Chapter 4 - Exposition Of Paramattha Dhammas II

Rupa paramattha Dhamma is the reality, which does not know anything^[1] . It arises and falls away because of conditions, just as in the case of citta and cetasika.

Rupa paramattha Dhamma includes 28 different kinds of rupa. The meaning of rupa, material phenomenon or matter, is different from matter in conventional sense, such as table, chair, or book. Among the 28 kinds of rupa, there is one kind of rupa, visible object or color, citta can experience through the eyes. That which appears through the eyes is the only kind of rupa, which can be seen by citta. As regards the other 27 rupas, these cannot be seen by citta, but they can be experienced through the appropriate doorways by the cittas concerned. Sound, for example, can be experienced by citta through the ears.

Just as twenty-seven rupas are invisible realities, citta and cetasika are invisible realities, but there is a great difference between rupa Dhamma and nama Dhamma. Citta and cetasika are paramattha Dhammas that can experience an object, whereas rupa is a paramattha Dhamma which does not know any object. Rupa paramattha Dhamma is saṅkhāra (conditioned) Dhamma, it has conditions for it’s arising. Rupa is dependent on other rupas for its arising, it cannot arise alone, without other rupas. There must be several rupas together in a small unit or group, which arise together and are dependent on one another. The rupas in such a group, called in Pali kalāpa, cannot be separated from each other.

Rupa is a Dhamma, which is infinitesimal and intricate. It arises and falls away very rapidly, all the time. When comparing the duration of rupa with the duration of citta, one unit of rupa arises and falls away in the time seventeen cittas arise and fall away, succeeding one another and this is extremely fast. For example, it seems that at this moment the citta which sees and the citta which hears appear at the same time, but in reality they arise and fall away apart from each other, with more than seventeen moments of citta in between them. Therefore, the rupa which arises at the same time as the citta which sees must arise and fall away before the citta which hears arises.

Each rupa is infinitesimal. If a mass of rupas which arise and fall away together would be split up into the minutest particles which cannot be divided again, such a particle is an extremely small unit or group (kalāpa) of rupas consisting of at least eight different rupas which cannot be separated from each other. These eight rupas are called the indivisible or inseparable rupas, avinibbhoga rupas.

Among these are the four principle rupas, maha-bhūta rupas, which are the following:

1. the Element of Earth or solidity (paṭhavi dhatu), the rupa which is softness or hardness
2. the Element of Water (āpo dhatu), the rupa which is fluidity or cohesion
3. the Element of Fire or heat (tejo dhatu), the rupa which is heat or cold
4. the Element of Wind (vāyo dhatu), the rupa which is motion or pressure

These four principle rupas, maha-bhūta rupas, arise interdependently and they cannot be separated. Moreover, they are the condition for the arising of four other rupas. These rupas which are dependent on the four principle rupas arise together with them in the same group.

They are the following rupas:

1. color or visible object (vaṇṇo), the rupa which appears through the eyes
2. odor (gandho), the rupa which appears through the nose
3. flavor (raso), the rupa which appears through the tongue
4. nutritive essence (ojā), the rupa which is one of the conditions for the arising of other rupas^[2]

These four rupas are, together with the four principle rupas, included in the eight rupas which cannot be separated from each other; these eight rupas constitute the minutest unit, kalāpa, of rupas which arise and fall away together very rapidly. The four principle rupas cannot arise without these four derived rupas (upādāya rupas^[3] ) which arise dependently on the four principal rupas.

The four principle rupas are the condition by way of foundation for the derived rupas which arise together with them in the same group. However, although the derived rupas arise simultaneously with the principle rupas in the same group and are dependent on them, they are not in their turn the condition for the arising of the four principal rupas.

There are altogether 28 kinds of rupas, namely the four principle rupas and 24 derived rupas. If the four principle rupas would not arise, there could not be the twenty-four derived rupas.

The twenty-eight rupas can be classified in different ways, but here they will be explained from the perspective of their interrelation, to facilitate comprehension and memorization.

The different groups or kalāpas of rupas which arise do not fall away immediately. A sabhāva rupa, a rupa with its own distinct nature or characteristic^[4] lasts as long as the duration of seventeen cittas arising and falling away, succeeding one another.

With regard to the arising and falling away of rupa, four different aspects can be discerned which have been classified as four lakkhaṇa^[5] rupas:

1. upacaya rupa, the arising or origination of rupa^[6]
2. santati^[7] rupa, the development or continuation of rupa
3. jaratā rupa , the decay of rupa
4. aniccatā rupa, the falling away of rupa

These four lakkhaṇa rupas are rupas without their own distinct nature, asabhāva rupas^[8] , but they are themselves characteristics inherent in all rupas. All rupas which have their own distinct nature, sabhāva rupas, must have these four characteristics. These four characteristics are different: the arising of rupa, its development, its decay and its falling away are all different characteristics. In other words, upacaya rupa and santati rupa are characteristics indicating the moments rupa has arisen but not yet fallen away, where as jaratā rupa indicates the moment close to its falling away and aniccatā rupa its falling away.

The rupa which is space, ākāsa rupa, has the function of limiting or separating all the different groups or kalāpas of rupas. Space in this context is not outer space, but the infinitesimal space surrounding each kalāpa. After its function it is also called pariccheda rupa (pariccheda meaning limit or boundary). What we call matter consists of kalāpas, units of rupas arising and falling away. The rupas within a kalāpa are holding tightly together and cannot be divided. Matter, be it large or small, can only be broken up because the rupa space is in between the different kalāpas, allowing them to be distinct from each other. Without space or pariccheda rupa all rupas would be tightly connected and could not be separated. Because of pariccheda rupa which surrounds each kalāpa, even large matter can be broken up into infinitely tiny particles; it can be broken up only at those points where there is space^[9] . Pariccheda rupa is another kind of asabhāva rupa, which does not have its own distinct nature and does not arise separately; it arises simultaneously with the different kalāpas, and in between them.

No matter where rupa arises, in whichever plane of existence, be it rupa in living beings or in dead matter, there have to be the eight inseparable rupas (avinibbhoga rupas), the four lakkhaṇa rupas and the pariccheda rupa together. These thirteen rupas are never lacking.

With regard to the rupas of the body in people or other living beings, in the planes of existence where there are five khandhas (nama and rupa), there are pasāda rupas, sense organs, produced by kamma as condition.

The following five rupas are sense organs:

1. eye sense, cakkhuppasāda rupa, which can be impinged on by visible object
2. ear-sense, sotappasāda rupa, which can be impinged on by sound
3. smelling-sense, ghānappasāda rupa, which can be impinged on by odor
4. tasting-sense, jivhāppasāda rupa, which can be impinged on by flavor
5. body-sense, kāyappasāda rupa, which can be impinged on by tangible object:
   
   • cold and heat (Element of Fire),
   • softness and hardness (Element of Earth),
   • motion and pressure (Element of Wind).

Rupas of the body cannot arise without citta, and, in the planes of existence where there are nama and rupa, citta is dependent on rupas of the body. Each citta must have a particular rupa of the body as the appropriate base for its arising. Seeing-consciousness (cakkhu-viññāṇa) which performs the function of seeing arises at the cakkhuppasāda rupa. Hearing-consciousness (sota-viññāṇa) which performs the function of hearing arises at the sotappasāda rupa. It is the same for smelling-consciousness, tasting-consciousness and body-consciousness, they each arise at the rupa which is the relevant base.

All other cittas, besides these sense-cognitions, arise at the physical base which is called the heart-base, hadaya rupa.

Some kinds of rupa are produced solely by kamma and in each kalāpa produced by kamma the rupa which is life-faculty, jīvitindriya rupa, is included. This rupa sustains the rupas which it accompanies in one kalāpa, it maintains their life. Therefore, the rupas in the body of people and other living beings are different from the rupas in dead matter.

The difference in sex as man and woman which generally occurs in humans and other living beings is due to two different kinds of rupa, bhāva rupas (bhāva meaning nature), which are the following:

1. Itthibhāva rupa, femininity, a rupa which permeates the whole body, so that it is manifested in the outward appearance, manners, behavior and deportment which are feminine.
2. Purisabhāva rupa, masculinity, a rupa which permeates the whole body, so that it is manifested in the outward appearance, manners, behavior and deportment which are masculine.

Each individual with bhāva rupa, the rupa which is sex, has either the rupa which is femininity or the rupa which is masculinity. In some cases the bhāva rupa is lacking. Moreover, those who live in the "Brahma world" (higher planes of existence where one is born as result of jhāna, absorption concentration) do not have conditions for bhāva rupa.

There can be motion of the body or parts of the body in people and other living beings due to citta, but there must also be specific rupas which are conditioned by citta. If there would be only rupas produced by kamma one could not move or perform different functions. For the movement of the body and the performance of its functions there are three kinds of vikāra^[10] rupas, rupas which are changeability, and these are:

1. Lahūta rupa, buoyancy or lightness, as occurring in the body of those who are healthy.
2. Mudutā rupa, plasticity, the absence of stiffness, as occurs in well-pounded leather.
3. Kammaññatā rupa, wieldiness, as occurs in well-melted gold.

These three vikāra rupas are asabhāva rupas, rupas without their own distinct nature. They constitute the adaptability of the four principle rupas, the maha-bhūta rupas, they cause them to be light, soft and wieldy. The three vikāra rupas arise only in the bodies of living beings, not in dead matter. The three vikāra rupas cannot be separated. If there is in one kalāpa lahutā rupa, lightness, there must also be mudutā rupa, plasticity, and kammaññatā rupa, wieldiness. The vikāra rupas are produced by citta, by temperature and by nutrition. If citta causes motion of any part of the body, there must also be vikāra rupas produced by temperature (the right temperature, not too hot, not too cold) and vikāra rupas produced by nutrition (ojā rupa, nutritive essence), otherwise the rupas of the body cannot move, even if citta desires to do so. This occurs, for example, when people are paralyzed or incapacitated by a sprain or by other ailments.

When citta wants to display a sign expressing its intention by means of rupas of the body, citta produces the rupa which is bodily intimation, kāya-viññatti rupa. This is a specific mode of expression by rupas of the body which arise and display the intention of citta, in the expression of facial features, comportment of the body or gestures. Citta may convey its intention for example by staring in a stern way, by making grimaces displaying contempt or disapproval. If citta does not wish to display its intention kāyaviññatti rupa does not arise.

When citta is the condition for sound, such as speech sound or the uttering of other sounds which convey a specific meaning, citta produces the rupa which is speech intimation, vaci-viññatti rupa. When this arises it is the condition for the rupas which are the means of articulation, such as the lips, to produce speech sound. Without the arising of speech intimation it would not be possible to speak or emit other sounds which convey a specific meaning.

Bodily intimation and speech intimation are asabhāva rupas, rupas without their own distinct nature, which arise and fall away together with the citta which produces them.

Some sources classify the three vikāra rupas (the rupas which are changeability of rupa) and the two viññatti rupas together as five vikāra rupas.

Another rupa is sound, sadda rupa. Sound is different from speech intimation, vaci viññatti rupa. Sound is the rupa which contacts the ear-sense, sotappasāda rupa, and which is the condition for the arising of hearing-consciousness, sota-viññāṇa. Some sounds arise conditioned by citta, and some do not, such as the sound of thunder, of storm, of engines, of drums, of the radio or of the television.

Summarizing the twenty-eight kinds of rupa, they are:

- the 8 inseparable rupas, avinibbhoga rupas, including the 4 principle rupas, maha-bhūta rupas, of:

1. solidity (Earth)
2. cohesion (Water)
3. temperature (Fire)
4. motion or pressure (Wind)

- and the 4 derived rupas of:

1. color
2. odor
3. flavor
4. nutrition

Furthermore there are the following rupas:

• 4 lakkhaṇa rupas (origination, continuity, decay and falling away, characteristics inherent in all rupas)
• 1 pariccheda rupa or space (akāsa), delimiting groups of rupa
• 5 pasāda rupas, sense organs
• 1 rupa which is heart-base, hadaya vatthu (base for cittas other than the sense-cognitions
• 1 rupa which is life faculty, jīvitindriya rupa
• 2 rupas which are sex, bhāva-rupas
• 3 vikāra rupas, rupas of changeability (lightness, plasticity and wieldiness)
• 2 rupas which are body intimation, kāya-viññatti, and speech intimation, vaci-viññatti
• 1 rupa which is sound

Altogether there are 28 kinds of rupa.

In some sources the number of rupas which are classified varies. For example, in the "Atthasālinī" (Expositor II, Book II, Material Qualities, Ch 3, 339, 340) we find also a classification of rupas as twenty-six in number, because the elements of earth (solidity), fire (heat) and wind (motion or pressure) are classified together as one kind of rupa, as tangible object (photthabbāyatana) which impinges on the body-sense, the kāyappasāda rupa.

There are always several rupas arising within one kalāpa. The number of rupas which arise together is different depending on the types of rupa concerned. There are several ways of classifying the twenty-eight rupas and this will be dealt with later on in the Appendix.

Footnotes and references:

[1]:

Dhammasangaṇi, Buddhist Psychological Ethics, Book II, Material Form, Ch I, § 595.

[2]:

Rupas can be produced by one of the four factors which are kamma, citta, temperature or nutrition.

[3]:

All rupas other than the four principle rupas are derived rupas, upādāya rupas, because the latter cannot arise without the four principle rupas.

[4]:

Sabhāva rupa is a rupa with its own distinct nature. Sa in Pali means with, and bhāva means nature. There are also asabhāva rupas which, though classified among the 28 kinds of rupa, are not separate rupas with their own nature, but special qualities connected with other rupas. They will be explained later on.

[5]:

lakkhaṇa means characteristic.

[6]:

upa means first, and caya means heaping, heaping up.

[7]:

santati means continuity.

[8]:

"a" in Pali means not. Asabhāva, without a distinct nature.

[9]:

Santi Phantakeong explains in his lexicon that a sheet of paper can be torn off, or wood and iron can be cut through only at those points where there is pariccheda rupa, because the rupas within a kalāpa cannot be separated.

[10]:

Vikāra means change or alteration.