색계 유익한 마음(팔리어: rūpāvacara-kusalacittāni 루-빠-와짜라 꾸살라 찟따-니, 영어: fine-material-sphere wholesome consciousnesses, rūpa-jhāna moral consciousnesses)은 특히 상좌부의 교학과 아비담마 그리고 수행에서 사용하는 용어로, 무탐·무진·무치의 3선근 모두와 함께하는 다음의 5가지 색계의 마음을 말한다.[1][2][3] 이 5가지 색계 마음은 초선·제2선·제3선·제4선의 4선 또는 4선정 체계가 아닌 초선·제2선·제3선·제4선·제5선의 5선 또는 5선정 체계에 따른 것이다.[4]
일으킨 생각 · 지속적 고찰 · 희열 · 행복 · 집중이 함께하는 초선의 유익한 마음
지속적 고찰 · 희열 · 행복 · 집중이 함께하는 제2선의 유익한 마음
희열 · 행복 · 집중이 함께하는 제3선의 유익한 마음
행복 · 집중이 함께하는 제4선의 유익한 마음
평온 · 집중이 함께하는 제5선의 유익한 마음
위의 각각의 항목에서 '지혜와 함께한다'는 표현이 없지만 욕계에서 색계 초선으로, 즉, 더 상위의 계로 들어가기 위해서는 지혜(인과에 대한 이해와 그 이해에 의거한 노력)가 없이는 불가능하다. 욕계를 제외한 모든 계 즉 색계·무색계·출세간의 마음은 무탐·무진·무치의 3선근 모두와 함께한다.[3]
5가지 색계 유익한 마음은 고요명상 수행, 즉, 호흡을 관찰하는 수식관 즉 지식념이나 까시나(kasiṇa: 명상 수행에서 집중의 대상으로 사용하기 위해 만든 색칠한 원반 등)[5] 명상으로 개발할 수 있다.[6][7] 또한 4념처·4무량심 수행 ·간화선·염불선 등의 수행을 통해서도 개발할 수 있다. 이 5가지 마음은 순차적으로 개발된다.[8] 즉, 초선에 든 후에 제2선에 들 수 있으며, 제2선에 든 후 제3선에, 제3선에 든 후 제4선에, 제4선에 든 후 제5선에 들 수 있다. 즉, 고요명상 수행을 통해 초선에 들 수 있으며, 초선에 든 후에는 선정 요소(jhāna factor) 즉 선정을 구성하는 5가지 요소인 일으킨 생각·지속적 고찰·희열·행복·집중 중 일으킨 생각·지속적 고찰·희열·행복의 4가지를 이 순서대로 차례대로 제거함으로써, 즉, 가장 거친 것부터 차례대로 제거함으로써 제2선부터 제5선까지의 선정이 순차적으로 획득된다.[4]
일으킨 생각[尋, 심, vitakka, initial application]은 마음과 마음작용을 대상에 기울이는 것(directing the mind and its concomitants towards the object)으로, 명상수행에서 5개 중 혼면개(惛眠蓋) 즉 마음이 흐리고 몸이 무거워지는 것, 즉, 느려지고 무기력해지는 것을 억제한다.[16]
즉, 일으킨 생각[尋]이란 예를 들어 호흡 관찰 수행인 지식념·수식관에서 호흡에 집중하는 것 즉 주의를 기울이는 것을 말한다. 까시나 고요명상 수행에서는 까시나에 집중하는 것 즉 주의를 기울이는 것을 말한다. 간화선에서는 화두를 드는 것을 말한다.
지속적 고찰[伺, 사, vicāra, sustained application]은 마음을 대상에 지속적으로 초점화하는 것(continually focusing the mind on the object)으로, 명상수행에서 5개 중 의개(疑蓋) 즉 의심함 즉 '마음이 결정을 내려 머무는 것을 못하게 하는 것'을 억제한다.[17]
즉, 지속적 고찰[伺]이란 예를 들어 호흡 관찰 수행인 지식념·수식관에서 지속적으로 호흡에 집중하는 것 즉 주의를 기울이는 것, 즉 수동적 주의집중 상태를 긴 시간 동안 유지하는 것을 말한다. 까시나 고요명상 수행에서는 까시나에 지속적으로 집중하는 것 즉 주의를 기울이는 것을 말한다, 즉, 긴 시간 동안 집중을 유지하는 것을 말한다. 간화선에서는 화두를 끊임없이 드는 것 즉 화두를 끊임없이 의심하는 것을 말한다.
오로지 정진 즉 '결단과 인내(determination and perseverance)' 즉 '자주 반복하여 실행함'에 의해서만 일으킨 생각[尋]의 상태에서 지속적 고찰[伺]의 상태로 나아갈 수 있다. 정진 외에는 다른 어떤 길도 없으니, 정진에 대한 좋은 글이나 문구를 많이 보고 가까이하면서 마음을 다잡아야 한다. 예를 들어, 《성유식론》 등에 나오는, 정진(精進) 또는 근(勤)의 5단계의 차별인 피갑(被甲) · 가행(加行) · 무하(無下) · 무퇴(無退) · 무족(無足) 등의 단어를 되뇌이는 것이 큰 도움이 된다.
행복[樂, 낙, sukha, happiness]는 희수(喜受, somanassa, joy) 즉 즉 정신적 기쁨(pleasant mental feeling)을 말하며, 명상수행에서 5개 중 도회개(들뜸과 근심과 후회)를 억제한다. 희열과 행복은 유사한데, 희열은 시작 단계의 기쁨, 행복은 본격적인 단계의 기쁨이다. 예를 들어, 지친 여행자가 오아시스를 만났을 때 느끼는 기쁨이 희열이고 물 마시고 목욕하면서 느끼는 기쁨이 행복이다. 명상수행에서는 희열은 몸이 기쁜 것 즉 선정에 의해 몸이 가뿐하고 즐거운 느낌이 드는 것이고, 행복은 마음이 기쁜 것 즉 선정에 의해 마음이 선정의 기쁨을 느끼는 것이다.[19]
집중[心一境性, 심일경성, ekaggatā, one-pointedness]은 일반적인 표현으로는 일심집중(一心集中, 일심으로 집중함)을 말한다. 보다 정확히는, 마음[心]이 대상[境]과 하나[一]가 되는 상태[性], 즉 몰입을 말하며, 명상수행에서 5개 중 탐욕개 즉 감각적 욕망 즉 마음이 5감에 이끌리는 것 즉 마음이 외계 사물에 이끌리는 것을 억제한다.[15]
1. First jhāna wholesome consciousness together with initial application, sustained
application, zest, happiness, and one-pointedness.
2. Second jhāna wholesome consciousness together with sustained application, zest,
happiness, and one-pointedness.
3. Third jhāna wholesome consciousness together with zest, happiness, and onepointedness.
4. Fourth jhāna wholesome consciousness together with happiness and one-pointedness.
5. Fifth jhāna wholesome consciousness together with equanimity and one-pointedness.
These are the five types of fine-material-sphere wholesome consciousness.
↑Mehm Tin Mon (2015). 《The Essence of Buddha Abhidhamma》. Third edition. Mehm Tay Zar Mon, Mya Mon Yadanar Literature. pp.44~45.
FINE MATERIAL-SPHERE CONSCIOUSNESS (Rūpāvacara Cittas)
There are 15 rūpāvacara cittas which are divided into three classes
in the same way as the kāmāvacara-sobhaṇa cittas are equally divided
into kusala, vipāka and kiriya cittas.
1 Rūpāvacara kusala cittas — 5
rūpa-jhāna moral consciousnesses
2 Rūpavacara vipāka cittas — 5
rūpa-jhāna resultant consciousnesses
3 Rūpāvacara kiriya cittas — 5
rūpa-jhāna functional consciousnesses
↑ 가나다Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.51.
Guide to §21 The five jhānas become of fifteen types by occurring as wholesome cittas, as
resultants, and as functionals. Each jhāna citta of the same level is defined by the same
set of factors, whether wholesome (kusala), resultant (vipāka), or functional (kiriya /
kriyā). All cittas of the fine-material sphere (rūpāvacara) are associated with knowledge
(ñāṇasampayutta), though knowledge, not being a specific jhāna factor, is not mentioned
in the formulas. Thus, all the fine-material-sphere cittas have three roots: (1) non-greed
(alobha); (2) non-hatred (adosa); and (3) non-delusion (amoha).
↑ 가나Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.50.
Second jhāna wholesome consciousness, etc.: The higher jhānas are attained by
successively eliminating the grosser jhāna factors and by refining the subtler factors
through strengthened concentration. In the Suttas, the Buddha expounds the jhānas as
fourfold by teaching the simultaneous elimination of vitakka and vicāra in progressing
from the first jhāna to the second. In the Abhidhamma, the jhānas become fivefold by
the inclusion of an intermediate jhāna in which vitakka has been eliminated while vicāra
remains. This is the second jhāna in the Abhidhamma scheme.
In the third jhāna, vicāra as well is eliminated; in the fourth, pīti is made to fade
away; and in the fifth jhāna, upekkhā, “equanimity” or “neutral feeling,” replaces sukha,
“happiness,” as the concomitant feeling. Thus, whereas the cittas of the first four jhānas
are associated with joy (somanassasahita), the citta of the fifth jhāna is associated with
equanimity (upekkhāsahita).
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. pp.47~48.
The object of the jhāna-consciousness is a mental image called “the counterpart
sign” (paṭibhāganimitta). The sign is considered a conceptual object (paññatti), but it
generally arises on the basis of a visible form, and, hence, these jhānas pertain to the
fine-material sphere. The meditator aspiring to jhāna may select as the original object of
concentration a contemplative device called a “kasiṇa,” such as a colored disk, on which
attention is fixed. When concentration matures, this physical device will give rise to a
visualized replica of itself called “the acquired sign” (uggahanimitta), and this, in turn,
gives rise to the counterpart sign (paṭibhāganimitta) apprehended as the object of jhāna.
↑Mehm Tin Mon (2015). 《The Essence of Buddha Abhidhamma》. Third edition. Mehm Tay Zar Mon, Mya Mon Yadanar Literature. p.45.
A person, whose rebirth consciousness is associated with wisdom
and who is not yet an arahant, may develop the five rūpāvacara kusala
cittas one after another by undertaking tranquillity meditation such as
meditating on kasiṇa or on respiration.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.47.
The jhānas are attained by the method of meditation called “the development of
tranquility,” “calm-abiding,” or “serenity” (samathabhāvanā). This type of meditation
involves the strengthening of the faculty of concentration (samādhi). By fixing the mind
upon a single object, all mental distraction is eliminated. The hindrances are suppressed,
and the mind becomes fully absorbed in the object. The development of calm will be
dealt with in detail later (Chapter 9, §§2—21).
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.48.
Fine-material-sphere wholesome consciousness: This category comprises five
cittas distinguished by way of the five jhānas, each jhāna constituting a distinct type of
citta. The jhānas are enumerated in the order given for two reasons: (1) because, when
one meditates for the attainment of the jhānas, one achieves them in this order; and (2)
because the Buddha taught them in this order.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.50.
According to the Suttanta method, which enumerates four jhānas of the fine-material
sphere, the first jhāna is identical in all respects with the first jhāna of the
Abhidhamma method. However, the second jhāna of the Suttanta method is attained by
the simultaneous subsiding of initial application (vitakka) and sustained application
(vicāra), and, thus, has only the three jhāna factors of zest (pīti), happiness (sukha), and
one-pointedness (ekaggatā), like the third jhāna of the Abhidhamma method. The third
jhāna of the Suttanta method has the two factors of happiness and one-pointedness, the
fourth jhāna the two factors of equanimity (that is, neutral feeling) and one-pointedness.
These two jhānas are equivalent to the fourth and fifth jhānas, respectively, of the
Abhidhamma method.
Although the Suttas do not mention the fivefold analysis of jhāna in explicit
terms, they provide an implicit basis for this analysis in the Buddha’s distinction between
three kinds of concentration: (1) concentration accompanied by both initial application
and sustained application (savitakka savicāra samādhi 有尋有伺三摩地 = 有覺有觀三昧); (2) concentration without initial
application but with sustained application (avitakka vicāramatta samādhi 無尋唯伺三摩地 = 無覺有觀三昧; and (3)
concentration with neither initial application nor sustained application (avitakka avicāra
samādhi 無尋無伺三摩地 = 無覺無觀三昧 (Majjhima Nikāya 128/iii, 162). The first is obviously the first jhāna in both
systems, and the third is the second and higher jhānas of the Suttanta method and the
third and higher jhānas of the Abhidhamma method. The second, however, is nowhere
clarified within the Suttas themselves and only becomes intelligible as the second jhāna
of the Abhidhamma method.
↑ 가나Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. pp.49~50.
One-pointedness (ekaggatā): The Pāḷi term ekaggatā literally means “a one
(eka) pointed (agga) state (tā).” This mental factor is the primary component in all five
jhānas and the essence of concentration (samādhi). One-pointedness temporarily inhibits
sensory desire, a necessary condition for any meditative attainment. Ekaggatā exercises
the function of closely contemplating the object, the salient characteristic of jhāna, but it
cannot perform this function alone. It requires the joint action of the other four jhāna
factors, each performing its own special function: (1) vitakka, “initial application” —
fixing consciousness on the object; (2) vicāra, “sustained application” — maintaining
consciousness there; (3) pīti, “zest” — bringing delight in the object; and (4) sukha,
“happiness” — experiencing happiness in the jhāna.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.48.
Initial application (vitakka): In the Suttas, the word vitakka is often used in the
loose sense of “thought,” but, in the Abhidhamma, it is used in a precise technical sense
to mean the mental factor that mounts, or directs, the mind onto the object.37 Just as a
king’s favorite might conduct a villager to the palace, even so, vitakka directs the mind
onto the object. In the practice for attaining jhāna, vitakka has the special task of
inhibiting the hindrance of sloth and torpor (thīna-middha).
37So hi ārammaṇe cittaṁ āropeti. Aṭṭhasālinī 114.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. pp.48~49.
Sustained application (vicāra): The word vicāra usually means “examination,”
but here, it signifies the sustained application of the mind on the object. Whereas vitakka
is the directing of the mind and its concomitants towards the object, vicāra is the
continued focusing of the mind on the object. The Commentaries offer various similes to
highlight the difference between these two jhāna factors: Vitakka is like a bird spreading
out its wings, while vicāra is like a bird gliding through the air with outstretched wings.
Vitakka is like a bee diving towards a flower, while vicāra is like the bee buzzing above
the flower. Vitakka is like the hand that holds a tarnished metal dish, while vicāra is like
the hand that wipes the dish.38 In the jhānas, vicāra serves to inhibit the hindrance of
doubt (vicikicchā) temporarily.
38Visuddhimagga IV, 89—91.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.49.
Zest (pīti):Pīti, which is derived from the verb pīnayati, meaning “to refresh,”
may be explained as delight or pleasurable interest in the object. The term is often
translated as “rapture,” a rendering that fits its role as a jhāna factor but may not be wide
enough to cover all its nuances.39 The commentators distinguish five grades of pīti that
arise when developing concentration: (1) minor zest; (2) momentary zest; (3) showering
zest; (4) uplifting zest; and (5) pervading zest. Minor zest is able to raise the hairs on the
body. Momentary zest is like flashes of lightning. Showering zest breaks over the body
again and again like waves on the seashore. Uplifting zest can cause the body to levitate.
And pervading zest pervades the whole body as an inundation fills a cavern. The latter is
identified as the pīti present in a jhāna.40 As a factor of jhāna, pīti inhibits the hindrance
of ill will (vyāpāda).
39 In The Path of Purification, his translation of the Visuddhimagga, Bhikkhu Ñāṇamoli has translated it as
“happiness.” This rendering is often used for sukha, the next factor, and thus may lead to confusion of the
two.
40Visuddhimagga IV, 94—100.
↑Bhikkhu Bodhi & Allan R. Bomhard (2007). 《A Comprehensive Manual of Abhidhamma》. Charleston Buddhist Fellowship. p.49.
Happiness (sukha): This jhāna factor is pleasant mental feeling. It is identical
with somanassa, “joy,” but not with the sukha of pleasant bodily feeling that
accompanies wholesome-resultant body-consciousness. This sukha, also rendered as
“bliss,” is born of detachment from sensory pleasures; it is, therefore, explained as
nirāmisasukha, “unworldly happiness” or “spiritual happiness.” It counters the hindrance
of restlessness and worry (uddhacca-kukkucca).
Though pīti and sukha are closely connected, they are distinguished in that pīti is
a conative factor belonging to the aggregate of mental formations (saṁkhārakkhandha),
while sukha is a feeling belonging to the aggregate of feeling (vedanākkhandha). Pīti is
compared to the delight a weary traveler would experience when coming across an oasis,
sukha to his pleasure after bathing and drinking.41 41 For a detailed elaboration of this simile, see Aṭṭhasālinī 117—118; The Expositor, pp. 155—156.
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