TIBETAN YOGA and SECRET DOCTRINES Second Edition Seven Books of Wisdom of the Great Path Arranged and Edited by W
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Yoga Makaranda Yoga Saram Sri T. Krishnamacharya
Yoga Makaranda or Yoga Saram (The Essence of Yoga) First Part Sri T. Krishnamacharya Mysore Samasthan Acharya (Written in Kannada) Tamil Translation by Sri C.M.V. Krishnamacharya (with the assistance of Sri S. Ranganathadesikacharya) Kannada Edition 1934 Madurai C.M.V. Press Tamil Edition 1938 Translators’ Note This is a translation of the Tamil Edition of Sri T. Krishnamacharya’s Yoga Makaranda. Every attempt has been made to correctly render the content and style of the original. Any errors detected should be attributed to the translators. A few formatting changes have been made in order to facilitate the ease of reading. A list of asanas and a partial glossary of terms left untranslated has been included at the end. We would like to thank our teacher Sri T. K. V. Desikachar who has had an inestimable influence upon our study of yoga. We are especially grateful to Roopa Hari and T.M. Mukundan for their assistance in the translation, their careful editing, and valuable suggestions. We would like to thank Saravanakumar (of ECOTONE) for his work reproducing and restoring the original pictures. Several other people contributed to this project and we are grateful for their efforts. There are no words sufficient to describe the greatness of Sri T. Krishna- macharya. We began this endeavour in order to better understand his teachings and feel blessed to have had this opportunity to study his words. We hope that whoever happens upon this book can find the same inspiration that we have drawn from it. Lakshmi Ranganathan Nandini Ranganathan October 15, 2006 iii Contents Preface and Bibliography vii 1 Introduction 1 1.1 Why should Yogabhyasa be done . -
Prathyusha Dasari Science and Sanatan Dharma Scholarship
Prathyusha Dasari Science and Sanatan Dharma Scholarship Initiative of Coalition of Hindu Youth August 25, 2015 Moksha through Seva Neither a blood drive nor a bone marrow drive has been held at my Mandir, but there have been focus groups where the ideas of blood drives and bone marrow drives have been discussed. Educating the community about these drives is important to growth of the Hindu community and of the future generations. The importance of these drives is presented in the teachings of the Bhagavad Gita and in everyday values we teach our children. In the Bhagavad Gita, Krishna discusses the importance of the three yogas—karma yoga, bhakti yoga, and jnana yoga—and how they will help us attain moksha. Karma yoga, best described, is the idea of “inaction in action and action in action.” Karma yoga requests us to take action without any attachment to results. Bhakti yoga is a path of worship which comprises of remembering God at all times, regardless of what action is being performed. Jnana yoga is the path to wisdom that comprises of accepting the idea that the Brahman is the ultimate reality. These yogas are the fundamental pillars on which Hinduism rests as they provide a firm foundation to base our lives upon. They teach us to do well to others without ulterior motives, remember the Lord that gave us the opportunity to prove ourselves in this world, and remember that one should not live life with materialistic intentions. A blood drive or bone marrow drive takes into account each of these yogas, and teaches the community the pillars or Hinduism while enforcing the values that elders have been preaching. -
The Manipulation of Literature
Routledge Revivals The Manipulation of Literature First published in 1985, the essays in this edited collection offer a representative sample of the descriptive and systematic approach to the study of literary translation. The book is a reflection of the theoretical thinking and practical research carried out by an international group of scholars who share a common standpoint. They argue the need for a rigorous scientific approach to the phenomena of translation – one of the most significant branches of Comparative Literature – and regard it as essential to link the study of particular translated texts with a broader methodological position. Considering both broadly theoretical topics and particular cases and traditions, this volume will appeal to a wide range of students and scholars across disciplines. This page intentionally left blank The Manipulation of Literature Studies in Literary Translation Edited by Theo Hermans First published in 1985 by Croom Helm, Ltd This edition first published in 2014 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 1985 Theo Hermans and Contributors The right of Theo Hermans to be identified as editor of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Gandharan Origin of the Amida Buddha Image
Ancient Punjab – Volume 4, 2016-2017 1 GANDHARAN ORIGIN OF THE AMIDA BUDDHA IMAGE Katsumi Tanabe ABSTRACT The most famous Buddha of Mahāyāna Pure Land Buddhism is the Amida (Amitabha/Amitayus) Buddha that has been worshipped as great savior Buddha especially by Japanese Pure Land Buddhists (Jyodoshu and Jyodoshinshu schools). Quite different from other Mahāyāna celestial and non-historical Buddhas, the Amida Buddha has exceptionally two names or epithets: Amitābha alias Amitāyus. Amitābha means in Sanskrit ‘Infinite light’ while Amitāyus ‘Infinite life’. One of the problems concerning the Amida Buddha is why only this Buddha has two names or epithets. This anomaly is, as we shall see below, very important for solving the origin of the Amida Buddha. Keywords: Amida, Śākyamuni, Buddha, Mahāyāna, Buddhist, Gandhara, In Japan there remain many old paintings of the Amida Triad or Trinity: the Amida Buddha flanked by the two bodhisattvas Avalokiteśvara and Mahāsthāmaprāpta (Fig.1). The function of Avalokiteśvara is compassion while that of Mahāsthāmaprāpta is wisdom. Both of them help the Amida Buddha to save the lives of sentient beings. Therefore, most of such paintings as the Amida Triad feature their visiting a dying Buddhist and attempting to carry the soul of the dead to the AmidaParadise (Sukhāvatī) (cf. Tangut paintings of 12-13 centuries CE from Khara-khoto, The State Hermitage Museum 2008: 324-327, pls. 221-224). Thus, the Amida Buddha and the two regular attendant bodhisattvas became quite popular among Japanese Buddhists and paintings. However, the origin of this Triad and also the Amida Buddha himself is not clarified as yet in spite of many previous studies dedicated to the Amida Buddha, the Amida Triad, and the two regular attendant bodhisattvas (Higuchi 1950; Huntington 1980; Brough 1982; Quagliotti 1996; Salomon/Schopen 2002; Harrison/Lutczanits 2012; Miyaji 2008; Rhi 2003, 2006). -
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. -
Reports on Yamas and Niyamas
REPORTS ON YAMAS AND NIYAMAS Every year, students undergoing the 6 month Sadhana and teachers training are given assignments on one of he five Yamas and five Niyamas. This year during November 2009, Laura Biagi has compiled and presented this excellent work on the twins of Brahmacharya and Saucha. Excellent work from an excellent student!!- Editor REPORTS ON YAMAS AND NIYAMAS YAMAS: BRAHAMACHARYA Laura Biagi Generally translated as “restrain of sexuality”, this Yama – while involving the awareness and control of sexual energy – is not limited to sexuality as we understand it in the West. In Yoga 1 to 10, Dr. Ananda Balayogi Bhavanani writes that Brahmacharya is “the continuous residence in the principle of creativity”. The first step to take in this analysis and understanding is the relationship between the principle of creativity and the principle of sexual energy. Yamas are tools to control our animal nature and to progress in our human evolution. Let’s look at the evolutionary steps we took from being animals to being humans in relation to our sexuality. Animals use their sexual energy to pro- create . The procreative instinct is very strong in animals. It is vital ( vital comes from the Latin vita , life). Animals spend quite some time and energy mating, coupling, procreating, making a new nest, taking care of the young and so on. Animals have quite different habits in the way they use their sexual energy, too. As humans, we are still carrying with us some of the instincts and emotions of animals: most of us have probably felt one time or another a sexual attraction or repulsion, a sexual arousal, attachment to a mate, fear or loosing the mate, desire to find a mate, jealousy, passion, and so on. -
DHYANA VAHINI Stream of Meditation
DHYANA VAHINI Stream of Meditation SATHYA SAI BABA Contents Dhyana Vahini 5 Publisher’s Note 6 PREFACE 7 Chapter I. The Power of Meditation 10 Binding actions and liberating actions 10 Taming the mind and the intelligence 11 One-pointedness and concentration 11 The value of chanting the divine name and meditation 12 The method of meditation 12 Chapter II. Chanting God’s Name and Meditation 14 Gauge meditation by its inner impact 14 The three paths of meditation 15 The need for bodily and mental training 15 Everyone has the right to spiritual success 16 Chapter III. The Goal of Meditation 18 Control the temper of the mind 18 Concentration and one-pointedness are the keys 18 Yearn for the right thing! 18 Reaching the goal through meditation 19 Gain inward vision 20 Chapter IV. Promote the Welfare of All Beings 21 Eschew the tenfold “sins” 21 Be unaffected by illusion 21 First, good qualities; later, the absence of qualities 21 The placid, calm, unruffled character wins out 22 Meditation is the basis of spiritual experience 23 Chapter V. Cultivate the Blissful Atmic Experience 24 The primary qualifications 24 Lead a dharmic life 24 The eight gates 25 Wish versus will 25 Take it step by step 25 No past or future 26 Clean and feed the mind 26 Chapter VI. Meditation Reveals the Eternal and the Non-Eternal 27 The Lord’s grace is needed to cross the sea 27 Why worry over short-lived attachments? 27 We are actors in the Lord’s play 29 Chapter VII. -
Eight Manifestations of Padmasambhava Essay
Mirrors of the Heart-Mind - Eight Manifestations of Padmasam... http://huntingtonarchive.osu.edu/Exhibitions/sama/Essays/AM9... Back to Exhibition Index Eight Manifestations of Padmasambhava (Image) Thangka, painting Cotton support with opaque mineral pigments in waterbased (collagen) binder exterior 27.5 x 49.75 inches interior 23.5 x 34.25 inches Ca. 19th century Folk tradition Museum #: 93.011 By Ariana P. Maki 2 June, 1998 Padmasambhava, also known as Guru Rinpoche, Padmakara, or Tsokey Dorje, was the guru predicted by the Buddha Shakyamuni to bring the Buddhist Dharma to Tibet. In the land of Uddiyana, King Indrabhuti had undergone many trials, including the loss of his young son and a widespread famine in his kingdom. The Bodhisattva Avalokiteshvara felt compassion for the king, and entreated the Buddha Amitabha, pictured directly above Padmasambhava, to help him. From his tongue, Amitabha emanated a light ray into the lake of Kosha, and a lotus grew, upon which sat an eight year old boy. The boy was taken into the kingdom of Uddiyana as the son of King Indrabhuti and named Padmasambhava, or Lotus Born One. Padmasambhava grew up to make realizations about the unsatisfactory nature of existence, which led to his renunciation of both kingdom and family in order to teach the Dharma to those entangled in samsara. Over the years, as he taught, other names were bestowed upon him in specific circumstances to represent his realization of a particular aspect of Buddhism. This thangka depicts Padmasambhava, in a form also called Tsokey Dorje, as a great guru and Buddha in the land of Tibet. -
South-Indian Images of Gods and Goddesses
ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh. -
The Global Connections of Gandhāran Art
More Gandhāra than Mathurā: substantial and persistent Gandhāran influences provincialized in the Buddhist material culture of Gujarat and beyond, c. AD 400-550 Ken Ishikawa The Global Connections of Gandhāran Art Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019 Edited by Wannaporn Rienjang Peter Stewart Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78969-695-0 ISBN 978-1-78969-696-7 (e-Pdf) DOI: 10.32028/9781789696950 www.doi.org/10.32028/9781789696950 © Archaeopress and the individual authors 2020 Gandhāran ‘Atlas’ figure in schist; c. second century AD. Los Angeles County Museum of Art, inv. M.71.73.136 (Photo: LACMA Public Domain image.) This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Acknowledgements ����������������������������������������������������������������������������������������������������������������������������iii Illustrations ����������������������������������������������������������������������������������������������������������������������������������������iii Contributors ��������������������������������������������������������������������������������������������������������������������������������������� iv Preface ������������������������������������������������������������������������������������������������������������������������������������������������ -
Tibetan Buddhist Meditation Sangharakshita
Lecture 61: Tibetan Buddhist Meditation Sangharakshita Mr Chairman and Friends, Time is passing, as time always does pass, and it seems that we are now craw inq to tte end of our course on an Introduction to Tibetan Buddhism, and this is in fact this evening the last lecture but one. Let me just remind you, before we begin, That the first half of the series, the lectures comprising the first half of the series, were more historical and as it were even institutional in character, but the second half of the series, The second group of four lectures, ses to be rather more practical, rather more, if you like, religious or spiri tual, The week before last, therefore, beginning this second group within the series, we dealt with Symbols of Tibetan Buddhist Art, and last week, as you may recollect, we dealt with the Four Foundation Yogas of the Tibetan Buddhist Tantra, Now today we come, in our seventh lecture, to the most practical, we might also say the most religious, the most spiritual, aspect of all: we come to something which constitutes the heart in many ways of the spiritual life, that is we come to Tibetan Buddhist Meditation, Now we may say, in a general way, that meditation, or dhyana, is an important aspect not only of Tibetan Buddhism but of all schools, of all Buddhist traditions whatsoever. Whether one examines the Theravada teachings or those of the general Mahayana, whether Indian or Far Eastern, whether one looks at the Tendai school or whether one looks at even the Shin school one finds that meditation in one form or another is an ortant aspect, an integral part of each and every one of them And this isn*t surprising, because from the very beginnings of Buddhism, if we go right back- to the Buddha*s own teaching, so tar as we can make thaf out, so far as we can decipher it, it does seem that an emphasis, a very great emphasis often, was placed upon what we call meditation, If we let our thoughts go back to the Buddha*s Noble Eightfold Path. -
Entering Into the Conduct of the Bodhisattva)
Dharma Path BCA Ch1.doc Dzogchen Khenpo Choga Rinpocheʹs Oral Explanations of Khenpo Kunpal’s Commentary on Shantidevaʹs Bodhisattvacaryavatara (Entering into the Conduct of the Bodhisattva) Notes: ʺText sectionʺ‐s refer to Khenpo Kunpalʹs commentary on the BCA. ʺBCAʺ refers to the Bodhisattvacaryavatara, by Shantideva. The text sections relating directly to the individual stanzas of the BCA, which are the subject matter of Dharma Path classes, begin on ʺText section 158ʺ below. Dzogchen Khenpo Chogaʹs Oral Explanations, starting with ʺText section 37ʺ below are explanations both of the original BCA text, and also of Khenpo Kunpalʹs own commentary on this text. For more background on these teachings, see also Dzogchen Khenpo Chogaʹs ʺIntroduction to the Dharma Pathʺ available online at the Dzogchen Lineage website at: http://www.dzogchenlineage.org/bca.html#intro These materials are copyright Andreas Kretschmar, and are subject to the terms of the copyright provisions described on his website: http://www.kunpal.com/ ============================================================================== Text section 37: This word‐by‐word commentary on the Bodhisattva‐caryavatara was written by Khenpo Kunzang Palden, also known as Khenpo Kunpal, according to the teachings he received over a six‐month period from his root guru, Dza Paltrul Rinpoche, who is here referred to as the Manjugosha‐like teacher. These precious teachings are titled Drops of Nectar. The phrase personal statement connotes that Khenpo Kunpal received in person the oral instructions, which are themselves definitive statements, directly from Paltrul Rinpoche. 1 Dharma Path BCA Ch1.doc Text sections 38‐44: In his preface Khenpo Kunpal includes his declaration of respect, his pledge to compose the commentary, and a foreword.