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「色蘊」探源 —— 初期佛教語境下的衝突與抉擇=The Initial Meaning of “Rūpa-Skandha”: The Conflict and Decision Under The Circumstances of Early Buddhism |
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劉勁松 (著)=Liu, Jin-song (au.)
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| Source |
玄奘佛學研究=Hsuan Chuang Journal of Buddhism Studies
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| Volume | n.32 |
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| Date | 2019.09 |
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| Pages | 157 - 188 |
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| Publisher | 玄奘大學 |
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| Publisher Url |
http://ird.hcu.edu.tw/front/bin/home.phtml
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| Location | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為佛光大學佛教學系博士候選人 |
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| Keyword | 色蘊=rūpa-skandha; 初期佛教=early Buddhism; 佛學術語=Buddhist term; 佛學思想=Buddhist thought |
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| Abstract | 什麼是「色蘊」？佛教部派對此認識不一。現代學界的觀點可歸納為三種：（1）色蘊即物質。（2）色蘊為構成人（有情）的物質。（3）色蘊是物質的屬性（或功能）。因不同歷史時期、不同佛教部派對色蘊的定義不同，如上觀點均可在佛教文獻中找到根據。然而，色蘊最初含義——即在初期佛教語境下的定義是什麼？迄今為止，尚無詳審討論。有鑒於此，本文對此問題作出探討，並提出詮釋的根據與理由。
關於初期佛教對色蘊的定義，目前學界的共識為：色蘊即色的積聚。但其中色的含義是什麼，卻有不同解讀：一種為「四大及四大所造（物質）」；一種為「與有情主體相關的四大及四大所造（物質）」。
對此，本文從色蘊的上位概念五蘊、色蘊的構成、處於緣起法中的名色三方面考察後認為，在初期佛教的語境下，色蘊之色應解讀為「與有情主體相關的四大及四大所造（色）」。因此，根據初期佛教文獻，色蘊可定義為：五蘊之一，是與有情主體相關的「四大及四大所造（色）」的積聚，其構成要素為眼、耳、鼻、舌、身；色、聲、香、味、觸十種色入。
此定義仍存在進一步詮釋空間：如何定義與有情主體相關的「色」，它存在於主體意識之內還是之外？如何認識色與識的關係？等等，由此產生的理論衝突，正是後來有部阿毘達磨教法以及唯識家所致力解決的核心問題。
What’s the meaning of rūpa-skandha? Different Buddhist sects have different opinions. The viewpoints of modern academia can be summed up into three categories. (1) rūpa-skandha is matter. (2) rūpa-skandha is the physical world experienced by a sentiment being. (3) rūpa-skandha is the property (or function) of matter. Because different historical periods and different Buddhist sects have different definitions of it, their basis can all be found in Buddhist literature. However, what is its initial meaning in the early Buddhist literature? No more detailed discussion has yet been made till now. Therefore, the paper will discuss this question and put forward the basis and reasons of interpretation.
The common understanding of the various sects is as follows: rūpa-skandha is an accumulation of rūpa. But there are different interpretations of what rūpa means: one is “the four mahā-bhūta and the derivation of four mahā-bhūta”; one is “the four mahā-bhūta and the derivation of four mahā-bhūta related with sentiment being”.
Through a survey of three aspects—the upper concept “five aggregates” of rūpa-skandha, the elements of rūpa-skandha, the definition of nāma-rūpa in the the twelve nidānas, a conclusion is drawn as follows: under the circumstance of early Buddhism, rūpa-skandha should be explained as “four great elements and derivation of the four great elements(rūpa) which is related with sentiment beings” . Therefore, rūpa-skandha can be defined as: one of “five aggregates”, an accumulations(aggregate) of four great elements and derivation of the four great elements(matter) which is related with sentiment being, its elements are eyes, ears, nose, tongue, body, rūpa, voice, fragrance, odor, tactile.
Even if rūpa-skandha is defined in the early Buddhist documents, the explanation is still ambiguous, it need to be refined in some aspects, such as, whether rūpa exists in consciousness of sentiment beings or not, how to understand the relation between the consciousness and rūpa? The theoretical contradictions caused by the above questions are the key issues for Abhidharma and vijñapti-mātratā theory to solve. |
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| Table of contents | 一、前言 161
二、文獻依據 164
（一）原始文獻說明 164
（二）文獻使用原則 167
三、基於文獻的共識與衝突 167
（一）對色蘊的共識 167
（二）作為前佛教時期的色之含義 169
（三）「色蘊」之「色」的不同經證及解讀 171
1. 色蘊之色包含全部「四大和四大所造」的經證 171
2. 色蘊之色包含部分「四大和四大所造」的經證 172
四、焦點、詮釋與抉擇 173
（一）色蘊含攝於五蘊 174
（二）色蘊的內容 175
（三）名色為緣起法之一支 177
（四）造成認知衝突的原因 178
（五）抉擇——初期佛教語境下色蘊定義 179
五、「色入」之蘊與「色法」之蘊 180
（一）何謂色法 180
（二）何謂色入 181
（三）色入與色法的區別 180
六、結論 183
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| ISSN | 18133649 (P) |
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| Hits | 658 |
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| Created date | 2020.03.25 |
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| Modified date | 2020.03.25 |
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