Ushnisha Vijaya Bodhisattva Homa Ceremony
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SACRED SPACES: BUDDHIST ART and ARCHITECTURE (Buddhism Along the Silk Road) BUDDHIST ART and ARCHITECTURE on the Silk Road
SACRED SPACES: BUDDHIST ART and ARCHITECTURE (Buddhism along the Silk Road) BUDDHIST ART and ARCHITECTURE on the Silk Road Online Links: Bamiyan Buddhas: Should they be rebuit? – BBC Afghanistan Taliban Muslims destroying Bamiyan Buddha Statues – YouTube Bamiyan Valley Cultural Remains – UNESCO Why the Taliban are destroying Buddhas - USA Today 1970s Visit to Bamiyan - Smithsonian Video Searching for Buddha in Afghanistan – Smithsonian Seated Buddha from Gandhara - BBC History of the World BUDDHIST ART and ARCHITECTURE of China Online Links: Longmen Caves - Wikipedia Longmen Grottoes – Unesco China The Longmen Caves – YouTube Longmen Grottoes – YouTube Lonely Planet's Best In China - Longmen China – YouTube Gandhara Buddha - NGV in Australia Meditating Buddha, from Gandhara , second century CE, gray schist The kingdom of Gandhara, located in the region of presentday northern Pakistan and Afghanistan, was part of the Kushan Empire. It was located near overland trade routes and links to the ports on the Arabian Sea and consequently its art incorporated Indian, Persian and Greco- Roman styles. The latter style, brought to Central Asia by Alexander the Great (327/26–325/24 BCE) during his conquest of the region, particularly influenced the art of Gandhara. This stylistic influence is evident in facial features, curly hair and classical style costumes seen in images of the Buddha and bodhisattvas that recall sculptures of Apollo, Athena and other GaecoRoman gods. A second-century CE statue carved in gray schist, a local stone, shows the Buddha, with halo, ushnisha, urna, dressed in a monk’s robe, seated in a cross-legged yogic posture similar to that of the male figure with horned headdress on the Indus seal. -
Buddhist Wheel of Life Text
Buddhist Wheel of Life Text 1: The Wheel of Life: Samsara, Birth, Rebirth, Liberation The Wheel of Life is one of the most common subjects of Tibetan Buddhist art. The detailed symbolism of the Wheel can be interpreted on many levels. The Bhavachakra is a Tibetan Buddhist representation of the "wheel of life," or cycle of existence. The Wheel of Life (called the Bhavachakra in Sanskrit) represents the cycle of birth and rebirth and existence in samsara. This gallery looks at different parts of the Wheel and explains what they mean. The main sections are the hub and the six "pie wedges" depicting the Six Realms. The gallery also looks at the Buddha figures in the corners and at Yama, the fearsome creature holding the Wheel in his hooves. Many Buddhists understand the Wheel in an allegorical, not literal, way. As you examine the parts of the wheel you might find yourself relating to some of it personally or recognizing people you know as Jealous Gods or Hell Beings or Hungry Ghosts. The outer circle of the Wheel (not shown in detail in this gallery) is the Paticca Samuppada, the Links of Dependent Origination. Traditionally, the outer wheel depicts a blind man or woman (representing ignorance); potters (formation); a monkey (consciousness); two men in a boat (mind and body); a house with six windows (the senses); an embracing couple (contact); an eye pieced by an arrow (sensation); a person drinking (thirst); a man gathering fruit (grasping); a couple making love (becoming); a woman giving birth (birth); and a man carrying a corpse (death). -
The Sacred Mahakala in the Hindu and Buddhist Texts
Nepalese Culture Vol. XIII : 77-94, 2019 Central Department of NeHCA, Tribhuvan University, Kathmandu, Nepal The sacred Mahakala in the Hindu and Buddhist texts Dr. Poonam R L Rana Abstract Mahakala is the God of Time, Maya, Creation, Destruction and Power. He is affiliated with Lord Shiva. His abode is the cremation grounds and has four arms and three eyes, sitting on five corpse. He holds trident, drum, sword and hammer. He rubs ashes from the cremation ground. He is surrounded by vultures and jackals. His consort is Kali. Both together personify time and destructive powers. The paper deals with Sacred Mahakala and it mentions legends, tales, myths in Hindus and Buddhist texts. It includes various types, forms and iconographic features of Mahakalas. This research concludes that sacred Mahakala is of great significance to both the Buddhist and the Hindus alike. Key-words: Sacred Mahakala, Hindu texts, Buddhist texts. Mahakala Newari Pauwa Etymology of the name Mahakala The word Mahakala is a Sanskrit word . Maha means ‘Great’ and Kala refers to ‘ Time or Death’ . Mahakala means “ Beyond time or Death”(Mukherjee, (1988). NY). The Tibetan Buddhism calls ‘Mahakala’ NagpoChenpo’ meaning the ‘ Great Black One’ and also ‘Ganpo’ which means ‘The Protector’. The Iconographic features of Mahakala in Hindu text In the ShaktisamgamaTantra. The male spouse of Mahakali is the outwardly frightening Mahakala (Great Time), whose meditatative image (dhyana), mantra, yantra and meditation . In the Shaktisamgamatantra, the mantra of Mahakala is ‘Hum Hum Mahakalaprasidepraside Hrim Hrim Svaha.’ The meaning of the mantra is that Kalika, is the Virat, the bija of the mantra is Hum, the shakti is Hrim and the linchpin is Svaha. -
SACRED SPACES: BUDDHIST ART and ARCHITECTURE (Buddhist Art of Tibet and Southeast Asia) BUDDHIST ART and ARCHITECTURE of TIBET and SOUTHEAST ASIA Online Links
SACRED SPACES: BUDDHIST ART and ARCHITECTURE (Buddhist Art of Tibet and Southeast Asia) BUDDHIST ART and ARCHITECTURE of TIBET and SOUTHEAST ASIA Online Links: Borobudur - Wikipedia Borobudur The Lost Temple of Java – YouTube Borobudur – YouTube About the Jowo Rinpoche Behind the scenes of the Jokhang monastery in Lhasa, Tibet Jokhang Temple, Lhasa - Places of Peace and Power Jokhang Temple - Famous Historic Buildings Jokhang Temple - Sacred Destinations Seated Buddha preaching the first sermon, from Sarnath (India) fifth century CE The Guptas, the founders of a dynasty in the eastern region of central India known as Magadha, expanded their territories during the course of the fourth century to form an empire that encompassed northern and much of southern India. Though the peak of Gupta power lasted only about 130 years (c. 320-450 CE), the influence of Gupta culture was felt for centuries. The Mathura-Gupta style was refined and perfected at Sarnath, where a great concentration of Buddhist sculptures has been unearthed. One unique group is known as the ‘wet Buddhas’, because the figures look as if they had been immersed in water. The beauty of his idealized features and his serene, downcast eyes reflect his inward focus, away from the transitory world around him, and is emphasized by the concentric circles on the nimbus behind his head. The textures of the repeating patterns of detailed foliate forms in the nimbus and on the back of the throne contrast with the smoothness of the Buddha’s body which, in its serene pose, reflects his state of enlightenment, tranquility, inner spiritual strength, and other-worldliness. -
Expanding East Asian Studies
Buddhist Art in East Asia: Three Introductory Lessons towards Visual Literacy De-nin D. Lee Department of Art Bowdoin College [email protected] Table of Contents 1. Introduction 2. Lesson One: Iconography A. The Buddha Introduction The Buddha: Example for the Instructor The Buddha: Exercises for Students B. Bodhisattvas Bodhisattvas: Introduction Bodhisattvas: Example for the Instructor Bodhisattvas: Exercises for Students C. Narratives Narratives: Introduction Narratives: Examples for the Instructor Narratives: Exercise for Students 3. Lesson Two: Formal or Stylistic Analysis Formal Analysis: Introduction Formal Analysis: Exercises for Students 4. Lesson Three: Contextual Analysis Contextual Analysis: Introduction Contextual Analysis: Example for the Instructor 5. Select Bibliography 6. Web Resources 7. Glossary All terms appearing in bold are included in the glossary. Introduction A picture paints a thousand words, and for students of things foreign, a picture can make an immediate and lasting impression. Images of Buddhist art can be powerful pedagogical additions to courses that teach about Buddhism or Asian culture. Buddhist art comprises a tremendous range of objects, images, and sites including jewel encrusted reliquaries fashioned from precious metals, simple yet mesmerizing monochromatic ink landscape paintings, and temple complexes housing shrines and votive sculptures for the pilgrim to worship. The vast quantity of Buddhist art can easily overwhelm, and by necessity this unit selects a limited number of works of art to introduce students to the subject of Buddhism. The most immediate goal of this unit is to familiarize students with a few examples from the vast array of East Asian Buddhist art. A more general goal is to achieve visual literacy, which means being able to analyze and articulate how art conveys meaning to and solicits reactions from its audience. -
Pure Mind, Pure Land a Brief Study of Modern Chinese Pure Land Thought and Movements
Pure Mind, Pure Land A Brief Study of Modern Chinese Pure Land Thought and Movements Wei, Tao Master of Arts Faculty ofReligious Studies McGill University Montreal, Quebec, Canada July 26, 2007 In Partial Fulfillment ofthe Requirements for the Degree Master of Arts in the Faculty ofReligious Studies of Mc Gill University ©Tao Wei Copyright 2007 All rights reserved. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Bran ch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-51412-2 Our file Notre référence ISBN: 978-0-494-51412-2 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
The Heart Sutra in Its Primarily Chinese and Japanese Contexts Covers a Wide Range of Approaches to This Most Famous of All Mahayana Sutras
“Tanahashi’s book on the Heart Sutra in its primarily Chinese and Japanese contexts covers a wide range of approaches to this most famous of all mahayana sutras. It brings the sutra to life through shedding light on it from many different angles, through presenting its historical background and traditional commentaries, evaluating modern scholarship, adapting the text to a contemporary readership, exploring its relationship to Western science, and relating personal anecdotes. The rich- ness of the Heart Sutra and the many ways in which it can be understood and contemplated are further highlighted by his comparison of its versions in the major Asian languages in which it has been transmitted, as well as in a number of English translations. Highly recommended for all who wish to explore the profundity of this text in all its facets.” — Karl Brunnhölzl, author of The Heart Attack Sutra: A New Commentary on the Heart Sutra “A masterwork of loving and meticulous scholarship, Kaz Tanahashi’s Heart Sutra is a living, breathing, deeply personal celebration of a beloved text, which all readers—Buddhists and non-Buddhists, newcomers to the teaching and seasoned scholars alike—will cherish throughout time.” — Ruth Ozeki, author of A Tale for the Time Being Heart Sutra_3rd pass_revIndex.indd 1 10/22/14 1:14 PM Also by Kazuaki Tanahashi Beyond Thinking: A Guide to Zen Meditation Enlightenment Unfolds: The Essential Teachings of Zen Master Dogen The Essential Dogen (with Peter Levitt) Sky Above, Great Wind: The Life and Poetry of Zen Master Ryokan Treasury of the True Dharma Eye: Zen Master Dogen’s Shobo Genzo Heart Sutra_3rd pass_revIndex.indd 2 10/22/14 1:14 PM THE Heart Sutra A Comprehensive Guide to the Classic of Mahayana Buddhism Kazuaki Tanahashi Shambhala Boston & London 2014 Heart Sutra_3rd pass_revIndex.indd 3 10/22/14 1:14 PM Shambhala Publications, Inc. -
Mirrors of the Heart-Mind - Ushnishavijaya Essay
Mirrors of the Heart-Mind - Ushnishavijaya Essay http://huntingtonarchive.osu.edu/Exhibitions/sama/Essays/NM9... Back to Exhibition Index Ushnishavijaya in the Womb of the Chaitya (Image) Thangka, painting Cotton support with opaque mineral pigments in waterbased (collagen) binder 21.75 x 26.75 inches Eastern Tibet Ca. 19th century Folk tradition Museum #: 97.079 Ushnishavijaya and Surrounding Buddhas (Image below) Thangka Painting Cotton support with mineral pigment in animal collagen binder Tibet Gelugpa Folk Tradition Museum #: 96.017 By Natalie R. Marsh 20 May, 1998 Ushnishavijaya, the "Victorious Crown Protrusion," is depicted as the primary deity in two examples in the SAMA collection (cat. #'s 97.079 and 96.017) Virtually all Buddhist goddesses are essentially emanations of the archetypical goddess, Prajnaparamita, thus, Ushnishavijaya is understood to also be a Buddha Matri, or "Mother of the Buddhas." In addition, she further serves as the Prajna, or the female aspect of enlightenment and representative of shunyata, or the void. As a fully enlightened being she is herself a Buddha. The goddess's iconography varies slightly in the two folk tradition pieces shown. Frequently, the goddess is portrayed in her textually based iconographic form as described in the Sadhanamala. She should be invisioned as white in complexion with three faces each possessing three eyes. She is youthful and bedecked in many ornaments. Her right and left faces are yellow and blue respectibvely. In her right hands, from top to bottom, she carries the Buddha on a lotus; the arrow; and varada mudra, or the boon-granting gesture. In her left hands, in the same order, she carries the noose with tarjani mudra, the threatening gesture; the bow; and the vase of life. -
Kamakura Period, Early 14Th Century Japanese Cypress (Hinoki) with Pigment, Gold Powder, and Cut Gold Leaf (Kirikane) H
A TEACHER RESOURCE 1 2 Project Director Nancy C. Blume Editor Leise Hook Copyright 2016 Asia Society This publication may not be reproduced in full without written permission of Asia Society. Short sections—less than one page in total length— may be quoted or cited if Asia Society is given credit. For further information, write to Nancy Blume, Asia Society, 725 Park Ave., New York, NY 10021 Cover image Nyoirin Kannon Kamakura period, early 14th century Japanese cypress (hinoki) with pigment, gold powder, and cut gold leaf (kirikane) H. 19½ x W. 15 x D. 12 in. (49.5 x 38.1 x 30.5 cm) Asia Society, New York: Mr. and Mrs. John D. Rockefeller 3rd Collection, 1979.205 Photography by Synthescape, courtesy of Asia Society 3 4 Kamakura Realism and Spirituality in the Sculpture of Japan Art is of intrinsic importance to the educational process. The arts teach young people how to learn by inspiring in them the desire to learn. The arts use a symbolic language to convey the cultural values and ideologies of the time and place of their making. By including Asian arts in their curriculums, teachers can embark on culturally diverse studies and students will gain a broader and deeper understanding of the world in which they live. Often, this means that students will be encouraged to study the arts of their own cultural heritage and thereby gain self-esteem. Given that the study of Asia is required in many state curriculums, it is clear that our schools and teachers need support and resources to meet the demands and expectations that they already face. -
Hinduism and Buddhism
HINDUISM AND BUDDHISM AN HISTORICAL SKETCH BY SIR CHARLES ELIOT In three volumes VOLUME I ROUTLEDGE & KEGAN PAUL LTD Broadway House, 68-74 Carter Lane, London, E.C.4. First published 1921 Reprinted 1954 Reprinted 1957 Reprinted 1962 PRINTED IN GREAT BRITAIN BY LUND HUMPHRIES LONDON • BRADFORD PREFACE The present work was begun in 1907 and was practically complete when the war broke out, but many circumstances such as the difficulty of returning home, unavoidable delays in printing and correcting proofs, and political duties have deferred its publication until now. In the interval many important books dealing with Hinduism and Buddhism have appeared, but having been resident in the Far East (with one brief exception) since 1912 I have found it exceedingly difficult to keep in touch with recent literature. Much of it has reached me only in the last few months and I have often been compelled to notice new facts and views in footnotes only, though I should have wished to modify the text. Besides living for some time in the Far East, I have paid many visits to India, some of which were of considerable length, and have travelled in all the countries of which I treat except Tibet. I have however seen something of Lamaism near Darjeeling, in northern China and in Mongolia. But though I have in several places described the beliefs and practices prevalent at the present day, my object is to trace the history and development of religion in India and elsewhere with occasional remarks on its latest phases. I have not attempted to give a general account of contemporary religious thought in India or China and still less to forecast the possible result of present tendencies. -
Reading the History of a Tibetan Mahakala Painting: the Nyingma Chod Mandala of Legs Ldan Nagpo Aghora in the Roy Al Ontario Museum
READING THE HISTORY OF A TIBETAN MAHAKALA PAINTING: THE NYINGMA CHOD MANDALA OF LEGS LDAN NAGPO AGHORA IN THE ROY AL ONTARIO MUSEUM A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Sarah Aoife Richardson, B.A. ***** The Ohio State University 2006 Master's Examination Committee: Dr. John C. Huntington edby Dr. Susan Huntington dvisor Graduate Program in History of Art ABSTRACT This thesis presents a detailed study of a large Tibetan painting in the Royal Ontario Museum (ROM) that was collected in 1921 by an Irish fur trader named George Crofts. The painting represents a mandala, a Buddhist meditational diagram, centered on a fierce protector, or dharmapala, known as Mahakala or “Great Black Time” in Sanskrit. The more specific Tibetan form depicted, called Legs Idan Nagpo Aghora, or the “Excellent Black One who is Not Terrible,” is ironically named since the deity is himself very wrathful, as indicated by his bared fangs, bulging red eyes, and flaming hair. His surrounding mandala includes over 100 subsidiary figures, many of whom are indeed as terrifying in appearance as the central figure. There are three primary parts to this study. First, I discuss how the painting came to be in the museum, including the roles played by George Croft s, the collector and Charles Trick Currelly, the museum’s director, and the historical, political, and economic factors that brought about the ROM Himalayan collection. Through this historical focus, it can be seen that the painting is in fact part of a fascinating museological story, revealing details of the formation of the museum’s Asian collections during the tumultuous early Republican era in China. -
Introduction to Buddhism Course Materials
INTRODUCTION TO BUDDHISM Readings and Materials Tushita Meditation Centre Dharamsala, India Tushita Meditation Centre is a member of the FPMT (Foundation for the Preservation of the Mahayana Tradition), an international network of more than 150 meditation centers and social service projects in over 40 countries under the spiritual guidance of Lama Zopa Rinpoche. More information about the FPMT can be found at: www.fpmt.org CARE OF DHARMA MATERIALS This booklet contains Dharma (teachings of the Buddha). All written materials containing Dharma teachings should be handled with respect as they contain the tools that lead to freedom and enlightenment. They should never be stepped over or placed directly on the floor or seat (where you sit or walk); a nice cloth or text table should be placed underneath them. It is best to keep all Dharma texts in a high clean place. They should be placed on the uppermost shelf of your bookcase or altar. Other objects, food, or even one’s mala should not be placed on top of Dharma texts. When traveling, Dharma texts should be packed in a way that they will not be damaged, and it is best if they are wrapped in a cloth or special Dharma book bag (available in Tushita’s library). PREPARATION OF THIS BOOKLET The material in this booklet was compiled using the ―Introductory Course Readings and Materials‖ booklet prepared by Ven. Sangye Khadro for introductory courses at Tushita, and includes several extensive excerpts from her book, How to Meditate. Ven. Tenzin Chogkyi made extensive additions and changes to this introductory course material in November 2008, while further material was added and some alterations made by Glen Svensson in July 2011, for this version.