Samatha bhavana

Samatha bhavana (faded) indicates, in the Bouddhisme a whole of méditatives practices .

“  Samatha  ” peace , and “  means; bhavana  ” literally: existence, is translated by development .

Introduction

See also: Buddhist Meditation

In the Buddhism theravâda, the formal meditation is made up of two distinct practices: samatha bhavana and Vipassana bhavana .

Samatha bhavana corresponds to a pre-Buddhist practice as in the rajah Yoga .

The “development of peace” consists with to contemplate while concentrating on a fixed point, such as breathing. Samatha bhavana can be practiced with other objects, and Buddhism theravâda mentions forty different.

The concentration, Samadhi , is a concentration very major and different from the concentration used to carry out a intellectual task. This concentration becomes such at the entry in the first jhana .

Forty objects

Before enumerating them, let us specify that contemplating them consider a considered Signe, i.e. the object of the concentration is perceived very differently: “hundred times more beautiful”. It is known as that this considered sign emerges at the time of the Concentration of proximity. But some of the practices enumerated low make it possible to reach the jhanas , of the higher state of consciousnesses in particular making it possible to reach the penetrating vision of reality incidentally (, these jhanas are described in the Hindouisme like a fusion with a gasoline divine : the Atmân ).
The forty practices are:
  • ten “globalities”, or Kasina ;
  • ten “uglinesses”;
  • ten “recollections”;
  • four “unlimited”;
  • four Arupajhana S .

Ten globalities

Meditating considers for example a blue disc, visualizes it until more not needing the material object, then is insulated.
  1. Globality of the Ground;

  2. of the Water;
  3. of the Fire;
  4. of the Wind;
  5. of the Blue ;
  6. of the Yellow ;
  7. of the Red ;
  8. of the White ;
  9. of the Light;
  10. of the space (space delimited in opposition to the object of the first arupajhana ).

Ten uglinesses

It is a question of contemplating a corpse in a more or less advanced state of decomposition. It goes without saying that this practice is related to the specificity of the Buddhist design. See: Anicca , impermanency.

Ten recollections

  1. Let us quote in first Anapanasati , the attention on the breath, which is largely the most practiced method, and not only in Buddhism Theravâda.
  2. vigilance with the body is however always practiced, for example by the disciples of Ajahn Chah: it is a question of considering the bodies not to practice vipassana but to concentrate. See Rupa in connection with the bodies. The other recollections use as object of the mental images , of the Représentation S which are:
  3. the Buddha;
  4. the Dharma;
  5. the Sangha;
  6. the discipline ( Vinaya );
  7. generosity;
  8. the divine one;
  9. the appeasing.

Four virtuous attitudes

Or the four incommensurable ones. It is thus a question of concentrating on a frame of mind, on an emotion which one wishes to develop. After the concentration on the breath and the bodies, they are undoubtedly the last practices really used: the reason is which it is not a question only to concentrate, but to develop other qualities. Among these four, metta bhavana , the development of the universal benevolence, is most common and is often used at the time of retirements of meditation.

On their subject, to also see the corresponding section of the page Buddhism.

  1. benevolence, Maitrī ;

  2. compassion, Karuna ;
  3. the joy sympathetic nerve, Mudita ;
  4. equanimity, Upekkha .

Four arupajhanas

These objects are in fact what perceives contemplating it which exceeded the stage of the four first jhanas (or of the pure “physical” field and which thus reached the nonphysical field. See: Arupajhanas .

Perception of food

It is a question of thinking of unpleasant in the food.

Determination of the four elements

The four elements mentioned here are the ground, water, fire and the wind. See the elements: Dhātu .

Concentrations and objects

Practiced with regularity, these practices lead to more or less advanced states of concentration. The practices which lead to the Dhyana are the ten globalities and Anapanasati (attention on the breath). The three first virtuous attitudes are associated each one with the three first jhanas , and the equanimity with the fourth. The ten uglinesses and the vigilance with the body lead to the first jhana .

Others practical

11 Concentrations

The practice of Samatha bhavana is taught according to a progression in the capacity of concentration.

Comes initially the preparatory concentration, parikamma samadhi . This concentration is still very weak and can be disturbed easily; when the concentration is again established, that contemplating it makes an effort, again, to be attentive with the “learned Signe”, it is soon disturbed.

The Concentration of proximity, or vicinity, will upacara samadhi , is reached when the “considered Signe appears”, patibhaga-nimitta : the object of the meditation is replaced by a mental image, spontaneous hallucination but within the framework of the practice.
According to Buddhaghosa, the spirit then leaves the sensory world, kamaloka , but falls down there immediately, because the concentration is not yet rather strong.

The concentration of attack, or insertion, apana-samadhi , corresponds to the attack of the Dhyana . The spirit leaves the sensory world, reaching the world of the form, rupaloka , and enjoys the factors of the dhyana ; the concentration can be maintained with wish; meditating any more conscience of its environment does not have. For the four (or five) “in-damnings up” of this “pure physical world”, to see the article Dhyana .

Meditating which realized, one after the other, all the dhyana of the world of the form, will reach can be in the world without form, arupaloka . It reaches then the dhyana without form; for these four insertions, to see the article Arupajhana S .

See too

External bonds

  • Samatha in Buddhism Tibetan
  • meditation on the breath

References

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