Shine of Prajnaparamita
Shine of Prajnaparamita
Shine of Prajnaparamita
Smadar Pyatsky
Translated by: Helga Ivars Anderes Von Krauinsh
Shine of Prajnaparamita
ISRAEL, YAVNE
2016
Contents
Prajnaparamita Hridaya
Sutra…………………………………………………………………………………………………………..2
SECTION 1 Theory of skandhas ..................................................................... 5
1. Form (rupa).............................................................................................................. 7
2. Sensation (vedana) ............................................................................................... 9
3. Notions (samjna) ................................................................................................. 10
4. Will and memory (samskara) .......................................................................... 12
5. Consciousness (vijnana)..................................................................................... 13
SECTION 2 Terminology and characters .................................................... 16
Sanskrit terms and established Buddhist phrases .......................................... 18
Characters................................................................................................................... 19
SECTION 3 Mantras and methods of Prajnaparamita................................ 23
2
Prajnaparamita Hridaya Sutra
Translation by the Nalanda Translation Committee
Thus have I heard. Once the Blessed One was dwelling in Rajagriha at Vulture
Peak mountain, together with a great gathering of the sangha of monks and a
great gathering of the sangha of bodhisattvas. At that time the Blessed One
entered the samadhi that expresses the dharma called "profound illumination,"
and at the same time Arya-Avalokiteshvara, the bodhisattva mahasattva, while
practicing the profound prajnaparamita, saw in this way: he saw the five
skandhas to be empty of nature.
Then, through the power of the Buddha, venerable Shariputra said to Arya-
Avalokiteshvara, the bodhisattva mahasattva, "How should a son or daughter of
noble family train, who wishes to practice the profound prajnaparamita?"
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dharmas, no mind consciousness dhatu; no ignorance, no end of ignorance up
to no old age and death, no end of old age and death;
All the buddhas of the three times, by means of prajnaparamita, fully awaken to
unsurpassable, true, complete enlightenment.
Therefore, the great mantra of prajnaparamita, the mantra of great insight, the
unsurpassed mantra, the unequaled mantra, the mantra that calms all
suffering, should be known as truth, since there is no deception. The
prajnaparamita mantra is said in this way:
Then the Blessed One arose from that samadhi and praised noble
Avalokiteshvara, the bodhisattva mahasattva, saying: "Good! Good, O son of
noble family! thus it is, O son of noble family, thus it is. One should practice
the profound prajnaparamita just as you have taught and all the tathagatas and
arhats will rejoice."
When the Blessed One had said this, venerable Shariputra and noble
Avalokiteshvara, the bodhisattva mahasattva, that whole assembly and the
world with its gods, humans, asuras, and gandharvas rejoiced and praised the
words of the Blessed One.
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SECTION 1
Theory of skandhas
In Sanskrit skadha means “pile”, “accumulation”. There are two main provisions
of the skandha theory: general and special.
In order to get the idea of skandhas and gain some insight of their interaction,
let’s use the metaphor of fingers.
Each finger corresponds to one of the skandhas: the big finger - to the 1st
skandha (form), the index finger to the 2nd skandha (sensation), the middle
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finger to the 3rd skandha (notions), the forth finger to the 4th skandha (will and
memory), the small finger to the 5th skandha (consciousness).
Also the concept of nama-rupa is applied for skandha analyses. Nama means
“name” and is understood as “psychic essence”, and rupa means “form”. From
the point of this conception, form corresponds to the big finger and the other
four skandhas (fingers) together constitute the psychic essence. When “name”
joins in with form – it is birth. And when “name” separates from form – it is
death.
6
Pic. 2. Three essences
1. Form (rupa)
1.1 Composite structure – Any form consists of four primary elements: hardness,
fluidity, warmth, and vibration. These elements are called primary, as all forms
consist of them.
All forms have the four elements but in different proportion. It is the
proportion of their presence that creates the difference between forms.
Each of the elements has both external and internal manifestations. External
manifestation is forces of nature, and internal – everything from which the
body consists of.
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It is important to remember that external and internal manifestations of any
element do not have any personality.
Study of these elements brings one to the following conclusion: «This (body)
does not belong to me, this (body) is not me, I am not this (body)».
“As a space limited by a tree and cane, straw and clay we call «home», the space
made by bones, sinews, muscles and skin we call «our body».» - Word of the
Buddha, I. The Noble Truth about Suffering, Group of Materiality.
The quality of the form we considered above (composite structure) reveals its
emptiness.
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1.2. Changeability - Any form goes through the stages of origin, development,
fading and disappearance. A being is born, grows, matures and then becomes
old and eventually dies. Thus, the form is inconstant, subject to suffering and
deprived of some eternal “I”. Thus, it is empty.
1.3. Attachment and aversion to form – Any person experiences attachment and
aversion to the body. We are attached to the exterior image of our own body
and feel aversion to it inward parts and to what they release.
2. Sensation (vedana)
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Sensations form perceptions can be pleasant, unpleasant, or neither (neutral).
Pleasant sensations give rise to the desire to live, unpleasant sensations cause
the desire of non-existence, neutral sensations bring forth sensual thirst.
That is why the character of this skandha can be defined as "strive to bliss".
2.1. Sensations are inconstant and subject to suffering which is the evidence of
their emptiness.
2.2. As sensations complement each other, neither of the sensations is the main
or leading one that would serve as the basis for other sensations. This points
out to composite (constructed) character of sensations, i.e. their emptiness
2.4. Perceptions of people differ, that is why they are subjective. Subjectivity
means absence of real essence, i.e. - emptiness.
3. Notions (samjna)
Sanskrit term samjna consists of two parts: the first is the word sam meaning
"endowing with the feeling I", the second jna originates from the word jnana -
"wisdom". Together samjna means “endowing things with individual essence",
"selecting things from the common stream of sensations", "recognition with
mind of things which it had endowed with peculiarities". Samjna encompasses
mental processes of concentration, attention and attentiveness, recognition,
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distinction, singling out things from the common stream of sensations,
conceptualization (creation of notions) and etc. All these processes are based
on notions. That is why the most precise definition of this skandha is "notion".
3.2. Duality of origin - Phenomena are selected from the common stream of
sensations, are distinguished and recognized judjing by features or lack of
those. Examples of phenomena singled out by the lack of certain features are
"space” - is not material, “darkness” is lack of light, “cold” – is lack of warmth. It
follows from this that the nature of phenomena is dual, i.e. it does not have
common ground, thus – it is empty.
Accumulations of mind which make all phenomena clear and precise are vague
in their nature. That is why the character of this skandha can be defined as
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"striving to clarity". Striving to make everything clear, skandha of notions
itself remains complex, inhomogeneous, not divided in equal parts, that means
- vague.
The fourth skandha influences all other skandhas (form, sensation, notions,
consciousness):
4.c. Notions are created under the influence of will and memory.
4.d. Will and memory refract the light of the mind like water refracts sunlight.
4.1. Duality of time - Samskaras neither exist, nor not exist. In one respect
they do not exist as they already belong to the past (as memory); in the other
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respect they do exist as their influence exists in the present (as will). Thus the
existence of samskaras is dual. Hence samskaras themselves are dual, i.e.
empty.
4.2. Duality of energy - Samskaras are neither active, nor passive: on the one
hand, samskaras are not active as their action is manifested only under the
influence of other skandhas, on the other hand, samskaras are not passive as
they form other skandhas. This reveals duality of the energy of will and
memory, thus - their emptiness.
5. Consciousness (vijnana)
5.1. Consciousness manifests itself via previous four skandhas. That is why it is
dependent, i.e. empty. There are four types of consciousness: consciousness of
form, consciousness of perception, consciousness of understanding and
consciousness of will and memory.
13
Every type of consciousness is consists of classes, characteristic to the
corresponding skandha:
As a seed of a tree fruit ripens feeding from all substances contained in the fruit
and then separates from the fruit, the same way the consciousness contains in
itself the substances of all skandhas and separates from them when dying.
During regeneration the skandha of consciousness joins with a new form and
then on the basis of the preserves substances develops skandhas of perception,
notions, will and memory. That is why skandha of consciousness is also the
treasury for all skandhas (phenomena).
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SECTION 2
There are important Sanskrit terms in the Heart Sutra, established Buddhist
phrases and characters, understanding of which is necessary for understanding
the theory of skandhas.
Sanskrit Terms
These terms are explained in the order they appear in the Heart Sutra.
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nirvana – cessation of sufferings, the state in which sufferings are deprived of
roots .
tathagata – «one who has thus come», one who acts according to its will
asur – giant, the one fighting with the Sun; spirit of darkness.
*particle «a» – negation.
*surya – sun.
These expressions are presented in the order they appear in the Heart Sutra.
The phrase “Thus have I heard” has different meanings. Let’s consider two
meanings applicable to Prajnaparamita:
1. The phrase “Thus have I heard” reveals relativity of words with the help
which the meaning of the Heart Sutra is conveyed.
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2. The phrase “Thus have I heard” is traditional for Pali Canon sutras (Tipitaka).
Tipitaka is a collection of Buddha’s instructions which he gave during his life.
Records of these instructions were made soon after his death and were
composed in Pali language under supervision of two out of the ten main
Buddha’s disciples - Ananda and Upali.
Instructions were recorded on palm leaves and put into three baskets: Sutta
Pitaka – description of the Buddha’s conversations with his disciples; Vinaya
Pitaka – rules of conduct in a monk community, Abhidhamma Pitaka –
classification of dhammas (phenomena and teachings). From here derives the
name Tipitaka in Pali, or Tripitaka in Sanskrit meaning "three baskets".
“Here […] all dharmas are emptiness" – word "here" in this case denotes the
five groups of attachments (five skandhas). Word dharma (dharmas) denotes
all elements of these groups of attachments. " are emptiness" means "empty,
void".
18
Thus, the meaning of the whole phrase is as follows: all elements constituting
the form, sensation, notions, will-memory and consciousness are empty.
Time manifests its illusiveness in three stages: the past has already gone, it does
not exist, the future has not yet come, its undetermined, the present is just a
notion distinguishing the past and the future.
The buddha state does not belong to any of these times. That is why appearing
in different epochs different buddhas have similar traits. The Buddhas of the
past, of the present, and of the future conceive one and the same teachings via
different methods and different words.
Characters
Main characters
Avalokiteshvara
Pic. 3 Avalokiteshvara
Shariputra
Shariputra, announced by the Buddha his son and heir in dharma, lived in
Indian kingdom Magadha between the end of the 6th B.C. and the beginning of
the 5th B.C. Shariputra was born in a family of brahmans who lived in village
named Nallaka situated to the north from the state capital city of Radjagriha.
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From early childhood he befriended with Maudgalyayana 1, son of a woman-
brahman who lived in a neighboring village.
Once at a mature age, Shariputra met a monk called Assaji 3, when he was
begging. Attracted by his behavior Shariputra followed him and started asking
the monk about his teacher and the teaching he preached. Assaji answered to
Shariputra that his teacher was Shakyamini Buddha. Despite of Assaja’s protest
that he was not qualified enough for passing on the Buddha’s teaching,
Shariputra insisted on his request. Eventually Shariputra succeeded in
persuading Assaja and the monk revealed him the instructions about sufferings
and their reasons.
Shariputra was under great impression from these instructions and shared what
the monk told him with his fellow-seeker – Maudgalyayana. Together the
friends decided to become Buddha’s disciples and abandoned their previous
teacher, having become disappointed with his teachings.
Shariputra and Maudgalyayana learned from the Buddha all their mature and
elderly life (around 40 years). They are called “the right and the left hands of
the Buddha”) (Shariputra – the right hand, Maudgalyayana – the left hand).
Shariputra always preached with great pleasure and became famous for his
wisdom. He was in charge of the community of the Buddha’s monks (sangha)
and even after he became a teacher he continued begging like a simple monk.
1
Later Maudgalyayana became one of the ten main Buddha’s disciples and was known as “Master
of Supernatural Powers”.
2
"Sanjaya Bellatthiputta" is Pali variant of the name of the abovementioned teacher.
3
Later Assaji (Asvajit in Sanskrit ) became one of the first five Buddha’s Arhats.
21
There were other famous Buddha's disciple among Shariputra’s disciples, as
Rahula (son of the Buddha), Maudgalyayana (friend of Shariputra), and Ananda
(the Buddha’s cousin and his personal assistant).
When he grew old Shariputra returned to his village and preached their until
his death. When he was around 80, he became ill and died a few months prior
to the Buddha’s entry into Nirvana. It is assumed that before his death
Shariputra entered into Nirvana at mount Grdhrakuta near Rajagrha.
Shakyamuni Buddha
Shakyamuni Buddha (the Blessed one) is present in the Hridaya Sutra as power
motivating Shariputra to study the teaching about the emptiness of skandhas
and then approving this teaching. Power, which the Buddha symbolizes, is the
Nature of Shariputra’s mind which in its turn symbolizes an observer.
Secondary characters
SECTION 3
23
1. In the language of rupa Prajnaparamita is communicated via performance of
good actions and abstinence from bad ones.
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Therefore, Shariputra, since the bodhisattvas have no attainment, they abide by
means of prajnaparamita. Since there is no obscuration of mind, there is no
fear. They transcend falsity and attain complete nirvana.»
" [...]Therefore, the great mantra of prajnaparamita, the mantra of great insight,
the unsurpassed mantra, the unequaled mantra, the mantra that calms all
suffering, should be known as truth, since there is no deception. The
prajnaparamita mantra is said in this way:
The phrase “the mantra of great insight" points to the four stages of movement
on the path of sufferings cessation.
25
The idea of leading is communicated in this mantra via syllables GATE, GATE,
PARAGATE, PARASAMGATE:
1. At the stage of mantra repeating technical skills play the major role: skillful
use of the count (with the help of beads or fingers), skilful choice of tempo,
skilful choice of a way of pronouncing (spoken aloud, moving lips silently,
whispering, or repeating to oneself), with skillful combination of mantra
visualization. At this stage, the mind finds refuge from falling into extremes of
stupor and compulsive thoughts.
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2. At the stage of mantra contemplation meditative skills play the major role
- practical application of the five wisdoms of a buddha. At this stage the
shackles of five hindrances weaken.
3. At the stage of the mind’s merge with mantra the major role belongs to the
skill of gathering blessings. At this stage the mind calms down at the initial
state.
Mantra almost never has a grammatically correct sentence structure: words
that make up the mantra are often distorted; connections between them (e.g.
prepositions and conjunctions) are broken, missing, or acquire independent
meaning. Therefore, it is impossible to fix the meaning of a mantra clearly and
precisely.
Mantra is much more like a murmur, delirious and ecstatic exclamations than
an everyday speech. Mantric speech allows us to refer to suffering in the
language it understands – in the language of dusk and confusion. Therefore we
can compose a lot of interpretations from the traces of meanings contained in
syllables of a mantra.
Let us consider the meaning of Prajnaparamita Mantra syllables:
OM – the sound of swallowing food, a cosmic sound; sound which serves as a
basis
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SVAHA – said right, so be it
*Svaha or soha is frequently used as a separate mantra. For example, while
meditating on the breath, where the syllable so - sound of gasp, syllable ha[m] -
the sound of exhalation. When pronounced many times in a row (soha[m],
soha[m], soha[m] ...) soha begins to sound like hamsa, in Sanskrit meaning
"swan" which is the symbol of a liberated consciousness.
One interpretation of the Prajnaparamita mantra is:
“Going, going, going beyond, going utterly beyond, o what an awakening,
all-hail!”