Utilization of 'Urni' in Our Daily Life
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Theravada Buddhism and Dai Identity in Jinghong, Xishuangbanna James Granderson SIT Study Abroad
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2015 Theravada Buddhism and Dai Identity in Jinghong, Xishuangbanna James Granderson SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Chinese Studies Commons, Community-Based Research Commons, Family, Life Course, and Society Commons, Religious Thought, Theology and Philosophy of Religion Commons, and the Sociology of Culture Commons Recommended Citation Granderson, James, "Theravada Buddhism and Dai Identity in Jinghong, Xishuangbanna" (2015). Independent Study Project (ISP) Collection. 2070. https://digitalcollections.sit.edu/isp_collection/2070 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. Theravada Buddhism and Dai Identity in Jinghong, Xishuangbanna Granderson, James Academic Director: Lu, Yuan Project Advisors:Fu Tao, Michaeland Liu Shuang, Julia (Field Advisors), Li, Jing (Home Institution Advisor) Gettysburg College Anthropology and Chinese Studies China, Yunnan, Xishuangbanna, Jinghong Submitted in partial fulfillment of the requirements for China: Language, Cultures and Ethnic Minorities, SIT Study Abroad, Spring 2015 I Abstract This ethnographic field project focused upon the relationship between the urban Jinghong and surrounding rural Dai population of lay people, as well as a few individuals from other ethnic groups, and Theravada Buddhism. Specifically, I observed how Buddhism manifests itself in daily urban life, the relationship between Theravada monastics in city and rural temples and common people in daily life, as well as important events wherelay people and monastics interacted with one another. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
BUDDHISM AS PHILOSOPHY and AS RELIGION Maha Sthavira Sangharakshita Reprinted from Dhammamegha, No.9, July 1982
BUDDHISM AS PHILOSOPHY AND AS RELIGION Maha Sthavira Sangharakshita reprinted from Dhammamegha, no.9, July 1982. Scanned by Lokabandhu, checked by Subhuti September 1997 The chief distinction between philosophy and all other branches of knowledge is generally considered to be twofold, namely, a difference of method and a difference of scope. The method of philosophy is said to be different from the methods of the various sciences inasmuch as it begins its investigations without assumptions or preconceptions of any kind. The sciences, on the contrary, all assume the truth of the law of causation. In addition to this, each science makes certain assumptions within its own special field of enquiry. Classical Physics, for instance, assumes the existence of matter, Biology the existence of life, and Geometry the existence of space. But they do not consider what matter, life and space in themselves really are, or why they should exist at all. To consider that is the business of philosophy which, it is claimed, makes no assumptions whatsoever. But one assumption at least philosophy does in fact make: that knowledge is possible. Even the investigation into the possibility of knowledge implies that knowledge of whether knowledge is possible or not. Philosophy cannot avoid the assumption of the possibility of knowledge, since even the initial act of philosophizing presupposes it. Similarly, religion is based upon the assumption that it is possible to become good, which implies in the first place the freedom of the will and in the second the existence of a goal, whether proximate or ultimate, to be attained. Difference of method does not therefore, distinguish philosophy either from the sciences on the one hand or from religion on the other. -
On Hegel on Buddhism Mario D'amato Rollins College, [email protected]
Rollins College Rollins Scholarship Online Student-Faculty Collaborative Research 1-1-2011 The pS ecter of Nihilism: On Hegel on Buddhism Mario D'Amato Rollins College, [email protected] Robert T. Moore Rollins College Follow this and additional works at: http://scholarship.rollins.edu/stud_fac Part of the Religious Thought, Theology and Philosophy of Religion Commons Published In D'Amato, Mario and Moore, Robert T., "The peS cter of Nihilism: On Hegel on Buddhism" (2011). Student-Faculty Collaborative Research. Paper 28. http://scholarship.rollins.edu/stud_fac/28 This Article is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Student-Faculty Collaborative Research by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Specter of Nihilism: On Hegel on Buddhism ∗ Mario D’Amato and Robert T. Moore Georg Wilhelm Friedrich Hegel (1770-1831) is renowned as one of the most complex and comprehensive modern philosophers. The goal of his philosophical system is nothing less than to explain the interrelationships among all the multifarious aspects of the whole of reality, including the entire array of historical religions. But Hegel’s dialectical method has been criticized as being speculative and idealistic, and his interpretation of religion has been written off by some as an overly ambitious attempt to force the historical religions into the confines of a predetermined hierarchical scheme. As for his perspective on Buddhism, Hegel interprets it as a form of nihilism, stating that for Buddhism, “the ultimate or highest [reality] is…nothing or not- being” and the “state of negation is the highest state: one must immerse oneself in this nothing, in the eternal tranquillity of the nothing generally” (LPR 253).1 Hegel’s interpretation of Buddhism has of course been appropriately criticized in recent scholarship, most ably by Roger-Pol Droit in his work The Cult of Nothingness: The Philosophers and the Buddha (2003). -
Hinduism, Buddhism, Sikhism Hinduism, Buddhism, Sikhism
HINDUISM, BUDDHISM, SIKHISM HINDUISM, BUDDHISM, SIKHISM What is Hinduism? One of the oldest religions of humanity The religion of the Indian people Gave birth to Buddhism, Jainism, Sikhism Tolerance and diversity: "Truth is one, paths are many" Many deities but a single, impersonal Ultimate Reality A philosophy and a way of life – focused both on this world and beyond What do Hindus believe? One impersonal Ultimate Reality – Brahman Manifest as many personal deities True essence of life – Atman, the soul, is Brahman trapped in matter (“That art thou”) Reincarnation – atman is continually born into this world lifetime after lifetime (Samsara) Karma – spiritual impurity due to actions keeps us bound to this world (good and bad) Ultimate goal of life – to release Atman and reunite with the divine, becoming as one with Brahman (Moksha) And we too are manifest forms of God! “We are not human beings having spiritual experiences; We are spiritual beings having a human experience!” “That art Thou” Hinduism is about recognizing the all pervasiveness of the divine Reincarnation, Karma and Service 1. The soul is present in all species of life 2. All life is sacred and worthy of the highest respect 3. Everything that lives and grows is interconnected 4. Where there is life or soul there is atman. 5. At death the soul enters another body. Buddhism Buddhism challenged Brahmanical Hinduism Founded by Siddhartha Gautama-6th century BC Began to look for answers beyond the Vedas Called for a new ethical conception of human affairs 330 million followers Teachings of Buddhism Four Noble Truths Life is suffering; Suffering is due to attachment; Attachment can be overcome; There is a path for accomplishing this. -
Zen Buddhism
A Zen Master in Meditation, Shi K’o (Sekkaku). 10th Century Zen Buddhism SÇtÇ Zen Essays from the ShÇbÇgenzÇ by DÇgen Zenji [DÇgen Zenji (1200-1253) was the founder of the SÇtÇ school of Zen Buddhism. This essay is part of a remarkable collection of essays called ShÇbÇgenzÇ, or “Treasury of the Eye of True Teaching.” The commentary introducing the essays is by the translator Thomas Cleary.] The Issue at Hand (GenjÇkÇan) The term genjÇkÇan seems to appear first in ninth-century China and is often used in Japanese SÇtÇ Zen to refer to present being as the topic of meditation or the issue of Zen. Gen means “manifestation” or “present,” jÇ means “become.” GenjÇ means actuality—being as is, at hand, or accomplished, as of an accomplished fact. KÇan is a common Zen word which is often left untranslated, having to some extent become a naturalized English word. KÇ means official, public, or open, as opposed to private or personal; an means a consideration, or a considered decision. A kÇan in standard literary Chinese means an official report or an issue under consideration. The term was adopted in Zen with much the same meanings, only transposed into the frame of reference of Zen tradition and experience. GenjÇkÇan is one of the most popular and oft-quoted essays in ShÇbÇgenzÇ. Written to a lay disciple, it contains a number of key points stated in a most concise fashion. The very first paragraph contains a complete outline of Zen, in a covert presentation of the so-called “five ranks” (go i) device of the original Chinese SÇtÇ Zen school. -
Odisha Review
ODISHA REVIEW VOL. LXXIV NO.4 NOVEMBER - 2017 SURENDRA KUMAR, I.A.S. Commissioner-cum-Secretary LAXMIDHAR MOHANTY, O.A.S Director DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Kishor Kumar Sinha Raju Singh Manoranjan Mohanty Niranjan Baral The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Rs.5/- Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Good Governance ... ... 1 Baliyatra : A Festival of Odisha's Ancient Maritime Trade Dr. Rabindra Nath Dash ... 13 Measuring Fiscal Performance of Indian States with Special Dr. Bibhuti Ranjan Mishra ... 17 Reference to Odisha Prof. Asit Ranjan Mohanty Kalinga and Champa : A Study in Ancient Maritime Relations Dr. Benudhar Patra ... 22 Paika Rebellion of 1817 : The First Independence War of India Akshyaya Kumar Nayak ... 27 Boita Bandana Festival and Water Pollution Dr. Manas Ranjan Senapati ... 32 Odisha Welcomes the World as Tourist But Bids Farewell as Friend Debadutta Rath ... 34 Exploring the Lost River(s) at Konark : Chirashree Srabani Rath, ... 39 A Multi-Disciplinary Approach Rashmi Ranjan Behera, Subhomay Jana, Priyadarshi Patnaik, and William K. -
Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2020-2021 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts. -
Classicism in Indian Dance Styles: Natya, Nṛtta and Nṛtya
GAP PARAMPARA A GLOBAL JOURNAL OF ART, AESTHETICS AND CULTURE CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA Manasi Raghunandan Abstract BharataNa̅ tyam , Kathak, Kathakali, Mohini Attam, Manipuri, Kuchipudi, Odissi, Sattriya are considered as the Indian classical dance forms. It has a long established timeline of its origin, history and development. And there are several factors affecting the structure of the current format of these classical dance forms, however, each dance form which falls under the classical genre, does have a great source of base from the Natya Shastra and later, influence from Abhinaya Darpana and the latter books on dance. Classicism in Indian classical dance is non-obsolete as in India people follow the traditions, mythology and cultural aspects closely. Indian dance of the classical genre is not confined any more to the boundaries of being strictly religious in nature however, one cannot identify Indian classical dance without the Indian philosophical ideologies and has socio-spiritual substance CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA. India, the land of diverse cultures, traditions and ancient practices, is the most celebrated place of pioneering complex, intricate and technical genres of music, dance alongside spirituality. Indian dances cannot be considered to be in its full identity, if the classical forms are not spoken about. Classical practice is an integral part of the Indian society and has been a key source to put India strong up ahead, on the world cultural map. Indian classical dance is complete in its technique and form when it is mapped with classical music, literature, its history along with the geographical and regional interdependences as well as socio-cultural impressions, visible in it. -
Mardal, Odissi, a O Solely in with Integral D Tradition Recognition Call V Also the Sculpture, Accompanied a Vibrant on Rich Growth
PARIPEX - INDIAN JOURNAL OF RESEARCH Volume-8 | Issue-3 | March-2019 | PRINT ISSN No - 2250-1991 ORIGINAL RESEARCH PAPER Social Science CULTURAL TRADITION OF ODISHA AND MARDAL: KEY WORDS: Mardal, Odissi, A CRITICAL ANALYSIS Culture, Music Dibakar Parida Faculty Of Odissi Vocal, Utkal University Of Culture, Bhubaneswar Odisha is considered as the land of arts and the music of this land shall remain forever. this a land where, the sweet chirping sounds of birds amid the dense green forests here, the rhythmic sound beats produced by the waterfalls and rivers, the roaring sounds of sea waves exist only on this land and all these nature's gift's are reflected in the art, literature, music and dance of this land which is not found in other art forms. There is uniqueness in the development of Aryan, Dravid and austik. Odissi style of classical music has some similarity with Hindustani 'Dhrupad' style. 'Gamak' is common to both, though Odissi also adopts the ABSTRACT 'Tom Nom' sounds. The percussion instrument played with Odissi music is the 'Mardal', which is similar to 'Pakhawaj'. The sculpture of Kalinga is unique in itself varies from the sculpture melodious sounds vibrating from this 'Maadal' or 'Mardal' of north India and south India. Accordingly the Odissi style of music instrument used to create an amazing and magical feeling among has its own uniqueness and it is quite different from north Indian the audience. Earlier these 'Sabar' tribals used to call this 'Maadal' and south Indian music. Temple sculptures in Odisha abound in instrument as 'Mattal' (meaning intoxicating). -
Fashion Text Book
Fashion STUDIES Text Book CLASS-XII CENTRAL BOARD OF SECONDARY EDUCATION Preet Vihar, Delhi - 110301 FashionStudies Textbook CLASS XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110 301 India Text Book on Fashion Studies Class–XII Price: ` First Edition 2014, CBSE, India Copies: "This book or part thereof may not be reproduced by any person or agency in any manner." Published By : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 Design, Layout : Multi Graphics, 8A/101, W.E.A. Karol Bagh, New Delhi-110005 Phone: 011-25783846 Printed By : Hkkjr dk lafo/ku mísf'kdk ge] Hkkjr ds yksx] Hkkjr dks ,d lEiw.kZ 1¹izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kkRed x.kjkT;º cukus ds fy,] rFkk mlds leLr ukxfjdksa dks% lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /eZ vkSj mikluk dh Lora=krk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj 2¹jk"Vª dh ,drk vkSj v[kaMrkº lqfuf'pr djus okyh ca/qrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/ku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~ }kjk bl lafo/ku dks vaxhÑr] vf/fu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶izHkqRo&laiUu yksdra=kkRed x.kjkT;¸ ds LFkku ij izfrLFkkfirA 2- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶jk"Vª dh ,drk¸ ds LFkku ij izfrLFkkfirA Hkkx 4 d ewy dÙkZO; 51 d- ewy dÙkZO; & Hkkjr ds izR;sd ukxfjd dk ;g dÙkZO; gksxk fd og & (d) lafo/ku -
Annual Report 2013-2014
Annual Report 2013-2014 Indira Gandhi National Open University Maidan Garhi, New Delhi-110068 www.ignou.ac.in ANNUAL REPORT 2013-14 Preparation Team : Dr. P. Prakash (Chairperson), Prof. A.R. Khan, Prof. A.K. Singh, Dr. S.K. Mohapatra, Dr. J.K. Srivastava, Dr. H.K. Sethi, Sh Sandeep Kumar, Sh Vinod Kumar, Sh Aseem Kumar, Dr. Shakila T. Shamsu, Dr. Sunil Kumar, Prof. T.U. Fulzele (Convener). Graphics : Shri K. Vishwanath, Dy. Director (Graphics), EMPC. Manuscript Preparation : Ms. Saroj Rawat, Sr. Assistant and Mr. Bhupender Kumar, Stenographer, Planning & Development Division. Print Production : Shri Rajiv Girdhar, A. R. (P) Shri Tilak Raj, S.O. (P), MPDD. © Indira Gandhi National Open University, 2014 This report was finalised by the preparation team with the help of Planning and Development Division, IGNOU and approved by the Board of Management through circulation. Laser Typesetting by M/s. Rajshree Computers, V-166A Bhagwati Vihar, (Near Sec. 2, Dwarka), Uttam Nagar, New Delhi-110059 Printed at M/s. : Public Printing (Delhi) Service, C-80, Okhla Industrial Area, Phase-I, New Delhi-110020 2 | Indira Gandhi National Open University ANNUAL REPORT 2013-14 CONTENTS Page No . From the Vice-Chancellor’s Desk 5 Executive Summary 7 Chapter-I Indira Gandhi National Open University : A Profile 9 Chapter-II Academic Activities 15 Chapter-III Enrolment and Learners’ Profile 28 Chapter-IV Learning Support Activities 34 Chapter-V Technology for Education 47 Chapter-VI Governance, Resources and Infrastructure 50 Appendix-1 Members of the University