宗鏡錄 58.2.4

58.2.4

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.