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(“Liu bi,” ), (2) “The Ground of Sequential Visualization” (“Xu
guan di,” ), (3) “Visualizing the Marks” (“Guan xiang,” ),
(4) “Visualizing the Heart of the Buddha” (“Guan foxin,” ), (5)
“Visualizing the Heart of the Four Immeasurables” (“Guan si wuliang
xin,” ), (6) “Visualizing the Four Awesome Qualities” (“Guan
si weiyi,” ), (7) “Visualizing the Organ of the Horse King” (a
treatment of the Buddha’s male organ) (“Guan ma wang zang,”
), (8) “The Fundamental Practices” (a small collection of Jātaka stories,
i.e., stories of the Buddha’s previous births) (“Ben xing,” ), (9)
“Visualizing the Image” (“Guan xiang,” ), (10) “Calling to Mind the
Seven Buddhas” (“Nian qi fo,” ), (11) “Calling to Mind the Buddhas
of the Ten Directions” (“Nian shifang fo,” ), (12) “Secret Practices
for Visualizing the Buddhas” (“Guanfo mixing,” ). For the seven
buddhas see Taishō, vol. 15, no. 643, p. 693a–c; for the buddhas of the ten
directions see Taishō, vol. 15, no. 643, p. 693c–695b; for the buddhas filling
all of space see Taishō, vol. 15, no. 643, p. 690a–693c.
58. Charles Jones, “Toward a Typology of Nien-fo: A Study in Methods
of Buddha-Invocation in Chinese Pure Land Buddhism,” Pacific World:
Journal of the Institute of Buddhist Studies, 3rd ser., 3 (Fall 2001): pp. 224–225,
summarizes Mochizuki Shinkō’s discussion of four types of nianfo (),
buddhānusmṛti or Buddha mindfulness, ostensibly outlined by Zongmi
(, 780–841 CE). The second and third types are the “mindfulness
of contemplating the image” (guan xiang, ) and “mindfulness of
contemplating the characteristics” (guan xiang, ). Whether such a
distinction between contemplating (or visualizing) the image and
visualizing the characteristics (marks) was made during the time period
under discussion here is not yet known. The fifth-century texts that treat
meditative visualization appear to regard them as two variations on the
same meditation, each supporting the other.
59. Taishō, vol. 10, no. 287, pp. 535c.12–536a.21. For a translation see Honda
Megumu, “Annotated Translation of the Daśabhūmika-sūtra,” in Studies in
South, East, And Central Asia, ed. Denis Sinor, Śata-Piṭaka Series, Indo-Asian
Literatures, vol. 74, ed. Raghu Vira (New Delhi: International Academy of
Indian Culture, 1968), pp. 118–121.
60. The sutra notes, for example, that Vajragarbha attained “the ultimate
essence of meditation”; see Taishō, vol. 10, no. 287, p. 536a.16–17 and
Honda, “Annotated Translation of the Daśabhūmika-sūtra,” p. 120.
61. Taishō, vol. 26, no. 1522, p. 124a.7. The Daśabhūmika-sūtra and the
Daśabhūmikavyūkhyāna were, of course, two fundamental texts for the Ten
Stages lineages.
62. See Huayan jing tanxuan ji (; Taishō, vol. 35, no. 1733,
pp. 280a, 411a). Fazang was the main disciple of Zhiyan and the great