숫타니파타(Suttanipāta) 연기설 고찰-『드와야따누빳싸나 숫따(Dvayatānupassanā-sutta)를 중심으로-

Abstract

This article deals with the dependent arising theory of the Suttanipātta. The Suttanipātta is one of the most ancient of the early Buddhist texts and was not compiled by a single person at a single time, but by multiple people at various times. The fact that the compilations span from the earliest periods to the Theravada period is a testament to the prototypical nature of Buddhist doctrine in the Suttanipātta, as well as the fact that there are many sources that reveal changes in doctrine over time. In particular, this article examines in detail the dependent arising theory(paṭiccasamuppāda, 緣起), which is the core of Buddhist doctrine. The dependent arising theory of the Suttanipātta is well illustrated in the Dvayatānupassanā-sutta, the 12th sutta of the third chapter. Although the Dvayatānupassanā-sutta is analyzed as one of the latest suttas to be accepted into the Suttanipātta, it is one of the older suttas that almost certainly existed as a single sutta prior to its acceptance. A comparison of the dependent arising theory of the Dvāyattanupassana-sutta with the postponement of the Nikāyas reveals the following differences. The first is that avijjā is preceded by an element called upadhi. Upadhi is often viewed as a psychological factor that can be called "clinging," but the problem is that upadhi appears twice in the Dvāyatthanupassana-sutta. Professor Richard Gombrich, a leading British scholar of early Buddhism, explains that upadhi has other meanings besides clinging, such as "foundation" and "material". The second difference between the Suttanipātta discourses is that they can be viewed as one continuous discourse, or they can be viewed as two separate discourses. While it is common to see it as a repetition of the two stages, it is also possible to see it as a continuation of the elements of Nikāya, as it has many similarities to the elements in the Nikāya and is a fundamental form. If we look at the Dvāyatthanupassana-suttas as a series of performances, we might say that they are "upadhi → avijjā → saṅkhāra → viññāņa → phassa → vedanā → taņhā → upādāna → ārambha → āhāra → iñjita → suffering". If we compare this to Nikāya's twelve stages of dukkha, we see that some new elements have been added, and that "nāma-rūpa" are missing. It seems likely that when Nikāyas were being formulated, the Suttanipātta theory of paṭiccasamuppāda was used as a framework, and the independently asserted "nāma-rūpa, saḷ-āyatana, and phassa" theory of smoke was added.