SNOW LION PUBLI C'ltl Olss JANET BUDD 946 NOTTINGHAM DR
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G L O S S a R I O T I B E T A
G L O S S A R I O T I B E T A N O TRASLITTERAZIONE E PRONUNCIA DELL’ ALFABETO TIBETANO A A ; E aperta, se nella stessa sillaba è seguita dalla finale D, Æ, L, N, ¹, S AI E lunga chiusa A’I E lunga aperta, con l’eventuale aggiunta di una I brevissima AU O lunga chiusa B B ; U semivocale, nella sillaba “ba” isolata ; o in una sillaba che comincia per “dba”; o se è preceduta da sillaba (della stessa parola) terminante con vocale, L,Ó,R,’ MUTA, se – iniziale - è seguita da consonante diversa da H,R,Y; nonché nelle sillabe “dbe,dbi,dbo,dbu” BR D pronunciata simultaneamente a una debole R con la lingua contro il palato BY G dolce di “gelo” Y, se nella stessa sillaba è preceduta da D C C dolce di “cece” D D ; MUTA, se – iniziale – è seguita da consonante diversa da H,R,W,Y; oppure se è finale Æ D con la lingua rivolta all’indietro contro il palato DR D pronunciata simultaneamente a una debole R con la lingua contro il palato DW D DZ Z dolce di “bazza“ E E chiusa ; sovente I breve quasi E (ingl. tin), quando è finale di sillaba. G G dura di “gatto“; MUTA, se – iniziale - è seguita da consonante diversa da H,R,W,Y scarsamente udibile, se è finale oppure se si trova nella finale GS GR D pronunciata simultaneamente a una debole R con la lingua contro il palato GW G dura di “gatto” H H aspirata come nell’ingl. -
The Fourteenth Dalai Lama's Oral Teachings on the Source of The
The Fourteenth Dalai Lama’s Oral Teachings on the Source of the Kālacakratantra Ronit Yoeli-Tlalim1 Warburg Institute, School of Advanced Studies, University of London THIS PAPER WILL PRESENT some rhetorical and discursive elements in oral versions of the history of the Kālacakratantra as currently presented by the Fourteenth Dalai Lama. Focusing on the definition of the Kālacakra’s “word of the Buddha” (buddha vacana), the paper will show how the Fourteenth Dalai Lama constructs an innovative version in his teachings, manifesting the relations between the esoteric tradition of Tibetan Buddhism and its contemporary religious milieux as it is being defined in exile. These rela- tions are apparent both in the information that is being taught and in the argumentation that constructs it. DEFINING THE KĀLACAKRATANTRA AS BUDDHA VACANA The issue of the source of the Kālacakratantra, or in other words, defin- ing the Kālacakratantra as buddha vacana, is of prime importance, not only for the study of the Kālacakra itself, but for the study of tantra in general.2 From the esoteric perspective connection with the Buddha is significant, not simply as a quasi-historical element, but as an element of practice, one that establishes a direct link with the possibility of enlightenment. According to the prevailing version in the Kālacakra tradition, the Buddha Śākyamuni taught the Kālacakratantra to King Suchandra of Shambhala. According to the Kālacakra tradition, it was at this occasion that the Buddha taught all of the tantra-s. From a traditional hermeneutical perspective the source of the teaching is of prime importance as it defines the fourfold relationship of: original au- thor/original audience // current teacher/current audience. -
THE RELIGIOUS and SOCIAL SIGNIFICANCE of CHENREZIG in VAJRĀYANA BUDDHISM – a Study of Select Tibetan Thangkas
SSamaama HHaqaq National Museum Institute, of History of Art, Conservation and Museology, New Delhi THE RELIGIOUS AND SOCIAL SIGNIFICANCE OF CHENREZIG IN VAJRĀYANA BUDDHISM – A Study of Select Tibetan Thangkas INTRODUCTION he tradition of thangkas has earned itself the merit of pioneering Tibetan art in the 21st century. The purpose behind the effulgent images Tis not to simply lure worshippers with their exuberant colours and designs; it also follows an intricate system of iconometric and iconologic principles in order to beseech the benefaction of a particular deity. As a result, a thangka is worshipped as a didactic ‘visual aid’ for Tibetan Buddhist reli- gious practices. Tracing the origin of the artistic and socio-cultural practices behind a thangka recreates a texture of Central Asian and Indian influences. The origin of ceremonial banners used all across Central Asia depicts a similar practice and philosophy. Yet, a close affinity can also be traced to the Indian art of paṭa painting, which was still prevalent around the eastern province of India around the Pala period.1) This present paper discusses the tradition of thangka painting as a medium for visualisation and a means to meditate upon the principal deity. The word thangka is a compound of two words – than, which is a flat surface and gka, which means a painting. Thus, a thangka represents a painting on a flat sur- 1) Tucci (1999: 271) “Pata, maṇḍala and painted representation of the lives of the saints, for the use of storytellers and of guides to holy places, are the threefold origin of Tibetan tankas”. -
Buddhist Bibio
Recommended Books Revised March 30, 2013 The books listed below represent a small selection of some of the key texts in each category. The name(s) provided below each title designate either the primary author, editor, or translator. Introductions Buddhism: A Very Short Introduction Damien Keown Taking the Path of Zen !!!!!!!! Robert Aitken Everyday Zen !!!!!!!!! Charlotte Joko Beck Start Where You Are !!!!!!!! Pema Chodron The Eight Gates of Zen !!!!!!!! John Daido Loori Zen Mind, Beginner’s Mind !!!!!!! Shunryu Suzuki Buddhism Without Beliefs: A Contemporary Guide to Awakening ! Stephen Batchelor The Heart of the Buddha's Teaching: Transforming Suffering into Peace, Joy, and Liberation!!!!!!!!! Thich Nhat Hanh Buddhism For Beginners !!!!!!! Thubten Chodron The Buddha and His Teachings !!!!!! Sherab Chödzin Kohn and Samuel Bercholz The Spirit of the Buddha !!!!!!! Martine Batchelor 1 Meditation and Zen Practice Mindfulness in Plain English ! ! ! ! Bhante Henepola Gunaratana The Four Foundations of Mindfulness in Plain English !!! Bhante Henepola Gunaratana Change Your Mind: A Practical Guide to Buddhist Meditation ! Paramananda Making Space: Creating a Home Meditation Practice !!!! Thich Nhat Hanh The Heart of Buddhist Meditation !!!!!! Thera Nyanaponika Meditation for Beginners !!!!!!! Jack Kornfield Being Nobody, Going Nowhere: Meditations on the Buddhist Path !! Ayya Khema The Miracle of Mindfulness: An Introduction to the Practice of Meditation Thich Nhat Hanh Zen Meditation in Plain English !!!!!!! John Daishin Buksbazen and Peter -
Shinge Roshi VISION
FROM: http://www.zenstudies.org/abbot.html 11/20/10 Shinge Roshi: Biography and Vision After receiving a degree in Creative Writing from Vassar College in 1965 and studying painting at the New York Studio School, Roko Sherry Chayat began practice at the Zen Studies Society’s West Side apartment. She spent a year painting in the South of France, returning to find the New York Zendo newly established at 223 East 67th Street. Becoming an integral part of what is often referred to as the Dai Bosatsu Mandala, she was present at New York Zendo Shobo-ji when the decision was made to purchase the property in the Catskills, and served as co-director of the first residential community at Dai Bosatsu Zendo from 1974 to 1976. Moving to Syracuse, she became the spiritual director of the Zen Center of Syracuse Hoen-ji, which had been founded in 1972. In 1991, Shinge Roshi was ordained by Eido Roshi at Dai Bosatsu Zendo. He installed her as abbot of Hoen-ji in 1996, after the zendo moved from her attic to its current home on six acres along Onondaga Creek in Syracuse’s historic Valley district. In 1998, she received inka shomei, Dharma Transmission, from Eido Roshi. In 2008 he performed the shitsugo or “room naming” ceremony at Hoen-ji, recognizing her as a roshi and giving her the name Shinge, meaning “heart-mind flowering.” In addition to her work as a Zen teacher, Shinge Roshi is an award-winning writer. She compiled and edited Eloquent Silence: Nyogen Senzaki’s Gateless Gate and Other Previously Unpublished Teachings and Letters; Endless Vow: The Zen Path of Soen Nakagawa, with Eido Roshi and Kazuaki Tanahashi; and Subtle Sound: The Zen Teachings of Maurine Stuart. -
American Buddhist Response to the Land
Kaza, Stephanie. 1997. American Buddhist Response to the Land: Ecological Practice at Two West Coast Retreat Centers, in Buddhism and Ecology: The Interconnection between Dharma and Deeds, eds. Mary Evelyn Tucker and Duncan Ryuken Williams, Cambridge: Harvard University Press, 1997, pp. 219-248. American Buddhist Responseto the Land: Ecological Practice at Two West Coast Retreat Centersr StephanieKaza From a theoreticalperspective, Buddhist philosophy appears to be highly congruentwith an ecologicalworldview. Respected Buddhist teacherssuch as His Holinessthe Dalai Lama andVietnamese Zen masterThich Nhat Hanh frequentlypoint to the interdependenceof human life and the environment.2American Buddhist scholars, includingmany of thosein this volume,show the basesin text and principle for a Buddhist environmentalphilosophy'3 But how do iheselinks translateinto actualpractice'l Do American Buddhists "walk their talk"? In this articleI look at two AmericanBuddhist centers to assess the extent of ecologicalpractice at an institutionallevel. Retreat centersact as fbcal pointsfor transmittingBuddhist values both to committedBuddhist practitioners and to the visiting public. To the extentthat practiceplaces reinforce ecological caretaking with spiritualprinciples, they provide a foundationfbr moralcommitment to the environment.It is clear to many leading environmental thinkersthat science,technology, and economics alone will not solve the environmentalcrisis.a lnstead, they call for cultural transfor- mation basedon religigus,moral, or spiritual valuesof deep care of and concernfor the earth.How do American Buddhistcenters contributeto this cultural shift? What in their efforts is distinctly Buddhist and what reflectsthe existing culture or reactionto it? Where are the points of tension around ecologicalpractice in Buddhistcenters? And on what institutionalelements do these practicesdepend? 220 Buddhism and Ecologl- This articleis a preliminaryreport of work in progressassessing environmentalpractices at diverseAmerican Buddhist centers in the UnitedStates. -
Bridging Worlds: Buddhist Women's Voices Across Generations
BRIDGING WORLDS Buddhist Women’s Voices Across Generations EDITED BY Karma Lekshe Tsomo First Edition: Yuan Chuan Press 2004 Second Edition: Sakyadhita 2018 Copyright © 2018 Karma Lekshe Tsomo All rights reserved No part of this book may not be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage or retreival system, without the prior written permission from the publisher, except in the case of brief quotations. Cover Illustration, "Woman on Bridge" © 1982 Shig Hiu Wan. All rights reserved. "Buddha" calligraphy ©1978 Il Ta Sunim. All rights reserved. Chapter Illustrations © 2012 Dr. Helen H. Hu. All rights reserved. Book design and layout by Lillian Barnes Bridging Worlds Buddhist Women’s Voices Across Generations EDITED BY Karma Lekshe Tsomo 7th Sakyadhita International Conference on Buddhist Women With a Message from His Holiness the XIVth Dalai Lama SAKYADHITA | HONOLULU, HAWAI‘I iv | Bridging Worlds Contents | v CONTENTS MESSAGE His Holiness the XIVth Dalai Lama xi ACKNOWLEDGMENTS xiii INTRODUCTION 1 Karma Lekshe Tsomo UNDERSTANDING BUDDHIST WOMEN AROUND THE WORLD Thus Have I Heard: The Emerging Female Voice in Buddhism Tenzin Palmo 21 Sakyadhita: Empowering the Daughters of the Buddha Thea Mohr 27 Buddhist Women of Bhutan Tenzin Dadon (Sonam Wangmo) 43 Buddhist Laywomen of Nepal Nivedita Kumari Mishra 45 Himalayan Buddhist Nuns Pacha Lobzang Chhodon 59 Great Women Practitioners of Buddhadharma: Inspiration in Modern Times Sherab Sangmo 63 Buddhist Nuns of Vietnam Thich Nu Dien Van Hue 67 A Survey of the Bhikkhunī Saṅgha in Vietnam Thich Nu Dong Anh (Nguyen Thi Kim Loan) 71 Nuns of the Mendicant Tradition in Vietnam Thich Nu Tri Lien (Nguyen Thi Tuyet) 77 vi | Bridging Worlds UNDERSTANDING BUDDHIST WOMEN OF TAIWAN Buddhist Women in Taiwan Chuandao Shih 85 A Perspective on Buddhist Women in Taiwan Yikong Shi 91 The Inspiration ofVen. -
Supernatural Elements in No Drama Setsuico
SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed. -
Goodbye, Preston"
"GOODBYE, PRESTON" by Mark Hopper & Johnny Smith Based on a true story Mark Hopper 1035 N Sweetzer Ave West Hollywood, CA 90069 415-729-6108 [email protected] WGAw Copyright (c) 2010 This screenplay may not be used or reproduced without the express written permission of the author FADE IN: West Hollywood, California, the early 90's. Dusk. Palm trees and weakening sunshine. A pink sky. Camera pans and rests on a building, THE GOLD COAST, a dive gay bar, situated right on Santa Monica Blvd. Camera begins to zoom into doorway. "Smells Like Teen Spirit" by Nirvana starts to play. CUT TO: INT. THE GOLD COAST - NIGHT A typical gay bar scene. Darkened room, loud music, a moderate amount of flashing lights. Loud laughter and the occasional crack of the pool balls can be heard over the din. Various shots of the action: men playing pool, men at the bar drinking, guys along the wall chatting and/or looking standoff-ish. One final pan and the camera rests on RICHIE HAMILTON, a lanky, long-haired white male in his mid 20's. He’s standing along the wall, observing the crowd. It’s his usual tradition. Maybe spot a familiar face, maybe meet someone new, who knows. Richie tilts back his glass of bourbon for the last sip, drinks, then heads to the bar for another cocktail. Just as he crosses the doorway, he almost bumps into PRESTON, who’s entering the establishment. Preston, also in his mid 20's, is dark-haired, slightly rugged and drop dead gorgeous. -
Leaving Everything Behind
Leaving Everything Behind A renowned teacher gives up a traditional life of protection to seek the extreme and transformational conditions of an anonymous mendicant monk. Yongey Mingyur Rinpoche Summer 2019 Yongey Mingyur Rinpoche | Photograph by Kevin Sturm In June 2011, the abbot of Tergar Monastery in Bodhgaya, India, Yongey Mingyur Rinpoche, snuck out of his own monastery, leaving behind a letter explaining his intention to do a wandering retreat for the next several years—to beg for alms and sleep on village streets and in mountain caves. The youngest son of the esteemed Tibetan Buddhist meditation master Tulku Urgyen Rinpoche and a world-known teacher in his own right, Mingyur Rinpoche explains in his new book, In Love with the World: A Monk’s Journey through the Bardos of Living and Dying, that he aspired to shed the protections and privileges he had enjoyed his whole life and to let go of his outer identities in order to explore a deeper experience of being. He was away for four and a half years, returning in the fall of 2015. Mingyur Rinpoche left his monastery with Watch “Letting My Self Die,” Helen Tworkov enough money to purchase the saffron and Yongey Mingyur Rinpocheʼs discussion about what the bardos can teach us about shawls worn by homeless sadhus [religious letting go. ascetics]. But for the first two weeks of his wandering retreat, he carried these in his knapsack, continuing to wear his Tibetan robes and paying for lodgings and food. In this excerpt, he is in Kushinagar, the town where the historical Buddha died. -
2019-Winter-ZCS-Medi
Seeking Inner Peace? Meditation Opportunities at Zen Center of Syracuse Deep Presence Class • Five Tuesdays, January 15 to February 19, 2019, 6 to 7:30 p.m. (no class on January 29) How often are we really present for what is happening in any one moment? Distractibility interferes with our ability to listen, to focus, to respond, and to feel fully alive. This course in the cultivation of attention without tension is offered regularly at the Zen Center and is taught by our Abbot, Shinge Roshi, Roko Sherry Chayat. Five evening classes include meditation instruction and practice, group discussion, and light refreshments. Fee: $125, Students: $85. Conscious Stress Reduction Class • Eight Wednesdays, January 23 to March 13, 6 to 8 p.m. Learn to develop resilience in the face of the demands and traumas of everyday life through meditation and mindfulness training, yoga and stretching and body awareness. The training helps with daily stress of many types; from high blood pressure, chronic pain and interpersonal conflict to major life-changing situations. The course is led by Dr. William Cross, a marriage and family therapist. Fee: $200. Please register by contacting the instructor by phone at (315) 474-3762 or email at [email protected]. Introduction to Meditation Mini-Retreat • Sunday afternoon, February 24, 1:30 to 5 p.m. What could be better than an afternoon of nurturing in an oasis of calm? This half-day retreat, led by Zen Center Dharma Teacher Jika Lauren Melnikow, will include meditation instruction, silent sitting and walking meditation, group discussion and refreshments. -
Spring 2018 Ango Training Commitment Training Retreats
Mountains and Rivers Order – Spring 2018 Ango Training Commitment Name: ______________________________________ Ango is a wonderful time to work toward making our lives more unified with practice. In addition to practicing moment-to-moment awareness in your daily activities, what other ways can you bring yourself into contact with the dharma during the day? Let this question guide you as you formulate your commitments for the ango. Ideally, your ango will include deliberate periods of practice in which you set aside time for one or two of the Eight Gates, as well as an ongoing effort to bring elements of the Eight Gates into the midst of your regular routines. Return this sheet to the Monastery Training Office by 2/27/18. Consider joining the sangha for the Ango Opening Ceremony on Sunday, March 4 at ZMM or Sunday, March 11th at the Temple. Please call the Training Office if you have questions. Training Retreats Training within the sangha is an essential aspect of Ango. Indicate the two retreats, at least one of them at the Monastery, that you commit to attending. 1. An Intensive Meditation Retreat at Zen Mountain Monastery: Note: The Peaceful Dwelling Intensive, Sesshin, and the Ango Intensive all fulfill this requirement. 2. A Second Retreat at ZMM, ZCNYC, or an MRO Affiliate*: Any retreat, zazenkai or a second sesshin fulfills this requirement; so does a short period of residency at the Monastery (we especially encourage this for MRO students). Please note that for the first time, we are offering a zazenkai at the Monastery this ango, in addition to those regularly offered at the Temple.