Presents ZOOM Sharing #4 5/2/2020 • Opening Three Bows by Kumiko

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Global Shiatsu Community For ALL! Presents ZOOM Sharing #4 5/2/2020 • Opening Three Bows by Kumiko • Five Element Meridian Movement by Nini Melvin, Northampton, MA • Our Energetic Structure and Today’s Sharing! Doing Distance Sessions to Support both Giver and 5/2/2020 Receiver by Katherine Powers, New York, NY • “The Power of Silence” to improve your listening 11am skills through meditation by Joshua Pittman, New York, NY • Closing Meditation with Kumiko Please check their bio at www.fivelightscenter.com 三礼： Three Bows Chanting • Namu Shinnnyo Ichinyo to Toutoki Mihotoke o Nenji Tatemastsu Ru. • Zangi Zenge Ro Kon Zai Shou Metzujyou Bonnou Metsu Jo Gon Shou. • On Sarabata Tatagyata Hannaman Nou Kyoaromi. Yin – Yan Five Element Meridian Movement by Nini Melvin, Northampton, MA www.ninimelvin.com www.meridiansshiatsu.com Contact: [email protected] Cell: 978-413-3141 • Our Energetic Structure and Doing Distance Sessions to Support both Giver and Receiver by Katherine Powers, New York, NY Contact: [email protected] Cell: 917-432-8801 • “The Power of Silence” to improve your listening skills through meditation by Joshua Pittman, New York, NY Contact: [email protected] Cell: 203-679-1138 Pure Consciousness Self-Pulse Feeling Nadi = Meridians Vigyan = Specific Knowledge Prana = Ki (Energy) How to Feel the Pulse Radial styloid process Location of pulse on radial artery Apply Light, Even Pressure 常楽寺の不動明王像： Immovable Acala • https://www.jorakuji-jodoshu.com/ Buddhist Medicine (Bukkyo Igaku 仏教医学） • Fudou Myouou is the Japanese name for Acala, one of the Five Wisdom Kings of Shingon Buddhism. Acala means "Immovable", meaning how Acala is not moved by temptations of worldly desires. In Japan, Fudou Myouou means the "Immovable Wisdom King". • In Japan, Fudou Myouou was also a protector of mountain spirits and mountain hermits and is also revered as a god of fire. He wields the Kouma Sword ( 降魔剣 Kōmaken) (the evil-subduing sword) in his right hand, and a rope, which he uses to bind and capture evildoers, in his left. The flames in the background represent the purification of the mind. 不動明王慈救呪 Mantra of Immovable Acala Chanting • NOMAKU SANMANDA BASARA DASENDAN MAKARO • SYADA SOWATAYA UNTARATA KANMAN x3 Gassho Our Hands together – One Heart ~ One Planet Thank you! See you soon! Three Little Birds / Bob Marley by Eishin Watanabe • https://www.facebook.com/eishin.watanabe/videos/2958880510854 316/.

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English Index of Taishō Zuzō
APPENDIX 2: TEXTS CITED FROM THE TZ. TZ. (Taisho Zuzobu) is the iconographic section of the Taisho edition of the Chinese Tripitaka. The serial numbers of the Hobogirin are given in brackets. Volume 1 1. (2921) Hizoki ‘Record kept secretly’: 1. Kukai (774-835). 2. Mombi (8th cent.). 2. (2922) Daihi-taizd-futsu-daimandara-chu - Shoson-shuji-kyoji-gydso-shoi-shosetsu-fudoki ‘Observations on the bljas, symbols, forms, and disposition of the deities in the Garbhadhatu-mandala’, by Shinjaku (886-927). 3. (2923) Taizo-mandara-shichijushi-mon ‘Seventy-four questions on the Garbhadhatu’, by Shinjaku (886-927). 4. (2924) Ishiyama-shichi-shu ‘Collection of seven items at Ishiyama’, by Junnyu (890-953). The seven items are: Sanskrit name, esoteric name, blja, samaya symbol, mudra, mantra and figure. 5. (2925) Kongokai-shichi-shu ‘Collection of seven items of the Vajradhatu’, by Junnyu (890-953). 6. (2926) Madara-shd ‘Extract from mandala’, by Ninkai (955-1046). No illustration. 7. (2927) Taizo-sambu-ki ‘Note on three families of the Garbhadhatu’ by Shingo (934-1004). 8. (2928) Taiz5-yogi ‘Essential meaning of the Garbhadhatu’, by Jojin (active in 1108). No illustration. 9. (2929) Ryobu-mandara-taiben-sho ‘Comparison of the pair of mandalas’, by Saisen (1025-1115). No illustration. 10. (2930) Taizokai-shiju-mandara-ryaku-mo ndo ‘Dialogue on the fourfold enclosures of the Garbhadhatu’, by Saisen (1025-1115). No illustration. 11. (2931) Kue-hiyo-sho ‘Extract of the essentials of the nine mandalas’, author unknown. 12. (2932) Ryobu-mandara-kudoku-ryakusho ‘Extract on the merit of the pair of mandalas’, by Kakuban (1095-1143).
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Boldface Page Numbers Indicate a Major Treatment, While Italicized Numbers Indicate a Color Plate Or Figure
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Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū
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Pursuit - the Journal of Undergraduate Research at the University of Tennessee
Pursuit - The Journal of Undergraduate Research at The University of Tennessee Volume 3 Issue 2 Spring 2012 Article 4 March 2012 Shugendō: Pilgrimage and Ritual in a Japanese Folk Religion Andrea K. Gill [email protected] Follow this and additional works at: https://trace.tennessee.edu/pursuit Recommended Citation Gill, Andrea K. (2012) "Shugendō: Pilgrimage and Ritual in a Japanese Folk Religion," Pursuit - The Journal of Undergraduate Research at The University of Tennessee: Vol. 3 : Iss. 2 , Article 4. Available at: https://trace.tennessee.edu/pursuit/vol3/iss2/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Pursuit - The Journal of Undergraduate Research at The University of Tennessee by an authorized editor. For more information, please visit https://trace.tennessee.edu/pursuit. Pursuit: The Journal of Undergraduate Research at the University of Tennessee Copyright © The University of Tennessee Shugendō: Pilgrimage and Ritual in a Japanese Folk Religion ANDREA K. GILL Advisor: Dr. Rachelle Scott Asian Studies, University of Tennessee, Knoxville The religion of Shugendō has no shrines and it has no temples. It only has the liminality of the mountains; a space that is viewed in Japan as being ground that only gods, demons, and ghosts may set foot on. But the Yamabushi are not human, gods, or even demons. Instead they are believed to be living Buddhas, rare people that, through practice in the secluded mountains, have become privy to sacred knowledge that has awakened them to their internal Buddha nature, to borrow the words of Kukai, “in this very lifetime”.
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Maṇḍalas on the Move: Reflections from Chinese Esoteric Buddhism
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A Study of the Iconography, Style, and Origin of Three Tibetanthangka Paintings
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Chapter 2 the Fire Ritual in a Newar Buddhist Context
25 2 3 Table of Contents Chapter 1 Introduction ....................................................................................................... 5 1.1. Research questions, aims and methods ......................................................................... 5 1.2. Sources: Visual materials ................................................................................................ 8 1.3. Sources: The Kriyāsaṃgrahapañjikā and a priest’s manual ........................................... 8 1.4. Sources: Anthropological accounts................................................................................. 9 1.5. Terminology .................................................................................................................. 10 Chapter 2 The fire ritual in a Newar Buddhist context ...................................................... 11 2.1. Homa as a tantric ritual and its place in Newar Buddhist practice .............................. 12 2.1.1. Tantric homa .......................................................................................................... 12 2.1.2. Classifying homa .................................................................................................... 13 2.1.3. Homa in Newar rituals of consecration ................................................................. 14 2.2. Key aspects of homa in Newar fire rituals .................................................................... 19 2.2.1. Actors: Priest and patron ......................................................................................
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