A Study of the Iconography, Style, and Origin of Three Tibetanthangka Paintings
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Mahamayuri Vidyarajni Sadhana” E‐Book
ACKNOWLEDGEMENTS The Padmakumara website would like to gratefully acknowledge the following individuals for contributing to the production of “Mahamayuri Vidyarajni Sadhana” e‐book. Translator: Alice Yang, Zhiwei Editor: Jason Yu Proofreader: Renée Cordsen, Jackie Ho E‐book Designer: Alice Yang, Ernest Fung The Padmakumara website is most grateful to Living Buddha Lian‐sheng for transmitting such precious dharma. May Living Buddha Lian‐sheng always be healthy and continue to teach and liberate beings in samsara. May all sentient beings quickly attain Buddhahood. Om Guru Lian‐Sheng Siddhi Hum. Exhaustive research was undertaken to ensure the content in this e‐book is accurate, current and comprehensive at publication time. However, due to differing individual interpreting skills and language differences among translators and editors, we cannot be responsible for any minor wording discrepancies or inaccuracies. In addition, we cannot be responsible for any damage or loss which may result from the use of the information in this e‐book. The information given in this e‐book is not intended to act as a substitute for the actual lineage and transmission empowerments from H.H. Living Buddha Lian‐sheng or any authorized True Buddha School master. If you wish to contact the author or would like more information about the True Buddha School, please write to the author in care of True Buddha Quarter. The author appreciates hearing from you and learning of your enjoyment of this e‐book and how it has helped you. We cannot guarantee that every letter written to the author can be answered, but all will be forwarded. -
Pilgrimage to Drakar Dreldzong
Pilgrimage to Drakar Dreldzong The Written Tradition and Contemporary Practices among Amdo Tibetans ,#-7--a};-1 Zhuoma ( |) Thesis Submitted for the Degree of M. Phil in Tibetan Studies Department of Culture Studies and Oriental Languages University of Oslo Spring 2008 1 Summary This thesis focuses on pilgrimage (gnas skor) to Drakar Dreldzong, a Buddhist holy mountain (gnas ri) in a remote area of Amdo, Tibet, in the present day Qinghai Province in the western part of China. The mountain had long been a solitude hermitage and still is a popular pilgrimage site for Tibetan lamas and nearby laymen. Pilgrimage to holy mountains was, and still is, significant for the religious, cultural and literary life of Tibet, and even for today’s economic climate in Tibet. This thesis presents the traditional perceptions of the site reflected both in written texts, namely pilgrimage guides (gnas bshad), and in the contemporary practices of pilgrimage to Drakar Dreldzong. It specifically talks about an early pilgrimage guide (Guide A) written by a tantric practitioner in the early 17th century, and newly developed guides (Guides B, C and D), based on the 17th century one, edited and composed by contemporary Tibetan lay intellectuals and monks from Dreldzong Monastery. This monastery, which follows the Gelukba tradition, was established in 1923 at the foot of the mountain. The section about the early guide mainly introduces the historical framework of pilgrimage guides and provides an impression of the situation of the mountain in from the 17th to the 21st century. In particular, it translates the text and gives comments and analysis on the content. -
Who Are the Buddhist Deities?
Who are the Buddhist Deities? Bodhisatta, receiving Milk Porridge from Sujata Introduction: Some Buddhist Vipassana practitioners in their discussion frown upon others who worship Buddhist Deities 1 or practice Samadha (concentrationmeditation), arguing that Deities could not help an individual to gain liberation. It is well known facts, that some Buddhists have been worshipping Deities, since the time of king Anawratha, for a better mundane life and at the same time practicing Samadha and Vipassana Bhavana. Worshipping Deities will gain mundane benefits thus enable them to do Dana, Sila and Bhavana. Every New Year Burmese Buddhists welcome the Sakka’s (The Hindu Indra God) visit from the abode of thirty three Gods - heaven to celebrate their new year. In the beginning, just prior to Gotama Buddha attains the enlightenment, many across the land practice animism – worship spirits. The story of Sujata depicts that practice. Let me present the story of Sujata as written in Pali canon : - In the village of Senani, the girl, Sujata made her wish to the tree spirit that should she have a good marriage and a first born son, she vowed to make yearly offering to the tree spirits in grateful gratitude. Her wish having been fulfilled, she used to make an offering every year at the banyan tree. On the day of her offering to the tree spirit, coincidentally, Buddha appeared at the same Banyan tree. On the full moon day of the month Vesakha, the Future Buddha was sitting under the banyan tree. Sujata caught sight of the Future Buddha and, assuming him to be the tree-spirit, offered him milk-porridge in a golden bowl. -
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). -
THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- 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 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
MBS Course Outline 11-12 (Updated on September 9, 11)
MBS Course Outline 11-12 (Updated on September 9, 11) Centre of Buddhist Studies The University of Hong Kong Master of Buddhist Studies Course Outline 2011-2012 (Course details laid out in this course outline is only for reference. Please refer to the version provided by the teachers in class for confirmation.) BSTC6079 Early Buddhism: a doctrinal exposition (Foundation Course) Lecturer Prof. Y. Karunadasa Tel: 2241-5019 Email: [email protected] Schedule: 1st Semester; Monday 6:30 – 9:30 p.m. Class Venue: P4, Chong Yuet Ming Physics Building Course Description This course will be mainly based on the early Buddhist discourses (Pali Suttas) and is designed to provide an insight into the fundamental doctrines of what is generally known as Early Buddhism. It will begin with a description of the religious and philosophical milieu in which Buddhism arose in order to show how the polarization of intellectual thought into spiritualist and materialist ideologies gave rise to Buddhism. The following themes will be an integral part of this study: analysis of the empiric individuality into khandha, ayatana, and dhatu; the three marks of sentient existence; doctrine of non-self and the problem of Over-Self; doctrine of dependent origination and its centrality to other Buddhist doctrines; diagnosis of the human condition and definition of suffering as conditioned experience; theory and practice of moral life; psychology and its relevance to Buddhism as a religion; undetermined questions and why were they left undetermined; epistemological standpoint and the Buddhist psychology of ideologies; Buddhism and the God-idea and the nature of Buddhism as a non-theistic religion; Nibbana as the Buddhist ideal of final emancipation. -
Sahasra Buddha
SAHASRA BUDDHA Nirmal C. Sinha The only image pennitted in Theravada temples is that of the historical Buddha, Gautama Sakya Muni. In Mahayana temple$-in the Himalayas, Tibet and Mongolia-besides the historical Buddha designated simply Buddha (T. Sangay) or Sakya Muni cr. Sakya-Thubpa), there would be many images ranging from Three to Thousand according to size and resources of temple or monastery concerned, SahasraBuddha(T. Sangay Tongda) was no doubt the ideal count by 9th century A.D. when Mahayana pantheon was sculptured and painted in Samye (Central Tibet) and Tun Huang (northern outpost of ancient Tibetan empire). Sanskrit-Tibetan Lexicon Mahavyutpatti (Circa 820 A.D.) testifies to the usage ofSahasraBuddhaas then current. In BhadraJcalpa Sutra, now aVi!lilable only in Tibetan translation, the number recorded is 1000. The figures are those of Buddhas and Bodhisattvas, historical ar. J legendary, besides the Goddesses. Figures of patrons and protectors of Dharma would be. permissible in paintings and iconography as such persons no doubt had taken the Refuge in Dharma (T.Cho) and believers would admire them if not adore them as Bodhisattvas cr. Changchub Sempa). Since Dharmaraja cr. Chogyal) was Bodhisattva par-excellence and Asoka Maurya was the first and greatest Dharmaraja, Mahayana ')(lntheon had a place of high honour for Asoka. FollOWing the Indian tradition the first and greatest Chogyal of Tibet, Song-tsen Gampo was apotheosised. Mahayana was preached by Nagarjuna a contemporary of the Kushanas in North India and the Sotavahanas in South India. This preaching by Nagarjuna was described by Mahayana believers as Second Turning of the Wheel of Law and Nagarjuna was in Mahayana tradition the Second Buddha. -
The Iconography of the Honey Bee in Western Art
Dominican Scholar Master of Arts in Humanities | Master's Liberal Arts and Education | Graduate Theses Student Scholarship May 2019 The Iconography of the Honey Bee in Western Art Maura Wilson Dominican University of California https://doi.org/10.33015/dominican.edu/2019.HUM.06 Survey: Let us know how this paper benefits you. Recommended Citation Wilson, Maura, "The Iconography of the Honey Bee in Western Art" (2019). Master of Arts in Humanities | Master's Theses. 6. https://doi.org/10.33015/dominican.edu/2019.HUM.06 This Master's Thesis is brought to you for free and open access by the Liberal Arts and Education | Graduate Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Master of Arts in Humanities | Master's Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. This thesis, written under the direction of the candidate's thesis advisor and approved by the department chair, has been presented to and accepted by the Master of Arts in Humanities Program in partial fulfillment of the equirr ements for the degree of Master of Arts in Humanities. An electronic copy of of the original signature page is kept on file with the Archbishop Alemany Library. Maura Wilson Candidate Joan Baranow, PhD Program Chair Joan Baranow, PhD First Reader Sandra Chin, MA Second Reader This master's thesis is available at Dominican Scholar: https://scholar.dominican.edu/humanities- masters-theses/6 i The Iconography of the Honey Bee in Western Art By Maura Wilson This thesis, written under the direction of the candidate’s thesis advisor and approved by the program chair, has been presented to an accepted by the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts in Humanities Dominican University of California San Rafael, CA May 2019 ii iii Copyright © Maura Wilson 2019. -
Boldface Page Numbers Indicate a Major Treatment, While Italicized Numbers Indicate a Color Plate Or Figure
INDEX Boldface page numbers indicate a major treatment, while italicized numbers indicate a color plate or figure. Abe family, 689–90 Yuqi jing abhisekạ and Annen’s Abe no Seimei, 690 commentaries, 774–75 Kūkai born into, 1033 Wuwei sanzan chanyao and, 298 Abé, Ryūichi, 88, 177, 280, 304, 354, 593, see also cakravartin kings; kanjō; 668, 693, 702, 704, 1031 praxis; The Tōji Lecture Hall abhisekạ bodhimaṇḍa ( guanding Abhisekạ sūtra (Bussetsu-kanjō-kyō), daochang, consecration arenas), in the Nara period, 666 according to Haiyun, 287 Acala abhisekạ (guanding) Amoghavajra’s ritual command of, 356 administration of via government Budong shizhe tuoluoni mimi fa, T.1202 infrastructure, 265–66, 330 (secret dhāraṇī methods of Acala), 349 Amoghavajra’s performance of at the importance of cult of in the Zhenyan imperial court, 281, 351, 356–57 tradition, 102 analogues to, in the ritual systems in summary of iconography of, 106–8, the Dhāraṇisaṃ graha sūtra, 23–24 107f.8 appropriation of ritual details into as Vairocana, 106 early practices of, 74–75 Vajrapāṇi and, 102, 106 bestowal of, on Koryŏ kings, 603 Acalanātha Vidyārāja (Fudō Myōō) Consecration Scripture (Guanding jing, cult of initiated by Enchin, 748 T.1331) and, 74, 221, 305 esoteric and tantric practice associated coordination of with triple refuge in with, 15, 134, 931, 1049 MVS, 85–86 the five great mantra kings and, 911 discrete uses of within Indian ritual gomadō dedicated to at Byōdōin, 917 programs, 71–72 images of, 943f.7, 973f.18, 974 as feature of esoteric Buddhism, 5, Kamakura -
He Noble Path
HE NOBLE PATH THE NOBLE PATH TREASURES OF BUDDHISM AT THE CHESTER BEATTY LIBRARY AND GALLERY OF ORIENTAL ART DUBLIN, IRELAND MARCH 1991 Published by the Trustees of the Chester Beatty Library and Gallery of Oriental Art, Dublin. 1991 ISBN:0 9517380 0 3 Printed in Ireland by The Criterion Press Photographic Credits: Pieterse Davison International Ltd: Cat. Nos. 5, 9, 12, 16, 17, 18, 21, 22, 25, 26, 27, 29, 32, 36, 37, 43 (cover), 46, 50, 54, 58, 59, 63, 64, 65, 70, 72, 75, 78. Courtesy of the National Museum of Ireland: Cat. Nos. 1, 2 (cover), 52, 81, 83. Front cover reproduced by kind permission of the National Museum of Ireland © Back cover reproduced by courtesy of the Trustees of the Chester Beatty Library © Copyright © Trustees of the Chester Beatty Library and Gallery of Oriental Art, Dublin. Chester Beatty Library 10002780 10002780 Contents Introduction Page 1-3 Buddhism in Burma and Thailand Essay 4 Burma Cat. Nos. 1-14 Cases A B C D 5 - 11 Thailand Cat. Nos. 15 - 18 Case E 12 - 14 Buddhism in China Essay 15 China Cat. Nos. 19-27 Cases F G H I 16 - 19 Buddhism in Tibet and Mongolia Essay 20 Tibet Cat. Nos. 28 - 57 Cases J K L 21 - 30 Mongolia Cat. No. 58 Case L 30 Buddhism in Japan Essay 31 Japan Cat. Nos. 59 - 79 Cases M N O P Q 32 - 39 India Cat. Nos. 80 - 83 Case R 40 Glossary 41 - 48 Suggestions for Further Reading 49 Map 50 ■ '-ie?;- ' . , ^ . h ':'m' ':4^n *r-,:«.ria-,'.:: M.,, i Acknowledgments Much credit for this exhibition goes to the Far Eastern and Japanese Curators at the Chester Beatty Library, who selected the exhibits and collaborated in the design and mounting of the exhibition, and who wrote the text and entries for the catalogue. -
§¨ ¨ Úf' Ú 7 ºú9º Ú
Restricted text. Please do not distribute. §¨¨ÚFÚ7ºÚ9ºÚ º¬ Rangjung Peme Nyingtik His Holiness Dilgo Khyentse Rinpoche Restricted text. Please do not distribute. Introduction Ask anyone who ever met His Holiness Dilgo Khyentse Rinpoche about his qualities and you will probably get a similar description. He had a most unusual physical presence. His body was grand and stable like a mountain, yet a soft, yielding, and vibrant energy seemed to flow through him unobstructedly, like a river. Most striking was the unceasing quality of his teaching. There was no break in his speech: as he inhaled he taught and as he exhaled he taught. An unending stream of people came to see him each day, yet his compas- sionate activities and his longing to serve others never diminished. How does someone with so many people under his care generate such deep reservoirs of energy? For us to truly understand the wonder and mystery of his activity we will have to study and practice the Dharma. His Holiness, without a doubt, embodied all the great tradi- tions of the rime, or non-sectarian, movement and demonstrated this as a living experience, manifesting an example of enlightened activity for all to see. He has, with great kindness, passed many of these teachings on to us either directly or through our own teachers. Now is the time to put them to use. The prayers in this book have been compiled for the cenntenial celebrations of His Holiness’ birth in the United States. This year Rinpoche graciously returns to us as a promising young man of 17 years. -
13. Tibetan Buddhism.Pdf
Prajïäpäramitä Sütra, Tibetan Manuscript Tibetan Buddhism Çäntideva's Bodhisattva Vow 12. By giving up all, sorrow is transcended And my mind will realize the sorrowless state. [Çäntideva was an 8th century Indian Mahäyäna It is best that I now give all to all beings philosopher of the Mädhyamika school (in the line from In the same way as I shall at death. Nägärjuna). His text, the Bodhicaryävatära (Guide to the Bodhisattva Way of Life) still exists in Sanskrit and 13. Having given this body up its Tibetan translation is universally used in the practice of For the pleasure of all living beings, Tibetan Buddhism. The Dalai Lama regards this text to be By killing, abusing, and beating it of paramount importance. In the film Kundun, about the May they always do as they please. life of the Dalai Lama, we hear these opening verses as the young Dalai Lama is given his first instruction.] 14. Although they may play with my body And make it a thing of ridicule, 8. May I be the doctor and the medicine Because I have given it up to them And may I be the nurse What is the use of holding it dear? For all sick beings in the world Until everyone is healed. 15. Therefore I shall let them do anything to it That does not cause them any harm, 9. May a rain of food and drink descend And when anyone encounters me To clear away the pain of thirst and hunger May it never be meaningless for him. And during the eon of famine May I myself turn into food and drink.