宗鏡錄 58.2.4

58.2.4

八舌。 九身。 亦爾。 此中差別者。 謂各行自境。 緣自境之所依止。 十色。 謂眼所行境。 眼識所緣。 四大所造。 色蘊所攝。 有見有對性。 十一聲。 謂耳所行境。 耳識所緣。 四大所造。 可聞音為體。 色蘊所攝。 無見有對性。 十二香。 謂鼻所行境。 鼻識所緣。 四大所造。 可嗅物為體。 色蘊所攝。 無見有對性。 十三味。 謂舌所行境。 舌識所緣。 四大所造。 可嘗物為體。 色蘊所攝。 無見有對性。 十四觸。 謂身所行境。 身識所緣。 四大所造。 可觸物為體。 色蘊所攝。 無見有對性。 十五法處所攝色。 謂一切時意所行境。 色蘊所攝。 無見無對性。 又百法明色有十一種。 所謂五根六境。 五根者。 阿毘達磨論云。 以造色為體。 一能造。 即四大。 地水火風。 二所造。 即四微。 色香味觸。 六境者。 一色。 有三十一。 顯色有十三。 一青．二黃．三赤．四白．五光．六影．七明．八暗．九雲．十煙．十一塵．十二霧．十三空一顯色。 形色有十。 一長．二短．三方．四圓．五麁．六細．七高．八下．九正．十不正。 表色有八。 一取．二捨．三屈．四伸．五行．六住．七坐．八臥。 法處色有五。 一極逈色．二極略色．三定自在所生色．四受所引色．五遍計所執色。 五根色。 以能造為體。 法處境中以極逈極略為體。 遍計所執。 受所引色等四色。 非是造色。 無體性故。 是假非實。 又除青黃赤白四色是實。 長短二十七種皆是假。 四實色上立故。 以相形立故。 二聲。 有十一種。 一因執受大種聲。 因者。 假藉之義。 即藉彼第八識。 執受四大所發之聲。 即血脈流注聲等是也。 即內四大有情作聲。 皆是執受故。 二因不執受大種聲。 外四大聲是。 三因執受不執受大種聲。 如外四大種。 親造彼聲。 即手是。 內四大種。 親造果聲。 外四大種。 但為助緣。 共造一聲。 四世所共成聲。 世間言教書籍陰陽等。 名共成聲。 仁義禮智信等。 五成所引聲。 或成所作智。 所引言教。 即唯如來。 六可意聲。 情所樂欲。 七不可意聲。 情不樂欲。 八俱相違聲。 非樂非不樂。 名俱相違聲。 九遍計所執聲。 謂外道所立言教。 十聖言量所攝聲。 十一非聖言量所攝聲。 三香。 有六。 一好。 約情說。 隨自識變。 稱己心等。 方名好香。 二惡。 三平等。 非好非惡。 四俱生沈檀等。 與質俱起。 五和合。 眾香等成一香。 六變異。 未熟無香之時。 名變異。 四味。 有十二。 一苦．二酸．三甘．四辛．五鹹．六淡．七可意。 謂稱情故。 八不可意。 謂不稱情。 九俱相違。 上二相反。 十俱生。 與質同有。 十一和合。 眾味聚集。 十二變異。 成熟後。 味異。 於前。 五觸。 有二十六。 一地．二水．三火．四風．五滑．六澁．七輕．八重．九軟．十緩．十一急．十二冷．十三飢．十四渴．十五飽．十六力．十七劣．十八悶．十九癢．二十黏．二十一病．二十二老．二十三死．二十四疲．二十五息．二十六勇。 前四地水火風是實。 餘二十二依四大差別建立是假。

Eighth, the tongue; ninth, the body: these are likewise. The distinctions among them are that each moves in its own sphere and serves as the support for conditioning its own sphere. Tenth, form: the sphere moved in by the eye, conditioned by eye-consciousness, created by the four great elements, subsumed under the form aggregate, having the nature of being visible and obstructive. Eleventh, sound: the sphere moved in by the ear, conditioned by ear-consciousness, created by the four great elements, having audible sounds as its substance, subsumed under the form aggregate, having the nature of being invisible and obstructive. Twelfth, scent: the sphere moved in by the nose, conditioned by nose-consciousness, created by the four great elements, having smellable things as its substance, subsumed under the form aggregate, having the nature of being invisible and obstructive. Thirteenth, taste: the sphere moved in by the tongue, conditioned by tongue-consciousness, created by the four great elements, having tasteable things as its substance, subsumed under the form aggregate, having the nature of being invisible and obstructive. Fourteenth, tactile objects: the sphere moved in by the body, conditioned by body-consciousness, created by the four great elements, having tangible things as its substance, subsumed under the form aggregate, having the nature of being invisible and obstructive. Fifteenth, form subsumed under the sphere of dharmas: the sphere moved in by the mind at all times, subsumed under the form aggregate, having the nature of being invisible and unobstructive. Furthermore, the Bai fa explains that form is of eleven kinds: namely, the five faculties and the six spheres. As for the five faculties, the Abhidharma treatises state that they take created form as their substance: first, the creators, namely the four great elements—earth, water, fire, and wind; second, the created, namely the four subtle particles—form, scent, taste, and tactile objects. As for the six spheres: first, form has thirty-one varieties. Manifest form has thirteen: 1. blue, 2. yellow, 3. red, 4. white, 5. light, 6. shadow, 7. brightness, 8. darkness, 9. clouds, 10. smoke, 11. dust, 12. mist, 13. manifest form of empty space. Shape-form has ten: 1. long, 2. short, 3. square, 4. round, 5. coarse, 6. fine, 7. high, 8. low, 9. regular, 10. irregular. Expressive form has eight: 1. taking up, 2. giving up, 3. bending, 4. extending, 5. walking, 6. standing, 7. sitting, 8. lying down. Form in the sphere of dharmas has five: 1. extremely distant form, 2. extremely minute form, 3. form arisen from sovereignty in meditative absorption, 4. form induced by taking [precepts], 5. entirely imagined form. The form of the five faculties takes the creating [elements] as substance. Within the sphere of dharmas, extremely distant and extremely minute form are taken as substance. The four forms including entirely imagined and form induced by taking [precepts] are not created forms; because they lack real substantial nature, they are nominal, not real. Furthermore, with the exception of the four colors—blue, yellow, red, and white—which are real, the twenty-seven varieties such as long and short are all nominal, because they are established upon the four real colors and established by comparing shapes. Second, sound has eleven kinds: 1. sound caused by appropriated great elements. 'Caused by' means relying on; that is, relying on the eighth consciousness's appropriation of the four great elements to emit sound, such as the sound of circulating blood vessels and so forth; this is because the sounds made by internal sentient beings consisting of the four elements are all appropriated; 2. sound caused by unappropriated great elements, which is the sound of the external four great elements; 3. sound caused by both appropriated and unappropriated great elements, as when the external great elements directly produce that sound, namely the hand; the internal great elements directly produce the resultant sound, while the external great elements merely serve as auxiliary conditions, jointly producing a single sound; 4. sound conventionally established by the world: worldly verbal teachings, books, yin and yang, and so on, are called conventionally established sound, as are benevolence, righteousness, propriety, wisdom, and trustworthiness; 5. sound induced by realization: or verbal teachings induced by the wisdom of accomplishing actions, which pertains exclusively to the Tathāgata; 6. agreeable sound: what the mind delights in; 7. disagreeable sound: what the mind does not delight in; 8. sound contrary to both: neither delightful nor undelightful is called sound contrary to both; 9. entirely imagined sound: verbal teachings established by non-Buddhists; 10. sound subsumed under the valid cognition of the noble ones' teachings; 11. sound not subsumed under the valid cognition of the noble ones' teachings. Third, scent has six kinds: 1. good scent: spoken of from the perspective of feelings; as it transforms in accord with one's own consciousness and accords with one's mind, only then is it called good scent; 2. bad scent; 3. neutral scent: neither good nor bad; 4. innate scent, such as eaglewood or sandalwood, arising together with the substance; 5. compounded scent: multiple scents combining to form a single scent; 6. transformed scent: the time when it is unripened and has no scent is called transformed scent. Fourth, taste has twelve kinds: 1. bitter, 2. sour, 3. sweet, 4. pungent, 5. salty, 6. bland, 7. agreeable, meaning it accords with one's feelings, 8. disagreeable, meaning it does not accord with one's feelings, 9. contrary to both, being opposite to the two above, 10. innate, existing co-present with the substance, 11. compounded, an aggregation of multiple tastes, 12. transformed, whose taste after ripening is different from before. Fifth, tactile objects have twenty-six kinds: 1. earth, 2. water, 3. fire, 4. wind, 5. smoothness, 6. roughness, 7. lightness, 8. heaviness, 9. softness, 10. slackness, 11. tightness, 12. coldness, 13. hunger, 14. thirst, 15. fullness, 16. strength, 17. weakness, 18. stupor, 19. itchiness, 20. stickiness, 21. sickness, 22. aging, 23. death, 24. fatigue, 25. rest, 26. vigor. The first four—earth, water, fire, and wind—are real; the remaining twenty-two are nominal, established in dependence upon the differences among the four great elements.