1

The meditation object of jhana

2 Two presentations on the nature of jhāna

The commentaries and popular contemporary presentations generally give explanations

drastically different from those of the suttas
3 The nature of jhāna: The Brahmavamso (2006) take

(everyone of these has no scriptural basis, by the way)

duality of subject and object ceases, the two “fuse together”;

examination impossible
full-blown ecstasy (“a frozen ball” of “ecstasy”)

perception of time affected (an Abhidharmic notion: perception of time

is derived from frequency of the mind’s contact with mental objects;
cinematographic examples), until it becomes “frozen”
4 What is jhāna? The Visuddhimagga Take

While “access concentration” takes on sensory data as

objects—which are constantly changing and therefore
absorption cannot take, the commentarial jhāna takes on
“counterpart image” (nimitta) as the object of concentration
5 What is jhāna? The Visuddhimagga Take

Nimitta is just “sign” “theme” “perceptual object” in the suttas, but in the commentaries it
takes on the following two meanings

Ven Nyanatiloka: “‘Mental reflex-image,’ obtained in meditation. In full clarity, it will

appear in the mind by successful practice of certain concentration-exercises and will then
appear as vividly as if seen by the eye.”
“The object perceived at the very beginning of concentration is called the preparatory image
parikamma-nimitta The still unsteady and unclear image, which arises when the mind has
reached a weak degree of concentration, is called the acquired image uggaha-nimitta.”
“An entirely clear and immovable image arising at a higher degree of concentration is the
counter-image patibhāga-nimitta As soon as this image arises, the stage of neighbourhood or
access concentration upacāra-samādhi is reached. For further details, see: kasina, samādhi.”
6 Again, what is “counterpart image”?

“Counter-part image”—the way the meditation object is

perceived conceptually by the mind; corresponding to
different degrees of calm; useful as a gauge for teachers
7 From “learning sign” to “counterpart image”

The breaking down of the stages:

1. perception of a person doing breath2. visualization of in and out
breath3. only the contact point 4. pure tactile sensation

1-4 are called “acquired/learning image/sign” (uggaha-nimitta), and 5 is

called “counterpart image/sign” (patibhaga-nimitta)

5. abstracted perception (described as elemental “interpretation” of

sensations; at first, mind unaccustomed to such experience, and uses more
familiar models to interpret and therefore would go through stages of
semblance counterpart-image
8 From “learning sign” to “counterpart image”

“Semblance” counterpart images:

Breath appearing as a thread of silk, a shining rotating ball, scattered gold

dust, moon disk, bright sun…

These images are either interpreted as actual visual images or as referring to

some metaphorical, subjective qualities associated with those images—
abstracted patterns)

Then these “elemental” qualities stabilize and “congeal” to become the

stationary object of absorption concentration
9 From “learning sign” to “counterpart image”

The importance of being “entranced” by a stationary and attractive

object rather than by something fickle and coarse like sensory objects
10 The nature of “counterpart image”

Is it visual?

Some say yes: “For most meditators, this disembodied beauty…is

perceived as a beautiful light. Some see a white light, some a
golden star, some a blue pearl, and so on.”—Brahmavamso

Some say no: “This phenomenon may or may not be experienced

and described in a visual way, may or may not involve elements
of light and color, but is always directly related to the meditation
object in some subjectively apparent way.”—Culadasa
11 The evolution of the notion “nimitta”

Bhikkhu Sona’s thesis that the Visuddhimagga’s idea of

“counterpart image” evolved from misreading and
misunderstanding of an idea that meant something else
entirely
12 The evolution of the notion “nimitta”

The Vimuttimagga (Upatissa, circa 1st or 2nd C.E.) was the

primary template and precursor for the Visuddhimagga.
Much of the latter was based on the former.

Where they differed was meaningful in showing how

people’s understanding had changed
13 The evolution of the notion “nimitta”

According to the Vimuttimagga (the precursor), the nimitta

associated with the breath should be tactile in nature:
“likened to the pleasant feeling produced by a breeze,” or by
a pleasant friction, and “does not depend on color or form.”
With regard to visual nimittas, this text claims that they are
not the “perception of respiration” and could lead to
confusion. The proper kind of breath nimitta should, for
obvious reasons, be subjectively connected to how the breath
is attended to and comprehended in the mind (in this case,
the tactile aspect)
14 The evolution of the notion “nimitta”

Per Vimuttimagga, proper and undeviated attention to the

tactile aspect of respiration would ensure that a person “does
not cause the arising of…perceptions” other than that of the
tactilely based

Per the text, a visual breath nimitta only occurs when the
meditator’s attention has deviated from the tactile to the
conceptual/visual
15 The evolution of the notion “nimitta”

Put in other words: Visual nimittas are perceived by meditators who have
inadvertently changed their primary meditation subject. This is
considered a “confusion” and deviated concentration in the Vimuttimagga
This point is lost on the Visuddhimagga, which proceeded to prescribe
techniques that are otherwise considered “confused” in the Vimuttimagga
(Apologists of the Vism. would argue that this new meditation object,
either the visual nimitta or other psycho-physical symptoms associated
with the access meditation, can nonetheless still serve as a vehicle to
meditative absorption if the meditator doesn’t deviate further to still
another object)
16 The evolution of the notion “nimitta”

Here’s my translation of the relevant passage in the Vimuttimagga (the

text is non-extant in Pali and preserved in Chinese):
名相者。如抽綿抽古貝觸身成樂觸。如涼風觸身成樂觸。如見入
出息風觸。鼻口脣念作風想。不由形色。此謂相。從此增長。滿
身猗樂。此謂具足。復有坐禪人。從初見異相。如煙如霧如塵如
碎金。猶如針刺。如蟻所嚙。見種種色。若坐禪人心不明了。於
彼異相心作異想成顛倒。不成出入息想。若明了坐禪人。不作異
意想。念現入息念現出息。離作餘想。若如是作意。異相即滅。
是坐禪人得微妙相。
17 The evolution of the notion “nimitta”

“As for why the nimitta is called nimitta, it is like a cotton fiber or the
worn [surface of a] shell touching the body, giving rise to pleasant
sensations. It is like a wisp of cool wind touching the body, giving rise
to pleasant sensations. It is the perceiving of the inhalations and
exhalations as wind touching [the contact point]—either at the nostril
or on the lips—giving the impression of a wind that is not born of
visual cues. Such is called nimitta.” (continued)
18 The evolution of the notion “nimitta”

(continued) “As the nimitta grows, tranquility and pleasure

pervade the whole body. This is called the completion [of the
practice]. Furthermore, there are meditators who may
initially see deviant nimittas—those like [wisps of] smoke or
fog, and those like dust or golden powders. They feel like the
prickling of needles, or the gnawing of ants, and may be
accompanied by visual manifestations.” (continued)
19 The evolution of the notion “nimitta”

(continued) “Suppose the meditator’s mind is not clearly

comprehending and mindful, he may give rise to deviant
perceptions of those deviant nimittas, and he is no longer
developing the [proper] perception of the breath.”
(continued)
20 The evolution of the notion “nimitta”

(continued) “But suppose the meditator’s mind is clearly

comprehending and mindful, and he does not give rise to
deviant perceptions of those deviant nimittas. [Instead,] he
develops mindfulness on the inhalations and exhalations of
the present moment, abandoning all other kinds of
perceptions.”
“Should he develop his attention in such a manner, those
deviant nimittas would fade away, and the meditator would
be able to acquire sublime nimittas.”
21 The evolution of the notion “nimitta”

The evolution of nimitta:

nimitta as the “characteristic” of an experience that would elicit an emotional
response (e.g. AN2.16=DN3.225: a meditator ought not give heed to characteristics
that would elicit lust);
Selective representation (e.g. Suda Sutta), as in “seeing a human being as a pile of
bones”

nimitta as a theme or perceptual object (Culasuññata Sutta; e.g. “wilderness

contemplation,” “themeless/animitta contemplation,” etc.);
Quality of an experience that, once learned, can be invoked again for the sake of
calm (Gavi Sutta)
22 The evolution of the notion “nimitta”

(continued)
nimitta as an analogy or what feels subjectively analogous (Patisambhidamagga: e.g.
“like the full moon rising above the clouds that are mental defilements”)

nimitta as something concretely related to one’s meditation subject (Vimuttimagga;

e.g “the breath feeling like cottonball rubbing against the nose”)

nimitta as a mostly visual experience (“learning sign”: e.g. puff of clouds, stars,
stringed beads, wheel in motion, a mist…); whose primary qualities (e.g. “singlenss,”
“uniformity,” “smoothness”) are then extracted to become the “counterpart image”
(the Visuddhimagga)
23 The evolution of the notion “nimitta”

 “[There’s] a general tendency to literalism [that’s] responsible for

many developments in the history of Buddhist thought and
practice”—Analayo, “Compassion in the Āgamas and Nikāyas,” in
Dharma Drum Journal of Buddhist Studies, no. 16, pp. 1-31 (2015),
at pp. 13
 “unintentional literalism has been a major force for change in the
early doctrinal history of Buddhism.” Gombrich, Richard F. 1996:
How Buddhism Began, The Conditioned Genesis of the Early
Teachings, London: Athlone, pp. 21
24 The evolution of the notion “nimitta”

Some apologists of the Visuddhimagga point to a notion in MN128: “the sign of

light”—obhāsanimitta

But the notion does not occur in the context of jhāna practice at all!

The practice of “light visualization” is for the purpose of:

1. Overcoming torpor (monastics are traditionally exhorted to go to sleep while
holding the perception of light, so as to retain some measure of awareness even in
sleep)
2. Developing psychical powers (especially the Divine Eye; this practice and
power are traditionally closely connected with the disciple Anuruddha, who is
indeed the primary audience of the sutta in question)
25 The evolution of the notion “nimitta”

Critics of the Visuddhimagga such as Thanissaro Bhikkhu go as far as to

say that “slipping into” “the light/vision” that might occur after attaining
initial ease/concentration is a “danger/enemy” of Right Concentration,
which always involves a proper Frame of Reference/Foundation of
Mindfulness—“Hold on to Your Frame of Reference” (Sept, 2010)

Henepola Gunaratana, in “Should we come out of Jhāna to practice

Vipassanā?” (an unpublished manuscript): “If Jhānic concentration is the
same as being absorbed by our object of focus then yes, we must leave
Jhāna to practice Vipassanā. But, when we become absorbed into our
object of focus, what we are practicing is ‘wrong’ Jhāna. When we
practice ‘right’ Jhāna we will be able to see things as they really are.”
26 The “fixed” nature of Visuddhimagga nimitta

Richard Shankman, (2008) in describing the Visuddhimagga

jhānas: “Fixed concentration is cultivated, concentration on a
fixed object so intense that awareness of no other experience
can arise, resulting in one-pointed focus...awareness of
changing phenomena is lost as the mind is fixed or absorbed
into its meditation object and mental activity becomes still.”
(p. 55)
27 What the suttas say

Now, let’s take a look at the suttas’ descriptions, which never

involves the idea of “counterpart image” at all!
28 Suttanta’s account of jhanic object/theme

To enter into jhāna: MN125: “Then the Tathagata trains him

further: ‘Come, monks, remain focused on the body in & of
itself, but do not think any thoughts connected with the
body..., remain focused on the feeling…mind…dhammas in
& of themselves, but do not think any thoughts connected
with feeling…mind…dhammas in & of themselves…With
the stilling of directed thoughts & evaluations, he enters the
second jhāna’”
29 Suttanta’s account of jhanic object/theme

How is concentration defined in that sutta passage?

Notice that concentration is defined as being concentrated on

the task of Satipaṭṭhāna (not thinking thoughts related to
body, feeling, mind, and dhammas; it is about focusing on
them in themselves; the mind is focused on a range of
phenomena, not fixed on a tiny spot)
30 The object is always some “activity”

The suttas tell us that the satipatthana entail a wide range of tasks such
as:
Observing the body/feeling/mind in terms of its activities
Tranquilizing bodily and mental activities
Developing pleasure, pervading pleasure, appreciating and familiarizing
with pleasure (AN5.200, “leaping onto, becoming confident in…),
developing equanimity towards pleasure, dropping pleasure
Looking at experiences in terms of impermanence, dukkha, not-self;
developing disenchantment, dispassion, cessation, relinquishment…
31 The object is always some “activity”

So jhanas is about doing one of those tasks whole-heartedly

The focus is on the task/activity, and not on a stationary
spot/object
The objective is to perform the task efficiently, rather than to
induce a trance or a “frozen” state or a condition of “mushin”
32 Suttanta’s account of jhanic object/theme

MN44 agrees: “What is the theme of right concentration?” In other

words, what is the object of focus for right concentration?
“It is the Four Foundations/Establishing of Mindfulness
(satipaṭṭhāna).”

SN2.7: “Those who have gained mindfulness are rightly well-centered

(Right Concentration)”
33 Suttanta’s account of jhanic object/theme

Other suttas resonate the same idea

MN125: “Having abandoned the five hindrances—imperfections of
awareness that weaken discernment—the monk remains focused on the
body in & of itself…feeling…mind…dhammas in & of themselves —
ardent, alert, & mindful — putting aside greed & distress with reference
to the world…enters second jhāna.”

AN 8.63 explicitly calls each of the 4 satipatthana a Samadhi

SN46.51: the four satipatthanas is what gives rise to samadhi
34 Suttanta’s account of jhanic object/theme

AN1.390-393: “If the bhikkhu abides reflecting the body in the body
mindful and aware to dispel greed and displeasure for the world, for
the fraction of a second, it is said he abides in jhana...if the bhikkhu
abides reflecting the feeling in the feeling...mind in the
mind...Dhamma in the Dhamma...it is said he abides in jhana.”
35 Jhana and satipatthana as one

In other words, contrary to the commentarial and popular

presentations, jhāna and the satipaṭṭhāna are not two distinct
practices with the former preceding the latter.
They are the SAME practice, with the latter preceding the
former, and differs in intensity or level of mastery (jhāna is a
description of a high-intensity satipaṭṭhāna practice)
36 Jhana and satipatthana as one

In the suttas, jhāna is none other than being immersed in

satipaṭṭhāna (the four establishings/foundations of
mindfulness)

It is satipaṭṭhāna practice brought to a qualitatively mature

and steadied level, where the five hindrances are set aside
37 Jhana and satipatthana as one

Thanissaro Bhikkhu, Right Mindfulness: “The intimate

connection between right mindfulness and the practice of jhāna
is a point that has to be stressed repeatedly, for some of the
cardinal tenets of the modern interpretation of mindfulness are
that mindfulness practice is radically different from jhāna
practice, that jhāna is not necessary for awakening, and that the
modicum of concentration attained through mindfulness-as-
bare-awareness practices is enough to qualify as right
concentration.” (continued)
38 Jhana and satipatthana as one

“Because these tenets fly in the face of the standard

definition of the path factor of right concentration, which
defines right concentration as the four jhānas (DN 22; MN
141; SN 45:8), there have been many efforts to find passages
in the Canon showing that jhāna is not always necessary for
awakening, or that right concentration can be defined in
other terms.”
39 Suttanta’s account of jhanic object/theme

More evidence; AN8.63 & SN47.10; SN47.10:

“Ananda, if a monk or nun remains with mind well established in the
four frames of reference/foundations of mindfulness...There is the case
of a monk who remains focused on the body in & of itself — ardent,
alert, & mindful — putting aside greed & distress with reference to the
world. As he remains thus focused on the body in & of itself…delight
arises within him. In one who feels delight, rapture arises. In one
whose mind is enraptured, the body grows serene. His body serene, he
feels pleasure. As he feels pleasure, his mind grows concentrated.”
40 Suttanta’s account of jhanic object/theme

MN119: “And as he remains thus heedful, ardent, & resolute, any memories & resolves related
to the household life are abandoned, and with their abandoning his mind gathers & settles
inwardly, grows unified & centered. This is how a monk develops mindfulness immersed in
the body.”
For one thing, “unified and centered” (ekodi hoti var samādhiyati) is the description of second
jhana;
secondly, the abandoning of household-life-related resolves and thoughts, and solidifying that
experience, is jhana;
thirdly, this state of being “unified and centered,” according to the sutta, can and should be
undertaken when one is in different postures and activities, showing that different postures and
activities are not incompatible with jhanas. (continued)
41 Suttanta’s account of jhanic object/theme

This sutta lists a number of practices: mindful of  various bodily postures; mindfulness and
comprehension in doing physical and mental activities; first 4 steps of 16 anapanasati; 31 body
parts; 4 elements; 9 stages of corpse decay; 1st-4th jhana
For all of them, the same “unified and centered” refrain is used. This shows that all of these
activities are jhanic in nature, and by extension, that jhanas contain elements of insight that are
necessary to undertake practices such as bodily based satipathana, 31 body parts, etc.
(continued)
42 Suttanta’s account of jhanic object/theme

 This “unified and centered” description is used for jhanas elsewhere. For example, MN
122  sannisīdati ekodi hoti samādhiyati = the qualities of jhanas:
 “And how does he steady his mind internally, quiet it, bring it to unification, and center it?
Here, Ānanda, quite secluded from sensual pleasures, secluded from unwholesome states, a
bhikkhu enters upon and abides in the first jhāna…the second jhāna…the third jhāna…the
fourth jhāna,... he enters and abides in.”
43 Suttanta’s account of jhanic object/theme

 MN119: One of the benefits of practicing the body-based satipaṭṭhāna is: “He can attain at
will, without trouble or difficulty, the four jhanas — heightened mental states providing a
pleasant abiding in the here & now.”
 Notice that the satipaṭṭhāna is the cause, and jhānas the result, not the other way around
44 Suttanta’s account of jhanic object/theme

 AN8.63: “Then you should train yourself thus: ‘I will remain focused on the body in & of
itself—ardent, alert, & mindful—subduing greed & distress with reference to the world.’
That’s how you should train yourself. When you have developed this concentration in this
way, you should develop this concentration with directed thought & evaluation, you should
develop it with no directed thought & a modicum of evaluation, you should develop it with
no directed thought & no evaluation, you should develop it accompanied by rapture… not
accompanied by rapture… endowed with a sense of enjoyment; you should develop it
endowed with equanimity. [Similarly with the other three establishings of mindfulness.]”
45 The object is always about some “activity”

 some argue that the fixed approach can be a foundation, but given what the Anapanasati
Sutta tells us (about the evaluating the lengths and effects of breath) and the Buddha’s first
lesson to Rahula (about evaluating the consequences of one’s speech), perhaps meditation
prerequisites have more to do with mindful considerations and ability to evaluate
intentional effects than deadpan focus (see next slide)
46 Suttanta’s account of jhanic object/theme

 AN3.102: “When he [the meditator] is rid of [the gross impurities of misconduct in body, speech,
and mind], there remain in him the moderate impurities: thoughts of sensuality, ill will, &
harmfulness. These he abandons, destroys, dispels, wipes out of existence.”
 “When he is rid of them, there remain in him the fine impurities: thoughts of his caste, thoughts of
his home district, thoughts related to not wanting to be despised. These he abandons, destroys,
dispels, wipes out of existence.”
 “When he is rid of them, there remain only thoughts of the Dhamma. His concentration is neither
peaceful nor exquisite, has not yet attained calm or unification, and is kept in place by the
fabrication of forceful restraint. But there comes a time when his mind grows steady inwardly,
settles down, grows unified & concentrated. His concentration is peaceful & exquisite, has attained
calm & unification, and is no longer kept in place by the fabrication of forceful restraint.”
 Jhana more about the removal of unskillful states, and the associated pleasure (which is then
steadied), than a willful focus
47 Suttanta’s account of jhanic object/theme

 Going into sensuality is going into the domains of others, while practicing satipatthana is
staying within ancestral domain (the same as jhanas) (SN47.6 and 47.7)
 Practicing satipatthana skillfully, one attains the pleasant abiding in the here and now
(same description as jhana) (SN47.8)
48 Suttanta’s account of jhanic object/theme

 SN47.10: “Here, Venerable Ānanda, a number of bhikkhunis, dwelling with their minds
well established in the four establishments of mindfulness, perceive successively loftier
stages of distinction (jhanas).”
 The monastics are said to dwell in satipatthana, “ardent, clearly comprehending, mindful; I
am happy.” Notice the connection between satipatthana and the “pleasant abiding here and
now.”
49 The Chinese Agamas agree

 In the Ekottarika-āgama account of Dhamma-based satipatthana

(c.f. MN10), each of the four jhanas is described as a satipaṭṭhāna
practice:
 “Again, free from craving for sensual pleasures, removing evil and
unwholesome states, with directed thought and evaluative thought,
being tranquil and mindful … one enjoys the first jhana and
experiences joy in oneself. In this way, [in regard to] dharmas …
one contemplates the characteristics of dharmas as a satipaṭṭhāna.”
(continued)
50 The Chinese Agamas agree

 “Again, putting aside directed thought and evaluative thought, arousing joy within, the
mind being unified, without directed thought and evaluative thought, being mindful and
tranquil, with joy and ease … one dwells in the second jhana and experiences joy in
oneself. In this way, [in regard] to dharmas … one contemplates the characteristics of
dharmas as a satipaṭṭhāna.”
 “Again, mindfully putting aside [joy] … one develops equanimity, constantly knows and
experiences pleasant feelings in the body, as sought after by noble ones, with purity of
equanimity and mindfulness, one abides in the third jhana. In this way, [in regard to]
dharmas … one contemplates the characteristics of dharmas as a satipaṭṭhāna.” (continued)
51 The Chinese Agamas agree

 “Again, setting aside mental states of pain and pleasure and also being without dejection
and elation, without pain and without pleasure, with purity of equanimity and mindfulness
… one enjoys the fourth jhana. In this way, [in regard to] dharmas … one contemplates the
characteristics of dharmas as a satipaṭṭhāna.”
52 The Chinese Agamas agree

 Madhyama-Āgama  SATIPAṬṬHĀNA sutta: 

 4 postures; mindfulness and comprehension of physical and mental activities; first
4 steps of 16 steps anapana; first-fourth jhana similes from AN 5.28; perception
of light for knowledge and vision; 31 body parts; 4 elements; 9 cemetary
contemplations
 “insight” refrain for each exercise:
 “In this way a monk contemplates the body as a body internally and contemplates
the body as a body externally. He establishes mindfulness in the body and is
endowed with knowledge, vision, understanding, and penetration. This is
reckoned how a monk contemplates the body as a body.
 Is there any sense of “emerging from absorption, going into access concentration
in order to perform insight”?
53 Calm and insight revisited

Contrary to popular classification, jhāna is NOT an exclusively

“calm/śamatha” kind of practice, and satipaṭṭhāna is NOT an
exclusively “insight/vipassana” kind of practice
(You often hear someone is conducting a retreat on “calm
development/jhāna,” or on “mindfulness meditation”)
If one treats jhāna as a distinctly “calm/śamatha” kind of practice, then
one completely overlooks what the suttas say about the primary
mechanisms by which jhāna is attained, maintained, deepened, and
transcended
54 Pleasure leads to samadhi

According to the same sutta (SN47.10), the main way of

entering into jhāna is not attentional fixity, but a “gratified
mind” and a body “at ease” (sometimes translated as
“gladdened mind” and “physical relaxation”)
This is quite distinct from what is said in the majority of the
classical manuals on concentration
55 Pleasure leads to samadhi

More evidence; MN39: “Seeing that [unskillful qualities] have

been abandoned within him, he becomes glad. Glad, he becomes
enraptured. Enraptured, his body grows tranquil/relaxed. His body
tranquil/relaxed, he is sensitive to pleasure. Feeling pleasure, his
mind becomes concentrated.”

Where is the mention of single-pointed focus, anywhere (in all

suttas, involving any type of “tethering” kind of practice) at all, if
it is the crux of the practice? Contrary to conventional wisdom, the
single-point practice is not even used as a preliminary practice…
56 Pleasure leads to samadhi

AN6.10: “As the disciple recollects each theme, his mind is not
obsessed by lust, hatred, or delusion, but becomes upright
(ujugata): "With an unright mind he gains the inspiration of the
goal, the inspiration of the Dhamma, gladness connected with the
Dhamma. When he is gladdened rapture arises, his body becomes
tranquil, and he experiences happiness. For one who is happy the
mind becomes concentrated.”
57 Pleasure leads to samadhi

AN8.63: you can use metta (and any of the immeasurables) as a

way to enter jhana, and you can use any combination of the 4
satipatthana to enter jhana. It states that you dwell in
satipatthana and jhana comes after or while doing satipatthana.
Imagine if jhanas were indeed “frozen” and “fixed” in nature,
how can a mental state of metta (which involves emotive
vibrancy and dynamic use of complex perceptions) lead to
jhana?
58 Pleasure leads to samadhi

 an 6.10, 10.2, 11.2, 11.11, 11.12: recollection of triple gem, generosity, virtue, devas
leading to gladness, happiness, and samadhi
59 Pleasure leads to samadhi

 AN 5.26: “In just that way, in relation to that Dhamma, he experiences inspiration in the
meaning and inspiration in the Dhamma. As he does so, joy arises in him. When he is
joyful, rapture arises. For one with a rapturous mind, the body becomes tranquil. One
tranquil in body feels pleasure. For one feeling pleasure, the mind becomes concentrated.”
60 Pleasure leads to samadhi

 MN 7: “He knows: ‘I have given up, renounced, let go, abandoned and relinquished [the
defilements] in part’; and he gains enthusiasm for the goal, gains enthusiasm for the
Dhamma, gains gladness connected with the Dhamma. When he is gladdened, joy is born
in him; being joyous in mind, his body becomes tranquil; when his body is tranquil, he
feels happiness; and the mind of him who is happy becomes concentrated.”
61 The object is always about some “activity”

The suttas in fact never prescribe any form of kasina-based type of attention training for
entering into jhanas
The practice of tethering the mind to a stationary object (mantra, visual image, physical spot,
Buddha’s name…) is a novel development not found in the Buddha’s historical teaching, and
most likely has roots in the Brahmanical traditions
62 Jhana and satipatthana as one

Put in another word: the satipaṭṭhāna crystallizes and stabilizes in the jhāna—Satipaṭṭhāna &
jhāna are qualitatively the same practice.
Whereas satipaṭṭhāna is the description of the method of the practice, jhāna is a description of
the progression and symptoms of that practice
63 Jhana and satipatthana as one

Satipaṭṭhāna & jhāna are qualitatively the same practice.

 The opposite of the five hindrances (e.g. release from the
hindrances) are both the jhanas and the satipatthana (SN47.5)
 Practice satipatthana with “unified, concentrated, limpid, one-
pointed mind” (SN47.4), i.e., bring it to jhanic intensity
64 Personal thoughts

 I have no problem accepting that jhanas can be developed with powerful samatha.
In fact, I would argue the more the merrier.
 Except that to me, samatha denotes peace--freedom from anguish, disturbance,
and stress--rather than how exclusively fixated one is at a stationary, usually
imaginary object.
 The Buddha measures samatha by how much disturbance there is in a state of
mind; not on how exclusive one's focus is.
65 Personal thoughts

 Samatha is just the mind extricated from varying levels and kinds of dukkha (“awareness
release”). The progression of Buddhist meditative states is a function of successively
reduced suffering, which may still entail all sorts of mental activities as the sutta testify to
be the case all the way up to the base of not-a-thingness.
 If a state of Samadhi doesn’t feel much more pleasant than and preferable to coarser forms
of dukkha, I don’t really care how exceptionally concentrated that state might be or what a
superhuman feat it is (there are people who spend inordinate amount of time training in,
say, how to cut watermelons by throwing cards at them).