..续本文上一页he “cluster of gems” are properly the counterpart sign. (Paramattha-manjusa, Visuddhimagga Atthakatha; Vism. p.786, n.58).
The similes in the preceding sections (Vis.214-215) represent both tactile and visual sense perceptions. The following extracts are presented for the reader to assess whether a mix-up came about as a result of an error in the transmission (perhaps an error in written transcription) based on data obtained from earlier commentarial material such as the Vimuttimagga and the canonical Patisambhidamagga, or of having taken literally what originally was meant as a simile.
The Vimuttimagga (p.68), in referring to the “discerning of qualities” for the perse meditation subjects, states that “...one subject of meditation seizes the sign through contact. Namely, mindfulness of respiration. And again, one subject of meditation seizes the sign through sight or contact. Namely, air kasina.” This distinction is critical. It shows that breath meditation is different from other concentration objects in that it is exclusively tactile.
Visual objects may be perceived during breathing meditation as a side effect for some meditators, however, the meditator should remain focused exclusively on the tactile sensation of breath. Thus, as mentioned in the Patisambhidamagga (170., p.172):
...the bhikkhu sits, having established mindfulness at the nose tip or on the upper lip, without giving attention to the in-breaths and out-breaths as they approach and recede,...the body and cognizance in one who is energetic [in this endeavour] becomes wieldy,...his applied thoughts are stilled...[and] his underlying tendencies come to be done away with...
Going back to the Visuddhimagga similes given above (Vis.214-215), and comparing them with what one finds in the corresponding description in the Vimuttimagga (Mindfulness of Respiration. Procedure, pp.158-159; see paragraph below), one finds that they are diametrically opposed in apparent intended meaning. Whereas the Visuddhimagga similes are given in terms of what one may find as the sign to be dwelled upon, in the Vimuttimagga one finds words of caution so as to abstain from attending to such perceptions (instead of attending to the tactile respiration sign). The pertinent fragment from the Vimuttimagga is transcribed in full:
To the yogin who attends to the incoming breath with mind that is cleansed of the nine lesser defilements the image arises with a pleasant feeling similar to that which is produced in the action of spinning cotton or silk cotton. Also, it is likened to the pleasant feeling produced by a breeze. Thus in breathing in and out, air touches the nose or the lip and causes the setting-up of air perception mindfulness. This does not depend on colour or form. This is called the image. If the yogin develops the image [sign] and increases it at the nose-tip, between the eyebrows, on the forehead or establishes it in several places, he feels as if his head were filled with air. Through increasing in this way his whole body is charged with bliss. This is called perfection.
And again, there is a yogin: he sees several images from the beginning. He sees various forms such as smoke, mist, dust, sand of gold, or he experiences something similar to the pricking of a needle or to an ant”s bite. If his mind does not become clear regarding these different images, he will be confused [!]. Thus he fulfils overturning and does not gain the perception of respiration. If his mind becomes clear, the yogin does not experience confusion. He attends to respiration and he does not cause the arising of other perceptions [underlining mine]. Meditating thus he is able to end confusion and acquire the subtle image [sign]. And he attends to respiration with mind that is free.…
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