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Healing and Self-Healing Through White Tara
HEALING AND SELF-HEALING THROUGH WHITE TARA Kyabje Gehlek Rimpoche Spring retreat teachings, The Netherlands 1995 Winter retreat vajrayana teachings, US 1996-7 A Jewel Heart Transcript ACKNOWLEDGEMENTS Part I of this edition is the transcription of the teachings on White Tara, Healing and selfhealing, that Kyabje Gelek Rinpoche gave during the spring retreat 1995 in Nijmegen, The Netherlands. Part II are the vajrayana teachings on the practice of White Tara, taught by Rinpoche during the spring of 1995 in Nijmegen, a vajrayana weekend in Ann Arbor 1995, and the winterretreats 1996/97 en 1997/98 in the US. Part II is restricted; what is taught can only be practiced by those who’ve received full initiation in either Avalokiteshvara or in any maha annuttara yoga tantra. (A Tara long-life initiation – which actually is a blessing – is not what is meant here). Because of this restriction, part I has been published separately. The transcript is updated since the 4th edition. In particular it got a number of features that facilitate studying this worthwhile practice. A glossary, a list of literature and an index are provided. Images related to the teachings have been added. References to other literature have been made. Cross-references between the sutrayana- and the vajrayana part may help clarify difficulties. For easy study additional small headings have been made. The teachings of Part I were transcribed by several Jewel Heart friends in the Netherlands. The vajrayana teachings have been transcribed by Hartmut Sagolla. The drawing of Buddha Shakyamuni and those of the mudras were made by Marian van der Horst, those of the life-chakras by Piet Soeters. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
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. -
Zanabazar (1635-1723): Vajrayāna Art and the State in Medieval Mongolia
Zanabazar (1635-1723): Vajrayāna Art and the State in Medieval Mongolia Uranchimeg Tsultem ___________________________________________________________________________________ This is the author’s manuscript of the article published in the final edited form as: Tsultem, U. (2015). Zanabazar (1635–1723): Vajrayāna Art and the State in Medieval Mongolia. In Buddhism in Mongolian History, Culture, and Society (pp. 116–136). Introduction The First Jebtsundamba Khutukhtu (T. rJe btsun dam pa sprul sku) Öndör Gegeen Zanabazar is the most celebrated person in the history of Mongolian Buddhism, whose activities marked the important moments in the Mongolian politics, history, and cultural life, as they heralded the new era for the Mongols. His masterpieces of Buddhist sculptures exhibit a sophisticated accomplishment of the Buddhist iconometrical canon, a craftsmanship of the highest quality, and a refined, yet unfettered virtuosity. Zanabazar is believed to have single-handedly brought the tradition of Vajrayāna Buddhism to the late medieval Mongolia. Buddhist rituals, texts, temple construction, Buddhist art, and even designs for Mongolian monastic robes are all attributed to his genius. He also introduced to Mongolia the artistic forms of Buddhist deities, such as the Five Tath›gatas, Maitreya, Twenty-One T›r›s, Vajradhara, Vajrasattva, and others. They constitute a salient hallmark of his careful selection of the deities, their forms, and their representation. These deities and their forms of representation were unique to Zanabazar. Zanabazar is also accredited with building his main Buddhist settlement Urga (Örgöö), a mobile camp that was to reach out the nomadic communities in various areas of Mongolia and spread Buddhism among them. In the course of time, Urga was strategically developed into the main Khalkha monastery, Ikh Khüree, while maintaining its mobility until 1855. -
Appendix 2 Chinese Deities and Spirits
Appendix 2 Chinese deities and spirits This appendix includes a selection of the most common and important gods, goddesses, Buddhas, bodhisattvas, ancestors, and spirits that one can find in reli- gious sites across China. For each major religion, I present the most important deities of the pantheon as people would encounter them in a temple or other sacred space. Of course, there are many other deities presented in temples across China; yet, these are some of the most common of the range of deities – which ultimately cover all aspects of people’s physical and spiritual lives. Animistic ideas (referring to the idea of having or expecting mutually recip- rocal relationships of respect, gift-exchange, and communication; see Harvey 2013) in China stem at least as far back as the proto-Daoist text, the Zhua¯ngzi 庄子, from around 300 BCE, the first seven, inner chapters of which scholars think were written by Zhua¯ ng Zho¯u 庄周 (c. 369 BCE – c. 286 BCE). This text explains ideas about carefree living, naturalness, and relativity of perceptions, and Zhua¯ ngzi seems to attempt to get people to recognize that they live in a multi- species symbiotic community in which each aspect is in relationship and that each deserves respect. The Zhua¯ ngzi continues to be a widely-read and influential book among contemporary Chinese readers. Other popular literary texts include religiously-informed animistic ideas as well. Journey to the West (Xı¯yóujì 西游记), The Investiture of the Gods (Fe¯ngshén Yaˇnyì 封神演义), Dream of the Red Chamber (Hónglóu mèng 红楼梦), and the Water Margin (Shuıˇ huˇ zhuàn 水浒传; aka., Outlaws of the Marsh), all contain examples of some natural phenomenon such as a rock, animal, or flower, which has absorbed the essence of the cosmos for so long that it becomes a spirit being and chooses to incarnate in the human world to experience life in a human form. -
Special Exhibition Buddhist Statues Along Sagami
Special Exhibition Buddhist Statues Along Sagami Special/Collection Exhibitions Room, Kanagawa Prefectural Museum of Cultural History October 10 (Sat)-November 29 (Sun), 2020 List of Works ・The order of items in the catalogue may not necessarily be the same as in the exhibition. ・◎=Important Cultural Property 〇=Cultural Property Designated by the Kanagawa prefecture □=City and Town-level Designated Cultural Property ・Cities in the "Owner" column with no mention of the prefecture are located in Kanagawa prefecture. ・Some objects may be rotated during the exhibition. ・Works are on view throughout the exhibition period unless otherwise indicated. ・Works in the exhibition are subject to change. Number Designa Material, Century, Exhibition № Title, Region, Artist of Period Owner tion Technique Year Period Objects Prologue: From Kofun (burial mounds) to Buddhist Temples Bronze mirror with triangular rim and design 1 of four divinities and two beasts Bronze 1 3rd century Tokyo National Museum (Shindo Otsuka-yama Kofun, Hiratsuka city) Bronze Scissors 2 Bronze 6 Kofun period 4th century Tokyo National Museum (Shindo Otsuka-yama Kofun, Hiratsuka city) Bronze Whorl Ornament 3 Bronze 2 Kofun period 4th century Tokyo National Museum (Shindo Otsuka-yama Kofun, Hiratsuka city) Round Eaves-end Roof Tile 4 1 Nara period 8th century Chigasaki City Board of Education (Shimoterao-haiji site, Chigasaki city ) Demon-shaped Roof Tile Kanagawa Prefecture Board of 5 1 Nara period 8th century (Shimoterao-haiji site, Chigasaki city ) Education Hanging Image of -
Bujinkan Theme of the Year 2009 According to Hatsumi Soke There Will Be No Specific Theme This Year
Michael André-Korbl Jahresthema 2009 — SAINOU SHIN KI — Aufzeichnungen und Forschungen Seite 1 Bujinkan theme of the year 2009 According to Hatsumi Soke there will be no specific theme this year. In this way, the focus will be merely to the feeling and understanding. This feeling or Inner aspects of our training is broken in 3 parts. These parts are: Nach Hatsumi Soke gibt es kein spezifisches Thema in diesem Jahr. So wird der Schwerpunkt nur auf das Gefühl und Verständnis gelegt. Dieses Gefühl oder innere Aspekte unseres Trainings sind in 3 Teile aufgegliedert. Diese Teile sind: 才能心器 (SAINOU SHIN KI) 才能 (SAI NOU / NOURYOKU) Ability, Power, Talent, Competence, Capacity, Gift Fähigkeit, Stärke, Talent, Kompetenz, Kapazität, Gabe, Geschenk, Geschicklichkeit 心 (SHIN / KOKORO / KON)* 魂 – KON (Geist, Spirit, Sein) auch TAMASHII (Seele) Heart, Mind, Spirit Herz, Seele, Geist, Sein, Verstand 器 (KI / UTSUWA) Capacity, Container, Holder, Receptacle, Vessel Kapazität, Container, Inhaber, Gefäß, Schiff Ausgangspunkt der Überlegungen ist das SHINGITAI. Demnach kann wirkliches BUDO nur über ein reines Gefühl mit dem Herzen und nicht intellektuell verstanden werden. Das ist der Weg zu TATSUJIN (erleuchteter Mensch). 1 Michael André-Korbl Jahresthema 2009 — SAINOU SHIN KI — Aufzeichnungen und Forschungen Seite 2 Jahresthema 2009 Hatsumi gab für dieses Jahr kein spezielles Thema vor. Das Studium im letzten Jahr umfasste den Bereich der Techniken und Prinzipien: OMOTE Dieses Jahr wenden wir uns der Betrachtung des inneren Bereichs des Individuums in den verschiedenen Schulen zu: URA Hatsumi Sensei führt hier das SHINGITAI an: „BUDO kann nicht rationell mit dem Kopf verstanden werden, sondern nur über ein reines Gefühl mit dem Herzen.“ Deshalb die Dreigliederung der Persönlichkeit in Talent SAINŌ / NŌRYOKU, offenes Herz SHIN / KOKORO / KON und Kapazität / Persönlichkeit KI / UTSUWA, auch als SANSHIN zu verstehen. -
The Iconography of Nepalese Buddhism
TheThe IconographyIconography ofof NepaleseNepalese BuddhismBuddhism by Min Bahadur Shakya HAN DD ET U 'S B B O RY eOK LIBRA E-mail: [email protected] Web site: www.buddhanet.net Buddha Dharma Education Association Inc. P H A N I C- ZDH / T A P P H A N / M, T P. O. B N: , K, N e of Nepalese Buddhism M B S v A A Min Bahadur Shakya is a scholar of Newar and Tibetan Buddhism. Among his major publications are hort istory of uddhism in epal, . ntroduction to uddhist onasteries of athmandu alley, . He was elected Vice President of World Fellowship of Buddhist Youth WFBY for the years –. His major re- search work on ife and ontribution of epalese rincess hrikuti evi is shortly forthcoming. Mr. Shakya was nomi- nated by Venerable Master Hsing Yun, Fokuang Shan, Taiwan as Research Associate in Fokuang Shan Chinese Buddhist Research Academy for the years –. In , he was granted a SAARC Fellowship (Buddhist Studies) by the Ministry of Foreign Affairs, impu, Bhutan. Currently he is working as the Chief Editor of uddhist ima- laya, a bi-annual journal dealing with Buddhism in the Hima- layan regions. He has also contributed more a dozen research papers in reputed foreign journals. Since , he is teaching in Engineering Institute, Pulchowk Campus, Lalitpur. Presently he is the Director, Nagarjuna Institute of Exact Methods. F Under the definition of andicrafts there are multiple products. Of them the statues of gods and goddesses of Buddhism and Hinduism stand foremost.eir importance is enhanced not only because of the fact that they are hand made but also that they are made by using meticulously time-consuming traditional tech- v niques: Lost Wax Process, Chiselling, antique finishing and so on. -
December 2018 Event Calendar * October 14:00 True Buddha
* Kalachakra Buddha Association * October – December 2018 Event Calendar * 3004 W. Audie Murphy Parkway, Farmersville TX 75442 Phone : (972) 782-7587 Fax: (972) 782-7656 Website:www.kba-tx.org E-mail:[email protected] October Sunday Monday Tuesday Wednesday Thursday Friday Saturday 10/1 10/2 10/3 10/4 10/5 10/6 14:00 Counsel and Life Advisory 10/7 10/8 10/9(Lunar 9/1) 10/10 10/11 10/12 10/13 14:00 Ksitigarbha 11:00 Meal Offering 14:00 Counsel and Bodhisattva Water 16:00 Earth Deity Life Advisory Offering Dharma 10/14 10/15 10/16 10/17 10/18 10/19 10/20 Celebrate Marici Marici 14:00 Counsel and Bodhisattva Birthday Bodhisattva Life Advisory 14:00 Marici Birthday Bodhisattva Fire Puja 10/21 10/22 10/23 10/24 10/25 10/26 10/27 14:00 Avalokitesvara Body (Lunar 9/15) 14:00 Counsel and Shrine Protection Practice 11:00 Meal Offering Life Advisory 16:00 Meditation 16:00 Earth Deity Dharma 10/28 10/29 10/30 10/31 11/1 11/2 11/3 14:00 14:00 Counsel and True Buddha Repentance Life Advisory November Sunday Monday Tuesday Wednesday Thursday Friday Saturday 11/4 11/5 11/6 11/7 11/8 11/9 11/10 14:00 Padmakumara Medicine (Lunar 10/1) 14:00 Counsel Water Offering Buddha 11:00 Meal Offering and Life Birthday 16:00 Earth Deity Dharma Advisory 19:00 Golden Mother Vyaghravaktra Vajra Good health, Good Fortune & Reduce Disaster Fire Puja 11/11 Celebrate 9th Year 11/12 11/13 11/14 11/15 11/16 11/17 Anniversary 14:00 Golden Mother 14:00 Counsel Vyaghravaktra Vajra and Life Good health, Good Advisory Fortune & Reduce Disaster Ceremony 11/18 11/19 11/20 11/21 11/22 -
A Guide to the Deities of the Tantra
MEETING THE BUDDHAS 3 £11.99/USAS18.95/€18.95/CAN $23.00 A Guide to the Deities of the Tantra is a fascinating insight into a subject that has captured the imagination of many but remains mysterious and exotic to all but a few. This volume focuses on the deities whose mantra recitation and colourful visualizations lie at the heart of the Tantra. We meet goddesses of wisdom, the prince of purity, the lotus-born Padmasambhava, and dakinis - sky walkers who dance in the flames of freedom. All of them, peaceful and wrathful alike, urge the reader to break through to wisdom, pointing out the true nature of reality with uncompromising vigour. Devoid of pop culture misperceptions, this guide is a window into the sometimes mysterious world of Buddhist Tantra. Vessantara explores the key characteristics of the Tantra in this magical fusion of the practical and the imaginative - giving us a direct insight into the poetry and the power of the Tantra. Buddhism indhorse www.windhorsepublications.com A Guide to the Deities of the Tantra Vessantara Windhorse Publications Originally published as Part 4 of Meeting the Buddhas 1993 Revised and published as A Guide to the Deities of the Tantra 2008 Published by Windhorse Publications Ltd 3 8 Newmarket Road Cambridge CB5 8DT UK © Vessantara 1993, 2008 Cover design Sagarapriya Printed by The Cromwell Press Ltd, Trowbridge, England Cover image: Padmasambhava painting by Aloka reproduced by permission of Padmaloka Retreat Centre The right of Vessantara to be identified as the author of this work has been asserted -
The Formation of Early Esoteric Buddhism in Japan: a Study of Three Japanese Esoteric Apocrypha
THE FORMATION OF EARLY ESOTERIC BUDDIDSM IN JAPAN: A STUDY OF THE THREE JAPANESE ESOTERIC APOCRYPHA By Jinhua Chen, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the degree Doctor of Philosophy McMaster University Copyright by Jinhua Chen, May 1997 DOCTOR OF PIDLOSOPHY (1997) McMASTER UNIVERSITY (Religious Studies) Hamilton, Ontario TITLE: The Formation of Early Esoteric Buddhism in Japan: A Study of Three Japanese Esoteric Apocrypha AUTHOR: Jinhua Chen, B.A. (Beijing University) M.A. (Beijing University) SUPERVISOR: Dr. Koichi Shinohara NUMBER OF PAGES: VII, 294 THIS DISSERTATION IS DEDICATED TO MY PARENTS I ABSTRACT It is said that the Japanese monk: Saich6 (767-822), during his nine-month stay in China, was initiated by his chief Chinese Esoteric mentor Shunxiao (n.d.) into an illustrious esoteric lineage starting from a prestigious Indian Esoteric master Subhakarasimha (637-735). It is also believed that Shunxiao, based on three Esoteric texts translated by Subhakarasimha, transmitted to Saich6 some particular fonns of Esoteric Buddhist teachings, the core of which is preserved in one of the two "dhanna-transmission documents" ifuhi5mon) supposedly written by Shunxiao to certify the esoteric transmission conducted between himself and Saich6. This is the conventional view regarding the roots of Tendai Esoteric Buddhism in Japan. This dissertation subjects this conventional view to a critical examination. It argues that the two fuhCmons ascribed to Shunxiao were not written by Shunxiao himself, but were prepared in Japan for re-interpreting the meaning, and strengthening the legitimacy, of the initiation Saich6 received from China. -
A Study of the Iconography, Style, and Origin of Three Tibetanthangka Paintings
A STUDY OF THE ICONOGRAPHY, STYLE, AND ORIGIN OF THREE TIBETANTHANGKA PAINTINGS 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 Amy Miller Livingston, B.A. ***** The Ohio State University 2001 Master's Examination Committee: Approved by Dr. John C. Huntington, Adviser Dr. Susan L. Huntington Guest Committee Member: Dr. Dina Bangdel Adviser Department of History of Art Copyright by Amy Miller Livingston 2001 ABSTRACT This study examines the style and iconography of three brightly colored and carefully detailed paintings depicting three of the five Jina Buddhas, along with a host of other deities. As I will show, these paintings were originally produced as part of a set of five, although the whereabouts of the other two are not known. This partial set is one of the earliest known commissions to a Nepali artist from a Tibetan patron, and a wonderful document of the fine craftsmanship of the Nepali painter combined with the complex and symbolic iconography of Tibetan Tantric art. Although these three paintings have come to be publicly known only in the last forty years, they have since been published frequently in books on Tibetan or Nepali painting, especially museum collection or exhibition catalogues. However, much of the iconography has not been identified or discussed at any length. In particular, the small deities in the ii top and bottom horizontal registers of all three paintings have been illustrated exactly as described in the Buddhist texts, however their identities have, for the most part, gone undocumented.