f feeling and concept that suppresses all distraction (vikṣiptacitta), the yogin penetrates into a nirvāna-like cessation (nirodha). Since he acquires it by attaching to it [just] his body, the Sūtra says that he ‘actualizes it physically’ (kāyena sākṣātkaroti).
Footnotes and references:
In place of the canonical phrase rūpī rūpāṇi paśyati, the Traité substitutes this new wording borrowed from the definition of the first abhibhu. Harivarman does the same in his Satyasiddhiśāstra, T 1646, k. 12, p. 339a17.
This paragraph is undoubtedly a note by Kumārajīva aimed at justifying the translation of vimokṣa by the Chinese characters pei-chö.
For the Indian exegesis, see Athasālinī, p. 191–192: Āraṃmane adhimuccanaṭṭhena paccanīkadhammehi vimuccanaṭṭhena vimokkho ti vuttaṃ; Kośavyākhyā, p. 689: sarvasaṃskṛtavaimukhyād vimoṣaḥ, samāpattyāvaraṇavimokṣaṇād vimokṣa iti.
Actually, during the first two vimokṣas, the ascetic cultivates the nine notions regarding the decomposing corpse, notions that will be the subject of the next chapter.
For these two kinds of behavior, see Nettippakaraṇa, p. 7, 109; Kośa, IV, p. 174, 208; V, p. 82; Kośavyākyā, p. 427.
An adhimuktimanasikāra or adhimuktisaṃjñāna or ‘voluntary seeing’ of the object; see Kośa, VIII, p. 198–199 and notes.
I.e., in the five vimokṣas and the two kṛtsnas called ārūpya.
This detail is necessary because, in the course of the first eight kṛtsnas, the yogin contemplates the four great elements and the four colors in their most pure form, without the intrusion of foreign elements or colors. This is what the Visuddhimagga calls the ‘counter-sign’ (paṭihāganimitta) of the object: see above, p. 1287F.
This must be a flower or a blue metal. However, there is a mountain in Kiang-Si with this name.
Cf. Kośa, VIII, p. 215.
The third of the four errors consisting of taking what is impure to be pure (aśucau śucir iti viparyāsaḥ).
The third vimokṣa is the root of good, alobha: cf. Kośa, VIII, p. 206; Abhidharmadīpa, p. 430.
Cf. the aṭṭikāni satāni saṅkhavaṇṇūpanibhāni about which the canonical sources speak: Dīgha, II, p. 297; Majjhima, I, p. 58,59; III, p. 93; Anguttara, III, p. 324.
The contemplation of these precious objects is not mentioned in the traditional list of the kṛtsnas.
Cf. the first eight counter-signs (paṭibhāganimitta) defined by the Visuddhimagga in the chapters on the kasiṇas (above, p. 1288F)
This is explained by the fact that the third vimokṣa and consequently the eight abhibhus and the first eight kṛtsnas are practiced in the fourth dhyāna where there is no longer any happiness or suffering, neither joy nor sadness: see above, p. 1031–1032F.
The expression kāyena sākṣātkṛtvā is absent in the Pāli canonical sources and is used by the Sanskrit sources only in regard to the fourth and eighth vimokṣa. This is due to their excellence (prādhānya) and because they are in the final stages of rūpadhātu and ārūyadhātu respectively: cf. Kośa, VIII, p. 210–211; Kośavyākhyā, p. 690.
In the course of kṛtsnas 1 to 4.
In the course of kṛtsnas 5 to 8.
The nature of the four great elements is, respectively, solidity (khakkhatatva), moistness or fluidity (dravatya), warmth (uṣṇatva) and movement (īraṇatva).
This is done in the first kṛtsna.
This is done in the fifth abhibhu and the fifth kṛtsna.
In the course of the third vimokṣa.
In the course of the second kṛtsna.
In the course of the fifth abhibhu and the fifth kṛtsna.
See above, p. 1274F seq.
The yogin who has entered into cessation is dṛṣṭadharmanirvāṇaprāpta: in the present lifetime (dṛṣṭe janmani) is in the nirvāṇa with residue of conditioning (sopadhiśeṣanirvāṇastha).
The absorption of non-identification is practiced by worldly people (pṛthagjana) who identify non-identification with true liberation. The saints (ārya) do not practice it; they reserve their efforts for the absorption of cessation which they consider to be the peaceful absorption: cf. Kośa, II, p. 201–214.