“Shamatha” is focusing on a single object and the state of mental calmness that arises because of this focus. This term is commonly used to denote meditation practices involving single-pointed concentration. Shamatha is the foundation for the development of insight – vipassanā.
Shamatha — inner peace of mind.
Vipassanā — the highest wisdom of insight into phenomena.
These two qualities of mind are two components of a single process.
Ajahn Brahm: “Some traditions speak of two types of meditation: insight meditation (vipassanā) and tranquility meditation (shamatha). There are two inseparable aspects of the same process. Tranquility is born of meditation; insight is the clear understanding born of the same meditation. Tranquility leads to insight, and insight leads to tranquility.”
Meditation with single-pointed concentration frees the mind fr om what are called the “five hindrances”: sensual desire, ill will, sloth and torpor, restlessness, and doubt. When these manifestations are eliminated, the radiance of wisdom (prajñā)—the understanding of the true nature of phenomena—becomes possible.
There are forty kinds of meditation objects for developing shamatha.
These forty kinds are called “shamatha kammatthāna”.
They are described by Buddhaghosa in the treatise “Visuddhimagga”.
Please read more in the article “Forty Objects of Meditation”.
The most well-known meditations in the “shamatha” category are the practice of mindfulness of breathing — ānāpānasati — and concentration on the image of the Buddha.
In the source texts, the image of the Buddha is considered the best practice for shamatha.
Fr om an energetic perspective, a thought or action is a direction of energy. When you concentrate on an object, your life energy moves towards that object. In this sense, the practice of “shamatha” meditation is the conscious and sustained direction of attention-energy.
If we are talking about concentration on an area of the body: a chakra, a channel—you are organizing the circulation of prana in the subtle body.
If we are talking about concentration on some higher form, it is possible to unfold the qualities inherent in this form within the inner world.
The “Nine Mental Abidings” is a description of the stages of concentration leading to serenity—shamatha—which is based on the literary works of the Indian yogi and scholar of Nalanda University, Kamalashila (9th century CE).
Buddhist monasteries still maintain the tradition of assemblies wh ere debates and discussions on spiritual and philosophical questions take place.
During Kamalashila’s time, the idea of sudden enlightenment was discussed at one such assembly. Proponents of this idea were followers of the Chan tradition.
Kamalashila explained the gradual path of practice. These debates took place at Samye Monastery and were important for the development of Buddhism in Tibet because, after them, the gradual path approach became the primary one.
Indeed, some people can achieve results in practice in a short time. Fr om the outside, this can give the impression of sudden enlightenment. There is a view that people engaged in self-development retain the tendency towards these pursuits fr om life to life. Therefore, the observed fragment of reality wh ere this occurs is only part of the path of the being who is “awakening.” Thus, this state is not sudden, but a consequence of a long journey—efforts made at different times in past lives.
Kamalashila highlights two aspects of the path: cultivating noble qualities of character and regular meditation practice aimed at tranquility and insight.
The Tibetan king Trisong Detsen asked Kamalashila to compile a written theoretical justification for the gradual path. This led to the text “Bhāvanākrama”—Stages of Meditation. The following is a description of the stages of concentration, the “Nine Mental Abidings,” according to Kamalashila.
- Placement of the Mind — This is the initial stage of meditation, when the practitioner learns to hold attention on the object of concentration. Since this ability develops gradually, distractions and hindrances are present at the initial stage.
- Continuous Attention — At this stage, the first periods of concentration without distraction arise. The duration of stable concentration is about a minute. After mental distraction, the practitioner returns attention to the object, and gradually the duration of concentration increases.
- Repeated Attention — The practitioner can maintain concentration for most of the meditation period. Upon distraction, a quick return of attention to the object is possible.
- Close Attention — At this stage of meditation, the ability to focus attention is developed to such an extent that the practitioner maintains stable concentration without significant distractions for an hour or more. However, even with such developed concentration, fluctuations towards excitement or dullness can still arise in the mind.
- Tamed Attention — A stage of deeper mental calmness, but states of lethargy or dullness may arise.
- Pacified Attention — While in concentration, the practitioner is no longer subject to lethargy, but subtle excitements may manifest on the periphery of attention.
- Fully Pacified Attention — At this stage, manifestations of excitement or dullness of mind are still possible, but they occur rarely, and the practitioner can easily recognize and pacify them.
- Single-Pointed Attention — At this stage, it is possible to achieve a high level of concentration without interruption.
- Equanimous Attention (Balanced state of mind) — The meditator now achieves concentration effortlessly and can maintain it for about four hours.
Shamatha — the culmination, is sometimes classified as the tenth stage.
In Buddhist painting, there is an illustration wh ere an ascetic climbs a winding path along with animals symbolizing the mind being tamed: an elephant and a monkey. Each fragment of this illustration shows the state of the practitioner who copes with two tendencies of the mind: excessive excitement of thought or its opposite: slowness, dullness. This illustration figuratively shows the stages of meditation described above.
The Tibetan illustration of “shamatha” meditation with the monk and animals has a parallel in Zen: the comparison with the Ten Oxherding Pictures. These comparisons go back to the sutras, wh ere the skillful and unskillful shepherd is used as an illustration of the spiritual path. (“Mahāgopālaka Sutta: The Great Discourse on the Cowherd”.)
The nine stages are a concept that clearly shows that the path of meditation takes time. It is worth remembering that a state of mind with distractions is natural at the beginning. Concentration becomes more and more stable and deep with due effort and experience in practice.
The foundation for developing wholesome qualities of mind—shamatha and vipassanā—is called “sīla”—ethical conduct consistent with a person's commitment to the spiritual path. Sīla is based on an understanding of the law of karma and rebirth, as well as adherence to the behavioral patterns recommended by the Buddha.
Different teachings, or components of the same teaching, will inspire different people to live righteously. Thus, in the early forms of the Buddha's teachings, these are recommendations for monks of the community; in the later Mahayana form of Buddhism, these are the Bodhisattva vows. It is beneficial to find what inspires you. The point is that, in addition to meditation practice, analyzing one's behavior is important.
Practice and analysis transform the state of energy and thinking, and, as a result, a person is freed fr om all that is superficial in the inner world. It is then that the realization of the qualities of mind, shamatha and vipassanā, leading to the manifestation of the inherently luminous nature of mind, becomes possible.
Since many practitioners have engaged in the same methods, they have left accounts of what kind of auspicious signs may appear during meditation.
When it comes to shamatha, such signs are subtle experiences of joy called “pīti” and the imprint of the object in the mind—nimitta.
Nimitta — a stable mental image that appears in meditation.
- Parikammā-nimitta — the image of the object perceived at the very beginning of concentration is called the preparatory image.
- Uggaha-nimitta — the still unstable and unclear image that arises when the mind has reached a weak degree of concentration is called the acquired image.
- Paṭibhāga-nimitta — a perfectly clear and stable image that arises with a high degree of concentration.
Buddhaghosa: “Some practitioners see the image of the nimitta as a star, a lotus flower, a lunar disc, or the sun. The same meditation object looks different due to differences in perception.”
If concentration involves visualizing an object, then the nimitta is a stable form that arises behind closed eyes. If at the beginning of practice there is an effort to concentrate and maintain attention, then with the appearance of the nimitta, these efforts are reduced to some extent, as the image remains stable. If you have ever practiced mantras, you may know that after prolonged practice, the mantra continues to sound within you as if on its own. It is the same here. Nimitta is a self-arising imprint in the mind for some people. This sign is not mandatory, as all people have different tendencies.
Regarding the perception of the image, the projection of consciousness, it is appropriate to recall a fragment from the dialogue between the Buddha and Maitreya about shamatha and vipassanā in the eighth chapter of the “Samdhinirmocana Sūtra”:
“Maitreya, in meditation on form, the form itself is seen in a perfectly clear round mirror, but one thinks: ‘I see an image.’”
The foundation of any spiritual discipline is shamatha.
Single-pointed concentration makes thinking clear and precise, and this allows one to perform any activity that is meaningful to them more effectively, to live more attentively and consciously.
These are the wonderful fruits of a tree whose branches are very wide. Meditation broadens the perspective of reality. Ultimate concentration on one object allows one to then see the essence of many objects, to think broadly.
Furthermore, if in practice a person directs their thoughts towards some higher form, this concentration gradually becomes an integral part of their worldview; that is, the realization of what is called “Īśvara Praṇidhāna” in the “Yoga Sutras”—the dedication of all one's actions to the highest—becomes possible.
If you look at Japanese landscape painting, you will see how concise it is. A blossoming sakura branch, indicated by a few strokes on the monochrome space of the sky, and a perfect solar disc. In this painting, an important principle for revealing the essence of an object is observed—the principle of subtraction. Everything superfluous is removed. The utmost conciseness of artistic expression emphasizes the significance of what is depicted.
In Zen gardens, large, dark-colored stones are placed against a white background. The principle of subtracting everything superfluous is also embodied in these gardens. There is enough empty, unfilled space around each stone. Nothing distracts from contemplation. A harmonious combination of emptiness and form. Such aesthetics are a visual embodiment of single-pointed concentration in meditation.
Space and object. Contemplation of the object. A state of rest.
Remember your state in a quiet garden or forest, a state of peace, lightness, tranquility. By engaging in meditation, you are making the place wh ere you practice like a perfect garden.
Through the practice of shamatha, your attention becomes so collected and focused that all distractions dissolve, all waves of the mind subside. Mental chaos acquires the quality of order—cosmos. Your inner world begins to exude calmness, against the background of which you think, make decisions, and generally perceive reality.
This calmness—the foundation and source of wisdom—is shamatha—serenity of mind.
May your practices be luminous!
References:
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Kamalashila, “Stages of Meditation: Advice to the King”.