Dangers of Access Samadhi

For normal, healthy people, the only danger is that one might not get everything out of it one can; we can get sidetracked, or waste time.

In general, most schools of Buddhism recognize these levels of concentration. These are preparation or momentary, neighborhood or access, and fixed or full concentration. This is from commentaries, not the Discourses. However, the concept can likely be inferred from the Discourses.

Simply put, most people have fleeting moments of concentration. To do anything sustained, one must get past the Five Blocks or Hindrances. The 5 are sensuality, enmity, apathy, angst, and suspicion. Once we can suspend those for 20 minutes or so, we can reach access samadhi. The danger lies 'there,' in access concentration. Some people have visionary experiences at this level. For some, these can be strange or frightening. Others might get infatuated, or attach too much significance to these 'charisms.'

An article I found on line, "Meditation - The Interesting Quirks of Access Samadhi" is useful.

The important thing, in samatha meditation, is to get beyond access concentration into the meditative absorptions, the rupa jhanas. That is the next level.

Picture an elevator. You have noticed that the elevator exists; and the door opens, but you do not get on board. You start thinking about entering. That is like fleeting or momentary concentration. You finally get past your trepidations and get on board. You ride up and the door opens; but you do not get off. You might be frightened about or marveling at the thrill of the ride. That is like access concentration.

The first floor is the first absorption. This is the same as the first meditative heaven, or the first Brahma Heaven. It has five qualities:

1. Directed or applied attention and investigation.
2. Arousal of interest and sustained attention.
3. The mood of fleeting mental joyousness, delight, or rapture.
4. A more sustained feeling of bliss, or contentment,
5. One-pointed-ness of concentration.

The arising of these 5 is like getting off the elevator. As the ascending elevator stops, and the door to the first jhana opens, there can be sinking feeling. That can be another danger point.

The Five Veils; Hindrances to Meditation

At one of the on line Sanghas, we are having a very nice, illuminating discussion about the Tiantai Meditation Manual, Maka Shikan. We looked a passage from Cleary's, "Stopping and Seeing." I think the citation he made was from "The Essentials for Practicing Calming-and-Insight & Dhyana Meditation," a shorter Meditation Manual,by the same author as Maka Shikan. It was about dealing with anger. Right away I wondered about the context. As I suspected, the term being discussed was a Chinese translation of vyapada; and it was in the context of the Five Hindrances.

This is a concept I learned from Theravada Buddhism. The Five Hindrances are mental states which seem to invariably arise when one attempts any sort of Buddhist Meditation. The effect of the Five Hindrances is to block what is known as Access Concentration. Upacara Samadhi or access concentration is a necessary prerequisite for both the Calming-Concentration and Mindfulness Meditations taught in Buddhism.

At first, we are only concerned with these as hindrances or veils that prevent access concentration. In the long run, we are interested in them as the three poisons, the first obstacle, the second devil, or kleshas / mental afflictions that arise from the four woeful realms.We want to un-knot these unwholesome desires; and then cultivate wholesome and liberating desires. Suspending thinking about them is enough to to do concentration meditation, which is rewarding in itself. With mindfulness and insight meditation we want to do more than just suspend them.

I was with Soka Gakkai for more than 24 years, and have remained in touch for another 12. During that time, I was never once aware of the topic of the Five Hindrances even being mentioned. I had not even noticed it in my Mahayana studies. Now, I found out the concept was there all along; albeit under a different name; the Five Veils, Obscurations, or Covers. Evidently, Chih-I taught it as one the essentials for beginnings to learn. He also discussed methods for lifting these veils in his most advanced meditation manuals.

五蓋 [盖] {gogai}: The Five Obstructions or Veils

1. 貪欲 {tonyoku}: The Chinese literally means something like coveting. This tends to get conflated with lobha {avarice}; but, in this context, refers specifically to lust, though not just sexual lust. It refers to sensuality in general. 貪欲 means greedy or covetous desire.

Soothill translates this as "Desire for and love of (the things of this life)."

ddb has: "The longing of desire (Skt. kāma-cchanda; Tib. 'dod pa'i 'dun pa); attachment to desires; (Skt. kāma-rāga; Tib. 'dod pa la 'dod chags); attachment, desire; (Skt. rāga; Tib. 'dod chags). Covetousness, greed; to greedily seek after that which one desires. The mental state of dissatisfaction even after gaining that which one desires. Desire of immeasurable depth. Greed for fame and self-benefit—all of which can be simply called the most basic cause of suffering. One of the three poisons 三毒. [cmuller; source(s): s.hodge]"

I think this covers all the permutations of the first unwholesome root, poison, ot fire -- llike obha {avarice or materialistic greed, desire for acquisition}, kama {lust, desire for pleasure and comfort}, raga {passion, emotional greed, or possessive attachment}.

"[previously we] discussed the outward arising of desire with respect to the five sense objects. Now we are concerned with the inward arising of desire in the intellectual mind faculty. This refers to instances where the practitioner is seated upright, cultivating dhyana meditation, and his mind generates continuously, one after another, desire-based ideations which cover over the wholesome mind, preventing it from developing." -- from The Essentials of Buddhist Meditation

2. 瞋恚 {shinni} or 瞋怒 {shindo}: Literally, this means to be offended, or angry. The same words are used to translate several Buddhist terms; such as dvesa (hatred{} pratigha {anger. displeasure}, upanaha (malice), krodha {wrath, rage, fury} and kupito (rebelliousness). In this instance, the original is vyapada [enmity}.

"when the practitioner is sitting in dhyana meditation, he might think to himself, "This fellow is now tormenting me. What's more, he torments my relatives and praises my adversaries. Continuing, he might think, "It's been like this in the pasts as well, and it will continue to be so in the future. This amounts to nine-fold torment. Consequently, he might become full of ill will and, based upon that ill will, he might begin to cherish animosity. On account of generating animosity, he might then think to torment the other individual. In this fashion, ill will serves to cover over the mind..." -- from The Essentials of Buddhist Meditation

3. 沈 {jin / chin}: Depression, dullness.

4. 掉悔 {chokai}: Agitation or shaken and regret or grief.

5.: 疑 {gi} Suspicion, mistrust, doubt.

Here are the Originals:

Panca Nivaraṇani

1. Kamachanda: Kama translates as lust; chanda means desire. Literally lust-desire; refers to sense desires in general. If we are chanting only to gratify or satiate sensory desires; then we are never going to get past this first hindrance. Moreover, pursuit of creature comforts might result is some joy and bliss; but always leads back to dukkha; to stress, suffering, dissatisfaction, and angst.Note that chanda or desire is neutral. Some desires are afflictions; while others are wholesome / skillful and create merit and / or lead to emancipation / liberation.

Sensual desire is the first item on the many Buddhist lists of obstacles to awakening and spiritual freedom. It is the first of the Five Hindrances. The Pali word for sensual desire is kama-chanda. Chanda simply means desire. Kama is a strong word referring to sense pleasure, sensual passion, and sexual lust. Together they refer to compulsive preoccupation with sensual pleasure and comfort. -- insightmeditationcenter.

Kama-chanda: sensual desires, taking pleasure in sensual objects (sights, sounds, smells, tastes, tactile sensations, ideas) and sensual moods ... -- www.buddhamind.info

Kama-chanda (sensual desire) or sexual lust: indulging in sensual moods, taking pleasure in sensual desires that arise within and lead one to take pleasure in sensual objects — a sign that the heart isn't centered in the proper way. This then leads to patigha: The mind is "struck," sometimes to its satisfaction, sometimes not, ... -- accesstoinsight


2. Vyapada/Byapada: The best translation is probably enmity. There are five or so Indic terms, with specific nuances of meaning, that are generally collapsed into a single Chinese word meaning anger. This one, vyapada, comes from a root meaning resistance. It means ill will, antipathy, enmity, or unfriendliness. Sometimes we hear about Buddhist sects actually cultivating Enmity toward rivals. While that seems obviously wrong, resistance to learning difficult Dharma is also a form of vyapada. In the past, I would sometimes dismiss study as a bunch of useless theory or dogma. My attitude, at those times, was really nothing but sour grapes.

3. Thina-middha: This is, obviously, a compound word. Thina means sloth, laziness, or indolence. Middhi means drowsiness, torpor, listlessness, or mental fog. I know the frame of mind of thina-middhi well, quite well. Boredom, melancholy, sullenness, indifference, or apathy might be decent translations of thina-middhi.

4. Uddhacca-kukkucca: This is another compound word. Uddhacca means to be restless, inattentive, wavering, fidgety, agitated, or distracted. Kukkucca translates as anxiety, worry, or remorse ~~ going cuckoo. It is a good and healthy thing to feel shame and guilt. Lack of shame and guilt are deemed impediments to progress in Buddhist practice. However, dwelling on, or obsessing over, remorse; or guilt tripping, can cause one to descend into sullen, morose, or hopeless moods.

5. Vicikiccha: This is generally translated as suspicious or skeptical doubt. I like cynicism as a translation. Vicikiccha means to feel uncertain, unsafe, lacking in confidence and trust. A certain amount of skepticism is healthy though. The question is how to resolve legitimate doubt?

~~~

I prefer the originals; some of the concepts might be lost in translation. On the other hand, I kind of like the image of the veils. These are not just five mental states that hinder citta bhavana or spiritual cultivation; they are also veils that obscure something. So, food for thought; how does one lift these veils and enter access concentration? Also, what is on the other side?

Link to: Stopping and Seeing: A Comprehensive Course in Buddhist Meditation

Full Seven Beat Daimoku

Daimoku can be chanting with Seven beats; Na Mu Myo Ho Ren Ge Kyo.

Namu Myoho Renge Kyo Six Beats, Slow

Namu Myoho Renge Kyo with 6 beats, 南無 (Namu) gets one beat. Namu is a phonetic rendering of the Sanskrit नम {namah},written with kanji, pronounced using the 音 (On) reading.

Pali नम {Namah} should be नमः

Sanskrit मस् {Namas} should be नमस्

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Visualizing Manjushri on Nichiren's Gohonzon

There are a number of ways to behold Manjusri, whio is Buddhism's Great Patron Bodhisattva of Discerning Wisdom, while chanting his mantra: Om Ah Ra Pa Tsa Na Dhih. One of these is to visualize his presence at the Ceremony in Open Space, as depicted in calligraphy on Nichiren Shonin's Gohonzon. Monju {文殊} and Samantabhadra 普賢 {Puxian / Fugen} are among four Trace Gate 迹門 {shakumon} Bodhisattvas from the Lotus Sutra; who were chosen by Nichiren Shonin to be represnted on his Great Mandala Gohonzon. The other two are Bhaishajyaraja 薬王 {yakuo}; who represents healing, and Maitreya 弥勒 {miroku}; the Coming Samyaksambuddha who represents kindness {Metta / Maitri}. Monju symbolizes Discerning Wisdom, a discipline of of the Conceptual Mind or the Samjna Skandha; while Fugen symbolizes Benevolent Action, a which can be taken as a discipline of Body and Form or the Rupa Skandha.

Together with Samantabhadra {Fugen}, Monju is said to have attended the Historical Buddha Shakyamuni. They are often paired opposite each other on mandalas or in statuary configurations, flanking Shakyamuni. On most of Nichiren's very formal Ten Worlds Great Mandala Gohonzons; Monju and Fugen are on opposite sides of the central Daimoku, they occupy the inner most positions in the second row from the top. Namu Monju Shiri Bosatsu [南無文殊師利菩薩] is positioned directly below Namu Taho Nyorai [南無多宝如来] on the left of the mandala, which is your right.

That will work for copies the Shutei Honzon, the Denpo Honzon, and the Kito Honzon; as well as the Nittatsu & Nikken Transciptions issued by Taisekiji. Note that the Trace Gate Bodhisattvas are omitted in the SGI Nichikan Gohonzon; you will not find them there. The Mannen Kugo Daihonzon of 1274 is configured quite a bit differently, but you will find Monju in about the same position, except that Fugen is on the same {left, right facing} side, to Monju's left {your right}. On the Ichinen Sanzen Honzon; iirc, Nan {南} Mu {無} Monju {文殊} Fugen {普賢} Bosastsu {菩薩} is the third entry on your left, facing, reading right to left.

The Manjushri mantra is said to enhance explaining, debating, writing, critical thinking, memory, and so on. According to Wildmind: "Manjushri is associated with ordinary intelligence and mental accuity as well as transcendent Wisdom, and his mantra Om A Ra Pa Ca Na Dhih is said to confer intelligence. Shantideva, the author of the great Bodhicaryavatara ("Guide to the Bodhisattva’s Way of Life") is said to have gained his wisdom by communing with Manjushri by night, while appearing by day as a slovenly and lazy scholar-monk."

I also see Manjushiri as the Trace Gate parallel of the Source Gate Mahasattva Bodhisattva Anantacaritra 無辺行 {muhengyo}; who represents the innate virtue {guna} of Immediacy / Constancy or nicca / Nitya 常住 {joju}. So Monju would be like a sketch, conception, perception, and gradual achievement of Emptiness / Timelessness; while Muhengyo is its omnipresent reality. Note that the one of the primary Buddhist words for Eternity or Infinity; Nicca / Nitya 常住 {joju} means both constancy and immediacy. When we think of eternity; we tend to imagine some time in the remote past or distant future. Infinite space conjures up images of far away galaxies. However, Nitya is right here, right now, always.

Manjusri Mantra; Visualizing Bodhisattva Manjusri

The beauty of Charles Atkins' Mantra Powered Visualization {MPV} [see the book 'Modern Buddhist Healing, A Spiritual Strategy for Transforming Pain, Dis-Ease, and Death,' by Charles Atkins] concept is that it concisely encapsulates the principle of chanting meditation. The practice brings together the body or kaya 身 {shin}, the speech or mukha 口 {ku}, and the brain or manas 意 {I}. The body assumes a meditative posture or ashana 坐 {za} and gesture or mudra 契印 {ge'in} 印契 {ingei}. The voice intones the mantra 呪 {ju} or 眞言 {shingon}; the vibrations of which pulse through the body. The mind is focused on the meditative visualization; known as the mandala 曼拏羅 {mandara} or ishtadevata 本尊 {honzon}.


Manjushri 文殊師利 {wenshushili, monjushiri} is the Mahasattva Bodhisattva of Wisdom. The purpose of chanting Om AH Pa Tsa Na Dhih, the Manjusri Mantra, is to overcome our own confusion or ignorance by cultivating discernment. I use several ways to visualize and "channel" Bodhisattva Manjusri; while chanting Om Ah Ra Pa Tsa Na Dhih. A simple way is to use an image of Manjushri; who is frequently depicted with his right hand holding a double edged flaming sword. His his left hand is holding a lotus flower, upon which rests the Prajnaparamita (Perfection of Discerning Wisdom) Sutra. He is often shown riding a lion.

The lion symbolizes the various defilements or Kleshas {bonno} that obscure our innate Bodhi or Awakened Wisdom. Riding the Lion represents taming of the of the Kleshas. The sword cuts through ignorance and yields the light of discernment. The double edge means that prajna refers to both ordinary intelligence and the discernment to perceive Emptiness and Immediate Constancy. The Lotus and the Perfection of Discernment Book represent Enlightened Wisdom emerging from darkness of confusion. Also, his countenance is generally youthful, indicating the timeless and ageless nature of wisdom; or that eternity exists right here, right now, always. His yellow complexion, the color of gold, means something too.

See also: The Concept of Channeling Monjushiri Bosatsu and The Power of Threes: Three Words for Wisdom