The Buddha begins his exposition of the body with contemplation of the mindfulness of breathing (anapanasati). Though not required as a starting point for meditation, in actual practice mindfulness of breathing usually serves as the “root meditation subject” (mulakammatthana), the foundation for the entire course of contemplation. It would be a mistake, however, to consider this subject merely an exercise for neophytes. By itself mindfulness of breathing can lead to all the stages of the path culminating in full awakening. In fact it was this meditation subject that the Buddha used on the night of his own enlightenment. He also reverted to it throughout the years during his solitary retreats, and constantly recommended it to the monks, praising it as “peaceful and sublime, an unadulterated blissful abiding, which banishes at once and stills evil unwholesome thoughts as soon as they arise” (MN 118).
Mindfulness of breathing can function so effectively as a subject of meditation because it works with a process that is always available to us, the process of respiration. What it does to turn this process into a basis for meditation is simply to bring it into the range of awareness by making the breath an object of observation. The meditation requires no special intellectual sophistication, only awareness of the breath. One merely breathes naturally through the nostrils keeping the breath in mind at the contact point around the nostrils or upper lip, where the sensation of breath can be felt as the air moves in and out. There should be no attempt to control the breath or to force it into predetermined rhythms, only a mindful contemplation of the natural process of breathing in and out. The awareness of breath cuts through the complexities of discursive thinking, rescues us from pointless wandering in the labyrinth of vain imaginings, and grounds us solidly in the present. For whenever we become aware of breathing, really aware of it, we can be aware of it only in the present, never in the past or the future.
The Buddha’s exposition of mindfulness of breathing involves four basic steps. The first two (which are not necessarily sequential) require that a long inhalation or exhalation be noted as it occurs, and that a short inhalation or exhalation be noted as it occurs. One simply observes the breath moving in and out, observing it as closely as possible, noting whether the breath is long or short. As mindfulness grows sharper, the breath can be followed through the entire course of its movement, from the beginning of an inhalation through its intermediary stages to its end, then from the beginning of an exhalation through its intermediary stages to its end. This third step is called “clearly perceiving the entire (breath) body.” The fourth step, “calming the bodily function,” involves a progressive quieting down of the breath and its associated bodily functions until they become extremely fine and subtle. Beyond these four basic steps lie more advanced practices which direct mindfulness of breathing towards deep concentration and insight.
Another practice in the contemplation of the body, which extends meditation outwards from the confines of a single fixed position, is mindfulness of the postures. The body can assume four basic postures — walking, standing, sitting, and lying down — and a variety of other positions marking the change from one posture to another. Mindfulness of the postures focuses full attention on the body in whatever position it assumes: when walking one is aware of walking, when standing one is aware of standing, when sitting one is aware of sitting, when lying down one is aware of lying down, when changing postures one is aware of changing postures. The contemplation of the postures illuminates the impersonal nature of the body. It reveals that the body is not a self or the belonging of a self, but merely a configuration of living matter subject to the directing influence of volition.
The next exercise carries the extension of mindfulness a step further. This exercise, called “mindfulness and clear comprehension” (satisampajanna), adds to the bare awareness an element of understanding. When performing any action, one performs it with full awareness or clear comprehension. Going and coming, looking ahead and looking aside, bending and stretching, dressing, eating, drinking, urinating, defecating, falling asleep, waking up, speaking, remaining silent — all become occasions for the progress of meditation when done with clear comprehension. In the commentaries clear comprehension is explained as fourfold: (1) understanding the purpose of the action, i.e. recognizing its aim and determining whether that aim accords with the Dhamma; (2) understanding suitability, i.e. knowing the most efficient means to achieve one’s aim; (3) understanding the range of meditation, i.e. keeping the mind constantly in a meditative frame even when engaged in action; and (4) understanding without delusion, i.e. seeing the action as an impersonal process devoid of a controlling ego-entity. This last aspect will be explored more thoroughly in the last chapter, on the development of wisdom.
The next two sections on mindfulness of the body present analytical contemplations intended to expose the body’s real nature. One of these is the meditation on the body’s unattractiveness, already touched on in connection with right effort; the other, the analysis of the body into the four primary elements. The first, the meditation on unattractiveness, is designed to counter infatuation with the body, especially in its form of sexual desire. The Buddha teaches that the sexual drive is a manifestation of craving, thus a cause of dukkha that has to be reduced and extricated as a precondition for bringing dukkha to an end. The meditation aims at weakening sexual desire by depriving the sexual urge of its cognitive underpinning, the perception of the body as sensually alluring. Sensual desire rises and falls together with this perception. It springs up because we view the body as attractive; it declines when this perception of beauty is removed. The perception of bodily attractiveness in turn lasts only so long as the body is looked at superficially, grasped in terms of selected impressions. To counter that perception we have to refuse to stop with these impressions but proceed to inspect the body at a deeper level, with a probing scrutiny grounded in dispassion.
Precisely this is what is undertaken in the meditation on unattractiveness, which turns back the tide of sensuality by pulling away its perceptual prop. The meditation takes one’s own body as object, since for a neophyte to start off with the body of another, especially a member of the opposite sex, might fail to accomplish the desired result. Using visualization as an aid, one mentally dissects the body into its components and investigates them one by one, bringing their repulsive nature to light. The texts mention thirty-two parts: head-hairs, body-hairs, nails, teeth, skin, flesh, sinews, bones, marrow, kidneys, heart, liver, diaphragm, spleen, lungs, large intestines, small intestines, stomach contents, excrement, brain, bile, phlegm, pus, blood, sweat, fat, tears, grease, snot, spittle, sinovial fluid, and urine. The repulsiveness of the parts implies the same for the whole: the body seen closeup is truly unattractive, its beautiful appearance a mirage. But the aim of this meditation must not be misapprehended. The aim is not to produce aversion and disgust but detachment, to extinguish the fire of lust by removing its fuel.
The other analytical contemplation deals with the body in a different way. This meditation, called the analysis into elements (dhatuvavatthana), sets out to counter our innate tendency to identify with the body by exposing the body’s essentially impersonal nature. The means it employs, as its name indicates, is the mental dissection of the body into the four primary elements, referred to by the archaic names earth, water, fire, and air, but actually signifying the four principal behavioural modes of matter: solidity, fluidity, heat, and oscillation. The solid element is seen most clearly in the body’s solid parts — the organs, tissues, and bones; the fluid element, in the bodily fluids; the heat element, in the body’s temperature; the oscillation element, in the respiratory process. The break with the identification of the body as “I” or “my self” is effected by a widening of perspective after the elements have come into view. Having analyzed the body into the elements, one then considers that all four elements, the chief aspects of bodily existence, are essentially identical with the chief aspects of external matter, with which the body is in constant interchange. When one vividly realizes this through prolonged meditation, one ceases to identify with the body, ceases to cling to it. One sees that the body is nothing more than a particular configuration of changing material processes which support a stream of changing mental processes. There is nothing here that can be considered a truly existent self, nothing that can provide a substantial basis for the sense of personal identity.
The last exercise in mindfulness of the body is a series of “cemetery meditations,” contemplations of the body’s disintegration after death, which may be performed either imaginatively, with the aid of pictures, or through direct confrontation with a corpse. By any of these means one obtains a clear mental image of a decomposing body, then applies the process to one’s own body, considering: “This body, now so full of life, has the same nature and is subject to the same fate. It cannot escape death, cannot escape disintegration, but must eventually die and decompose.” Again, the purpose of this meditation should not be misunderstood. The aim is not to indulge in a morbid fascination with death and corpses, but to sunder our egoistic clinging to existence with a contemplation sufficiently powerful to break its hold. The clinging to existence subsists through the implicit assumption of permanence. In the sight of a corpse we meet the teacher who proclaims unambiguously: “Everything formed is impermanent.”
BY BHIKKHU BODHI