고수 (불교)

고수(苦受, 두카 베다나-, 둑카- 웨-다나-, unpleasant feeling)(2) Feeling (vedanā): Feeling is the mental factor that feels the object: it is the
affective mode in which the object is experienced. The Pāḷi word vedanā does not
signify “emotion” (which appears to be a complex phenomenon involving a variety of
concomitant mental factors), but the bare affective quality of an experience, which may
be either pleasant (sukhā-vedanā), unpleasant (dukkhā-vedanā),
or neutral (adukkha-masukhā-vedanā). Feeling is said to have the characteristic of being felt (vedayita). Its
function is experiencing, or its function is to enjoy the desirable aspect of the object. Its
manifestation is the relishing of the associated mental factors. Its proximate cause is
tranquility.49 Whereas the other mental factors experience the object only derivatively,
feeling experiences it directly and fully. In this respect, the other factors are compared to
a cook who prepares a dish for a king and only samples the food while preparing it, while
feeling is compared to the king who enjoys the meal as much as he likes.
49 So say the Commentaries. But it seems that tranquility as proximate cause applies solely to the pleasant
feeling when developing concentration. A more general proximate cause for feeling would be contact, in
accordance with the principle “with contact as condition, feeling comes to be” (phassapaccayā vedanā). In
fact, the entire treatment of feeling here is limited to a particular kind of feeling. For a fuller treatment of
feeling in all its variety, see Chapter 3, §§2—4, and Guide.
는 괴로운 느낌으로, 전통적인 표현으로는 불열(不悅)의 수(受)라 하는데, 대략적으로 말하자면, 마음(6식 또는 8식, 즉 심왕, 즉 심법)이 대상으로부터 괴로움(핍박, 스트레스)을 느끼는 것이다.苦受
梵語 duḥkha-vedanā。三受之一，五受之一。受者，領納外境之義。境有順、違、俱非三境，故受有苦、樂、捨三受。逼迫身心，領納違情之境而起苦惱之感者，稱為苦受。其為三受之一者，係指於身心所領納的逼迫不悅之感受；其為五受之一者，僅指於身所領納的逼迫不悅之感受。〔成唯識論卷九、四念處卷一〕（參閱「三受」764、「五受」1456）p4978三受(삼수):
세 가지 감각. 고수(苦受)ㆍ낙수(樂受)ㆍ사수(捨受). (1) 고수. 외계(外界)의 접촉에 의하여 몸과 마음에 받는 괴로운 감각. (2) 낙수. 바깥 경계와 접촉하여 즐거움을 느끼는 감각. (3) 사수. 고수와 낙수에 속하지 않은 감각. 곧 괴롭지도 즐겁지도 않은 느낌. 수(受)는 바깥 경계를 받아 들인다는 뜻. ⇒수(受)
다음의 분류 또는 체계에 속한다.- 고수낙수불고불락수의 3수(三受) 중 하나이다.
** 이 경우, 고수는 신수심수의 2수(二受) 중 신수(身受, 감각적 느낌, 신체적 느낌)에도 속하고 심수(心受, 정신적 느낌)에도 속한다.- 고수낙수우수희수사수의 5수(五受) 중 하나이다.
** 이 경우, 고수는 신수심수의 2수(二受) 중 신수(身受, 감각적 느낌, 신체적 느낌)에만 속한다.
3수 중 고수를 신체적 괴로운 느낌과 정신적 괴로운 느낌으로 세분하여 각각 5수의 고수(괴로운 느낌)와 우수(슬픈 느낌)가 된다. 또한 3수 중 낙수를 신체적 즐거운 느낌과 정신적 즐거운 느낌으로 세분하여 각각 5수의 낙수(즐거운 느낌)와 희수(기쁜 느낌)가 된다.
신체적으로 괴로운 느낌이란 통증을 말한다. 예를 들어, 바늘에 찔리거나 병에 걸려 아픈 것을 말한다. 정신적으로 괴로운 느낌이란, 예를 들어, 사랑하는 사람이 여윈 모습을 보고 걱정이 되거나 마음이 아픈 것을 말한다.

**정의**
세친의 《대승오온론》 등에 따르면, 고수(괴로운 느낌)의 정의는 어떤 대상을 만났을 때 헤어지고 싶어하는 느낌이다. 즉, 만나고 싶어하지 않는 느낌이다. 달리 말하여, 고수(괴로운 느낌)는 마음에 들지 않는不可意 대상을 만났을 때 가지게 되는 느낌이다. 그리고 불교에 따르면, 마음에 드는 대상 또는 마음에 들지 않는 대상을 만나는 것은 인과법칙 즉 업과 업의 과보의 법칙 즉 연기법에 따른 것으로, 과거에 몸과 말과 뜻으로 지은 불선한(해로운) 행위로 인해 불선한(해로운) 업이 쌓이고 이 업으로 인해 마음에 들지 않는 대상과 만나게 된다.Wholesome-resultant rootless consciousness (kusalavipāka-ahetukacittāni):
The eight types of consciousness in this category are results of wholesome kamma. In the
designation of the previous class, the word ahetuka, “rootless,” was not included because
all unwholesome-resultants are rootless; there are no unwholesome-resultants that are
accompanied by roots. However, as will be seen later, wholesome-resultants can be
accompanied by roots, namely, by beautiful roots that are karmically indeterminate
(abyākata). To distinguish the wholesome-resultants that are rootless from those with
roots, the word ahetuka is included in their class designation.
Seven of these types of consciousness correspond to the unwholesome-resultants.
But, whereas the unwholesome-resultants arise in regard to an undesirable object, the
wholesome-resultants arise in regard to an object that is desirable (iṭṭha) or extremely
desirable (ati-iṭṭha). The first four sense consciousnesses here, like their counterparts, are
associated with equanimity, that is, neutral feeling; but since the impact of the object on
the body is strong, the feeling associated with wholesome-resultant body-consciousness
is that of bodily pleasure (sukha).
The rootless wholesome-resultants include one type of consciousness without a
counterpart among the unwholesome-resultants. This is the investigating consciousness
accompanied by joy (somanassa). Whereas the investigating consciousness resulting
from unwholesome kamma is always accompanied by neutral feeling, that resulting from
wholesome kamma is twofold: one accompanied by neutral feeling arisen in regard to a
moderately desirable object, and one accompanied by joy, which arises when the object is
especially desirable. Thus, there are eight types of consciousness in this class, in contrast
to the seven types found in the former class.

**엄밀한 정의**
대략적으로 말하자면, 괴로운 느낌이란 마음이 대상으로부터 괴로움을 느끼는 것이라고 말할 수 있지만,
엄밀히 말하자면, 마음이 괴로운 느낌을 느끼는 것이 아니라 마음이라는 별개의 개체法가 괴로운 느낌이라는 별개의 개체와 함께한 것, 즉, 두 개의 별개의 개체가 상응한 것이다. 불교 교의에 따르면, 무언가를 느끼는 것은, 느낌受 그 자체가 느낄受 뿐 따로 소유자가 있어 느끼는 것이 아니다.II. 느낌의 관찰受隨觀
11. "비구들이여, 어떻게 비구가 느낌에서 느낌을 관찰하며受隨觀 머무는가?555) 비구들이여, 여기 비구는 즐거운 느낌556)을 느끼면서 즐거운 느낌을 느낀다.'고 꿰뚫어 안다.557) 괴로운 느낌을 느끼면서 '괴로운 느낌을 느낀다.'고 꿰뚫어 안다. 괴롭지도 즐겁지도 않은 느낌을 느끼면서 '괴롭지도 즐겁지도 않은 느낌을 느낀다.'고 꿰뚫어 안다.
555) "이처럼 세존께서는 물질의 명상주제를 설하신 뒤 이제 정신의 명상주제를 설하시면서 「제석문경」(D21)의 주석에서처럼 느낌으로 정신적인 명상주제를 설하신다. 왜냐하면 감각접촉이나 마음으로 그것을 설하게 되면 명상주제가 분명해지지 않는 것이 마치 암흑과도 같기 때문이다. 그러나 느낌들의 일어남은 아주 분명하기 때문에 느낌으로 설하면 명상주제가 분명해지기 때문이다. 거기서 '두 가지 명상주제가 있나니 물질적인 명상주제와 정신적인 명상주제이다.'라는 등의 설명은 「제석문경」에서 주석한 방법대로 알아야 한다."(DA.iii.774)
556) "여기서 즐거운 느낌을(sukhaṁ vedanaṁ)이라는 것은 육체적이거나 정신적인 즐거운 느낌을 느끼면서 '즐거운 느낌을 느낀다.'고 꿰뚫어 안다는 뜻이다."(DA.iii.773)
557) "여기서 '누가 느끼는가?' 一 어떤 중생이나 사람이 느끼는 것이 아니다. '느낌은 누구에게 속하는가?' 一 느낌은 어떤 중생이나 사람에게 속하는 것이 아니다.
'무슨 작용으로 느끼는가?' 一 형상, 소리 등의 토대(境)를 대상(vatthu-ārammaṇa)으로 하여 느낌이 있다. 그러므로 그는 이와 같이 꿰뚫어 안다. '이런저런 즐거운 토대 등을 대상으로 삼아 오직 느낌이 느낄 뿐이다(vedanāva vedayati). 그런 느낌의 일어남을 가져 나는 느낀다고 하는 단지 일상적인 어법(vohāra)이 있을 뿐이다.'라고. 이와 같이 감각토대를 대상으로 하여 느낌이 느낀다고 숙고하면서 '즐거운 느낌을 느낀다고 꿰뚫어 안다.'고 알아야 한다."(Ibid)
그리고 이 느낌을 마음이 알아차림으로써, 즉, 이 느낌과 마음이 함께함으로써 느낌의 인식작용이 완성된다.Five-sense-door adverting consciousness (pañcadvārāvajjanacitta): When an
external sense object impinges on one of the five physical sense organs, before the
appropriate sense consciousness can arise — for example, eye-consciousness seeing a
form —, another consciousness must have arisen first. This consciousness is the fivesense-
door adverting consciousness (pañcadvārāvajjanacitta), which has the function of
adverting (āvajjana)31 to whatever object is presenting itself at one of the five sense doors
(dvāra). This consciousness does not see, hear, smell, taste, or touch the object. It
simply turns to the object, thereby enabling the sense consciousness to arise in immediate
succession.32
31 This is the turning of the mind towards an object. Āvajjana forms the first stage in the process of
consciousness. When an object of the five physical senses is involved, it is called “five-sense-door
adverting consciousness” (pañcadvārāvajjanacitta); in the case of a mental object, “mind-door adverting
consciousness” (manodvārāvajjanacitta). Cf, Nyanatiloka, Buddhist Dictionary: Manual of Buddhist
Terms and Doctrines (fourth revised edition 1980), pp. 30—31.
32 A single unit of sense perception (for example, visual consciousness), being conditioned through a sense
organ and its corresponding object, forms in reality an extremely complex process, in which all the single
phases of consciousness follow one another in rapid succession, performing their respective functions, for
example:
“As soon as a visible object has entered the range of vision, it acts on the sensitive eye-organ
(cakkhu-pasāda), and, conditioned thereby, an excitation of the subconscious stream (bhavanga-sota) takes
place.
“As soon, however, as subconsciousness is broken off, the functional mind element, grasping the
object and breaking through the subconscious stream, performs the function of ‘adverting’ (āvajjana) the
mind towards the object.
“Immediately thereupon, there arises at the eye-door, and based upon the sensitive eye-organ, the
eye-consciousness, while performing the function of ‘seeing’ (dassana)…
“Immediately thereafter, there arises the mind-element, performing the function of ‘receiving’
(sampaṭicchana) the object of that consciousness…
“Immediately thereafter, there arises…the mind-consciousness element, while ‘investigating’
(santīraṇa) the object received by the mind-element…
“Immediately thereafter, there arises the functional, rootless mind-consciousness-element,
accompanied by indifference, while performing the function of ‘determining’ (votthapana) the object…
“Now, if the object is large, then immediately afterwards there flash forth six or seven ‘impulsive
moments’ (javana-citta), constituted by one of the eight wholesome (kusala) or twelve unwholesome
(akusala) or nine functional (kiriya or kriyā) classes of consciousness.
“Now, if, at the end of the impulsive moments, the object at the five-sense doors is very large and
at the mind-door clear, then there arises, once or twice, one of the eight root-accompanied kamma-resultant
classes of consciousness of the sense-sphere, or one of the three rootless kamma-resultant mindconsciousness-
elements… Because this consciousness, after the vanishing of the impulsive moments,
possesses the faculty continuing with the object of the subconsciousness, taking the object of the
subconsciousness as its own object, thereby, it is called ‘registering’ (tadārammaṇa, literally, ‘that object’
or ‘having that as object’).” (Visuddhimagga XIV, 115ff.)
If, however, the sense-object is weak, then it reaches merely the stage of “impulsion” (javana), or
of “determining” (votthapana); if very weak, only an excitation of the subconsciousness takes place.
The process of the inner, or mind, consciousness, that is, without participation of the five physical
senses, is as follows: in the case that the mind-object entering the mind-door is distinct, then it passes
through the stages of “adverting at the mind-door” (manodvārāvajjana), “the impulsive stage,” and “the
registering stage,” before finally sinking into the subconscious stream. Cf, Nyanatiloka, Buddhist
Dictionary: Manual of Buddhist Terms and Doctrines (fourth revised edition 1980), pp. 227—228.
IMMORAL RESULTANT CONSCIOUSNESS
(Akusala Vipāka Citta)
The seven akusala vipāka cittas are given the following symbols and
names.
cakkhu      ghāna       kāya        santī
—    —     —     —     ^     —     —
sota       jivhā       sampa
1 Upekkhā-sahagataṁ cakkhuviññāṇaṁ
1emeye-consciousness accompanied by neutral feeling.
2 Upekkhā-sahagataṁ sotaviññāṇaṁ
1emear-consciousness accompanied by neutral feeling.
3 Upekkhā-sahagataṁ ghānaviññāṇaṁ
1emnose-consciousness accompanied by neutral feeling.
4 Upekkhā-sahagataṁ jivhāviññāṇaṁ
1emtongue-consciousness accompanied by neutral feeling.
5 Dukkha-sahagataṁ kāyaviññāṇaṁ
1embody-consciousness accompanied by painful feeling.
6 Upekkhā-sahagataṁ sampaṭicchana-cittaṁ
1emreceiving consciousness accompanied by neutral feeling.
7 Upekkhā-sahagataṁ santīraṇa-cittaṁ
1eminvestigating-consciousness accompanied by indifference.
Of the seven cittas mentioned above, the first five are known as
pañca-viññāna, i.e., five cittas that are conscious of the five senses.
The last two, i.e., sampaṭicchana-citta and santīraṇa-citta, represent
two connecting stages in the process of cognition (awareness of
an object).
For example, when a visible object appears in the eye, a series of
consciousness has to arise and perish in order to see the object. First
pañca-dvārāvajjana (five-door directing consciousness) directs the consciousness
stream towards the object. Then cakkhu-viññāṇa (eye consciousness)
sees the object and transmits it to the next consciousness.
Then sampaṭicchana (receiving consciousness) receives the sense
object. Then santīraṇa (investigating consciousness) investigates the
sense object. Then mano-dvārāvajjana (mind-door directing consciousness)
determines the sense object whether it is good or bad. We are
aware of the sense object roughly at this stage.
Similarly, when an audible voice strikes the eardrum, a series of
consciousness, i.e., pañca-dvārāvajjana, sotaviññāṇa, sampaṭichana,
santīraṇa, mano-dvārāvajjana, etc., has to arise and perish before we
can hear the voice.
Thus sampaṭicchana-citta, santīraṇa citta together with pañca
dvārāvajjana citta and mano-dvārāvajjana citta are essential for cognition
of the senses at the five sense-doors (eye, ear, nose, tongue and
body).
달리 말해, 인간은 색온수온상온행온식온의 5온으로 이루어져 있는데 색온(감각기관, 근)과 수온(느낌, 마음작용, 마음부수)과 식온(마음, 식)이 인식대상(경)과 화합할 때를, 즉, 4가지 조건 또는 인연이 만났을 때를 세간적인 표현 즉 엄밀한 표현이 아닌 일반적인 통용 표현으로 '무엇(인식대상)을 느낀다(색온+수온+식온)'고 말하는 것일 뿐이다.
정리하자먼, 괴로운 느낌이란 과거 불선한(해로운) 업의 과보로서 마음에 들지 않는 대상을 만나 저절로 일어나는 느낌이다. 그리고 괴로운 느낌은 괴로운 경험 속에서만 존재하는데, 괴로운 경험이란 ① 마음에 들지 않는 대상(경)과 ② 그 대상과 만나게 된 몸(색온)과 ③ 그 대상을 만나 저절로 일어난 괴로운 느낌(수온)과 ④ 그 괴로운 느낌에 대한 앎(식온)이 화합하고 있는 현상이다.

**신체적인 괴로움과 정신적인 괴로움**
불교에 따르면, 모든 마음은 반드시 느낌受을 동반한다.(참고: 변행심소, 대지법)Accompanied by joy (somanassasahagata): The word somanassa, “joy,” is
derived from su- = “pleasant” + manas- = “mind;” thus, it means, literally, a pleasant
mental state. Somanassa is a type of feeling, specifically, pleasant mental feeling. All
consciousness is accompanied by some feeling, which may be physical or mental,
pleasant, painful, or neutral. Somanassa is a feeling that is mental rather than physical
(bodily), and pleasant rather than painful or neutral. This feeling “accompanies”
(sahagata) this type of consciousness in that it is inextricably blended with it, just as
when the waters of two rivers meet, they blend together and cannot be distinguished.
The Abhidhamma describes four cittas rooted in greed (lobha) and accompanied
by a joyful mental feeling (somanassa). The other four cittas in this class are
accompanied by equanimity (upekkhāsahagata). The word upekkhā is often used in the
Pāḷi texts to signify the lofty spiritual quality of equanimity, or impartiality, the state of
mind that cannot be swayed by biases and preferences. Here, however, the word is used
simply to mean neutral feeling, a mental feeling that leans neither towards gladness nor
sadness. In contrast to pleasant and painful feelings, which experience an object in
diametrically opposed ways, upekkhā experiences the object in a neutral manner. Thus,
upekkhā, or “equanimous feeling”, is also called “adukkhamasukhā vedanā,” “neither-painful-
nor-pleasant feeling.”
Analysis of feeling: As we have seen, feeling (vedanā) is a universal mental
factor, the cetasika with the function of experiencing the “flavor” of the object. Since
some sort of feeling accompanies every citta, feeling serves as an important variable in
terms of which consciousness can be classified. In this section, the author’s main
concern is to classify the totality of cittas by way of their concomitant feeling.
즉, 크게 느낌을 세 가지로 구분할 때의 고수(괴로운 느낌)낙수(즐거운 느낌)불고불락수(괴롭지도 즐겁지도 않은 느낌, 무덤덤한 느낌, 그저 그런 느낌)의 3수(三受) 중 어느 하나와 반드시 상응한다. 또는, 3수를 더 세분한 고수(신체적으로 괴로운 느낌)낙수(신체적으로 즐거운 느낌)희수(정신적으로 즐거운 느낌)우수(정신적으로 괴로운 느낌)사수(정신적으로 괴롭지도 즐겁지도 않은 느낌, 나아가 고급한 형태의 균형의 느낌)의 5수(五受) 중 어느 하나와 반드시 상응한다.Three kinds of feeling: Feeling may be analyzed as either threefold or fivefold.
When it is analyzed simply in terms of its attractive quality, it is threefold: pleasant,
painful, and neither pleasant nor painful. In this threefold classification, pleasant feeling
includes both bodily pleasure and mental pleasure, or joy, and painful feeling includes
both bodily pain and mental pain, or displeasure.
3수의 고수를 5수의 고수와 우수로 세분한 이유는 다음과 같다. 과거의 업이 해로운(불선) 업일 때, 마음에 들지 않는 대상 즉 괴로운 대상과 만나게 된다. 이 때 전5식 중 신식은 다른 네 가지 안식이식비식설식이 평온 즉 괴롭지도 즐겁지도 않은 느낌 즉 사수와 함께하는 것과는 달리 신체적인 고통의 느낌과 함께한다. 즉 통증을 느낀다.(참고: 해로운 과보의 마음) 말하자면, 눈(안근)의 통증이란 눈(안근)이 느끼는 통증이 아니라 몸(신근)이 느끼는 통증이다. 그렇기 때문에 괴로운 대상과 만났을 때 안식이식비식설식과 함께하는 괴로움은 신체적인 것이 아니라 정신적인 것이다. 예를 들어, 만나기 싫은 사람을 보게 되어 괴로운 느낌(피하고 싶은 느낌)이 들었을 때, 봄(안식)은 신체적인 것 즉 감각적인 것이지만 이 봄(안식)과 함께 일어나는 괴로움은 정신적인 것이다. 즉, 고수가 아니라 우수이다. 전통적으로, 고수 즉 신체적인 괴로움을 '괴로움'(둑카, pain)이라고 이름하고 우수 즉 정신적인 괴로움을 '슬픔'(도-마낫사, displeasure)이라고 이름한다.Accompanied by equanimity (upekkhāsahagata): Even if a desirable object is
present when a delusion-rooted consciousness arises, it is not experienced as desirable
and thus pleasant mental feeling (somanassa) does not arise. Similarly, an undesirable
object is not experienced as such, and thus unpleasant mental feeling (domanassa) does
not arise. Moreover, when the mind is obsessed by doubt (vicikicchā) or restlessness
(uddhacca), it is not capable of forming a determinate positive or negative evaluation of
the object, and thus cannot be associated with either pleasant or painful feeling. For these
reasons, the feeling that accompanies these two cittas is neutral, the feeling of equanimity
(upekkhā).
Feeling is analyzed as fivefold: When feeling is analyzed by way of the
governing faculty (indriya), it becomes fivefold. These five types of feelings are called
faculties because they exercise lordship (indra), or control, over their associated states
with respect to the affective mode of experiencing the object.
When the fivefold analysis of feeling is considered, the pleasant feeling of the
threefold scheme becomes divided into pleasure and joy, the former bodily and the latter
mental; and neither-pleasant-nor-painful feeling becomes identified with equanimity, or
neutral feeling.
In the Suttas, the Buddha sometimes also speaks of feeling as twofold, pleasure
(sukha) and pain (dukkha). This is a loose or metaphorical method of analysis, arrived at
by merging the blameless neutral feeling in pleasure and the blameworthy neutral feeling
in pain. The Buddha further declares that whatever is felt is included in suffering (yaṁ
kiñci vedayitaṁ taṁ dukkhasmiṁ cf. Saṁyutta Nikāya 36:11/iv, 216). In this statement,
the word dukkha does not bear the narrow meaning of “painful feeling,” but the broader
meaning of “the suffering inherent in all conditional things (sabbe saṁkhārā) by reason
of their impermanence (anicca).”
Pleasure (sukha): Pleasure has the characteristic of experiencing a desirable
tangible object, the function of intensifying associated states, and manifestation as bodily
enjoyment. Its proximate cause is the body faculty.
Pain (dukkha): Pain has the characteristic of experiencing an undesirable
tangible object, the function of withering associated states, and manifestation as bodily
affliction. Its proximate cause is also the body faculty.
Joy (somanassa): Joy has the characteristic of experiencing a desirable object,
the function of partaking of the desirable aspect of the object, and manifestation as
mental enjoyment. Its proximate cause is tranquility.69
Displeasure (domanassa): Displeasure has the characteristic of experiencing an
undesirable object, the function of partaking of the undesirable aspect of the object, and
manifestation as mental affliction. Its proximate cause is the heart-base.70
Equanimity (upekkhā): Equanimity has the characteristic of being felt as
neutral, the function of neither intensifying nor withering associated states, and manifestation
as peacefulness. Its proximate cause is consciousness without zest.71
69 Tranquility (passaddhi), it seems, is the proximate cause only for joyful feeling that arises in meditative
development.
70 On the heart-base, see below, §20.
71 These definitions of the five feelings are found at Visuddhimagga XIV, 128.
그리고 6식 중 제6의식은 그 자체가 순전히 정신적인 것이므로 제6의식과 함께하는 괴로움도 정신적인 것이다. 즉, 고수가 아니라 우수이다.

**같이 보기**
 고 (불교)- 수 (불교)- 3수- 5수- 6수- 5온#수온- 십이연기설#(7) 수(受)- 수념처- 해로운 마음

**각주**
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