhist statues all my life and they have never cracked. Today in order to make this statue, [I] performed ritual abstinence with the most sincere mind and exhausted the wonder of my art, so everyone in the land could venerate it, aspiring to the most earnest mind for enlightenment . Now I have attempted to make it six times and yet it cracked six times, and so it must have not pleased the Great Sage. If that were truly the case, I would humbly plead to the Great Sage Mañjuśrī to manifest his true presence for me. [If I could] see the golden face, [I would] sculpt it by copying [the appearance].” As soon as the vow was said, he saw Bodhisattva Mañjuśrī riding a golden lion manifesting before him. Not for a while did [the bodhisattva] fly away into the sky. Seeing the true presence, the artisan was overjoyed and in tears. He also realized that what he made was incorrect and thus changed the earlier mold, based on the measurements and look of the manifested appearance. In the seventh attempt to mold this statue, it did not crack again. Every time [when changes were needed?], the request [of the artisan] was answered. After, he completed the statue and placed it in the hall. [The statue] emanated radiance and tears were shed from its eyes. [The artisan] thus said: Appendix 1 APPENDIX 1 204 “It is marvelous. I just saw today what I had never seen before. I wish to be born as the disciple of the bodhisattva Mañjuśrī in the countless cycles of the world.” He then died after finishing his words. Afterward, the statue often radiated and manifested auspicious miracles. 2. Dunhuang Manuscript, S529v, ca. Early Tenth Century 後至大唐睿宗皇帝時，數現真身，盡一萬眷屬。時花嚴寺僧法雲召得一匠人， 姓安名生。曰：「興寺遂教，塑菩薩真身」。安生曰：「不睹聖容，疑傳不定」。 遂乃焚香啟告，願見真身。俄爾之間，文殊親降，巍巍相好，色類金山。 屈大聖之降靈，令蒼生之有望。請祝食頃，貌下真儀。前後七十二度現身， 方遂如法。自天下僧俗，海內英賢，巡禮瞻依，盡真容者已。其真身至今見在。 Later, during the reign of Emperor Ruizong [r. 710–12], [Mañjuśrī] manifested his true body several times, [along with] all the ten thousand attendants. Then Monk Fayun at Huayan Monastery acquired an artisan, whose family name was An and given name Sheng. [To him, Fayun] said, “That the monastery may prosper and realize the teaching, [it is necessary] to sculpt a true body of the bodhisattva.” An Sheng replied: “if I do not see the holy presence, I am hesitant and uncertain [about the bodhisattva’s appearance].” Subsequently, [Sheng?] burned incense and supplicated in the hope of seeing the true body. In a short time, Mañjuśrī descended in person, his grandeur in perfect form and his color resembling that of Gold Mountains. [One] submitted [oneself ] to the descending spirit of the Great Sage, which gave rise to hope for all sentient beings. Pleading with [the bodhisattva] to stay on for about the time for a meal, [An Sheng] was able to sculpt the true appearance. It took all together seventy-two manifestations of him to complete the task as instructed. Since then both monks and laity in the land and the able and virtuous from the world, all came to venerate and worship nothing but the true presence. Now, the true body is still there. 3. Yanyi, The Extended Records of [Mount] Qingliang, T.51: 2099, 1110a16–26, 1060 ce 唐景雲中，有僧法雲者，未詳姓氏，住大華嚴寺。每惟大聖示化，方無尊像， 俾四方遊者，何所瞻仰？乃繕治堂宇，募工儀形。有處士安生者，不知從何而至。 一日，應召為雲塑像。雲將厚酬其直，欲速疾工。生謂雲曰：「若不目覩真像。 終不能無疑」。乃焚香懇啟。移時，大聖忽現於庭。生乃欣踊躄地，祝曰： 「願留食頃，得盡模相好」。因即塑之。厥後，心有所疑，每一迴顧， 未嘗不見文殊之在傍也。再期功畢，經七十二現，真儀方備。自是靈應肸蠁， 遐邇歸依，故以真容目院焉。 During the Jingyun reign [710–11] of the Tang, there was a monk named Fayun, whose original name was unknown. He took residence at the Great Huayan Monastery , often pondering that although the Great Sage manifests to enlighten [the beholder], there was no image to benefit the itinerant pilgrims coming from afar, and as such what could they venerate? [Fayun] therefore commissioned a building and recruited artisans to portray the [bodhisattva’s] image. There was a layman...

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