Explanation: The sutra is primarily identified by its Sanskrit names: *Samadhiraja Sutra*, translating to 'King of Samadhis Sutra', and *Candrapradipa Sutra*, meaning 'Moonlamp Sutra'. The latter designation derives from Candraprabha, the principal bodhisattva and interlocutor within the text.

Explanation: The Chinese name *Yueh-teng san-mei ching* corresponds to the Sanskrit title *Candrapradipa-samadhisutra*, meaning 'Moon Lamp Samadhi Sutra', not *Samadhiraja Sutra*.

Explanation: The sutra is primarily identified by its Sanskrit names: *Samadhiraja Sutra*, translating to 'King of Samadhis Sutra', and *Candrapradipa Sutra*, meaning 'Moonlamp Sutra'. The latter designation derives from Candraprabha, the principal bodhisattva and interlocutor within the text.

Explanation: The Sanskrit title *Candrapradipa Sutra* ('Moonlamp Sutra') refers to the bodhisattva Candraprabha, whose name translates to 'Moon Lamp' and who serves as the primary interlocutor in the text.

Explanation: Scholarly consensus on the precise redaction date of the *Samadhiraja Sutra* is lacking. While some scholars propose a period between the 2nd/3rd and 6th centuries CE, aligning with the earliest manuscript evidence, others maintain that a definitive dating remains elusive.

Explanation: Scholars such as Andrew Skilton suggest that the *Samadhiraja Sutra* is likely a composite work, possibly compiled from earlier, shorter texts, rather than an original, single composition.

Explanation: The *Mahaprajnasamadhisutra*, also known as the *Mañjuśrīboddhisattvacaryā*, is identified as one of the shorter texts that may have been incorporated into the larger *Samadhiraja Sutra*.

Explanation: Scholarly estimates for the redaction of the *Samadhiraja Sutra* range from the 2nd or 3rd century CE up to the 6th century CE, the latter date corresponding to the earliest known manuscript evidence.

Explanation: Scholarly consensus suggests that the *Samadhiraja Sutra* is likely a composite work, potentially incorporating earlier, shorter texts, rather than being a single, unified composition.

Explanation: Peter Alan Roberts notes that the *Samadhiraja Sutra* seems to incorporate at least two shorter, independent works, suggesting a composite structure possibly compiled from pre-existing materials.

Explanation: The comprehensive Tibetan title, 'The Noble Mahayana Sutra The King of Samadhis, the Revealed Equality of the Nature of All Phenomena', explicitly indicates that the sutra addresses the fundamental sameness of all phenomena.

Explanation: The sutra's central theme is indeed the 'King of Samadhis', presented as the foundational element for all virtues possessed by Buddhas and bodhisattvas.

Explanation: While the sutra discusses emptiness, it defines the 'King of Samadhis' through a broader scope, encompassing various mental qualities and practices, not solely its connection to emptiness.

Explanation: The sutra explicitly urges Candraprabha to actively 'preserve the samadhi,' which includes remembering the text and engaging in associated spiritual practices, not merely contemplating it passively.

Explanation: The sutra defines the 'essential nature of all phenomena' as lacking inherent essence, likening it to a dream or a magic show, thereby emphasizing impermanence and interdependence.

Explanation: In chapter 4, the Buddha defines samadhi broadly, encompassing aspects such as comprehension of the mind, knowledge of non-rebirth, and the correct practice concerning various spiritual items, not solely emptiness.

Explanation: The sutra addresses a wide array of subjects beyond samadhi, including *avadanas* (stories of past lives), teachings on emptiness, and the conduct expected of bodhisattvas.

Explanation: The sutra strongly advocates for austere practices, including forest dwelling and maintaining minimal possessions, aligning with the principles of Buddhist mendicancy.

Explanation: The sutra mentions the *rupa-kaya* (form body) and the *Dharma-kaya* (truth body) but does not discuss the later developed Trikaya doctrine. It does not omit discussion of the Dharmakaya.

Explanation: Constantin Regamey translates a passage from the sutra that characterizes the Dharmakaya as being identical with space, invisible, beyond conceptualization, and ultimately quiescent.

Explanation: The phrase 'All things are emptiness' is presented as a profound insight within the sutra, suggesting that deep meditation upon it can lead to a comprehensive understanding of Buddhist doctrine.

Explanation: The sutra posits that the path to acquiring Buddha qualities involves 'one single dharma,' specifically a samadhi related to the sameness of all phenomena, rather than multiple distinct dharmas.

Explanation: The full Tibetan title explicitly indicates that the sutra's central theme is the 'revealed equality of the nature of all phenomena,' linked to the concept of the 'King of Samadhis'.

Explanation: The 'King of Samadhis' is presented in the sutra as the essential key to attaining all the virtues characteristic of Buddhas and bodhisattvas.

Explanation: The sutra initially describes the supreme samadhi through its associated mental qualities, such as equanimity towards all beings, benevolence, sympathy, and non-retaliation.

Explanation: The sutra instructs Candraprabha to practice and 'preserve the samadhi,' which entails remembering the text and engaging in associated spiritual exercises.

Explanation: The sutra describes the 'essential nature of all phenomena' as lacking inherent essence, likening it to a dream or a magic show, thereby emphasizing its illusory or conventional nature.

Explanation: In chapter 4, the Buddha broadly defines samadhi to include comprehension of the mind, knowledge of non-rebirth, and the appropriate practice concerning various spiritual elements.

Explanation: The *Samadhiraja Sutra* strongly emphasizes austere lifestyle practices such as forest dwelling and maintaining minimal possessions, aligning with the ideals of Buddhist mendicancy.

Explanation: While the sutra discusses the *rupa-kaya* and *Dharma-kaya*, it notably omits the later developed Trikaya doctrine, which posits three distinct bodies of the Buddha.

Explanation: Constantin Regamey translates a passage describing the Dharmakaya as being identical with space, invisible, beyond thought, placeless, and quiescent, representing the ultimate nature of reality.

Explanation: The sutra suggests that profound meditation on the concept of emptiness, encapsulated in the phrase 'All things are emptiness,' can lead to a comprehensive understanding of the entire Buddhist doctrine.

Explanation: The sutra identifies a specific samadhi, characterized by the sameness of all phenomena, as the singular 'dharma' that facilitates the attainment of the virtues of Buddhas.

Explanation: The term 'samadhi' in the sutra is employed broadly, encompassing not only deep meditative states but also the cognitive experience of emptiness, the attainment of Buddhahood attributes, and the performance of bodhisattva practices.

Explanation: The sutra enumerates more than three hundred descriptions pertaining to the supreme samadhi, illustrating its multifaceted nature and significance.

Explanation: Andrew Skilton posits that the list of terms itself is presented as the samadhi, or a literary theme referring to the text/list, rather than merely illustrative examples of meditative states.

Explanation: Gomez and Silk view the extensive list of terms as potentially containing virtues, merits, or attributes of the samadhi, rather than strict definitions of its meditative state. They note ambiguity regarding whether these are definitions, descriptions, or attributes.

Explanation: Constantin Regamey proposes that the list of terms within the sutra functions analogously to a dharani or verbal formula, intended for meditative contemplation.

Explanation: Scholars such as Skilton and Regamey propose that the extensive list of samadhi descriptions within the sutra may function as the samadhi itself, interpreted either as a literary theme or a verbal formula for meditation.

Explanation: While 'samadhi' in the sutra encompasses the experience of emptiness, Buddhahood attributes, and bodhisattva practices, it is not specifically used to denote a particular type of ritualistic chanting.

Explanation: Andrew Skilton interprets the extensive list of terms related to samadhi as potentially representing the samadhi itself, functioning as a literary theme or the text/list being elaborated upon.

Explanation: Constantin Regamey proposed that the list of terms within the sutra functions analogously to a dharani or verbal formula, intended for meditative practice.

Explanation: Contrary to the assertion, the *Samadhiraja Sutra* is considered a highly significant text for the Madhyamaka school. It is frequently cited by prominent Indian Madhyamaka scholars, including Chandrakirti and Shantideva, and has been described as a crucial scriptural source for Madhyamika philosophy.

Explanation: The *Samadhiraja Sutra* is frequently cited within Tantric Buddhist traditions, where its recitation is promoted for ritualistic purposes, indicating its perceived efficacy and importance in those contexts.

Explanation: Gomez and Silk observe that the sutra integrates diverse aspects of Buddhist practice and belief, including meditation, philosophical speculation, worship, and the rehearsal of myths through narrative elements.

Explanation: Mark Tatz characterizes the sutra's philosophy as closely related to early Madhyamaka and rooted in Perfection of Wisdom literature, rather than as 'late Mahayana' distinct from Madhyamaka.

Explanation: Gomez and Silk describe the sutra's doctrinal position as eclectic and universalistic, rather than unambiguously Madhyamaka, suggesting it resists strict categorization within a single philosophical school.

Explanation: Candrakirti cited the *Samadhiraja Sutra* twenty times in his commentary *Prasannapada*, indicating its significant influence on his Madhyamaka interpretations.

Explanation: Shantideva, a prominent Madhyamaka author, cited the *Samadhiraja Sutra* twenty times in his work *Śikṣāsamuccaya*, underscoring the sutra's importance in Indian Buddhist philosophical discourse.

Explanation: Within Nepalese Buddhism, the *Samadhiraja Sutra* holds significant status as one of the nine principal Mahayana texts, often referred to as the 'nine Dharmas'.

Explanation: The *Samadhiraja Sutra* has not achieved widespread popularity or frequent citation in East Asian Buddhism, contrasting with its reception in India and Tibet.

Explanation: The sutra is indeed frequently referenced in Tibetan philosophical discourse, often drawing upon quotations found in Indian Buddhist texts, and was studied by traditions such as the Kadampa school.

Explanation: The Kagyu tradition primarily cites the sutra as a source for *shamatha* (calm abiding) instructions, particularly through commentaries by Gampopa, rather than *vipassanā*.

Explanation: Khedrup Jé, a prominent disciple of Tsongkhapa, held the *Samadhiraja Sutra* in high regard, considering it the most significant Madhyamaka sutra subsequent to the Perfection of Wisdom sutras.

Explanation: Dudjom Rinpoche quotes a passage from the sutra that emphasizes the underlying unity of meaning across different scriptural texts, suggesting that profound understanding reveals shared import regardless of linguistic variation.

Explanation: The *Samadhiraja Sutra*'s significance for the Madhyamaka school stems from its frequent citation by key Indian Madhyamaka figures such as Chandrakirti and Shantideva, indicating its foundational role in the tradition.

Explanation: Within Tantric Buddhist traditions, the *Samadhiraja Sutra* was utilized through its recitation for ritualistic purposes, suggesting its perceived efficacy and importance in practice.

Explanation: Gomez and Silk note that the sutra encompasses diverse dimensions of Buddhist religion, including meditation, philosophical speculation, the worship of Buddhas, and the 'cult of the Book' (reverence for scriptures).

Explanation: Gomez and Silk characterize the sutra's doctrinal position as eclectic and universalistic, suggesting it resists strict classification as purely Madhyamaka.

Explanation: Candrakirti cited the *Samadhiraja Sutra* twenty times within his commentary *Prasannapada*, highlighting its importance in his Madhyamaka scholarship.

Explanation: In Nepalese Buddhism, the *Samadhiraja Sutra* is recognized as one of the nine principal Mahayana texts, commonly referred to as the 'nine Dharmas'.

Explanation: The *Samadhiraja Sutra*'s popularity and frequency of citation in East Asian Buddhism have been notably limited compared to its influence in India and Tibet.

Explanation: Khedrup Jé, a distinguished student of Tsongkhapa, held the *Samadhiraja Sutra* in high esteem, considering it the most important Madhyamaka sutra after the Perfection of Wisdom sutras.

Explanation: Some Nepalese Sanskrit manuscripts are longer than the Gilgit manuscript and contain additional material not present in the Tibetan translation, indicating textual variation.

Explanation: The Sanskrit versions of the *Samadhiraja Sutra* are predominantly written in Buddhist Hybrid Sanskrit (BHS) or are heavily influenced by it, reflecting a common linguistic characteristic of Mahayana Buddhist texts.

Explanation: The complete Sanskrit manuscript of the *Samadhiraja Sutra* discovered near Gilgit, dated to the sixth century, is notably shorter than its Tibetan translation.

Explanation: Certain Nepalese Sanskrit manuscripts of the sutra are longer than the Gilgit manuscript and align more closely with the Tibetan translation, sometimes including additional material.

Explanation: The Sanskrit manuscripts of the *Samadhiraja Sutra* are predominantly written in Buddhist Hybrid Sanskrit (BHS) or exhibit significant BHS influence, a common linguistic feature of Mahayana texts.

Explanation: Gomez and Silk critiqued Nalinaksha Dutt's 1941 Sanskrit edition, suggesting it was a conflation of various manuscripts and potentially a reconstruction derived from the Tibetan translation.

Explanation: The *Samadhiraja Sutra* is characterized by a mixed stylistic structure, incorporating both prose and verse, rather than being exclusively in verse.

Explanation: The chapters of the *Samadhiraja Sutra* are characterized by a mixed style, incorporating both prose and verse, alongside narrative and expository sections.