Reply To: Validity of current interpretation of Satipatthana Sutta

#51111
Lal
Keymaster

Since I have the figure in my comment on July 30, 2024 at 10:07 am above, this is a good opportunity to point out a few things about that figure.

1. When a sensory input (arammana) comes in, the mind first experiences “bahiddha vinnana.” The term “bahiddha” means “bahira + iddha” where “bahira” means external and “iddha” means ” to get established.”

  • A human mind (or vinnana) is first established in the “dhatu” or “initial stage,” where a “set of distorted kama sanna” is automatically experienced regardless of whether or not one has any magga phala
  • That is what gives the “sweetness of sugar,” “beauty/handsomness” of a woman/man, etc.

2. That “kama sanna” then triggers kama sankappa” (mainly mano abhisankhara) based on one’s samyojana/anusaya. 

  • For example, since all ten samyojana are intact in a puthujjana, they generate the strongest “kama sankappa.
  • A Sotapanna has removed three samyojana, and hence the attachment will be less, etc..
  • Since this “attachment” is based on one’s ditthi, tanha, and mana, it is called “ajjhatta” (“ajjha” for “oneself” and “atta” for “taking it to be fruitful.” 
  • Since an Arahant has no samyojana (or ditthi, tanha, and mana) left, that mind will not get to this stage, i.e., no pancupadanakkhandha (PUK) gets started.

3. The “ajjhatta vinnana” is the beginning of the accumulation of a PUK. 

  • In the next step, the mind makes its own version of the “external rupa” received. This is the “cakkhuvinneyya rupa” for visual input (as indicated in the figure.)
  • In most suttas, by “rupa” it is meant the “cakkhuvinneyya rupa.P.S. This is the rupa that is of “anicca nature,” not the “external rupa.” This “rupa” (it is related to the “namarupa” in PS) arises in the mind only because that mind has not fully grasped the “anicca nature” (of course, that happens at the Arahant stage).

4. In the next step, “kama guna” arises based on one’s gati at that moment. 

  • Thus, the same person may be attracted to a sensory event while drunk, for example, but may not while in a “good mindset.”

5. The mind gets to the “tanha paccaya upadana” stage only if the attachment is strong in the above step. 

  • This is really the time the PUK (pancupadanakkhandha) starts. This is the “upadana” stage where “new or nava kamma” are accumulated, as indicated at the top of the figure.
  • Thus, the stage before that is called the “upaya stage.” No significant kamma is accumulated in this stage, as indicated by the narrow expansion of the “cone.” 
  • Strong kamma are accumulated in the “nava kamma stage” with kaya, vaci, and mano abhisankhara. That is indicated by the “widening cone” starting at the “tanha paccaya upadana” stage.
  • Also, the “expansion” indicates “punna kamma” and the downward indicates “apunna kamma” or immoral kamma

6. The “purana kamma” (or “upaya“) stage arises automatically according to one’s samyojana/anusaya. We don’t have direct control over that stage.

  • However, in the “nava kamma” (or “upadana“) stage, kamma is accumulated consciously. 
  • The mind gets increasingly contained as it goes through the steps shown. 
  • In the “cleansing process” (or cultivating “sila” or “indriya samvara“), one needs to start at the rightmost stage. 

7. I have provided more information in the comment above the one with the figure.

  • As discussed there, the removal of samyojana/anusaya, (as well as one’s gati) happens by cultivating mindfulness/sila/indriya samvara AND understanding the details of this kamma accusation process, i.e., how a PUK arises with an arammana.
  • Reading the links given will help you understand the process.
  • Also see “Ārammaṇa (Sensory Input) Initiates Critical Processes.” (especially #11). However, one will eventually need to read posts in the time sequence given in “New / Revised Posts” from around 7/29/23.

8. That is a brief overview. Feel free to ask questions. 

  • You can ask questions on the above comments or any old post by referring to the specific post.
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