There are numerous ways of practicing nianfo in East Asian Buddhism. The most popular method in East Asian Pure Land Buddhism remains the simple oral recitation of the phrase
Namo Amituo-fo (Jp:
Namo Amida Bu, Namo Amitabha Buddha) or just the name itself "Amitofo" (Amitabha Buddha). The Japanese Pure Land sects of
Jōdo-shū and tend to exclusively focus on the oral recitation of the nianfo. Another widespread method is the mentally "holding the name" (Ch.: chi ming), in which one mentally contemplates the Buddha by repeating the name with one's inner voice. One Chinese master who taught nianfo along with visualization was
Yìnguāng (1861–1940). According to
Thích Thiện Tâm, there are four major "types" of nianfo practice: (1) the practice of Pure Land nianfo alongside Chan/Zen practice; (2) practicing nianfo alongside the recitation of
Mahayana sutras; (3) practicing nianfo alongside
esoteric practices, such as
mantra and
dharani; (4) the exclusive practice of nianfo (either with visualization, or as oral recitation only). Furthermore, Charles Jones discusses two main approaches to the various ways of practicing nianfo, the "medicine cabinet" approach and the "graded path" or "
mārga" approach. The first approach sees the various nianfo methods as different
skillful means, each of which can be useful for different individuals with different needs. It is the job of a Pure Land teacher to help a student select the method best suited to them. The medicine cabinet approach is exemplified by the following passage from Elder Suddhisukha's
Taming the Monkey Mind: "The cultivator is not expected to follow all the methods presented in this volume, but rather to pick and choose according to his situation, level and circumstances. If a given method does not bring results quickly or is not suitable, the reader can switch to another." The second approach organizes various nianfo methods into a graded curriculum, beginning with the easiest method.
Tiānrú Wéizé's (1286?–1354)
Questions about Pure Land (T.1972) meanwhile provides two main categories: visualization (), and recollection and
invocation (). Nianfo variations and techniques include the following: One can decide ahead of time to commit to a certain number of recitations per day and track these with the mala. This can help in eliminating laziness. Patriarchs like Ouyi aimed at 30 to 100 thousand repetitions a day. An alternative method is to move one bead for a certain number of recitations, such as five or ten rapid recitations. • Chanting with a loud voice, to overcome sleepiness or
torpor. • Quiet recitation for when one is tired or anxious. • "Reflecting the name" in which one carefully listens to the sounds as one recites the nianfo. This is influenced by the Shurangama sutra's teaching for meditating on the hearing faculty. • "Vajra recitation" (Ch.: jin'gang chifa) "in which one moves the lips without emitting any sound", useful for practicing in public. • Silent recitation without moving the lips at all. • Linked with the breath, one mentally recites nianfo with each in breath and out breath. One may also visualize the breath as light going in and out of one's nose. • "Continuously linked recitation" in which one "recites softly, each word following the one immediately before, each phrase closely following the previous phrase". • Reciting nianfo in various postures, such as while walking, while circumambulating a Buddha statue, or while standing or lying down. • Practicing nianfo while looking at a
Buddha image. • Bowing recitation, in which one bows to the Buddha and recites, either one recitation per vow, or constant recitation as we bow again and again. According to Thích Thiện Tâm "its benefits are very great, because the practitioner engages in recitation with his body, speech and mind." • Reciting nianfo while in the middle of daily activities. • The Chan influenced "Pure Land kōan" method in which one recites nianfo and pauses to ask "Who is it that performs nianfo?". Similarly, the first visualization of the
Amitayus Contemplation Sutra is to visualize a golden shining setting sun. • "Lotus blossom method" in which one visualizes a shining lotus blossom while reciting the name. • Enlightened recitation, in which one "
turns the light around" towards our
true nature as one recites the nianfo. This is considered to be for those of highest capacity. • Esoteric nembutsu (J: himitsu nenbutsu) practices, which are particularly taught in Japanese esoteric Buddhism (
Mikkyō) and draw on the teachings of figures like
Kakuban.
Group nianfo depicting a chanting session Nianfo practice can be done alone or in a group. Individuals may track their recitations using a
mala, sometimes seeking to achieve a specific number of recitations per day. Group chanting sessions may be accompanied by a
wooden fish or other percussion instruments. Special halls are often set aside for chanting, called nianfo halls. Chinese temples and nianfo halls will often hold nianfo retreats attended by monastic and lay. They may last for several days and may include chanting, walking nianfo, and quiet sitting nianfo meditation.
Graded nianfo paths One of the earliest of these graded path models is found in
Chengguan's commentary on the
Gandavyuha Sutra's passage on twenty one kinds of nianfo. This commentary contains the following schema of nianfo practice (or ascending levels of spiritual growth in relation to nianfo): • Nianfo focused on an external Buddha and an external Pure land • Mind-only nianfo in which one is aware that mind is Buddha • The cessation of both the mind and the object of visualization in emptiness • The non-obstruction of mind and its object based on mutual interpenetration and the interfusion of principle (li) and phenomena (shih) • The inexhaustible identity of oneself with all things This method was further modified by
Guifeng Zongmi, a Huayan and Chan master who also wrote on nianfo practice. • "Contemplation of the name" (), which is based on
The Perfection of Wisdom Sutra preached by Mañjuśrī (T.232) and involves selecting a Buddha, facing their direction, and focusing on their name until one has a vision of all buddhas (past, present, and future). As noted by Jones, while later Chinese Pure Land thinkers interpreted this practice as oral recitation, it seems that for Zongmi this entailed mentally "holding" () the sound of the name. Yunqi Zhuhong taught "holding the name" in various ways including: audible recitation of the name (), silent contemplation of the name (mòchí 默持), or contemplation accompanied by barely audible whispering of the name (). • "Contemplating an image" (), which is based on the
Dà bǎojī jīng (,
Great Jewel Collection Sutra, T.310) which according to Jones "says that in contemplating an image of a buddha, one realizes the non-duality of the image with the buddha." • "Contemplating the visualization" (), "means to contemplate the major and minor marks of a buddha's body without the aid of a physical image. One may select one feature upon which to focus or contemplate them all simultaneously." The sources for this nianfo practice are the
Sutra on the samadhi-ocean of the contemplation of the Buddha (T.643) and
Sutra on the samadhi of seated meditation (T.614). • "Contemplating the true mark" (), "one contemplates the buddha's dharma body, which is also the contemplation of one's own true self and the true nature of all phenomena. This is also based on
The Perfection of Wisdom Sutra Preached by Mañjuśrī, which describes the true nature of the buddha as "unproduced and unextinguished, neither going nor coming, without name and without feature. That alone is called 'buddha'." Furthermore, when practiced well, Thích Thiện Tâm states this practice will lead us to see Amitabha and the Pure land in this life and even awaken us to the
Original Mind. • Contemplation of the individual marks – This involves visualizing all
32 marks of a great man (
mahāpuruṣa lakṣaṇa) along with some extra secondary marks, beginning with the
ushnisha at the top of the Buddha's head. This is repeated in forward and reverse order sixteen times until one is able to visualize Amitabha's form perfectly. • Contemplation of the comprehensive mark – this involves visualizing Amitabha as a gigantic shining gold being sitting on a huge lotus
dais, or visualizing him as encompassing all three buddha-bodies (
trikaya). Genshin considered this the most profound method. • Mixed and abbreviated contemplations – these are easier and simpler methods for those who cannot do the others. They include visualizing the curled white tuft of hair between Amitabha's eyebrows radiating salvific light, as well as simple recitation of the nenbutsu while imagining oneself taking refuge in Amitabha and being taken to the Pure Land.
Mental attitude An important element of nianfo practice in East Asian Buddhism is the question of what kind of mental attitude is needed (if any) when reciting the name of the Buddha (or meditating on him). As such, the Pure Land masters like
Shandao argued that reciting the nianfo with a faithful mind was important. Shandao writes that the ideal attitude is the Three Minds (), which are also outlined in the
Amitayus Contemplation Sutra as follows: "first, a sincere mind; second, a deep mind; and third, a mind that seeks birth there [the Pure Land] by transferring one's merit." Shandao comments on this passage by saying that the "sincere mind" is based on worshiping, praising, glorifying and contemplating the Buddha, while the "deep mind" is true faith in Amitabha and his pure land without any doubt. Finally, the third mind is the intention to transfer all of one's meritorious roots towards birth in the pure land. True faith was also emphasized by Japanese authors like
Shinran, who saw complete entrustment (Jp:
shinjin) as the one central and essential element of nianfo practice. Nianfo will not work without it. Furthermore, for Shinran, true faith is a gift of grace by Amitabha, it cannot be generated by oneself.
Bodhicitta (the mind which aims at awakening for the benefit of all beings) is also another important attitude which is mentioned by Indian and Asian sources on nianfo. Figures like
Tanluan,
Wonhyo and
Jixing Chewu also stress the importance of bodhicitta for the successful practice of nianfo. Similarly, Vietnamese master Thích Thiện Tâm writes that developing bodhicitta is a "crucial step" for those who practice nianfo. He also quotes the
Avatamsaka sutra which states: "to neglect bodhicitta when practicing good deeds is the action of demons". A related element is the taking of vows, particularly the vow to be reborn in the Pure Land. Figures like
Ouyi Zhixu and Thích Thiện Tâm argue that vows is one of the essential elements of nianfo practice, along with faith and practice itself. According to Ouyi Zhixu, faith and vows are necessary for birth in the Pure Land (without them one might fail to attain rebirth there). Meanwhile, the depth of one's practice will determine the stage of rebirth (i.e. which of the nine lotus grades one will attain) in the Pure Land. Some figures like
Ippen disagreed with the view that any specific mental attitude was needed for rebirth in the Pure Land however. They argued that the power of the Buddha worked no matter what one's mental attitude was since the presence of Amitabha's name in one's mind purified the mind by itself, like the mythical wish fulfilling
mani jewel. == Phrases used in recitation ==