Meditating on the King's Feet? Some Remarks on the Expression Pa ̄Da
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AVALOKITESVARA Loka Nat Worship in Myanmar
AVALOKITESVARA Loka Nat Worship in Myanmar A Gift of Dhamma AVALOKITESVARA Loka Nat Tha Worship In Myanmar “(Most venerated and most popular Buddhist deity)” Om Mani Padme Hum.... Page 2 of 12 A Gift of Dhamma Maung Paw, California Bodhisatta Loka Nat (Buddha Image on her Headdress is Amithaba Buddha) Loka Nat, Loka Byu Ha Nat Tha in Myanmar; Kannon, Kanzeon in Japan; Chinese, Kuan Yin, Guanshiyin in Chinese; Tibetan, Spyan-ras- gzigs in Tabatan; Quan-am in Vietnamese Page 3 of 12 A Gift of Dhamma Maung Paw, California Introduction: Avalokitesvara, the Bodhisatta is the most revered Deity in Myanmar. Loka Nat is the only Mahayana Deity left in this Theravada country that Myanmar displays his image openly, not knowing that he is the Mahayana Deity appearing everywhere in the world in a variety of names: Avalokitesvara, Lokesvara, Kuan Yin, Kuan Shih Yin and Kannon. The younger generations got lost in the translation not knowing the name Loka Nat means one and the same for this Bodhisatta known in various part of the world as Avalokitesvara, Lokesvara, Kuan Yin or Kannon. He is believed to guard over the world in the period between the Gotama Sasana and Mettreyya Buddha sasana. Based on Kyaikhtiyoe Cetiya’s inscription, some believed that Loka Nat would bring peace and prosperity to the Goldenland of Myanmar. Its historical origin has been lost due to artistic creativity Myanmar artist. The Myanmar historical record shows that the King Anawratha was known to embrace the worship of Avalokitesvara, Loka Nat. Even after the introduction of Theravada in Bagan, Avalokitesvara Bodhisattva, Lokanattha, Loka Byuhar Nat, Kuan Yin, and Chenresig, had been and still is the most revered Mahayana deity, today. -
Yonas and Yavanas in Indian Literature Yonas and Yavanas in Indian Literature
YONAS AND YAVANAS IN INDIAN LITERATURE YONAS AND YAVANAS IN INDIAN LITERATURE KLAUS KARTTUNEN Studia Orientalia 116 YONAS AND YAVANAS IN INDIAN LITERATURE KLAUS KARTTUNEN Helsinki 2015 Yonas and Yavanas in Indian Literature Klaus Karttunen Studia Orientalia, vol. 116 Copyright © 2015 by the Finnish Oriental Society Editor Lotta Aunio Co-Editor Sari Nieminen Advisory Editorial Board Axel Fleisch (African Studies) Jaakko Hämeen-Anttila (Arabic and Islamic Studies) Tapani Harviainen (Semitic Studies) Arvi Hurskainen (African Studies) Juha Janhunen (Altaic and East Asian Studies) Hannu Juusola (Middle Eastern and Semitic Studies) Klaus Karttunen (South Asian Studies) Kaj Öhrnberg (Arabic and Islamic Studies) Heikki Palva (Arabic Linguistics) Asko Parpola (South Asian Studies) Simo Parpola (Assyriology) Rein Raud (Japanese Studies) Saana Svärd (Assyriology) Jaana Toivari-Viitala (Egyptology) Typesetting Lotta Aunio ISSN 0039-3282 ISBN 978-951-9380-88-9 Juvenes Print – Suomen Yliopistopaino Oy Tampere 2015 CONTENTS PREFACE .......................................................................................................... XV PART I: REFERENCES IN TEXTS A. EPIC AND CLASSICAL SANSKRIT ..................................................................... 3 1. Epics ....................................................................................................................3 Mahābhārata .........................................................................................................3 Rāmāyaṇa ............................................................................................................25 -
Tourism Under RDC, CD, Cuttack ******* Tourism Under This Central Division Revolves Round the Cluster of Magnificent Temple Beaches, Wildlife Reserves and Monuments
Tourism under RDC, CD, Cuttack ******* Tourism under this Central Division revolves round the cluster of magnificent temple beaches, wildlife reserves and monuments. Tourism specifically in Odisha is pilgrimage oriented. The famous car festival of Puri Jagannath Temple has got the world wide acclaim. It holds attraction of all domestic, national and international tourists, Sea Beaches like Puri, Konark, Astarang of Puri District, Digha, Talasari, Chandipur of Balasore, Siali of Jagatsinghpur District keeps the beholder at its clutch. Wild life reserves like Similipal of Mayurbhanj, Bhitarkanika of Kendrapara along with scenic beauty of nature makes one mesmerized and gives a feeling of oneness with nature, the part of cosmic power. BALASORE KHIRACHORA GOPINATH TEMPLE: Khirachora Gopinatha Temple is situated at Remuna. It is famous as Vaishnab shrine. Remuna is a Chunk of Brindaban in Orissa. It is a little town located 9 k.m east of Balasore. The name Remuna is resulting from the word Ramaniya which means very good looking. "Khirachora" in Odia means Stealer of Milk and Gopinatha means the Divine Consort of Gopis. The reference is to child Krishna's love for milk and milk products. (Khirachora Gopinath Temple) PANCHALINGESWAR TEMPLE: Panchalingeswar is located on a top of a hillock near the Nilagiri hill which is popular for its natural surroundings. The main attraction of this place is a temple having five lingas with a perennial stream, which is regularly washes the Shivalingas as it flows over them. So, to reach to the temple one has to lie flat on the rock parallel to the stream to touch and worship the lingas inside the water stream. -
Three Ghost Stories
Three Ghost Stories Charles Dickens This eBook was designed and published by Planet PDF. For more free eBooks visit our Web site at http://www.planetpdf.com/. To hear about our latest releases subscribe to the Planet PDF Newsletter. Three Ghost Stories THE SIGNAL-MAN ‘Halloa! Below there!’ When he heard a voice thus calling to him, he was standing at the door of his box, with a flag in his hand, furled round its short pole. One would have thought, considering the nature of the ground, that he could not have doubted from what quarter the voice came; but instead of looking up to where I stood on the top of the steep cutting nearly over his head, he turned himself about, and looked down the Line. There was something remarkable in his manner of doing so, though I could not have said for my life what. But I know it was remarkable enough to attract my notice, even though his figure was foreshortened and shadowed, down in the deep trench, and mine was high above him, so steeped in the glow of an angry sunset, that I had shaded my eyes with my hand before I saw him at all. ‘Halloa! Below!’ From looking down the Line, he turned himself about again, and, raising his eyes, saw my figure high above him. ‘Is there any path by which I can come down and speak to you?’ 2 of 97 Three Ghost Stories He looked up at me without replying, and I looked down at him without pressing him too soon with a repetition of my idle question. -
Elephants in Art, Architecture and History of Orissa
Orissa Review * June - 2008 Elephants in Art, Architecture and History of Orissa Debabrata Swain Since time immemorial the elephant has been an plates makes us believe that the living species of integral part of Indian culture and heritage. The the mastodon either attracted the admiration of Vedic 'King of Gods' (Indra) assumed a distinctly the people of the valley for its gigantic structure Indian character after localization in the land of and strength or where depictions of elephants the 'Five Rivers'. He ultimately stepped from his appear on amulets they were propitiatory in nature chariot, drawn by the steeds of the Aryan horse (Sen, 1972). An outstanding icon in Indian art tamers and mounted an elephant. Sen (1972) appears in the Harappan culture for the first time states that it is indeed curious that Indra who was on a famous seal from Mahenjodaro. The seal conceived as being borne on a golden chariot shows a central figure seated on a low throne in a drawn by two or many tawny steeds, abandoned yogic position, along with which appear the his old vehicle and preferred an elephant as his elephant, tiger, rhinoceros, buffalo and deer and vahana or carrier. Craven (1976) observes that two exceedingly stylized human figures (Craven, hymns in Rigveda, the first and chief book of the 1976). Vedas compiled sometime between 1500 and ASHOKA AND THE KALINGA WAR 500 BC, were especially directed towards Indra, the God of the heavens and the warrior king, who The history of Indian Art and Architecture rode a white elephant and used the thunder bolt, is obscure between the Indus Valley period and Vajra, as his principal weapon. -
Iasbaba's Daily Quiz
IASbaba’s Daily Quiz February 8, 2018 Q.1) Consider the following statements about inverted duty structure 1. The issue of inverted duty structure arises mainly because of import duty on finished products is lower than import duty on raw materials 2. The natural corollary of an inverted duty structure is that it affects the competitiveness and sustainability of the domestic manufacturing industry Select the correct statements a) 1 Only b) 2 Only c) Both 1 and 2 d) Neither 1 nor 2 Q.1) Solution (c) Inverted duty structure is a situation where import duty on finished goods is low compared to the import duty on raw materials that are used in the production of such finished goods. For example, suppose the tariff (import tax) on the import of tyres is 10% and the tariff on the imports of natural rubber which is used in the production of tyres is 20%; this is a case of inverted duty structure. When the import duty on raw materials is high, it will be more difficult to produce the concerned good domestically at a competitive price. Several industries depend on imported raw materials and components. High tax on the raw materials compels them to raise price. On the other hand, foreign finished goods will be coming at a reduced price because of low tax advantage. In conclusion, manufactured goods by the domestic industry becomes uncompetitive against imported finished goods. What inverted duty structure brings to the home country is that its industries are less protected as the tariff on the imported finished commodities are low. -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
Who's Zoomin' Who? Bhagavadgītā Recensions in India and Germany
Bagchee and Adluri International Journal of Dharma Studies (2016) 4:4 DOI 10.1186/s40613-016-0026-8 RESEARCH Open Access Who’s Zoomin’ Who? Bhagavadgītā Recensions in India and Germany Joydeep Bagchee1 and Vishwa Adluri2* * Correspondence: [email protected] Abstract 2Hunter College, New York, USA Full list of author information is This article discusses the political and theological ends to which the thesis of different available at the end of the article “recensions” of the Bhagavadgītā were put in light of recent work on the search for an “original” Gītā (Adluri, Vishwa and Joydeep Bagchee, 2014, The Nay Science: A History of German Indology; Adluri, Vishwa and Joydeep Bagchee, 2016a, Paradigm Lost: The Application of the Historical-Critical Method to the Bhagavad Gītā). F. Otto Schrader in 1930 argued that the “Kashmir recension” of the Bhagavadgītā represented an older and more authentic tradition of the Gītā than the vulgate text (1930, 8, 10). In reviews of Schrader’s work, Franklin Edgerton (Journal of the American Oriental Society 52: 68–75, 1932) and S. K. Belvalkar (New Indian Antiquary 2: 211–51, 1939a) both thought that the balance of probabilities was rather on the side of the vulgate. In a trenchant critique, Edgerton took up Schrader’s main arguments for the originality of the variant readings or extra verses of the Kashmir version (2.5, 11; 6.7; 1.7; 3.2; 5.21; 18.8; 6.16; 7.18; 11.40, 44; 13.4; 17.23; 18.50, 78) and dismissed them out of hand (1932, 75). Edgerton’s assessment was reinforced by Belvalkar, who included a survey of various other “versions” of the Gītā in existence, either by hearsay or imitation. -
Bur a and the Burmese
Bur a and the Burmese A Historical Perspective by Eric S. Casino ~ited by Bjorn Schelander with illustrations by Ann Hsu Partially funcled by the U.S. Department of Education Center for Southeast Asian Studies School of Hawaiian, Asian and Pacific Studies University of Hawai'i July 1997 TABLE OF CONTENTS List of Illustrations i Preface ii Chapter One LAND AND PEOPLE 1 Chapter Two FROM PAST TO PRESENT 17 Chapter Three RELIGION 49 Chapter Four LIFE AND CULTURE 65 Chapter Five BURMA AFTER INDEPENDENCE 85 Key to Exercises 104 BASIC REFERENCES 114 List of Illustrations Burmese Fishermen 8 Temples of Pagan 19 Shwedagon Pagoda 57 Chinthes (mythical creatures) 71 Burmese Ox Cart 78 Fisherman in Northern Burma 95 i PREFACE fu 1989, following the rise to power of the new regime, the SLORC (State Law and Order Restoration Council), the official name of the Union of Burma was changed to Union of Myanmar. Many place names were either given new spellings to correct British mistransliterations or replaced by their pre-colonial era names. For example Pagan was replaced by Bagan, Rangoon by Yangon, and Maymyo by Pyin 00 Lwin. However, these new names are not widely used outside (or, for some, inside) the country, and most recent literature has retained the old names and spellings. Hence, to avoid confusion, the old names and spellings will also be retained in this text (including the terms "Burma," "Burman," and "Burmese"). It should be noted that specialists on Burma make an important distinction between "Burman" and "Burmese. II The term Burmese refers to all the people who are citizens of the Union of Burma (Myanmar). -
Alampur, Garuda, Bada and Vira Temples, $75.00
DONALDSON ARCHIVE DONALDSON ARCHIVE IMAGE SITE SETS FOR SALE ANDHRA PRADESH SBHN-1 58 images, Bihar/Bengal sculpture, Buddhist; $174 .00 SBHN-2 107 images Bihar/Bengal sculpture, Hindu, $321.00. , ALM-1 25 images; Alampur, Garuda, Bada and Vira temples, $75.00 ALM-2 28 images, Alampur, Kumara T, Padma T, sculpture court; $84.00 ALS` 27 images, Alampur, Svarga Brahma complex, 680 C.E. $81.00 ALV 35 images, Alampur, Vira Brahma T. c. 680-95 C.E. $105.00. APG 44 images, Gallavali, Kumaresvara temple, c. 10th C. $105.00 APN 39 images, Narayanapuram, NilakanthesvaraT. 10th C , $117.00 ARV-1 39 images, Amaravati site images , 1st-7th C. $117.00 ARV-2 27 images, Amaravati museum images, $81.00 CRZ 13 images, Chezerla, Kapotesvara temple,, 7th C, $39.00 HMV` 50 images, Hemavati, Doddesvara temple, 8th-11th C . $150.00 HNM 28 images, Hanamkonda, Thousand pillar Temple, $84.00 JAY 29 images, Jayati temples, 9th-10th C. $87.00 LPK 44 images, Lepaksi Virabhadra temple complex, c. 16th C MUK-1 365 images, Mukhalingam, Madhukesvara T. 8-9th C $1,095.00 MUK-2 101 images, Mukhalingam, Somesvara temple, 10thC, $303.00. MUK-3 21 images, Mukhalingam , Bhimesvara T, Nagrikatakam, $63.00 NGJ 14 images, Nagarjunakonda, c. 3rd century C.E. $42.00. PLP 67 images, Palampet, Ramappa temple, 1213 C.E. $201.00 PNG 101 images, Panagal, Paccala Somesvara com, 10-15th C, $303.00 PUS 127 images, Puspagiri, temple compound, 10-16th C. $387.00. SAL 24 images, Salihumdam, Buddhist site, c. 10th C $72.00. -
The Golden Rock at Kyaik-Hti-Yo
© 2008 SOAS Bulletin of Burma Research 1 THE GOLDEN ROCK AT KYAIK-HTI-YO Donald M. Stadtner The Golden Rock ranks with the Shwedagon and the Mahamuni as a solid member of Burma’s sacred triumvirate, yet its history is the most obscure. The hair relics of the Buddha believed to be inside the granite boulder are the objects of devotion, but the rock’s sanctity owes as much to its rich legacy. How this 611.45 ton granite boulder balancing on a cliff side in a remote mountain range came to achieve national veneration is testimony to not only the tenacious continuity of old legends but also their remarkable elasticity. If myths are to survive and flourish, then they must be nimble and able to change with new circumstances. The present modest and preliminary exploration sketches the major historical sources surrounding Kyaik-hti- yo and suggests how the Golden Rock grew to be one of Burma’s most sacred sites. Its history is plagued by gaps, but its general outline can be pieced together. The Kyaik-hti-yo tradition can be traced to an important fifteenth-century Mon myth centered on six hair relics the Buddha presented to six hermits. These unnamed recluses returned to their hermitages in locations between Rangoon and the Thaton area, but Kyaik-hti-yo was not among them. This basic Mon myth survived the loss of Pegu and Lower Burma to Burmese forces in the sixteenth century and provided a firm but fluid foundation on which many later myths in Lower Burma were constructed, often in unexpected ways. -
A Study of the History and Cult of the Buddhist Earth Deity in Mainland Southeast Asia
A Study of the History and Cult of the Buddhist Earth Deity in Mainland Southeast Asia A Thesis submitted in partial fulfillment of the requirements for the Degree of PhD in Religious Studies at the University of Canterbury by Elizabeth Guthrie University of Canterbury, Christchurch, New Zealand 2004 A Study of the History and Cult of the Buddhist Earth Deity in Mainland Southeast Asia Volume 1 Text Acknowledgements Far-ranging research projects like this inevitably depend on the generosity and assistance of many people. Among those who helped me find the earth deity in image and texts, or helped with translations, were: Ang Choulean, K. Aphaivong. Bandol Samnang, Olivier de Bernon, Didier Bertrand, Fran(,{ois Bizot, Robert L. Brown, Kaye Carter, Chuch Phoeun, Shayne Clarke, John Crocker, Denison University Art Gallery, Robert Didham, Wichai Eungpinichpong, Wilai Eungpinichpong, John Marston, Long Tbol, Des Sothy, Anthony Diller, Jacqueline Filliozat, Rolf Giebel, Hang Chan Sophea, Louis Gabaude, Pam Gutman, Anne Hansen, Huberta Hellendoorn, Hor Lath, Khy Sophal, Khyaw Tha Nyunt, Kuy Lath, Fran(,{ois Lagirarde, Lan Sunnary, Leng Kok An, Lim Yii Hang, Long Tbol, Meng Prang, Metropolitan Museum of Art, Mey Poeun, Museum flir Indische Kunst, Neou Chamrong, Norton Simon Museum, Ouk Ry, Anatole Peltier, Phaitun Dokbukaeo, Phon Sin, Phoung Soueng, Sommai Premchit, Thonevath Pou, Saveros Pou, Craig Reynolds, Waldemar Sailer, Sao Hso Hom, Peter Skilling, Frank Smith, Ven. Suthep Surapong, Donald Swearer, Thein Tun U, Serge Thion, Ashley Thompson, Vijinthanasarn Panya, U Aung Kyaing, U Myint Aung, RE. Vann Molyvann, John Weeks, Hiram W.Woodward, Jr. I received funding from the NZFUW, NZASIA and the University of Canterbury.