Re: Nimitta

From: Eugen Ciurtin
Message: 4734
Date: 2016-09-20

Dear All,

Thanks as always for the useful discussions.

Dear Dmytro and Bryan,

The problem with a more modern practice of kasinas is that it started anew from texts, irrespective of any direct transmission: this is also the problem with the late, 18th c., Manual of a Mystic, first denounced by Richard Gombrich in an article of 1983, see now the works of Kate Crosby. I mentioned recently (JPTS 2015, p. 206 n. 26 with fuller references) that Frank Lee Woodward would require a proper study of historiography, at least as a Theosophist. Another point: this very reading and problem led the young Mircea Eliade to write a whole chapter on Yoga and Buddhism, in his first Yoga (Bucharest/Paris, 1936), from which nothing resists, as I think I am able to show in my study Neither Immortality, Nor Freedom: Eliade's Yoga Now (to be published in next November, which include some 700 corrections of Sanskrit and Pali migrating from Calcutta/Bucharest to Paris, Princeton etc.).

all the best,
Eugen


2016-09-20 16:03 GMT+03:00 Bryan Levman bryan.levman@... [palistudy] <palistudy@yahoogroups.com>:
 

Dear Dmytro,

Thanks very much for these references which I'll have to study. I notice one of the references (in the article by Mahnda Deegalle)  is to a book, Manual of a Mystic. Have you read it and is it worth studying? I am assuming it has a section on kasinas, but I couldn't find a place to download it.

Thanks again for your help,

Mettā,

Bryan




From: "Dmytro Ivakhnenko aavuso@... [palistudy]" <palistudy@yahoogroups.com>
To: palistudy@yahoogroups.com
Sent: Monday, September 19, 2016 1:38 PM
Subject: Re: [palistudy] Nimitta

 
As for ānāpāna jhāna, many people think that the nimitta must be always visual. However, nimitta there is apprehended by touch, and hence is first of all tactile:

tatra ṭhapetvā vāyokasiṇaṃ sesā nava kasiṇā, dasa asubhāti imāni ekūnavīsati diṭṭhena gahetabbāni. ... ānāpānassati phuṭṭhena, vāyokasiṇaṃ diṭṭhaphuṭṭhena, sesāni aṭṭhārasa sutena gahetabbāni.

"Herein, these nineteen, that is to say, nine kasinas omitting the air kasina and the ten kinds of foulness, must be apprehended by sight. ... Mindfulness of breathing must be apprehended by touch; the air kasina by sight and touch; ..."

Visuddhimagga III, 121

Therefore some talented teachers discover on their own the extension of air nimitta on all the tactile sphere.

Ajaan Lee Dhammadharo wrote:

Keep careful watch over the mind. Keep it one. Keep it intent on a single preoccupation, the refined breath, letting this refined breath suffuse the entire body.

http://www.accesstoinsight.org/lib/thai/lee/inmind.html


Ven. Thanissaro Bhikkhu writes:

Do you feel that your immediate experience of the body is of the solid parts, and that they have to manage the mechanics of breathing, which is secondary? What happens if you conceive your immediate experience of the body in a different way, as a field of primary breath energy, with the solidity simply a label attached to certain aspects of the breath? Whatever you experience as a primary body sensation, think of it as already breath, without your having to do anything more to it. How does that affect the level of stress and strain in the breathing?

http://www.accesstoinsight.org/lib/authors/thanissaro/deperception.html

Richard Shankman puts it in his own words in his book "The Art and Skill of Buddhist Meditation":

"... This dynamic can also shift so you feel the concentration and the breath merging until they become one blended experience. No longer feeling the physical sensations of breathing as being separate from the experience of concentration, you now find that the object of your attention is transformed into a new experience, breath and concentration unified into what we can call samadhi-breath. You might experience the samadhi-breath as the breath blended with light, energy, pleasure, stillness, sound, or any of the experiences we have been talking about. Or, rather than merging just with the breath, samadhi also can expand beyond the breath to fill your whole body.

If subtle breath energy, or any other samadhi experience, suffuses throughout your body, let the process happen. Perhaps you will still be able to individually discern the breath and the concentration, or the concentration suffused throughout the body, but the sense of them merged into one will be stronger."

Mettā,
          Dmytro        



2016-09-19 19:25 GMT+03:00 Bryan Levman bryan.levman@... [palistudy] <palistudy@yahoogroups.com>:
 
Dear Dmytro,

Thanks very much for these quotes and translations re: nimitta which clarifies its meaning.

I did not realize that ānāpāna jhāna was part of the air kasiṇa, nor that the kāyagatāsati was included in the colour kasiṇas. I have just assumed that the kasiṇas were no longer used in meditation practice, despite Buddhaghosa's long exposition of them in the Vsm.

Do you or anyone know of an existing Theravādin tradition which uses the kasiṇas as outlined in the Vsm? They are certainly a canonical practice, as there are references to the kasiṇas throughout the suttas. I had assumed that they had fallen out of practice, but didn't realize that ānāpāna and kāyagatāsati were offshoots of this practice. Is the "orthodox" practice of making a kasiṇa, meditating on it, the paṭibimba, etc., used anywhere?

Mettā,

Bryan

Bryan



From: "Dmytro Ivakhnenko aavuso@... [palistudy]" <palistudy@yahoogroups.com>
To: palistudy@yahoogroups.com
Sent: Saturday, September 17, 2016 7:22 AM
Subject: Re: [palistudy] Nimitta

 
Dear Bryan,

Thank you for interesting etymology.

Visuddhimagga instructions for jhana 'on the bloated' clarify the meaning of 'nimitta' in the context of samādhi.

sarīrato nātidūre nāccāsanne padese ṭhitena vā nisinnena vā cakkhuṃ ummīletvā oloketvā nimittaṃ gaṇhitabbaṃ.

Standing in a place not too far from and not too near to the body, he should open his eyes, look and apprehend the nimitta.

“uddhumātakapaṭikkūlaṃ uddhumātakapaṭikkūlan”ti satakkhattuṃ sahassakkhattuṃ ummīletvā oloketabbaṃ, nimmīletvā āvajjitabbaṃ.

He should open his eyes and look a hundred times, a thousand times, [thinking], 'Repulsiveness of the bloated, repulsiveness of the bloated', and he should close his eyes and advert to it.

evaṃ punappunaṃ karontassa uggahanimittaṃ suggahitaṃ hoti. kadā suggahitaṃ hoti? yadā ummīletvā olokentassa nimmīletvā āvajjentassa ca ekasadisaṃ hutvā āpāthamāgacchati, tadā suggahitaṃ nāma hoti.

51. As he does so again and again, the learning nimitta becomes properly apprehended by him. When it is properly apprehended? When it comes into focus alike whether he opens his eyes and looks or closes his eyes and adverts, then it called properly apprehended.

Visuddhimagga VI, 50-51


Here nimitta is an inner representation of the bloated corpse, which is properly apprehended (suggahita) so that it is seen well with closed eyes.

If one gets representation (nimitta) of the visual object through visual contact, one gets visual nimitta.
If one gets representation through touch (e.g. nimitta of air in Anapanasati), one gets tactile nimitta (however, visual components may also be present).

Being a representation of air, nimitta in Anapanasati has a quality of airiness, and when expanded, makes the body feel as if filled with air, as described in Vimuttimagga:

"To the yogin who attends to the incoming breath with mind that is cleansed of the nine lesser defilements the image [nimitta] arises with a pleasant feeling similar to that which is produced in the action of spinning cotton or silk cotton. Also, it is likened to the pleasant feeling produced by a breeze. Thus in breathing in and out, air touches the nose or the lip and causes the setting-up of air perception mindfulness. This does not depend on colour or form. This is called the image. If the yogin develops the image [nimitta] and increases it at the nose-tip, between the eyebrows, on the forehead or establishes it in several places, he feels as if his head were filled with air. Through increasing in this way his whole body is charged with bliss. This is called perfection."

(Vimuttimagga, Mindfulness of Respiration. Procedure, pp.158-159)
https://archive.org/stream/ ArahantUpatossa-Vimuttimagga- PathOfFreedom.pdf/ ArahantUpatissaEharaN.r.tr- PathOfFreedomvimuttimagga# page/n221/mode/2up/


since in Anapanasati practice, jhana is a subtype of air kasina jhana:

Kiṃ pana pathavīkasiṇaṃ ādiṃ katvā aṭṭhikasaññāpariyosānāvesā rūpāvacarappanā, udāhu aññāpi atthīti? Atthi; ānāpānajjhānañhi kāyagatāsatibhāvanā ca idha na kathitā. Kiñcāpi na kathitā vāyokasiṇe pana gahite ānāpānajjhānaṃ gahitameva; vaṇṇakasiṇesu ca gahitesu kesādīsu catukkapañcakajjhānavasena uppannā kāyagatāsati, dasasu asubhesu gahitesu dvattiṃsākāre paṭikūlamanasikārajjhānavasena ceva navasivathikāvaṇṇajjhānavasena ca pavattā kāyagatāsati gahitāvāti. Sabbāpi rūpāvacarappanā idha kathitāva hotīti.

"But is this all the absorption belonging to the consciousness of the sphere of refined form, beginning with the earth kasiṇa and ending in the perception of the skeleton? Or is there anything else?"
"Yes, there is. There is ānāpāna jhāna and the development of kāyagatāsati, which have not been spoken of here."
"Why not?"
"Because ānāpāna jhāna is included in the air kasiṇa; the development of kāyagatāsati arisen by virtue of the fourfold and fivefold jhānas with reference to the hair etc., is included in the colour kasiṇas; the kāyagatāsati produced by virtue of the jhānas attending to the unattractiveness in the thirty-two parts of the body, and that of the jhāna attending to the colours of the nine kinds of corpses in the charnel grounds is included in the ten repulsive things. Thus all the absorptions of consciousness connected with the sphere of refined form have been included here."

Dhammasangani-Atthakatha 200

Mettā, Dmytro


2016-09-06 0:30 GMT+03:00 Bryan Levman bryan.levman@... [palistudy] <palistudy@yahoogroups.com>:
 
Dear Dmytro,

Thanks for this discussion on nimitta. It is one of those problematic words that has all sorts of meanings, and one can never seem to get it exactly right. I like your idea of "comparison" and matching against an inner representation, which as you say goes beyond simply "sign", which is the usual translation.

Looking into the root of the noun, if (as MW suggests) it comes from ni + mā which means "to measure" and mā which means "to compare with, to correspond in measure" then that fits exactly with your suggestion. One compares the external sign with an internal representation and that points to the referent. So it is a form of recognition.

The other possibility is that it comes from nir + mā which has a similar meaning (to measure, fabricate, create, produce)

Mettā, Bryan




From: "Dmytro Ivakhnenko aavuso@... [palistudy]" <palistudy@yahoogroups.com>
To: palistudy@yahoogroups.com
Sent: Monday, September 5, 2016 6:53 AM
Subject: [palistudy] Nimitta

 
Hello Pāli friends,

Visuddhimagga (XIV 130) explains the recognition (saññā) in such a way:

"sabbāva sañjānanalakkhaṇā, tadevetanti puna sañjānanapaccayanimittakaraṇar asā dāruādīsu tacchakādayo viya, yathāgahitanimittavasena abhinivesakaraṇapaccupaṭṭhānā hatthidassakāndhā (udā. 54) viya, yathāupaṭṭhitavisayapadaṭṭhānā tiṇapurisakesu migapotakānaṃ purisāti uppannasaññā viyāti."

"All (saññā) has the characteristic of recognition (sañjānana); its property is the making of representation (nimitta) that is a condition of recognizing again, 'this is the very same thing' - as carpenters and so on do with the wood, etc.; its manifestation is the producing of conviction by virtue of a representation (nimitta) that has been accordingly learnt - like the blind perceiving the elephant ( http://www.accesstoinsight. org/tipitaka ... .than.html ); its basis is whatever object that has come near - like the recognition (saññā) 'people' that arises for young animals in respect of scarecrows."

Ven. Analayo writes in his book "Compassion and Emptiness in Early Buddhist Meditation":

The term “sign” renders the Pāli word nimitta. A nimitta is a sign in the sense that it can refer to the outward characteristic mark of things. These characteristics are the signs, the sign-als, that make it possible to recognize things.

...

In relation to the process of perception in general, the nimitta is what causes one to recognize something. An illustrative example for this function of the nimitta can be gathered from a situation depicted in the Raṭṭhapāla-sutta. Raṭṭhapāla had gone forth against the wish of his parents. After a long time had passed, he decided to visit his home town. Having arrived there, he approached his parental house while begging for alms. Seeing him from afar, his father did not recognize him and started abusing him, expressing his resentment towards these shaven-headed recluses who he felt had lured his only son away from him. Raṭṭhapāla turned around and left.

Here the father had not been able to recognize the characteristic marks, nimitta, of his own son, probably because he had never seen him dressed as a monk and with shaven head. In addition to the different outer attire, Raṭṭhapāla would also have been walking in a more self-restrained manner than earlier, when he was still living at home. All these differences, combined with the fact that the father only saw the monk from afar, would have made recognition difficult.

The story does not end here. A female servant left the house to throw away some stale food. Raṭṭhapāla approached her and asked that she give the food to him, instead of throwing it away. On coming close to Raṭṭhapāla to do that, the female servant recognized that this monk was the son of the head of her household. The Raṭṭhapāla-sutta and one of its parallels preserved in the Madhyama-āgama agree in using the term nimitta (and its Chinese equivalent) in this context, specifying that she recognized Raṭṭhapāla by the nimitta of his hands and feet, as well as by the nimitta of his voice.34

This shows the functioning of a nimitta as a central factor in the operational mechanics of memory and recognition. It is with the help of the nimitta that the perception aggregate is able to match information received through the senses with concepts, ideas, and memories.


The term "nimitta" can indeed mean "sign", but in this context the usage of "sign" is strained, and seems to result from current tendency to find one translation of the term for all contexts.

Let's examine the sentence from Ratthapala sutta mentioned by Analayo:

"Atha kho āyasmato raṭṭhapālassa ñātidāsī taṃ ābhidosikaṃ kummāsaṃ āyasmato raṭṭhapālassa patte ākirantī hatthānañca pādānañca sarassa ca nimittaṃ aggahesi."

First, "nimitta" here is singular, and not plural 'sign-als', 'characteristic marks', or "characteristic features" in Bhikkhu Bodhi's translation:

... While she was doing so, she recognised the characteristic features of his hands, his feet, and his voice.

https://suttacentral.net/en/ mn82

Secondly, what causes one to recognize something is not some features of the object, but rather an inner representation of the object that one has acquired previously (as explained in Visuddhimagga passage above). When this inner representation turns out to be congruent with what one perceives, then one recognises the object.

So the literal translation of this sentence would be:

"While a slavewoman belonging to one of venerable Raṭṭhapāla's relatives was pouring some old porridge into venerable Raṭṭhapāla's bowl, she apprehended (gaṇhāti) her inner representation (nimitta) of his hands, his feet, and his voice."

This apprehension is a controllable mental act, as described in instructions on guarding sense doors:

'ehi tvaṃ bhikkhu, indriyesu guttadvāro hohi, cakkhunā rūpaṃ disvā mā nimittaggāhī hohi mānubyañjanaggāhī..."

(MN 107 and other suttas)

and this apprehension (gaṇhāti) differs somewhat from recognition (saññā), since it describes a part of recognition when one attends to inner representation, without part of using sense faculties, or of making a representation.

What would you say?

Metta,
               Dmytro


















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