![]() These are the extraordinary sensory attributes of the buddha-level. And when the sensory attributes associated respectively with the sense-organs of the ear, nose, tongue and body are similarly estimated, they number twelve hundred. Thus there are six divisions of forty, making two hundred and forty (sensory attributes associated with the sense-organ of the eye). Similarly, each of the five remaining directions (in which the eye casts its vision), when analysed according to their ten respective subsidiary directions, also has forty such (sensory attributes). ![]() Each of the remaining nine subsidiary directions also has these four (sensory attributes), making forty in all. When, among these, the sense-organ of the eye focusses on the vision of an easterly form in the eastern direction, there are four (sensory attributes which arise), namely, sound is heard, scent is sensed, taste is savoured, and objects are contacted. Now the sense-organ of the eye is at the outset analysed according to the six directions (of its vision), namely the four cardinal directions, the zenith and the nadir and each of these six is further analysed according to its ten subsidiary directions. When the five sense-organs become extraneous. ![]() ![]() Now on the Buddha-level, each of the five consciousnesses associated with the sense-organs respectively penetrates five sense-objects.Ĭoncerning this, It says in the Ornament of the Sūtras of the Greater Vehicle ( T. They are respectively: Aṅkuśā, (the queen, btsun-mo) who essentially is not eternal ( rtag-par ma-yin-pa-dang) with respect to all things such as form-illustrating that appearances are like reflected images, not existing in reality, and Illustrating that she draws in sentient beings with loving kindness and liberality which are her attributes Pāśā, the one who is not transient ( chad-par ma-yin-pa-dang) with respect to all things such as sound, because she illustrates that these respective appearances are essentially not abandoned but resemble a mirage and because she draws in sentient beings with compassion and gentle speech which are her attributes: Sphoṭā, the one who essentially is selfless ( bdag-tu ma-yin-pa-dang), in whom mental phenomena are not apprehended as self-existing through refutation and proof but are dreamlike, symbolising that she overpowers sentient beings with sympathetic joy and empathy which are her attributes and Gaṇṭhā, the one who is signless ( mtshan-mar ma-yin-pa) and without substance in respect of the essence of all phenomenal existence, saṃsāra and nirvāṇa, illustrating that it lacks Independent existence from the beginning in the manner of an emanation and that she establishes sentient beings in quiescence through purposeful conduct and great equanimity which are her attributes. The assembly (in maṇḍalas) such as this is inexpressible, and present without duality.ītsun-mo rtag-par ma-yin-pa- dang / chad-par ma-yin-pa-dang / bdag-tu ma-yin-pa-dang / mtshan-mar ma-yin-pa la-sogs-pa / de-lta-bu'i tshogs brjod-kyis mi-lang-ba-dang / gnyis-su med-par bzhugs-so / Commentary: There was the queen who is not eternal, the one who is not transient, the one who is selfless, and the one who is signless. ![]()
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