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And Daemonic Buddhism in India and Tibet
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 The Raven and the Serpent: "The Great All- Pervading R#hula" Daemonic Buddhism in India and Tibet Cameron Bailey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE RAVEN AND THE SERPENT: “THE GREAT ALL-PERVADING RHULA” AND DMONIC BUDDHISM IN INDIA AND TIBET By CAMERON BAILEY A Thesis submitted to the Department of Religion in partial fulfillment of the requirements for the degree of Master of Religion Degree Awarded: Spring Semester, 2012 Cameron Bailey defended this thesis on April 2, 2012. The members of the supervisory committee were: Bryan Cuevas Professor Directing Thesis Jimmy Yu Committee Member Kathleen Erndl Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my parents iii ACKNOWLEDGEMENTS I would like to thank, first and foremost, my adviser Dr. Bryan Cuevas who has guided me through the process of writing this thesis, and introduced me to most of the sources used in it. My growth as a scholar is almost entirely due to his influence. I would also like to thank Dr. Jimmy Yu, Dr. Kathleen Erndl, and Dr. Joseph Hellweg. If there is anything worthwhile in this work, it is undoubtedly due to their instruction. I also wish to thank my former undergraduate advisor at Indiana University, Dr. Richard Nance, who inspired me to become a scholar of Buddhism. -
Skanda Sashti Approaching the Lord of Illumination
folio line HOLY DAYS THAT AMERICA’S HINDUS CELEBRATE s. rajam Skanda Sashti Approaching the Lord of Illumination the fi ghting rooster. Devotees pilgrimage to kanda Sashti is a six-day South Indian festival to Skanda, the Murugan’s temples, especially the temple in Lanham, Maryland, and the seaside sanctuary Lord of Religious Striving, also known as Murugan or Karttikeya. at Tiru chendur in South India. SIt begins on the day after the new moon in the month of Karttika (October/November) with chariot processions and pujas invoking His What is the legend of Skanda Sashti? protection and grace. The festival honors Skanda’s receiving His lance, It is said that eons ago, Skanda fought a power- ful asura, or demon, named Surapadman, who or vel, of spiritual illumination, and culminates in a victory celebration embodied the forces of selfi shness, ignorance, of spiritual light over darkness on the fi nal day. Penance, austerity, fast- greed and chaos. Skanda defeated and mas- tered those lower forces, which He uses, to this ing and devout worship are especially fruitful during this sacred time. sitaraman soumya day, to the greater good. The subdued demon became his faithful servant, the proud and Who is Skanda? broken, families enjoy a sweet pudding called beautiful peacock on which Skanda rides. Kesari Skanda is a God of many attributes, often payasam along with fried delicacies. A six- This quick and easy sweet semolina- depicted as six-faced and twelve-armed. part prayer for protection, called the Skanda What happens on the sixth day? based dish gets its name from kesar, or Saivite Hindus hail this supreme warrior, the Sashti Kavacham, is chanted. -
An Analysis of Tantrayana (Vajrayana)
An Analysis ofTantrayana (Vajrayana) Prof. P. G. Yogi T antra is a discipline, a method and study. It is based on a rational founda tion, is conceivable in theoretic consciousness and relizeable through Yogik experiences. Ironically, however, there are those who have ignored these points and picked up bits ti'om particular sad hanas, partS of which are apparemly vulgar and obnoxious, and come to the conclusion that Tantrik spiritual practices resort to sexual indulgence. Before entering further into this de bate, it needs to be mentioned here that in the Tantras, the ideal of woman hood has been epiromized and raised to the exalted position of motherhood which in itself is unique in the history of spiritual literature of the world. Moreover, it is dearly stated in the Tantras that the secret of life lies in sexual control and death in sexual indulgence (Maranam Bindu paten, telletam Bindu Dharanat). As against the conventional ascetic disciplines, the Tantras uphold the theory of sublimation in which asceticism has been equated with sexuality. In this theory, desire itself is subjected to rigorous discipline and used to conq uef desire. There are others who subscribe anything ugly, erotic, spiritualistic and magical to tile Tantras. They produce tantastic stories gar nished with absurd episodes relating to astral plane and connect them tQ Tantras. They forget that Tantra is a meta-science (surya-vitnam) dealing with consciousness, variable at every stage of spiritual experience. Further, the realization of supreme Truth which will give a true perspective of the Tantras has been interpreted in various ways. -
Weituo: a Protective Deity in Chinese Buddhism and Buddhist
Weituo: A Protective Deity in Chinese Buddhism and Buddhist Art 韋馱——中國佛教與佛教藝術中一位護法神 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at the University of Macau. Author: LI Xinjie (李昕潔) Student I. D.: MB041046 Supervisor: Dr. Tianshu ZHU Department of History Faculty of Social Sciences and Humanities University of Macau July 2012 Copyright 2012 by LI Xinjie University of Macau DECLARATION I declare that the thesis represents my own work, except where the acknowledgement is made, and it has not been previously included in a thesis, dissertation or report submitted to this university or to any other institution for a degree, diploma or other qualification. I ACKNOWLEDGEMENT My sincere gratitude to Dr. Tianshu Zhu for her intelligent advice and supervision. And also for patiently listening to me rambling on about Weitup and my ideas over and over. Many thanks to my family and friends for their support. Especially to Professor Liao Yang for sharing with me her ideas about protective deities on murals. II TABLE OF CONTENTS ACKNOKWEDGEMENT ........................................................................................Ⅱ LIST OF FIGURES ..............................................................................................................Ⅴ ABSTRACT .................................................................................................................VII CHAPTER ONE INTRODUCTION ....................................................................1 1.1 LITERATURE REVIEW…………………………………………………………….6 -
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Who? What? Where? When? Why? Uncovering the Mysteries of Monastery Objects by Ven. Shikai Zuiko o-sensei Zenga by Ven. Anzan Hoshin roshi Photographs by Ven. Shikai Zuiko o-sensei and Nathan Fushin Comeau Article 1: Guan Yin Rupa As you enter the front door of the Monastery you may have noticed a white porcelain figure nearly two feet tall standing on the shelf to the left. Who is she? Guan Yin, Gwaneum, Kanzeon, are some of the names she holds from Chinese, Korean, and Japanese roots. The object is called a "rupa" in Sanskrit, which means "form" and in this case a statue that has the form of a representation of a quality which humans hold dear: compassion. I bought this 20th century rupa shortly after we established a small temple, Zazen-ji, on Somerset West. This particular representation bears a definite resemblance to Ming dynasty presentations of "One Who Hears the Cries of the World". Guan Yin, Gwaneum, Kanzeon seems to have sprung from the Indian representation of the qualities of compassion and warmth portrayed under another name; Avalokitesvara. The name means "looking down on and hearing the sounds of lamentation". Some say that Guan Yin is the female version of Avalokitesvara. Some say that Guan Yin or, in Japan, Kannon or Kanzeon, and Avalokitesvara are the same and the differences in appearance are the visibles expression of different influences from different cultures and different Buddhist schools, and perhaps even the influence of Christianity's madonna. Extensive background information is available in books and on the web for those interested students. -
COMMENTARY on AVALOKITEŚVARA BODHISATTVA (Fourth Edition)
Bảo Anh Lạc-22 COMMENTARY ON AVALOKITEŚVARA BODHISATTVA (Fourth Edition) Dr. Bhikkhunī Giới Hương Nhà xuất bản Ananda Viet Foundation Copyright © 2019 Dr. Bhikkhunī Giới Hương All rights reserved. ISBN: 978-0-359-47726-5 Huong Sen Buddhist Temple 19865 Seaton Avenue, Perris, California 92570, USA Tel: (951) 657-7272, Cell: (951) 616-8620 Email: [email protected] [email protected] Facebook: https://www.facebook.com/huongsentemple Web: www.huongsentemple.com . CONTENTS On the Fourth Edition i Foreword Preface 1 General Introduction of Avalokiteśvara 1 2 Hearing and Reflecting Method 32 3 Thirty-two Sambhogakāya 62 4 Fourteen Kinds of Fearlessness 77 5 Twenty-five Bodhisattvas Present Their Methods 98 6 The Perfectly Penetrated Ear-Organ 234 7 The Methods of Pure Land and Hearing-nature 282 8 Conclusion 294 Glossary – References & Works 311 Buddhist Music Albums 326 ON THE FOURTH EDITION This is a revised and enlarged edition of the Commentary on Avalokiteśvara Bodhisattva, which was first published seven years ago. The second and third editions were printed in 2012 and 2014 at Phương Đông Publishing. This edition was also printed at Hồng Đức Publishing, HCM City, Việt Nam. In presenting this edition, I have maintained the contents in the first edition. However, for the sake of clarity, a few changes have been made, errors have been corrected, the equivalent Pāli and Sanskrit terms have been added to the glossary, and a summary, as well as discussion questions, have been added at the end of each chapter. I would like to gratefully acknowledge with special thanks Bhikkhunī Viên Ngộ, Bhikkhunī Viên Quang, Hisayo Suzuki, and Pamela C. -
The Treasures of Engaku-Ji: Art in Kamakura Zen Temples
Mitsui Memorial Museum SPECIAL EXHIBITION The Treasures of Engaku-ji: Art in Kamakura Zen Temples LIST OF EXHIBITS April 20, 2019 - June 23 ◉ National Treasure ◎ Important Cultural Property ■ Designated Cultural Property of Kamakura City ▲ Designated Cultural Property of Kanagawa Prefecture ROOM 1 No. Title Artist Period Collection Display 4/20 5/4 5/21 6/7 | | | | 5/3 5/19 6/6 6/23 Two wood seals of Wuxue Zuyuan from the Founder's chest in Southern Song- 1-1 ◎ Engaku-ji Yuan dynasties Engaku-ji Temple ■ ■ ■ ■ Round box and lid with peacock and peony design in carved cinnabar 1-2 ◎ lacquer from the Founder's chest in Engaku-ji Southern Song dynasty Engaku-ji Temple ■ ■ ■ ■ Tray with Chinese Zuiweng pavilion (Suiōtei) in carved black lacquer 1-3 ◎ from the Founder's chest in Engaku-ji Southern Song dynasty Engaku-ji Temple ■ ■ ■ ■ Round box with camellia and paired long-tailed bird design in carved 1-4 ◎ black lacquer from the Founder's chest in Engaku-ji Southern Song dynasty Engaku-ji Temple ■ ■ ■ ■ Tray with camellia, plum, and bamboo design in carved cinnabar 1-5 ◎ lacquer from the Founder's chest in Engaku-ji Yuan dynasty Engaku-ji Temple ■ ■ ■ ■ Round box and lid with hexagonal design in maki-e from the 1-6 Founder's chest in Engaku-ji Muromachi period Engaku-ji Temple ■ ■ ■ ■ 1-7 ◎ Fan with chrysanthemum design from the Founder's chest in Engaku-ji Muromachi period Engaku-ji Temple ■ ■ ■ ■ Southern Song- 1-8 ◎ Ring for Kesa robe from the Founder's chest in Engaku-ji Ming dynasties Engaku-ji Temple ■ ■ ■ ■ 1-9 ◎ Buddhist whisk from -
Everyday Life of Chinese Singaporeans: Past & Present
Module Code GES1005: Everyday Life of Chinese Singaporeans: Past & Present Tutorial Group D13 Assignment Name Temple Group Project - The Singapore Buddhist Lodge Date of Submission 31 October 2017 S/N Students’ Names 1. Chua Shu Zhen 2. Elsie Mok Kai Ying 3. Kong Kai Li TABLE OF CONTENTS Chapter 1: Introduction 1 Chapter 2: About the Temple 1 2.1 Background of Temple 1 2.1.1 Ties with Chinese Buddhist Circle 2 2.2 Main Gods & Secondary Gods 2 2.3 Temple Events 2 2.4 Preservations of Traditions 3 2.5 Interesting Stories 3 2.6 Temple Facilities and Features 4 Chapter 3: Reflections and Challenges 5 3.1 Reflections 5 3.2 Challenges 5 Chapter 4: References - Chapter 5: Appendices - APPENDICES Appendix A - Entrance of Singapore Buddhist Lodge Appendix B - Image of Sakyamuni Buddha Appendix C (1-10) - List of Secondary Gods Appendix D - Consecration Ceremony of Largest Amitabha Figure Appendix E - SBL Logo Appendix F - Red Cloth Strips Appendix G - Lotus Oil Lamp Appendix H - Article on the Complaints of SBL Appendix I - 1st Storey Layout: Courtyard Appendix J - 2nd Storey Layout: Office Appendix K - 3rd Storey Layout: Virtue Hall Appendix L - 4th Storey Layout: Library and Meeting Rooms Appendix M - 5th Storey Layout: Chanting Hall Appendix N - 6th Storey Layout: Storeroom Appendix O - 7th Storey Layout: Main Hall Appendix P - Donation Boxes Appendix Q - Screen Walls Appendix R - Symbolic Brazier Appendix S - Plaque Chapter 1: Introduction Temples are preserved as cultural artifacts which represent the history and rich cultures of ancient China. The temples are used as places of worship where devotees will visit to pay respect to the Gods and receive blessings. -
Aryan Tribes, and on the 'Rājput'
295 ART. X.—Notes on the Origin of the 'Lunar' and 'Solar7 Aryan Tribes, and on the ' Rajput' Clans. By B. If. BADEN-POWELL, C.I.E., M.E.A.S. BY way of explanation, I may be permitted to say that having been for some time engaged on an inquiry into the history of the various kinds of Indian landlord tenure,1 not as a matter of theory, but on the basis of local facts, it became necessary to consider the origin and distribution of the tribes or clans to which the landlord classes most commonly belong. A number of notes were thus accumulated ; and I thought it might be useful to put them together, much more in the hope of receiving correction, and of thus gaining information, than with the design of imparting it. It at once appears, as regards Northern India, that of the superior proprietor class when ' Hindu,' or at least originally Hindu, a large proportion belongs to the tribes known as 'Rajput.' Some of the higher families, however, now resent being so designated, and call themselves 'Kshatriya.'2 The latter name,- again, is usually understood to have reference to the military and ruling caste of ancient times, 1 Which I hope eventually to publish in continuation of my study of the Indian village communities and their tenures. 2 Or in the spoken form Chatri. This, in fact, is the equivalent of 'Kshatriya,' and not the word Khatri, which is also in use but indicates quite another caste. The latter has no real connection with the old military order, though sometimes attempts are made to assert such a connection. -
Coloring the World: Some Thoughts from Jain and Buddhist Narratives
religions Article Coloring the World: Some Thoughts from Jain and Buddhist Narratives Phyllis Granoff Department of Religious Studies, Yale University, 451 College St, New Haven, CT 06511, USA; phyllis.granoff@yale.edu Received: 2 December 2019; Accepted: 18 December 2019; Published: 23 December 2019 Abstract: This paper begins with an examination of early Indian speculation about colors, their number, their use, and their significance. It ranges widely from the Upanis.ads to the Na¯.tya´sastra¯ , from Svet´ ambara¯ Jain canonical texts to Buddhaghosa’s treatise on meditation, the Visuddhimagga, from pura¯n. as to technical treatises on painting. It turns then to examine how select Jain and Buddhist texts used color in two important scenarios, descriptions of the setting for events and the person of the Jina/Buddha. In the concluding reflections, I compare textual practices with a few examples from the visual record to ask what role if any the colors specified in a story might have played in the choices made by an artist. Keywords: Buddhism; Jainism; color 1. Introduction1 I begin this essay with two images of Avalokite´svara,close to each other in date, a sculpture from the 11th c. in the Cleveland Museum of art, Figure1, and a folio from a 12th century manuscript of the As..tasahasrika¯ Prajñap¯ aramit¯ a¯ in the Metropolitan Museum of Art, Figure2. The Cleveland image shows traces of its original paint. Both images, of very different size, in completely different media, rely on angular lines and curves to convey movement and create a rich and complex tableau. By placing them together, I wanted to suggest that the vibrancy and motion in the painting also owe much to the skillful use of color. -
Rap897__Rapson Indiancoins.Pdf
FILE Name: Rap897__Rapson_IndianCoins.pdf PURL: http://resolver.sub.uni-goettingen.de/purl/?gr_elib-181 Type: Searchable PDF/A (text under image), index/bookmarks Encoding: Unicode (ā ī ū ṛ ṝ ḷ ḹ ṅ ñ ṭ ḍ ṇ ś ṣ ḥ ṃ ...) Date: 17.5.2011; REVISION: #1, 26.7.2011 BRIEF RECORD Author: Rapson, Edward James Title: Indian Coins : with five plates Publ.: Strassburg : Karl J. Trübner 1897 Description: 56 p. Series: Grundriss der Indo-Arischen Philologie und Altertumskunde, II. Band, 3. Heft, B FULL RECORD http://gretil.sub.uni-goettingen.de/gr_elib.htm NOTICE This file may be copied on the condition that its entire contents, including this data sheet, remain intact. GRETIL e-library GRUNDRISS DER INDO-ARISCHEN PHILOLOGIE UND ALTERTUMSKUNDE UNTER MITWIRKUNG VON A. BAINES-LoNDON, R. G.BHANDARKAR-PUNA, M. BLOOMFIELD-BALTIMORE, J.BURGESS-EDINBURGH, O. FRANKE - KÖNIGSBERG, R. GARBE-TUBINGEN, W. GEIGER - ERLANGEN, K. GELDNER–BERLIN, G. A. GRIERSON-CALCUTTA, A. IIILLEBRANDT–BRESLAU, II. JACOBI-BoNN, J. JOLLY-wÜRZBURG‚ H. KERN-LEIDEN, E. KUHN-MÜNCHEN, C. R. LANMAN-CAMBRIDGE (MASS.), E. LEÜMANN-STRASSBURG, B. LlEBICH-BRESLAU, A. MACDONELL-OXFORD, R. MERINGER-WlEN, R. PlSCHEL-HALLE, E. J. RAPSON-LoNDON, J. S. SPEYER-GRONINGEN, M. A. STEIN-LAHORE, G. THIBAUT- ALLAHABAD, A. VENIS-BENARES, SIR R. WEST-LONDON, M. WINTERNITZ- OXFORD, TIT. ZA.CHARIAE-HALLE HERAUSGEGEBEN vos GEORG BÜHLER INDIAN COINS EY E. J. RAPS ON. WITH FIVE PLVrES. STRASSBURG VERLAG VON KARL J. TRUBNE;R 1898. In diesem werk soll zum ersten Mal der The Encyclopedia of Indo–Aryan Research Versuch gemacht werden, einen Gesamtüber• contains the first attempt at a complete, syste• blick über die einzelnen Gebiete der indo- arischen Philologie und Altertumskunde in matic and concise survey of the vast field of knapper und systematischer Darstellung zu Indian languages, religion, history, antiquities, geben. -
Maghas of Kaushambi Kaushambi Was the Capital of the Ancient Kingdom of Vatsa, One of the Sixteen Mahajanapadas of the Buddha’S Time
Maghas of Kaushambi Kaushambi was the capital of the ancient kingdom of Vatsa, one of the sixteen mahajanapadas of the Buddha’s time. It was one of the most important trade centres and markets on the trade route coming to Kosala and Magadha from the south and west. Cunningham had identified modern Kosam on the Yamuna, about 30 miles south west of Allahabad, with the ancient city of Kaushambi and this identification is now generally accepted. A large number of copper / bronze coins including both uninscribed and inscribed have been found at Kaushambi. The uninscribed coins comprise many local varieties of cast coins, some showing typological affinity with the universal type of early uninscribed cast coins of Mauryan period. The inscribed coins include coins issued in the name of the city and also in the name of several rulers. Coins issue in the name of the city is mostly made by casting technique and shows some similarity with the local uninscribed cast coins. Some common varieties of these coins are as under: Variety A Obi: Elephant standing to left on a ladder; triangle headed standard in front and a six-armed whorl behind; river below; Ujjain symbol above in right field; Brahmi legend above Kosabi. Rev: Tree-in-railing in centre; above Ujjain symbol; left 6-arched hill and above it nandipada; right, four fishes in a rectangle and above it nandipada. Var. B Obv: Bull standing left; above Brahmi inscription Kosabi. Rev: Lakshmi seated on lotus Var. C Obv: Bull standing left; above Brahmi inscription Kosabi. Rev: Standing deity (? Lakshmi); two taurines below her right hand.