Первоэлементы

[LXNDR]

И пристроить какие-то теоретические конструкции, какие-то воздушные замки про электроны, плазму и т.д. - вовсе не обязательная, факультативная часть вообще познания и постижения махабхут в контексте буддийского учения и пути, на мой взгляд.

это верно хотя бы потому, что во временна Будды всеми этими знаниями ни индийская цивилизация, ни человечество в целом не располагали, и Будда не мог подразумевать их применение в практике своего учения

[Bahupada]

То есть вот то, что земля, вода, огонь и ветер (в значении махабхут) - это элементы нашего опыта - это одно, а попытки объяснить, интерпретировать махабхуты в рамках современных научных теорий - это другое.

На мой взгляд, склонность к подобной интерпретации и объяснениям проистекает из попытки осмыслить эти вещи языком современного мышления, иначе они остаются просто малопонятны.
Хорошо, когда такие попытки осмысления хотя бы несколько приближают к практическому постижению положений о четырех первоэлементах.

То есть вот то, что земля, вода, огонь и ветер (в значении махабхут) - это элементы нашего опыта

И все-таки, если бы это было так просто, то вода, очевидно, как элемент нашего опыта, была бы тоже в этом же ряду. Приходится вводить объяснения и интерпретации, в каком смысле наш опыт очевидной "воды" отличен от опыта очевидных "земли", "ветра" и "огня".

[sergey_os]

То есть вот то, что земля, вода, огонь и ветер (в значении махабхут) - это элементы нашего опыта

И все-таки, если бы это было так просто, то вода, очевидно, как элемент нашего опыта, была бы тоже в этом же ряду. Приходится вводить объяснения и интерпретации, в каком смысле наш опыт очевидной "воды" отличен от опыта очевидных "земли", "ветра" и "огня".

Полностью готового ответа у меня нет, но вот два варианта:
а) это неправильное утверждение (что  элемент воды не ощущается). В суттах такого нет, появляется это в Абхидхамма-питаке.
б) если проанализировать, то действительно, осязанием мы элемент воды не чувствуем. Тут следует различать. Если, например, мы опустили руку в воду и почувствовали теплоту, то это мы почувствовали не элемент воды, а элемент огня. Если мы шлепнули по воде и почувствовали жесткое сопротивление, то это скорее будет элемент земли - я так думаю.
В абхидхамме (см. например раздел о рупе Абхидхаматтха сангахи) элемент воды истолковывается как то, что соединяет.
И вот, в перечне того, что относится к осязаемому, кроме трех махабхут, есть производные качества - жесткое, мягкое, гладкое, шершавое... и возможно, что как раз то, что понимается под элементом воды, непосредственно осязанию не дано, а то, что мы ощущаем, соприкасаясь например с водой в водоеме суть проявление трех остальных махабхут и каких-то производных качеств. Разные элементы нашего опыта, Bahupada, воспринимаются через шесть каналов восприятия. Кстати говоря, внешний ветер, например, мы можем тоже не ощущать непосредственно, а выводить из того, что например в лесу вдалеке от нас деревья гнутся, ветки шатаются, пыль летит...

Я думаю, что объяснение скорее в пункте б), а пункт а) - так, на всякий случай.
Кроме того, может быть в суттах значения этих понятий не столь абстрактны, как в абхидхамме, а может быть и нет.

P.S. Кстати говоря, может быть какие-то пояснения на этот счет есть в Висуддхимагге. Может быть что-то полезное для понимания есть и в нетхеравадинских трактатах, например Абхидхармакоше, Ламриме Цонкапы.

[sergey_os]

По поводу элемента ветра (вайо дхату). Случается, что на русский и английский это переводят как элемент воздуха, я приведу аргументы и соображения, почему правильнее на мой взгляд переводить (и понимать) как элемент ветра.
В суттах элемент ветра объясняется так:

Katamā cāvuso, vāyodhātu? Vāyodhātu siyā ajjhattikā, siyā bāhirā. Katamā cāvuso, ajjhattikā vāyodhātu? Yaṃ ajjhattaṃ paccattaṃ vāyo vāyogataṃ upādinnaṃ, seyyathidaṃ—uddhaṅgamā vātā, adhogamā vātā, kucchisayā vātā, koṭṭhāsayā vātā, aṅga­maṅ­gā­nusā­rino vātā, assāso passāso iti, yaṃ vā panaññampi kiñci ajjhattaṃ paccattaṃ vāyo vāyogataṃ upādinnaṃ—ayaṃ vuccatāvuso, ajjhattikā vāyodhātu.  Yā ceva kho pana ajjhattikā vāyodhātu, yā ca bāhirā vāyodhātu, vāyodhā­tu­revesā.  (Махахаттхипадопама сутта, МН28).

"And what is the wind property? The wind property may be either internal or external. What is the internal wind property? Whatever internal, belonging to oneself, is wind, windy, & sustained: up-going winds, down-going winds, winds in the stomach, winds in the intestines, winds that course through the body, in-&-out breathing, or whatever else internal, within oneself, is wind, windy, & sustained: This is called the internal wind property. Now both the internal wind property and the external wind property are simply wind property. (перевод на англ. Тханиссаро Бхиккху)

И что такое элемент воздуха? Элемент воздуха может быть либо внутренним, либо внешним. И что такое внутренний элемент воздуха? Это всё воздушное и ветреное, поддерживаемое [жаждой], что находится внутри себя: восходящие ветры, нисходящие ветры, ветры в желудке, ветры в кишечнике, ветры, идущие по всему телу, вдохи и выдохи, и всё иное, что находится внутри – воздушное и ветреное, поддерживаемое. Это называется внутренним элементом воздуха.
И внутренний и внешний элементы воздуха – это просто лишь элемент воздуха. (перевод на русский с перевода Тх. Бхиккху - SV, как видно, он заменил wind на воздух).

Как видно, вайо дхату объясняется через vātā - ветры. Глагол ватати означает "дуть".
Отличие воздуха просто от ветра в том, что ветер это всегда движение. А воздух может быть неподвижным.
Далее читаем в этой же сутте.

И приходит время, друзья, когда провоцируется внешний элемент воздуха, и он сдувает деревни, поселения, города, округа и страны. Приходит время, когда в последний месяц жаркого сезона люди пытаются породить дуновение, используя веер и меха, и даже трава на краю крыши соломенной хижины не колышется.
Так что если даже в отношении столь обширного внешнего элемента воздуха можно будет распознать непостоянство, можно будет распознать разрушение, можно будет распознать тенденцию к распаду, можно будет распознать изменчивость (aniccatā paññāyissati, khayadhammatā paññāyissati, vayadhammatā paññāyissati, vipari­ṇāma­dhammatā paññāyissati), так что уж тогда в этом непродолжительном теле, поддерживаемом жаждой, может быть «я», «моим», «тем, каковым я являюсь»? Ничего.

Смотрите, прекращение ветра, безветрие иллюстрирует разрушение, распад, непостоянство элемента ветра.
Но воздух-то остался. Если бы речь шла о воздухе, то тут нет его прекращения, а вот прекращение ветра есть. Значит речь идет о ветре.

В современной научной картине мира ветер - это движение воздуха. Я не уверен, что у древних индийцев было представление о воздухе, как о веществе с весом, плотностью и т.д. И я думаю, что внутренний ветер это не то же самое, что движение ветра в каких-то полостях тела (хотя в каких-то ситуациях это может быть и именно так). Это скорее ощущаемое движение, ощущаемый ветер в теле.
Для иллюстрации вот отрывок из Махасаччака сутты.

Я подумал: «Что если я буду поглощён трансом не-дыхания?» Так я прекратил вдохи и выдохи носом и ртом. И по мере того как я так делал, громкие свистящие ветры вырывались из моих ушей. Подобно тому, как из мехов кузнеца вырывается свистящий громкий пар, точно также, когда я прекратил вдохи и выдохи носом и ртом, громкие свистящие ветры вырывались из моих ушей. И хотя я установил неутомимое усердие и незамутнённую осознанность, моё тело было взволновано и неспокойно из-за болезненного усилия. (перевод SV)

Насколько я с этим знаком, если у человека не повреждены уши, воздух не может проходить через них (там есть барабанная перепонка). То есть здесь речь идет, как я предполагаю, не о воздухе в современном понимании, а об ощущаемых ветрах.

[Ассаджи]

Для иллюстрации вот отрывок из Махасаччака сутты.

Я подумал: «Что если я буду поглощён трансом не-дыхания?» Так я прекратил вдохи и выдохи носом и ртом. И по мере того как я так делал, громкие свистящие ветры вырывались из моих ушей. Подобно тому, как из мехов кузнеца вырывается свистящий громкий пар, точно также, когда я прекратил вдохи и выдохи носом и ртом, громкие свистящие ветры вырывались из моих ушей. И хотя я установил неутомимое усердие и незамутнённую осознанность, моё тело было взволновано и неспокойно из-за болезненного усилия. (перевод SV)

Ни о каких "громких свистящих ветрах, вырывающихся из ушей" в Масахасаччака сутте не говорится, Вы привели отрывок из некачественного малограмотного пересказа, вводящего в заблуждение, и в данном случае дискредитирующего Будду.

В английском оригинале у досточтимого Тханиссаро Бхиккху речь идет о громком звуке:

"there was a loud roaring of winds coming out my earholes"

У досточтимого Бхиккху Бодхи тоже речь идет о звуке:

"there was a loud sound of winds coming out from my earholes"

В Махасаччака сутте, конечно, речь идет не о ветре в смысле движения воздуха:

"While I did so, violent winds cut through my head."

"While I did so, violent winds carved up my belly."

Но "громкие свистящие ветры, вырывающиеся из ушей" ни в какие ворота не входят. Вы же хорошо знаете английский, почему бы не сверяться с настоящими переводами?

Есть даже русский вполне приличный перевод:

"По мере того как я делал это, в ушах стал раздаваться громкий шум, как от ветра."

http://dhammasukha.ru/suttas/mn36-rus/

[sergey_os]

Ассаджи, и в переводе Тханиссаро Бхиккху, и Бхиккху Бодхи грамматическое строение этого места (loud roaring/sound of winds coming out my earholes) позволяет двояко понимать, что выходит (coming out) - ветры или рев, шум. И в дальнейшем отрывке, который вы привели, говорится о ветрах в голове и затем ветрах в животе.
И в обоих переводах получается или "был громкий шум ветров, выходящий из моих ушей" или же "был громкий шум ветров выходящих из моих ушей". Недостаточно знаю пали, чтобы сейчас определить, что именно в оригинале:

Tassa mayhaṃ, aggivessana, mukhato ca nāsato ca assāsapassāsesu uparuddhesu kaṇṇasotehi vātānaṃ nikkhamantānaṃ adhimatto saddo hoti.

Но у Кхантибало вот так: "И по мере того как я так делал, громкие свистящие ветры вырывались из моих ушей".
https://www.theravada.su/node/1246
Там же приводится сравнение с кузнечным мехом, из которого вырывается громкий свистящий пар:

Подобно тому, как из мехов кузнеца вырывается свистящий громкий пар, точно также, когда я прекратил вдохи и выдохи носом и ртом, громкие свистящие ветры вырывались из моих ушей.

В мехах вырывается пар и есть звук.
То есть речь идет о ветрах, выходящих из ушей и это сопровождалось громким шумом (может быть этот шум был слышен только бодхисатте, как бывает шум в голове, но не знаю, утверждать сейчас не стану).

А в русском переводе c dhammasukha остался только шум, а ветров нет.

По мере того как я делал это, в ушах стал раздаваться громкий шум, как от ветра."

P.S. Похоже, что vātānaṃ nikkhamantānaṃ - выходящие ветры (в каком-то падеже).

[Ассаджи]

Восстановлю здесь толковую статью с устаревшим шрифтом:

http://ignca.nic.in/ps_02011.htm
http://ignca.nic.in/ps_02.htm

Concept of Bhūta in Early Buddhist Philosophy

Mahesh Tiwary

Early Buddhist Philosophy, generally understood as Abhidhamma philosophy, is a well-integrated system of thought which accepts the existence of thirtyone world-systems, situated in vacuum in an ascending order. They are broadly divided in three main spheres, namely kāma-dhātu, rūpa-dhātu, and arūpa-dhātu. There are eleven world-systems in the kāma-dhātu, sixteen in rūpa-dhātu, and four in arūpa-dhātu, making the total number thirty one. According to Buddhist thought, the beings of the kāma-dhātu and rūpa-dhātu are the psycho-physical manifestations and those of the arūpa-dhātu are in possession of the psychic personality alone.

The structural exposition of the beings has been made with two reals, namely, nāma and rūpa. The term nāma stands for the inner personality, expressing itself through the citta (consciousness) and cetasika (psychic factors). Rūpa refers to the physical personality, within and without, gross in nature and material in character with all its varieties of manifestations. The concept of bhūtas in Abhidhamma philosophy is thus closely related to the notion of rūpa, for it is the generic name for material elements.

Many insights have been thrown on both the nāma and rūpa in canonical (Piṭaka), non-canonical (Aṇu-piṭaka), commentarial (Aṭṭhakathā), sub-commentarial (ṭīkā) and miscellaneous (Pakiṇna) Pāli literature in general, and in all the seven texts of the Abhidhamma-Piṭaka in particular. The issue has further been taken up in the philosophical treatises, appearing as independent texts, commentaries and manuals like Visuddhimagga, Aṭṭhasālinī, Sammoha-vinodini, Pañcapakaraṇa-Aṭṭhakathā, Abhidhammāvatāra, Abhidhammatthasaṅgaha, Nāmarūpa-pariccheda, Paramattha-vinicchaya etc.

There is detailed discussion on the concept of rūpa in the second chapter of the Dhammasanganī, the first book of the Abhidhamma-piṭaka, in a catechetical way. The question has been raised such as - "What is that which is called rūpa in totality?"1 The answer follows that "The four mahābhūtas (basic material elements) and the upādā-rūpas (generated material elements) constitute the rūpa in totality."

According to early Buddhist thought, mahābhūtas are four in number. They are: paṭhavī-dhātu (earth-element), āpo-dhātu (water-element), tejo-dhātu (fire element) and vāyo-dhātu (air-element). They form the basic material elements or the primary non-psychic Real (paramatha). The material creations related to beings, internal (ajjhatika) and external (bahira), and the surroundings all around them in both the spheres of kāma-dhātu and rūpa-dhātu are their creations and manifestations. They take variegated forms in the process of evolution and play a vital role in smooth functioning of the universal psycho-physical order. They are vital components in creation in the kāma-dhātu and rūpa-dhātu. It is for this reson that they are called mahābhūta.

Early Buddhist heritage attributes five basic reasons for referring to the basic material elements as mahābhūtas. These reasons, which also provide a broad understanding of the concept of bhūtas are enumerated as follows:



Mahantapātubhāvato (Manifestation of Greatness)

They are called mahābhūta because of manifestation of greatness. It means they manifest with immense vastness with respect to phenomena 'grasped at' (upādinnasantati) and to those of un-grasped at (ana-upādinna-santati). In case of the former, they appear as the material forms, as the bodies of various kinds of beings like men, gods, demons, animals, birds, etc. In latter case, they appear into a world system, tremendously vast, traditionally calculated as 1203450 yojanas in circumference containing big waters, mountains (like Sineru, Isadhara, Karavīka, Sudassana, Nemidhara, Vinataka, Himavā etc.), as well as the grandeurous trees like jambu-tree in the Jambu-dīpa, citta-pātalī- tree (trumpet flower) in the kingdom of demon; simbalī-tree (silk-cotton) in the land of Garulas, kadambas-tree in Aparagoyāna, kappa-tree in Uttarakuru, and sirisa-tree (acacia) in pubba-videha and the paricchattaka-tree (coral) in the divine kingdom of Tāvatiṃsa etc.2



Mahābhūta-sāmaññato (Showing illusory Resemblances in Phenomena)

They are called mahābhūta because of their appearance as illusory resemblances in variegated forms of deceitful manifestations. They are not in their being, possessing any colour but they manifest as blue, yellow, red, white, black etc. They are illusory objects appearing as real and continuing to develop the impression of being real, just like the juggler showing water which is not water, a gem, stone or gold which is not real. Marking their such illusory resemblances to the juggler's counterfeiting, they are called mahābhūtas.

They are again explained with the simile of ogresses. As ogresses seductively transform their external appearances, and hide their own terrible forms, so the mahābhūtas conceal their true nature and present an illusion to the people. This characteristic of concealing the true identity being a similar trait they share with ogresses, they are called mahābhūtas.



Mahā-pariharato (Immensity of their Maintenance)

They are called mahābhūta because of immensity of their maintenance. It has its reference to the moment to moment generational changes in material structure of the beings due to fourfold food (āhāra) and factors like kamma, citta, utu and āhāra. Thus, it is said that - "these mateial forms, being daily maintained occur as essentials through abundance of food, covering etc., hence there is the name mahābhūta".



Maha-vikārato (Immensity of Metamorphoses)

Again they are called mahābhūta because of the immensity of their metamorphoses. It refers to the tremendous changes undergone by the elements in material forms, both in derived and 'un-derived' phenomena. Of these, the vastness of changes in the 'underived' is manifested on the occasion of the destruction of the world-cycle. Similar changes are manifested with respect to 'derived ones', when there is the disturbance of the elements within.

At the time of the destruction of the world-cycle, all the four basic material elements become furious and manifest in their devastating forms. The Fire-element turns into blazing flames embracing the world system up to the Brahmaloka, consuming the entire phenomena and turning the universe as the heap of ash. The water-element, on such occasions, also take the form of over-whelming watery uproar and the world of ten myriad koṭis is made overpowered and reduced to nothing within it. Similar becomes the form of air-element which blows away the entire phenomena and reduce them to the dust particles.

Vast changes are brought when there is the disturbance of the element in the 'derived phenomena'. When there is disturbance in the earth-element, the bodies become stiff as if they enter the mouth of kaṭṭhamuka. Due to the disturbance in the water-element, the bodies go putrid and become rotten as if entered into the mouth of pūtimukha. The bodies become hot and turn into wax as entered in the mouth of aggimukha due to disturbance in the fire-element. Further, when there is the disturbance in the air-element, the bodies are turned into pieces as if they have entered the mouth of the satthamukha. Such mighty and devastating changes take place in the basic material elements with reference to 'underived' and 'derived' phenomena and as such they are called mahā-bhūta.3



Mahanta-bhūtata (Vast elementality)

They are called mahābhūta because of their vast elementality. It means that they exist as very powerful force and do not come under the process of dassana or bhāvanā for their elimination. Mighty efforts are required to cope with them. Specially in kāma-dhātu, where there is the existence of a being, there is the existence of the mahābhūtas. One cannot have even the idea of the beings without them.

In this way, a set of five reasons are seen in the tradition to explain the name mahābhūta.

Depending on these four basic material elements, there arise the upādā-rūpa. Upādā means generated, derived, dependent etc. The material elements which come into being depending upon the four mahābhūtas are called upādā-rūpa. This may be understood with the simile of the earth and tree. Like the earth are the mahābhūtas, and the upādā-rūpas are just like trees which spring therefrom. It is for this reason they are called 'derived material elements'. They have been stated to be twenty=-three in earlier texts. Later on, their number becomes twenty-four with the inclusion of the hadaya-vatthu.

A number of attributes have been introduced to unfold the intrinsic nature of the material elements as a whole. Firstly, they are unconscious. They are neither the consciousness (citta) nor the psychic factors (cetasika), nor the roots (hetu).They are devoid of both the moral (kusala-hetu) and immoral (akusala-hetu) roots. They are abyākata, neither moral or immoral in character. They come into being depending upon some causes of conditions (sapaccaya), and stand as composite (sankhata), made of other elements. Thus, they themselves are not the defiling forces but become the object of pollution (sāsava). They are knowable by the six types of consciousness, namely, eye-consciousness (cakhu-viññāṇa), ear-consciousness (sata-viññāṇa), nose-consciousness (ghāna-viññāṇa), tongue-consciousness (jihvā-viññāṇa), body-consciousness (kāya-viññāṇa) and Mind-consciousness (mano-viññāṇa). They, by nature, are impermanent (anicca) and subject of destruction (jarābhibhūta).

The material elements are grasped in the form of Qualities or the Qualitative energies. A piece of stone in our hand is heavy, hard, rough, brown and of triangular shape. Apart from these qualities like - heaviness, hardness, roughness, brownness and triangularness, there is nothing like stone. Analysis of other similar material object also reveal the same truth. In this background the term rūpa may correctly be rendered into English as Material qualities and not the matter or material elements.

Reaching this stage, it seems desirable to append a brief note on each of the twenty-eight types of material qualities. For the sake of their easy communication, they are studied under eleven heads in later Abhidhammic texts. The same is being followed here too.4



Bhūta-rūpa

They are the paṭhavī-dhātu (earth-element), āpo-dhātu (water element), tejo-dhātu (fire-element) and vāyo-dhātu (air-element).



Paṭhavī-dhātu

The term paṭhavī is derived from the root puttha which means 'to expand' to 'extend', to 'grant support' etc. Dhātu means that which bears its own characteristic marks - (attano sabhāvaṃ dhāretiti dhātu). Thus the literal as well as nearer meaning of the term is - "the element of Extension".

Intrinsically, the earth-element is that - "which is hard (kakkhalaṃ), rough (khara-gataṃ), hardness (kakkhalattaṃ), rigidity (kakkhalabhāvo) both internal and external.

It has the characteristic of hardness; its function is to become the base of co-existing elements; and receiving them is its manifestation. In this way, it is understood by touch, appearing as a tangible object of the body-sense-organ (kāya). It provides base for the existence of co-existing material elements and it is due to that are received as such and such. The various objects occupy space for existence due to presence of this element. Finally, it is the material energy of extension, manifesting as amalgam of a number of qualities.


Āpo-dhātu

The derivation of the term āpo is traced from the root apa, which means 'to arrive' or from paya means to grow, to increase, to hold, to bind together etc. In this sense, it is called 'the element of cohesion'. It makes the different material particles cohere and prevents them from being scattered. It acts as a binding force of the material elements. The Dhammasanganī explains it as fluid (āpo) belonging to fluid (āpogatam), viscid (sineho) belonging to what is viscid (sinehagataṃ) and the cohesiveness of matter (bandhanattaṃ rūpassa). It is further analysed in the commentary as - "the water-element has trickling as its characteristic (paggharaṇa-lakkhaṇa), breeding of co-existing states as function (brūhaṇa-rasa) and gathering them together as manifestation (saṅgahapaccupaṭṭhāna). In short, it is a material energy which manifest in binding the things together. The formations of any kind is possible by its association.


Tejo-dhātu

It is generally rendered as the element of heat or 'Fire element'. Literally, it is derived from the root tija which means to sharpen, to 'mature'. From it, vivacity and maturity are understood due to its presence. In reality it is the 'heat' itself or the material energy of heat or Fruition. Or it may be said that the fire-element is that which is flame (tejo) belonging to flame (tejogatam), heat (usmā) belonging to heat (usmagataṃ) hot (usumaṃ), belonging to what is hot (usumagataṃ).

Further, the fire-element has the characteristic of heat, maturing as function, and the gift of softening of co-existing states as manifestation. Both heat and cold are its properties. It means the intense tejo is heat and the mild tejo is cold. It helps the maturity and fruition of the things within and without.


Vāyo-dhātu

It is understood as the air-element or the element of motion. The word vāyo is formed from the root vāya which means to move, to vibrate. In this word, it is understood as motion, vibration, oscillation and pressure. It is a material energy to keep the things in a particular position by generating pressure all around.

It is defined as the air (vāya), that which belongs to air (vāyogataṃ), fluctuation; and the inflation of form (thambhitattaṃ rūpassa). Its characteristic is strengthening (vitthambana), impelling as function (samudīraṇa) and bringing near and over as manifestations (abhinihāra).5 The things get motion because of its presence. It is the universal carrier of the subtle material elements.

These four basic material elements are studied separately simply for the sake of understanding. Really speaking they are inseparable. One cannot identify and exhibit in idividually as earth, water, fire and air. They exist depending upon each other by the force created by the relation known as Aññamaññapaccaya. They serve as the originating ground of the generated material qualities.



Pasāda-rūpa

It is the name of sensitive material qualitites, generated by the four basic material elements. It refers to the five sense-organs, namely; Cakkhu (eye), Sota (ear), Ghāṇa (nose), Jivhā (tongue) and Kāya (body). Each one of them is a sensitive material quality, functioning as reflecting the object which appear in their respective ranges (apātha). They also serve as the base (vatthu) of the five viññāṇas.

It should be clarified here the five sense-organs, as referred to above, do not signify the perceptible organs. They refer to the sensitive part of each of them. It means that each sense-organ should be understood in its two forms; the perceptible form (Sasambhāra-rūpa) and sensitive form (pasāda-rūpa). The external form is the manifested mode of appearance (santthāna) and within it, there is the sensitive part, known as the Pasāda-rūpa. Such Pasāda-rūpa are the six senses.

For instance, the perceptible eye-ball, eye-brow, etc. are not the eye but the sensitive part which is within, in the centre of the retina, which enables one to see the visible objects, is the cakkhu-pasāda, the real eye. It is a type of sensitive material energy which has the capacity of reflecting the object, may meaningfully be called Dassana-samatthatā. Similarly the ear is the sota-pasāda, having potentiality to hear the audible objects (savana-samatthatā); nose is the ghāna-pasāda, to smell the odorous objects; (ghāyana-samatthatā); tongue is the jihvā-pasāsa to relish the sapid objects (sāyana-samatthatā), and the body is the kāya-pasāda to touch the tangible objects (phusana-samatthatā). Each of them serves as the base of respective consciousness (viññāṇa) in maintaining the thought-processes (citta-vīthi) at different doors.



Gocara-Rūpa

Literally, the word gocara means a place where there is the smooth way-faring of the senses. Technically, it stands for the object. The material qualities which function as the object of the senses are called Gocara-rūpa. They are four in number namely; Rūpa (visible object), Sadda (audible object), Gandha (odorous object) and Rasa (sapid object). The object of Kāya (phatabha) has been included in paṭhavī, tejo and vāyo and, therefore, with a view to avoid duplications, not included here in the present context:


(a) Rūpa, the object of the eye, stands for the colour and shape. It manifests as red, blue, white, black, etc. in colour, and triangular, rectangular, square, circular etc. in shape. It is visible (sannidassana) and impinging (sapaṭigha).

(b) Sadda means sound. The sounds of the drum (bheri-sadda), conches (saṅkha), song (gīta), cymbals, clapping hands, of the people, of the non-human beings, of splitting bamboos, tearing of the clothes etc. are included here. Each of them is audible and impinging (sapaṭigha).

(c) Gandha refers to odour. It includes the odours of roots, barks, vegitables, fish, shell fish, stale butter, flowers, fruits etc. It appears as desirable smell (sugandha) or undesirable smell (dugandha). All the odours have the characteristic of striking the sense of smell.

(d) Rasa is the taste. It includes all the various types of tastes like sour, sweet, bitter, pungent, alkaline, acid etc. They have the characteristics of striking the tongue.



Bhāva-rūpa

It expresses the sense of the material qualities of sex. It is of two types, namely; femininity (itthindriya) and masculinity (purisindriya). It is due to these two types of material qualities, the distinction between the physical structure of a male and that of a female is marked. With the presence of itthindriya, there is a different type of development in the body of a woman. She is markedly different from a man in respect of her appearance, occupation, deportment and other feminine conditions. She is in possession of different types of physical properties which distinguish her from those of a man. It is not the object of visual cognition alone but can be understood by mind-cognition also. It has the characteristic of knowing the state of a woman, the function of showing 'this is woman', and the manifestation is the cause of femininity in feature, mark, occupation as well as deportment.

Again the purisindriya (masculinity) is a material quality due to which there is a different type of physical development of the body of a man. In generic sense, masculine features, mark, occupation, deportment etc. should be understood as the opposite of the feminine. The shape of the hands, feet, neck, breast etc. of a man is unlike the shape of those of a woman. It is also not the object of mere vision. It can be understood through mind alone. Expressing the state of a man, is its charactersitic, and showing 'this is a man' is its function. Its manifestation is the cause of masculinity in features, mark, occupation, deportment etc.


Hadaya-rūpa

It is the name of the base of consciousness, technically called hadaya-vatthu. Like the base of functioning of other senses, the base of mind has also been indicated through it. It is said that at the time of Paṭisandhi (birth) of a human being, the viññāṇa enters into the womb of a mother. Simultaneously, there is the appearance of the hadaya-vatthu as a material base, on which the conscious stream rests. It is very small in size, perhaps, the subtlest particle of material qualities.


Jīvita-rūpa

It is the name of vitality or the life-force of material qualities, Jīvitindriya by its name. A material form remains sound, compact, solid etc., due to its presence. A thing becomes old because of relative loss of jīvitindriya. The body of a man receives expressions like young, adult, old, extremely broken due to relative appearance and disappearance of this force. Here the term jīvita is qualified by indriya because it exercises dominating influence over other co-existing material qualities in vivifying them from the moment of patisandhi.


Ahāra-rūpa

It literally means the food material qualities. In technical sense, it refers to the nourishing quality or the nutritive essence which sustains the body. In generic sense, it is the name of the Kabalīkāra-āhāra or the gross food that one takes morsel by morsel. They are the rice (odana), curry (kummāsa), fish (maccha), meat (mansa), gram powder (sattu) etc.


Pariccheda-rūpa

It is the name of ākāsa-dhātu or space-material quality. Here it should be understood that āvāsa has been included in the mahābhūtas in some of the systems of Indian philosophy. They are commonly known as pañca mahābhūta. In the Buddhist system, it is a generated material quality, basically dependent on the four mahābhūtas. The reason is obvious that it has relative existence.

Ākāsa means space which provides place for existence of other material qualities. Thus the space-element is that which is not 'scratched', 'not scratched off', not possible to break or cut. At the same time, it takes shape according to the existence of the material qualities. It has the characteristic of delimiting material objects. Its function is the showing of their boundaries and the manifestation is marked as showing their limits.


Viññatti-rūpa

It is the name of intimating material qualities. It is through this medium that an idea is intimated, conveyed and understood by others. It is done by actions and speech. Accordingly, the intimation through the physical actions is kāya-viññatti and that through the speech is vacī-viññatti. To be more clear, it may be said that each physical as well as the vocal action has the peculiarity of its own, and such peculiarity, distinguishes one action from the other. For instance, sitting has its own peculiarity due to which it is sitting and it is not understood, as standing, running, etc. Similarly, standing, running, lying down have their own peculiarities existing with each of them and due to which one is distinguished from the other. Such peculiarities, associated with physical actions are collectively called kāya-viññatti or physical intimation. As regards the vocal actions, it is marked in day-to-day life, like teaching, singing, rebuking, crying etc. which are distinct from one another. These distinct actions associated with vocal action are vāci-viññatti. Thus it may be stated that the "intimating material quality is that due to which an idea related to a particular action is rightly communicated and understood by others with full background of awareness of various types of physical and vocal actions".


Vikāra-rūpa

It means the material qualities of changing modes in material elements. They are of three types, namely; lightness (lahutā), mildness (mudutā) and adaptability (kammaññatā) associated with material qualities. On experiential base, the lightness existing with the physical body is lahutā, mildness existing with it is mudutā, and the adaptability of the body towards the action in the moment is kammaññatā. In absence of lahutā, one feels heaviness in discharging the physical performances. In absence of mudutā there is disinterestedness and in the state of non-presence of kammaññatā, there is no lively leaning towards the activities to be performed in a particular unit of time. The three material qualities are experienced with body within and also may be understood with reference to the material surroundings.


Lakkhana-rūpa

It is material quality or rather the natural characteristics of material elements in general, manifesting in four ways as upacaya (coming into being), santati (continuity), jaratā (decay) and aniccatā (destruction). It is seen that a thing comes to exist, it continues, gradually starts growing old and in the end suffers destruction. A seed comes to be a sprout, continues to exist as a plant, gradually starts decaying and in one fine moment turns into the dust particles. The coming into being, existing, decaying and finally destroying are the natural characteristics of things existing within and without. Because of their such a nature, they are called lakkhana-rūpa.

In this way, the four mahābhūtas and the twenty-four types of the upādā-rūpas have briefly been presented. Collectively they are called rūpa or the bhūta in early Buddhist tradition.

The Buddhist philosophy does not believe in a Creating Agency as the first in the beginning of creation. It proceeds with the statement that the beginning of the sansāra is not known. It is not known whether it started during the reign of such and such a king, in the sāsana of such and such a Buddha - anamataggo, ayaṃ saṃsāro, purimākoṭi assa na paññāyati. Nevertheless the processes of sansāra is an ongoing one. If it is so, then there should be some Law governing it. As answer to this, it may be said that there is Law of Dependent Origination (Paticca-samuppāda)taking care of the systematic revolving of the Saṃsāra with the help of twelve links, known as nidānas. The coming into existence of nāma and rūpa has meaningfully been illustrated therein.

In the process of explaining the generation of the material elements, a set of four factors are systematically at work. They are kamma, citta, utu and āhāra.

The first factor is kamma. It refers to the resultants of the moral and immoral actions done in the past. Here the action should be understood in the sense of consciousness. There are the twenty-five types of consciousness of the kāmāvacāra and rūpāvacāra spheres. They are the twelve types of kamavacara - immoral consciousness, eight types of kāmāvacāra - moral consciousness and five types of rūpāvacāra - moral consciousness. They arise in different units of time in our practical life and we express as performance of moral and immoral actions. These twenty-five types of consciousness yield their resultants. Such resultants are technically called kamma. It has its bearing in generating the material elements. The process of generation starts from the moment of the beginning of life known as paṭisandhi.

The second factor is citta or consciousness. It refers to the seventy-five types of consciousness as - kāmāvacāra-akusala-citta (12), ahetuka-citta (8), kāmāvacara-sahehana-citta (24), rūpāvacāra-sobhana-citta (15), arūpāvacāra-sobhana citta (8), lokuttara-sobhana-citta (8). They start generating material elements from the moment of beginning of the life process of the life of the being. The moment of starting the process is called bhavaṅga.

Utu is the third generating factor. It means weather. It manifests as hot or cold - and effects the material elements accordingly. Its heating or cooling effect starts from the moment the being comes into existence and being experienced accordingly in the process of life.

The fourth factor in this context is āhāra. The literal meaning of the term is food. In a generic sense, it refers to the food taken by one in morsels. But it also signifies of the nutritive quality of food. It has its effect on the body, internally and externally, from the moment one starts taking food.

Those four factors are the four types of generating forces acting continuously with the life of beings as well as with the things associated with the life-process remaining within or without. They function individually or in association. Some material elements are generated by one particular factor and some are generated with their collective efforts. It may be illustrated firstly as which types of material elements are generated by which types of generating forces and secondly as which type of generating factor individually or collectively generates which types of material elements.

In the former case, it is stated as below:

(a) The eight types of indriya-rūpas and the hadaya-vatthu are directly generated by kamma. Here the five types of sensitive material elments (cakkhu, sota, ghāna, jīhvā, and kāya), the two types of sex material elements (itthindriya and purisindriya) and one type of life-force material element (jīvitindriya) are the eight indriya-rūpas, while hadaya-vatthu is the seat of consciouseness. These nine material elements are the products of the kamma as an individual force. It also functions in association with other forces and produce nine more material elements. They are the eight types of inseparable material elements (abbinibhoga-rūpa) and one space-material elements (ākāsa-dhātu). Paṭhavī, apo, tejo, vāyo, yaṇṇa, gandha, rasa, and oja are always available as one inseparable unit and, therefore, they are called 'Inseparable material element'. These nine are the collective products.



(b) The two type of viññatti-rūpas, namely, kāya-viññatti (physical intimation) and vacī-viññatti (vocal intimation) are produced by citta (consciousness).

(c) Sadda (sound) is produced by the joint effort of citta and utu.

(d) The three material elements, namely, lahutā, mudutā and kammaññatā are produced by the three factors, namely, citta, utu and āhāra.

(e) The eight types of abbinibhoga-rūpas and ākāsa-dhātus are produced by the combined efforts of all the four factors: kamma, citta, utu and āhāra.

(f) The four types of lakkhaṇa-rūpas, namely, upasaya, santati, jaratā and aniccatā are not produced by any factors. The reason is obvious that they are the nature of material elements.

In this way, the twenty-eight types of material elements are produced by the four generating factors.

Further, analysing the generation of material elements as stated above, the role of each generating factor may be illustrated as below:



(i) Kamma generates nine material elements individually and nine in association with the other factors. It makes a total of eighteen material elements which are understood as kamma-products.

(ii) Citta generates two material elements individually and thirteen in association with others. In this way, there are fifteen material elements which are regarded as citta-products.

(iii) Utu has no independent generation of material elements. It functions in association with others and generates thirteen material elements. They are the utu-products.

(iv) āhāra has also its collective but important role in generating the material elements which are thirteen in number. It is in this way, that the four generating factors are seen at work in producing the natural elements in the process of existence in the fluxional nature of existence.6

Coming to this stage, now, it seems desirable to state how the different material elements come to be in the process of life and how they disappear when the life-continuum comes to an end in the present state.

The first moment in the present state of existence is called paṭisandhi. It is rather the rising of a paṭisandhi-citta or the birth consciousness. From the moment of its existence there starts the function of kamma, and with this, kammaja-rūpas appear.

The second moment in this process is called bhavaṅga. It is also the rising of a consciousness which functions as preparing a base of the present state of existence with the accumulation of the resultants of all the past activities done by a particular being. With the rising of this consciousness there starts the generation of material elements by the citta.

Gradually the being has its initial physio-psychic amalgam which in common parlance is stated as "coming into existence". From this moment there is the generation of material elements produced by utu.

Further, āhāraja-rūpas start coming into being from the moment one starts taking food and it is assimilated. The process continues till the being exists.

There is also a process of degeneration or disappearance of the material elements when the life-process has a state of conventional cessation which we name death. It is the rising of a cuti-citta or death consciousness. From the moment of its rising the process of the material elements produced by kamma has a stop. Thereafter, there is the cutting off between the cittaja and āhāraja-rūpas. The utuja-rūpas, in some form or other, continues till the dead body exists. With gradual disappearance of the dead body they also disappear.



Notes

1. katamaṃ sabbam rūpaṃ iti? cattāro ca mahābhūtā, catunnam ca mahābhūtānam upādāya rūpaṃ, idaṃ vuccati sabbaṃ rūpam.

- D.S., 147.

2. pātalī-simbali-jambu, devānaṃ pāricchattako.
kadambo kapparukkhoca, sirisena bhavati sattamo.

- A.S., 242.

3. bhūmi to vitthitā yāva, brahma-lokā vidhavati,
acci, accimato loke, dayhamanamhi tejaso.
kotisatsahassekam, cakkavalaṃ viteyuti,
kupitena yadā loko, salilena vinassati.
koṭisatasahassekam, cakkavalaṃ vikirati,
vāyodhātuppakopena, yadāloko vinassati.

patthaddho bhavati kāyo, daṭtho kaṭṭhamukhene va,
paṭhavidhatukopena, hoti kaṭṭhamukhe va so.
putiko bhavati kāyo, daṭṭho putimukhene vā,
apodhātuppakopena, hoti putimukhe va so.
santatto bhavati kāyo. daṭṭho aggimukhena vā.
tejo-dhātuppakopena, hoti aggimukhe va so.
sanchinnobhavati kāyo, dattho saṭṭhamukhena vā.
vāyo-dhatuppakopena, hoti satthamukhe vaso.

- A.S., 243

4. bhūtappasādavisayā, bhāvo hadayamiccapi,
jīvitahārarūpehi, aṭṭhārasavidhaṃ tathā,
paricchedo ca viññatti, vikāro lakhaṇamti ca,
anipphanna desa cuti, aṭṭhavisa vidham bhava.

- A. San., 286.

5. D.S., 256; A.S., 267.

6. atthāvasa pannarasa, terasa dvadasāti ca,
kammacittotukāharājaṃ honti yathakkamaṃ.

- A. San., 174.

[Ассаджи]

Ассаджи, и в переводе Тханиссаро Бхиккху, и Бхиккху Бодхи грамматическое строение этого места (loud roaring/sound of winds coming out my earholes) позволяет двояко понимать, что выходит (coming out) - ветры или рев, шум.

Это, что ли "из моих ушных отверстий исходил громкий рев ветров"?

Спросите у носителей английского, все тут однозначно.

Выходят, конечно, ветры, но они никак не "громкие", не "свистящие", и не "вырываются".

Но у Кхантибало вот так: "И по мере того как я так делал, громкие свистящие ветры вырывались из моих ушей".
https://www.theravada.su/node/1246

Это просто тот же пcевдо-перевод SV.

[sergey_os]

Выходят, конечно, ветры, но они никак не "громкие", не "свистящие", и не "вырываются".

То есть вы согласны, что выходят ветры.
Что касается "громкого" - так пишут оба английских переводчика, громкий шум/звук (loud roaring/sound) ? Это ведь звук ветров, а не чего-то другого.
Будда сравнивает это с громким звуком выходящего из кузнечных мехов пара.

Just as there is a loud sound when a smith's bellows are blown, so too, while I stopped the in-breaths and out-breaths through my nose and ears, there was a loud sound of winds coming out from my earholes. (Bhikkhu Bodhi transl.)

Спросите у носителей английского, все тут однозначно.

Если я не ошибся (вы не прокомментировали) и в пали "выходящие" относятся к ветрам - vātānaṃ nikkhamantānaṃ, то и в английском (и русском) переводе должно быть аналогично. То есть не звук (рев) выходит:

из моих ушных отверстий исходил громкий рев ветров

а ветры:

громкий звук/шум ветров, выходящих из моих ушей.

P.S. То есть бодхисатта прекратил вдохи и выдохи через рот и нос, и тогда ветры стали идти из ушей. (я так понимаю) А в следующем абзаце сутты описано, как бодхисатта прекратил вдохи и выдохи уже через рот, нос и уши.

I thought: 'Suppose I practise further the breathingless meditation.' So I stopped the in-breaths and out-breaths through my mouth, nose, and ears.

[Ассаджи]

громкий звук/шум ветров, выходящих из моих ушей.

P.S. То есть бодхисатта прекратил вдохи и выдохи через рот и нос, и тогда ветры стали идти из ушей. (я так понимаю) А в следующем абзаце сутты описано, как бодхисатта прекратил вдохи и выдохи уже через рот, нос и уши.

I thought: 'Suppose I practise further the breathingless meditation.' So I stopped the in-breaths and out-breaths through my mouth, nose, and ears.

Да, где-то так.

Возможно, звук получился от внутреннего давления на барабанные перепонки.

[Ассаджи]

Возможно, звук получился от внутреннего давления на барабанные перепонки.

Со справочного сайта по ЛОР-заболеваниям:

Характерные симптомы, сопровождающие давление на уши изнутри

Возникает гул, шум, тиканье и другие разнообразные звуки в голове, иногда незначительные, в некоторых случаях непереносимые.

http://tvojlor.com/lor/ear/pri-kakih-zabolevaniyah-davit-na-ushi-iznutri-simptomy-prichiny-lechenie.html

[Ассаджи]

Возможно, звук получился от внутреннего давления на барабанные перепонки.

При таком объяснении становится понятно, почему речь идет не об ушах, а именно об ушных отверстиях (kaṇṇasota).

А элемент ветра становится понятен как некая надувающая сила, как описано в статье выше:

It is defined as the air (vāya), that which belongs to air (vāyogataṃ), fluctuation; and the inflation of form (thambhitattaṃ rūpassa).

[LXNDR]

этот отрывок сложно интерпретировать в том смысле, что из ушей выходит звук, потому что это даже представить сложно, в то время как представить, что выходит ветер, не составляет труда, хоть это и не физиологично

например такому пониманию соответствует немецкий перевод Меттико Бхиккху

Während ich das tat, gab es ein lautes Geräusch des Windes, der aus meinen Ohren austrat.

здесь из ушей выходит ветер Wind, слово мужского рода, которое в придаточном предложении обозначено местоимением der - "который", der на Geräusch - "шум", указывать не может, так как слово Geräusch среднего рода, и в придаточном предложении требовало бы относительного местоимения das

конечно с какого языка автор переводил мне неизвестно

если в сутте действительно речь идёт о слуховом явлении и его сравнении с шумом ветра, то изложено это, возможно, не очень внятным языком

на пали фразу

kaṇṇasotehi vātānaṃ nikkhamantānaṃ adhimatto saddo

кажется можно, сохранив порядок слов, перевести как "из ушных отверстий ветра исходящего мощный звук"

было бы сказано нечто наподобие "в ушах услышал шум" или "услышал шум, как если бы из ушей  исходил ветер", и недоразумений не было бы

условное наклонение решило бы проблему

[Ассаджи]

на пали склонение слова "ушные отверстия" в отделительном падеже заставляет понимать фразу так, что звук ветра искодил из ушей

Почему Вы так считаете?

Там говорится, что "был громкий звук" (adhimatto saddo hoti) ветров, выходящих через ушные отверстия (kaṇṇasotehi vātānaṃ nikkhamantānaṃ).

На современном русском - внутреннее давление на барабанную перепонку вызывало громкие звуки.

[LXNDR]

я отредактировал свой комментарий

насколько я понял, вы возразили против варианта перевода, в котором сказано, что ветры вырывались из ушей с громким звуком, но даже если уточнить, что не из ушей, а из ушных отверстий, на пали сказано примерно то же самое

[Ассаджи]

насколько я понял, вы возразили против варианта перевода, в котором сказано, что ветры вырывались из ушей с громким звуком, но даже если уточнить, что не из ушей, а из ушных отверстий, на пали сказано примерно то же самое

И где же там сказано "вырывались", и где "с громким звуком"?

Сказано, что был громкий звук при выходе ветров.

Здесь две большие разницы, - как между фразами "при ударах сыпались искры из глаз" и "удары в глаз сыпались с искрами".

[LXNDR]

выходили или вырывались, громкий звук был при выходе ветров или ветры с громким звуком вырывались - я не вижу принципиальной разницы между этими фразами

мне показалось, что ваше возражение заключалось в том, что ветры не в буквальном смысле выходили с громким звуком из ушей, а в ушах возникало слуховое явление, похожее на громкий звук ветра

[Ассаджи]

мне показалось, что ваше возражение заключалось в том, что ветры не в буквальном смысле выходили с громким звуком из ушей, а в ушах возникало слуховое явление, похожее на громкий звук ветра

Я о другом. В сутте всё сходится, если учесть, что "вайо" - это в том числе и некая надувающая и наполняющая объем сила:

"wind is described as the property which keeps the body upright or allows the flexing and relaxing of muscles"

http://obo.genaud.net/backmatter/glossology/glossology/vayo.htm

То есть по сути то, что мы называем давлением.

[Ассаджи]

Bhūta-rūpa

They are the paṭhavī-dhātu (earth-element), āpo-dhātu (water element), tejo-dhātu (fire-element) and vāyo-dhātu (air-element).



Paṭhavī-dhātu

The term paṭhavī is derived from the root puttha which means 'to expand' to 'extend', to 'grant support' etc. Dhātu means that which bears its own characteristic marks - (attano sabhāvaṃ dhāretiti dhātu). Thus the literal as well as nearer meaning of the term is - "the element of Extension".

Intrinsically, the earth-element is that - "which is hard (kakkhalaṃ), rough (khara-gataṃ), hardness (kakkhalattaṃ), rigidity (kakkhalabhāvo) both internal and external.

It has the characteristic of hardness; its function is to become the base of co-existing elements; and receiving them is its manifestation. In this way, it is understood by touch, appearing as a tangible object of the body-sense-organ (kāya). It provides base for the existence of co-existing material elements and it is due to that are received as such and such. The various objects occupy space for existence due to presence of this element. Finally, it is the material energy of extension, manifesting as amalgam of a number of qualities.


Āpo-dhātu

The derivation of the term āpo is traced from the root apa, which means 'to arrive' or from paya means to grow, to increase, to hold, to bind together etc. In this sense, it is called 'the element of cohesion'. It makes the different material particles cohere and prevents them from being scattered. It acts as a binding force of the material elements. The Dhammasanganī explains it as fluid (āpo) belonging to fluid (āpogatam), viscid (sineho) belonging to what is viscid (sinehagataṃ) and the cohesiveness of matter (bandhanattaṃ rūpassa). It is further analysed in the commentary as - "the water-element has trickling as its characteristic (paggharaṇa-lakkhaṇa), breeding of co-existing states as function (brūhaṇa-rasa) and gathering them together as manifestation (saṅgahapaccupaṭṭhāna). In short, it is a material energy which manifest in binding the things together. The formations of any kind is possible by its association.


Tejo-dhātu

It is generally rendered as the element of heat or 'Fire element'. Literally, it is derived from the root tija which means to sharpen, to 'mature'. From it, vivacity and maturity are understood due to its presence. In reality it is the 'heat' itself or the material energy of heat or Fruition. Or it may be said that the fire-element is that which is flame (tejo) belonging to flame (tejogatam), heat (usmā) belonging to heat (usmagataṃ) hot (usumaṃ), belonging to what is hot (usumagataṃ).

Further, the fire-element has the characteristic of heat, maturing as function, and the gift of softening of co-existing states as manifestation. Both heat and cold are its properties. It means the intense tejo is heat and the mild tejo is cold. It helps the maturity and fruition of the things within and without.


Vāyo-dhātu

It is understood as the air-element or the element of motion. The word vāyo is formed from the root vāya which means to move, to vibrate. In this word, it is understood as motion, vibration, oscillation and pressure. It is a material energy to keep the things in a particular position by generating pressure all around.

It is defined as the air (vāya), that which belongs to air (vāyogataṃ), fluctuation; and the inflation of form (thambhitattaṃ rūpassa). Its characteristic is strengthening (vitthambana), impelling as function (samudīraṇa) and bringing near and over as manifestations (abhinihāra).5 The things get motion because of its presence. It is the universal carrier of the subtle material elements.

These four basic material elements are studied separately simply for the sake of understanding. Really speaking they are inseparable. One cannot identify and exhibit in idividually as earth, water, fire and air. They exist depending upon each other by the force created by the relation known as Aññamaññapaccaya. They serve as the originating ground of the generated material qualities.

Из Дхаммасангани:

967. Katamaṃ taṃ rūpaṃ pathavīdhātu? Yaṃ kakkhaḷaṃ kharagataṃ kakkhaḷattaṃ kakkhaḷabhāvo ajjhattaṃ vā bahiddhā vā upādiṇṇaṃ vā anupādiṇṇaṃ vā – idaṃ taṃ rūpaṃ pathavīdhātu.

968. Katamaṃ taṃ rūpaṃ āpodhātu? Yaṃ āpo āpogataṃ sineho sinehagataṃ bandhanattaṃ rūpassa ajjhattaṃ vā bahiddhā vā upādiṇṇaṃ vā anupādiṇṇaṃ vā – idaṃ taṃ rūpaṃ āpodhātu.

969. Katamaṃ taṃ rūpaṃ tejodhātu? Yaṃ tejo tejogataṃ usmā usmāgataṃ usumaṃ usumagataṃ ajjhattaṃ vā bahiddhā vā upādiṇṇaṃ vā anupādiṇṇaṃ vā – idaṃ taṃ rūpaṃ tejodhātu.

970. Katamaṃ taṃ rūpaṃ vāyodhātu? Yaṃ vāyo vāyogataṃ thambhitattaṃ rūpassa ajjhattaṃ vā bahiddhā vā upādiṇṇaṃ vā anupādiṇṇaṃ vā – idaṃ taṃ rūpaṃ vāyodhātu.

971. Katamaṃ taṃ rūpaṃ upādā? Cakkhāyatanaṃ...pe... kabaḷīkāro āhāro – idaṃ taṃ rūpaṃ upādā.

[Ассаджи]

Из Вибханги:

3. Dhātuvibhaṅgo

1. Suttantabhājanīyaṃ

172. Cha dhātuyo – pathavīdhātu [paṭhavīdhātu (sī. syā.) evamuparipi], āpodhātu, tejodhātu, vāyodhātu, ākāsadhātu, viññāṇadhātu.

173. Tattha katamā pathavīdhātu? Pathavīdhātudvayaṃ – atthi ajjhattikā, atthi bāhirā. Tattha katamā ajjhattikā pathavīdhātu? Yaṃ ajjhattaṃ paccattaṃ kakkhaḷaṃ kharigataṃ kakkhaḷattaṃ kakkhaḷabhāvo ajjhattaṃ upādinnaṃ, seyyathidaṃ – kesā lomā nakhā dantā taco maṃsaṃ nhāru [nahāru (sī.)] aṭṭhi aṭṭhimiñjaṃ [aṭṭhimiñjā (sī.)] vakkaṃ hadayaṃ yakanaṃ kilomakaṃ pihakaṃ papphāsaṃ antaṃ antaguṇaṃ udariyaṃ karīsaṃ, yaṃ vā panaññampi atthi ajjhattaṃ paccattaṃ kakkhaḷaṃ kharigataṃ kakkhaḷattaṃ kakkhaḷabhāvo ajjhattaṃ upādinnaṃ – ayaṃ vuccati 'ajjhattikā pathavīdhātu'.

Tattha katamā bāhirā pathavīdhātu? Yaṃ bāhiraṃ kakkhaḷaṃ kharigataṃ kakkhaḷattaṃ kakkhaḷabhāvo bahiddhā anupādinnaṃ, seyyathidaṃ – ayo lohaṃ tipu sīsaṃ sajjhaṃ [sajjhu (syā.)] muttā maṇi veḷuriyo saṅkho silā pavāḷaṃ rajataṃ jātarūpaṃ lohitaṅko [lohitaṅgo (syā. ka.), lohitako (?)] masāragallaṃ tiṇaṃ kaṭṭhaṃ sakkharā kaṭhalaṃ [kathalaṃ (ka.)] bhūmi pāsāṇo pabbato, yaṃ vā panaññampi atthi bāhiraṃ kakkhaḷaṃ kharigataṃ kakkhaḷattaṃ kakkhaḷabhāvo bahiddhā anupādinnaṃ – ayaṃ vuccati 'bāhirā pathavīdhātu'. Yā ca ajjhattikā pathavīdhātu yā ca bāhirā pathavīdhātu, tadekajjhaṃ abhisaññūhitvā abhisaṅkhipitvā – ayaṃ vuccati ''pathavīdhātu''.

174. Tattha katamā āpodhātu? Āpodhātudvayaṃ – atthi ajjhattikā, atthi bāhirā. Tattha katamā ajjhattikā āpodhātu? Yaṃ ajjhattaṃ paccattaṃ āpo āpogataṃ sineho sinehagataṃ [sneho snehagataṃ (syā.)] bandhanattaṃ rūpassa ajjhattaṃ upādinnaṃ, seyyathidaṃ – pittaṃ semhaṃ pubbo lohitaṃ sedo medo assu vasā kheḷo siṅghāṇikā lasikā muttaṃ, yaṃ vā panaññampi atthi ajjhattaṃ paccattaṃ āpo āpogataṃ sineho sinehagataṃ bandhanattaṃ rūpassa ajjhattaṃ upādinnaṃ – ayaṃ vuccati 'ajjhattikā āpodhātu'.

Tattha katamā bāhirā āpodhātu? Yaṃ bāhiraṃ āpo āpogataṃ sineho sinehagataṃ bandhanattaṃ rūpassa bahiddhā anupādinnaṃ, seyyathidaṃ – mūlaraso khandharaso tacaraso pattaraso puppharaso phalaraso khīraṃ dadhi sappi navanītaṃ telaṃ madhu phāṇitaṃ bhummāni vā udakāni antalikkhāni vā, yaṃ vā panaññampi atthi bāhiraṃ āpo āpogataṃ sineho sinehagataṃ bandhanattaṃ rūpassa bahiddhā anupādinnaṃ – ayaṃ vuccati 'bāhirā āpodhātu'. Yā ca ajjhattikā āpodhātu yā ca bāhirā āpodhātu, tadekajjhaṃ abhisaññūhitvā abhisaṅkhipitvā – ayaṃ vuccati ''āpodhātu''.

175. Tattha katamā tejodhātu? Tejodhātudvayaṃ – atthi ajjhattikā, atthi bāhirā. Tattha katamā ajjhattikā tejodhātu? Yaṃ ajjhattaṃ paccattaṃ tejo tejogataṃ usmā usmāgataṃ usumaṃ usumagataṃ ajjhattaṃ upādinnaṃ, seyyathidaṃ – yena ca santappati yena ca jīrīyati yena ca pariḍayhati yena ca asitapītakhāyitasāyitaṃ sammā pariṇāmaṃ gacchati, yaṃ vā panaññampi atthi ajjhattaṃ paccattaṃ tejo tejogataṃ usmā usmāgataṃ usumaṃ usumagataṃ ajjhattaṃ upādinnaṃ – ayaṃ vuccati 'ajjhattikā tejodhātu'.

Tattha katamā bāhirā tejodhātu? Yaṃ bāhiraṃ tejo tejogataṃ usmā usmāgataṃ usumaṃ usumagataṃ bahiddhā anupādinnaṃ, seyyathidaṃ – kaṭṭhaggi palālaggi [sakalikaggi (sabbattha)] tiṇaggi gomayaggi thusaggi saṅkāraggi indaggi aggisantāpo sūriyasantāpo kaṭṭhasannicayasantāpo tiṇasannicayasantāpo dhaññasannicayasantāpo bhaṇḍasannicayasantāpo, yaṃ vā panaññampi atthi bāhiraṃ tejo tejogataṃ usmā usmāgataṃ usumaṃ usumagataṃ bahiddhā anupādinnaṃ – ayaṃ vuccati 'bāhirā tejodhātu'. Yā ca ajjhattikā tejodhātu yā ca bāhirā tejodhātu, tadekajjhaṃ abhisaññūhitvā abhisaṅkhipitvā – ayaṃ vuccati ''tejodhātu''.

176. Tattha katamā vāyodhātu? Vāyodhātudvayaṃ – atthi ajjhattikā, atthi bāhirā. Tattha katamā ajjhattikā vāyodhātu? Yaṃ ajjhattaṃ paccattaṃ vāyo vāyogataṃ thambhitattaṃ rūpassa ajjhattaṃ upādinnaṃ, seyyathidaṃ – uddhaṅgamā vātā adhogamā vātā kucchisayā vātā koṭṭhāsayā [koṭṭhasayā (sī. syā.)] vātā aṅgamaṅgānusārino vātā satthakavātā khurakavātā uppalakavātā assāso passāso iti vā, yaṃ vā panaññampi atthi ajjhattaṃ paccattaṃ vāyo vāyogataṃ thambhitattaṃ rūpassa ajjhattaṃ upādinnaṃ – ayaṃ vuccati 'ajjhattikā vāyodhātu'.

Tattha katamā bāhirā vāyodhātu? Yaṃ bāhiraṃ vāyo vāyogataṃ thambhitattaṃ rūpassa bahiddhā anupādinnaṃ, seyyathidaṃ – puratthimā vātā pacchimā vātā uttarā vātā dakkhiṇā vātā sarajā vātā arajā vātā sītā vātā uṇhā vātā parittā vātā adhimattā vātā kāḷavātā verambhavātā pakkhavātā supaṇṇavātā tālavaṇṭavātā vidhūpanavātā, yaṃ vā panaññampi atthi bāhiraṃ vāyo vāyogataṃ thambhitattaṃ rūpassa bahiddhā anupādinnaṃ – ayaṃ vuccati 'bāhirā vāyodhātu'. Yā ca ajjhattikā vāyodhātu yā ca bāhirā vāyodhātu, tadekajjhaṃ abhisaññūhitvā abhisaṅkhipitvā – ayaṃ vuccati ''vāyodhātu''.

177. Tattha katamā ākāsadhātu? Ākāsadhātudvayaṃ – atthi ajjhattikā, atthi bāhirā. Tattha katamā ajjhattikā ākāsadhātu? Yaṃ ajjhattaṃ paccattaṃ ākāso ākāsagataṃ aghaṃ aghagataṃ vivaro vivaragataṃ asamphuṭṭhaṃ maṃsalohitehi ajjhattaṃ upādinnaṃ, seyyathidaṃ – kaṇṇacchiddaṃ nāsacchiddaṃ mukhadvāraṃ, yena ca asitapītakhāyitasāyitaṃ ajjhoharati, yattha ca asitapītakhāyitasāyitaṃ santiṭṭhati, yena ca asitapītakhāyitasāyitaṃ adhobhāgaṃ nikkhamati, yaṃ vā panaññampi atthi ajjhattaṃ paccattaṃ ākāso ākāsagataṃ aghaṃ aghagataṃ vivaro vivaragataṃ asamphuṭṭhaṃ maṃsalohitehi ajjhattaṃ upādinnaṃ – ayaṃ vuccati 'ajjhattikā ākāsadhātu'.

Tattha katamā bāhirā ākāsadhātu? Yaṃ bāhiraṃ ākāso ākāsagataṃ aghaṃ aghagataṃ vivaro vivaragataṃ asamphuṭṭhaṃ catūhi mahābhūtehi bahiddhā anupādinnaṃ – ayaṃ vuccati 'bāhirā ākāsadhātu'. Yā ca ajjhattikā ākāsadhātu yā ca bāhirā ākāsadhātu, tadekajjhaṃ abhisaññūhitvā abhisaṅkhipitvā – ayaṃ vuccati ''ākāsadhātu''.

178. Tattha katamā viññāṇadhātu? Cakkhuviññāṇadhātu, sotaviññāṇadhātu, ghānaviññāṇadhātu, jivhāviññāṇadhātu, kāyaviññāṇadhātu, manoviññāṇadhātu – ayaṃ vuccati ''viññāṇadhātu''.

Imā cha dhātuyo.