This method of Meditation had been studied and practised by Phra Khou Sidhat. In the introduction I have briefly explained the principles of the Bhumi ‘6’ so that Dharma practitioners and general readers may take notice when they start their Dharma practice.

Now I would like to talk about:-

Rupa (visible object). The true characteristic of Rupa is that it disintegrates;

Bhava (condition) . When Bhava is in equanimity, it sustains the Citta ‘89 or 121’, Cetasika ‘52’ Rupa ‘58’ Nibhana ‘1’ which are all included in every schedule (Matika) as follows:-

a) Sanghata Dharma includes Citta ‘89’ , Cetasika ‘52’, Rupa ‘28’Sanghata Dharma is Dharma which is not derived from the Paccaya (the four requisites i.e. karma, food, dwelling and medicine, necessaries)

b) Asanghata Dharma includes Nibhana ‘1’Asanghata Dharma is Dharma which is not derived from the four Paccaya which is Nibhana. Citta has ‘81’, Cetasika has ‘52’, Rupa has ‘28’ which is Lokiya Dharma. Lokiya Dharma is the Dharma which existed in this world before. Lokuttara Citta has ‘8’ knowing the internal and external Arrom world which is Nibbhana.

FIVE KHNADHA (Khan Ha)

The Five Khanha has the following characteristics:-

1. Rupa Khandha

2. Vedhana Khandha

3. Sanya Khandha

4. Sankhara Khandha

5. Vinyana Khandha

These Five Khandha (Pancakhandha) is an empty Bhava (condition) and it will disintegrate according to its true conditions. Therefore, it can be said that ‘ Khang Sunyangdharetiti Khandha ’ which means that nature has created and developed a natural state of emptiness which is ‘Khandha’

The Five Khandha cannot give rise to themselves, they must rely on the Paramattha Dharma as the foundation, that is:-

1. Take 28 Rupa Paramattha Dharma to be Rupa Khandha

2. In the 52 Cetasika, take 1 Vedhana Citta to be Vedhana Khandha; take 1 Sanya Cetasika to be Sanya Khandha, and the remaining 50 Cetasika to be Sankhara Khandha. 89 Citta or 121Citta are Vinyana Khandha whereas it is Khandha Vimutti which is liberated from both Vedhana Khandha and Sanya Khandha.

Vinyana cannot develop by itself. It must rely on Paramattha Dharma as the foundation to develop. For example, a bronze or golden Buddha statue has to rely on a goldsmith to do the work to become a statue. In brief. Paramatha Dharma is Citta; the 3 types of Cetasika Rupa is the Five Khandha as mentioned previously. In relation to our body, the Five Khandha has two characters which are ‘Body and Mind’ by taking the 28 Rupa as a ‘Body’ and the 89 or 121 Citta and the 52 Cetasika as the ‘Mind’. Therefore, in our own body there is Paramatha Dharma. The person who receives is ‘knowing’ whereas the person who knows is ‘Nama - Citta’. It can be said that whoever wants know Dharma must look for Dharma in the body. If we are searching for Dharma outside our own body, we will never find Dharma. This is similar to finding underground water by digging a number of bores, if we dig at the right place where there is a source of water, we will find what we are looking for.

Characteristics of the Five Khandha (Khan Ha )

1. Rupa Khandha  can be disintegrated by either hot or cold;

2. Vedhana Khandha  realising Arrom conditions of being happy, sad or equanimity;

3. Sanya Khandha  recognising Arrom conditions of elements that passing through the eyes, ears, nose, tongue, body and mind;

4. Sankhara Khandha  has the characteristics of developing or creating such as liking, disliking or thinking of all sort of things;

5. Vinyan Khandha  has the characteristics of knowing the Arrom conditions that passing through all the six sense spheres.

Upama Khandha (Parable/Assumed Khandha)

1. Rupa (Body) - Similar to a hospital - a house of diseases and a house for people who have diseases;

2. Vedhana (feeling ) similar to bacteria in our body;

3. Sanya ( perception) similar to a foundation where bacteria is developing;

4. Sankhara (mental formations) similar to conditions of a disease and treatment of a disease;

5. Vinyan (knowing ) similar to a place where a disease is occurring .

Rising of the Five Khandha

1. Five Khandha rising through the Eyes:

• Eyes and Colours (Rupa) When two characters meet/catch one another, it is Rupa Khandha. Knowing the meeting/catching is Vinyan Khandha which is knowing conditions of being happy or unhappy. Perceiving the colours that meeting/catching one another is Sanya Khandha. Like or dislike the elements that meet/catch one another is Sankhara Khandha.

2. Five Khandha rising through the Ears:

• Ears and Noise when the two elements meet/catch one another, it is Rupa Khandha. Hearing is Vinyan Khandha. Conditions of being comfortable or uncomfortable with the noise is Vedhana Khandha (feeling). Remembering the noise is Sanya Khandha. Like or dislike the noise is Sankhara Khandha.

3. Five Khandha rising through the Nose:

• Nose and Odour - when the two elements meet/catch one another, it is Rupa Khandha. Knowing the Odour is Vinyan Khandha. Knowing the conditions of being comfortable or uncomfortable with the odour is Vedhana Khandha. Remembering the Odour is Sanya Khandha. Like or dislike the Odour is Sankhara Khandha.

4. Five Khandha rising through the Tongue:

• Tongue and Taste - when the two elements meet/catch one another, it is Rupa Khandha. Knowing the taste is Vinyan Khandha. Comfortable or uncomfortable with the taste is Vedhana Khandha. Remembering the taste is Sanya Khandha. Like or dislike the taste is Sankhara Khandha.

5. Five Khandha rising through the Body:

• Body and Temperature (hot/cold) - when the two elements meet/catch one another, (body Phodabba ) it is Rupa Khandha. Knowing the meeting/catching of the two elements is Vinyan Khandha. Comfortable or uncomfortable with the meting/catching of the two elements is Sankhara Khandha .

6. Five Khandha rising through the Mind:

• Mind (Mano) - thinking. When it is clashing, it is DhammArrom (Mano DhammArrom) and it is Rupa Khandha. Knowing what the mind is thinking, it is Vinyan Khandha. Comfortable or uncomfortable with what the mind is thinking, it is Vedhana Khandha. Remembering what the mind is thinking, it is Sanya Khandha. Like or dislike with what the mind is thinking, it is Sankhara Khandha. Of all the Five Khandha, it is the Sankhara Khandha that is most important because it gives rise to other things. For example, it gives rise to the Rupa to disintegrate. It gives rise to Vedhana (feeling) . It gives rise to Sanya Khandha to remember. It gives rise to Vinyana to know the Arrom of developing/creating for a Rupa to be nice or ugly, short or tall, black or white, rich or poor, clever or ignorant, a human being or not a human being. All of these factors are the creations/developments of the Sankhara.

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