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http://ignca.nic.in/ps_02011.htmhttp://ignca.nic.in/ps_02.htmConcept 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 (ā
hāra) 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.
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Тема: Первоэлементы (Прочитано 16877 раз)