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Why Buddhism Baffles the West
WHY BUDDHISM BAFFLES THE WEST None of the world’s major religions is more richly varied than Buddhism. From the time of its birth some 2,500 years ago in India, it was reworked and reshaped over and over again as it spread to the many kingdoms of Asia—and, recently, to the West. In each of these lands, Buddhism profoundly influenced local cul- tures, and was in turn profoundly remolded by them—so much so that today’s adherents some- times even honor different Buddhas. Such variety makes it all the more ironic, our contributors point out, that Westerners today have such a one-dimen- sional picture of the faith the Buddha spawned. 72 Jan Nattier on America’s three varieties of Buddhism 81 Donald K. Swearer on the worldliness of Buddhism Buddhism Comes To Main Street by Jan Nattier uddhism is big news in America these days. Whether through a New York Times article carrying the Dalai Lama’s Blatest remarks or a CNN spot on a political fund-raising scandal at a Taiwanese branch temple in Los Angeles, whether by seeing Bernardo Bertolucci’s Little Buddha or following Tina Turner’s life story in What’s Love Got to Do With It?, Americans have become more aware than ever before of something called “Buddhism.” But it is not only as interesting bits of cultural and polit- ical exotica that Buddhism has entered the American consciousness. Increasingly, Americans themselves are becoming Buddhists. Though precise statistics are impossible to come by, according to most esti- mates between one and two million Americans now consider them- selves practicing Buddhists. -
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). -
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 ������������������������������������������������������������������������������������������������������������������������������������������������ -
Orientalist Commercializations: Tibetan Buddhism in American Popular Film
Journal of Religion & Film Volume 2 Issue 2 October 1998 Article 5 October 1998 Orientalist Commercializations: Tibetan Buddhism in American Popular Film Eve Mullen Mississippi State University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Mullen, Eve (1998) "Orientalist Commercializations: Tibetan Buddhism in American Popular Film," Journal of Religion & Film: Vol. 2 : Iss. 2 , Article 5. Available at: https://digitalcommons.unomaha.edu/jrf/vol2/iss2/5 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Orientalist Commercializations: Tibetan Buddhism in American Popular Film Abstract Many contemporary American popular films are presenting us with particular views of Tibetan Buddhism and culture. Unfortunately, the views these movies present are often misleading. In this essay I will identify four false characterizations of Tibetan Buddhism, as described by Tibetologist Donald Lopez, characterizations that have been refuted by post-colonial scholarship. I will then show how these misleading characterizations make their way into three contemporary films, Seven Years in Tibet, Kundun and Little Buddha. Finally, I will offer an explanation for the American fascination with Tibet as Tibetan culture is represented in these films. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol2/iss2/5 Mullen: Orientalist Commercializations Tibetan religion and culture are experiencing an unparalleled popularity. Tibetan Buddhism and Tibetan history are commonly the subjects of Hollywood films. -
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. -
Program Guide
IBFF NO1 NOVEMBER 20–23, 2003 LOS ANGELES WWW.IBFF.ORG INTERNATIONAL BUDDHIST FILM FESTIVAL Debra Bloomfield Jerry Burchard John Paul Caponigro Simon Chaput Mark Citret Linda Connor Lynn Davis Peter deLory Don Farber Richard Gere Susannah Hays Jim Henkel Lena Herzog Kenro Izu REFLECTING BUDDHA: Michael Kenna IMAGES BY Heather Kessinger Hirokazu Kosaka CONTEMPORARY Alan Kozlowski PHOTOGRAPHERS Wayne Levin Stu Levy NOVEMBER 14–23 David Liittschwager Elaine Ling Exhibition and Sale to Benefit the International Buddhist Film Festival John Daido Loori Book Signings by Participating Photographers Yasuaki Matsumoto Throughout the Exhibition Steve McCurry Curated by Linda Connor Pasadena Museum of California Art Susan Middleton 490 East Union Street, Pasadena, California Charles Reilly Third Floor Exhibition Space Open Wed. to Sun. 10 am to 5 pm, Fri. to 8 pm David Samuel Robbins www.pmcaonline.org 626.568.3665 Stuart Rome Meridel Rubenstein Larry Snider 2003 pigment print © Linda Connor, Ladakh, India digital archival Nubra Valley, Camille Solyagua John Willis The Dalai Lama’s Rainbow The Dalai Lama’s NOV 20–23 at LACMA www.ibff.org Alison Wright image: Welcome to the first International Buddhist Film Festival. The Buddhist understanding that what we experience is projection, is cinema in the most profound sense. In the sixth century BC, Prince Siddhartha, the future Buddha, was challenged by personal and political upheaval, and he heroically strove to find a meaningful way of living. Waking up and paying attention, he discovered a path of spiritual transformation. The seeds of this breakthrough have continued to flower through 2,500 years. A new wave of contemporary cinema is emerging to embrace all the strands of Buddhism—directly, obliquely, reverently, critically, and comedically too. -
The Image of the Mystic Flower Exploring the Lotus Symbolism in the Bahá’Í House of Worship Julie Badiee*
The Image of the Mystic Flower Exploring the Lotus Symbolism in the Bahá’í House of Worship Julie Badiee* Abstract The most recently constructed Bahá’í House of Worship, situated in Bahapur, India, was dedicated in December 1985. The attractive and compelling design of this building creates the visual effect of a large, white lotus blossom appearing to emerge from the pools of water circled around it. The lotus flower, identified by the psychiatrist Carl Jung as an archetypal symbol, carries with it many meanings. This article will explore these meanings both in the traditions of the Indian subcontinent and in other cultures and other eras. In addition, the article will show that the flower imagery relates also to symbols employed in the Bahá’í Writings and, while reiterating the meanings of the past, also functions as a powerful image announcing the appearance of Bahá’u’lláh, the Manifestation of God for this day. Résumé La maison d’adoration bahá’íe la plus récente, située à Bahapur en Inde, a été dédiée en décembre 1985. Par sa conception attrayante et puissante, l’édifice semble émerger, telle une immense fleur de lotus blanche, des étangs qui l’entourent. La fleur de lotus, désignée comme symbole archétype par le psychiatre Carl Jung, porte en elle beaucoup de significations. Le présent article explore ses significations dans les traditions du sous-continent indien aussi bien que dans d’autres cultures et à d’autres époques. De plus, l’article montre que l’image de la fleur se retrouve également dans le langage symbolique employé dans les écrits bahá’ís. -
For Immediate Release February 22, 2006
For Immediate Release February 22, 2006 Contact: Bendetta Roux 212.636.2680 [email protected] SPLENDID MIRSKY COLLECTION HIGHLIGHTS INDIAN AND SOUTHEAST ASIAN ART SALE Indian and Southeast Asian Art March 30, 2006 New York – The final day of Christie’s Asian Art series will offer Indian and Southeast Asian Art, with the classical art offered in the morning and an afternoon sale devoted entirely to Modern and Contemporary Indian Art with its own catalogue (see separate release). The collecting field of traditional Indian and Southeast Asian works of art continues to gain momentum as collectors from other categories find their way into the serene and powerful worlds of Khmer or Chola sculpture. A superb collection of this kind, astonishing in its breadth and beauty, is The Alfred E. Mirsky Collection sold to benefit the Graduate Student Program of The Rockefeller University, which will lead the sale, along with property from various other private collections, as well as some unusual pieces that are being de-accessioned by the Metropolitan Museum of Art. Alfred Ezra Mirsky (1900–74) was one of those rare collectors blessed with great scientific acumen and a discriminating taste for the rare and beautiful. Professor Mirsky was a pioneering biochemist whose scientific accomplishments were matched by a profound interest in art and archaeology. His collection included Greek sculpture, Chinese paintings and pottery, Islamic pottery and especially Indian and Southeast Asian sculpture. Extraordinary for its sophistication, the collection combined pieces of great rarity and exceptional beauty. In accordance with the wishes of Dr. Mirsky and his wife Sonya, the proceeds from the sale of this collection will support the university’s graduate student program. -
Gandhara, Mathura and Amaravati Schools Centuries Around the Common Era
Indian art From Indus valley to India today Talk 4 Gandhara, Mathura and Amaravati schools Centuries around the Common Era G Chandrasekaran S Swaminathan The centuries around the Common Era beckoned revolutionary changes in Indian art and, thus, to the religious art of the whole of Buddhist Asia. With the advent of Mahayana, the Master came to be worshipped in the human form. Till now the Master was only shown symbolically and the symbols were simply motionless. In a break through the Buddha in human form, opened new avenues. Conceiving the Buddha image was itself was a great event in Indian art. The protuberance of the skull (ushnisha), the hair-knot, bindi between the eyebrows and elongated ears were some of the 32 suspicious bodily signs identifying him as Mahapurasha Perhaps this change was part of give-and-take among the Indic religions, and the Gandhara and the Mathura schools heralded this era, influencing each other in a positive way. Transcending the worshipful image of the Mahapurasha was composing scenes from his life and Jataka stories helped the visiting devotees in their religious focus Adhering to the texts, composed wonderful episodes gained far greater doctrinal efficacy, attained conciseness, and improved artistic excellence. Kanishka (127–163 CE) ruled over a vast empire. He patronised all religions. His patronage of Buddhism had a major role in the development of Silk Raod. Kanishka’s gold coin Kanishka's coins portray images of Indian, Greek and Iranian gods Left: Kanishka standing, clad in coat and boots, flames emanating from shoulders Legend in Greek “of Kanishka, king of kings". -
Tibetan Nuns Debate for Dalai Lama
PO Box 6483, Ithaca, NY 14851 607-273-8519 WINTER 1996 Newsletter and Catalog Supplement Tibetan Nuns Debate for Dalai Lama NAMGYAL INSTITUTE by Thubten Chodron I began hearing rumors the At 4PM nuns, monks, and Enters New Phase morning of Sunday, October 8th laypeople gathered in the court- that nuns were going to debate in yard. The nuns were already debat- the courtyard in front of the main ing on one side, and their voices of Development temple in Dharamsala and that His and clapping hands, a mark of de- Holiness the Dalai Lama was to be bate as done in Tibetan Buddhism, Spring 1996 will mark the end Lama. The monks have received a • Obtain health insurance for the there to observe. There were many filled the place. Suddenly there was of the fourth full year of operation wide and popular reception Namgyal monks, none of whom nuns in McLeod Gam' at the time; a hush and the nuns who had been and the beginning of a new phase throughout the U.S. and Canada, currently have health insurance. the major nunneries in India and debating went onto the stage in the of development for the Institute of and there is an ever-growing circle • Fund a full-time paid adminis- Nepal were having their first ever "pavilion" where His Holiness' seat Buddhist Studies established by of students at the Institute in trator. Our two administrators inter-nunnery debate. The fact that was. His Holiness soon came out, Namgyal Monastery in North Ithaca, confirming the validity of have each put in forty hours per the best nun debaters had^athered the nuns prostrated and were America. -
3000 Hours of Meditation
3000 HOURS OF MEDITATION at the sacred Mahabodhi Tree in Bodhgaya, India and a Traditional Four Holy Sites Pilgrimage Personal Journal entries shared with Dhamma friends, with a closing chapter offering practical advice on how to make one’s life a Sacred Pilgrimage. By Ajahn Achalo Bhikkhu 3000 HOURS OF MEDITATION Personal Journal entries shared with Dhamma friends, with a closing chapter offering practical advice on how to make one’s life a Sacred Pilgrimage. By Ajahn Achalo This Collection of teachings by Ajahn Achalo Bhikkhu has been sponsored for free distribution by a group of dedicated Thai, Malaysian and Singaporean lay students, in honour of several significant occasions occurring in the year 2020. This year Ajahn Achalo enters his 24th year as a bhikkhu, which is exactly half of his life thus far. It is also the tenth year since Anandagiri Forest Monastery was established. FOR FREE DISTRIBUTION 6 CONTENTS FOREWORD 9 by Phra Rachabodhivitate INTRODUCTION 11 by Ajahn Achalo SECTION ONE 17 3000 hours – Meditating at the Sacred Bodhi Tree Personal Journal entries shared with Dhamma friends BODHGAYA – OPENING WORDS 18 CHAPTER ONE 21 The Seat of Enlightenment CHAPTER TWO 26 The Longest Journey Begins With the First Step CHAPTER THREE 34 Pleasant Sounds, Unpleasant Sounds, and the Silent Mind CHAPTER FOUR 38 Our Usual Days CHAPTER FIVE 42 Day of Miracles! CHAPTER SIX 44 Joy, Wonder, and Renunciant Thunder CHAPTER SEVEN 50 The Smell of Real Monks CHAPTER EIGHT 52 95% of the Big Goal is Completed! CHAPTER NINE 56 Mumtaz Gems & Sons CHAPTER -
Popularizing Buddhism
Buddhism Popularizing Buddhism Popularizing Buddhism Summary: In the 1990s, a new form of popular Americanized Buddhism emerged with the publicity of celebrity followers like Richard Gere and Tina Turner. At the same time, new generations of Asian American Buddhists continued to grow and shape their traditions. The 1990s saw the emergence of a “Hollywood Buddhism” or a Buddhism of celebrities which has continued to the present. The National Enquirer suggested that the Dalai Lama told Richard Gere to dump Cindy Crawford. A film about Tina Turner, "What’s Love Got to Do with It," opens with the mantra chanting of the Soka Gakkai Buddhist movement. The Tibetan Namgyal monks went on a summer music tour, called Lollapalooza, with the Beastie Boys, whose song, “Bodhisattva Vow,” became a part of hip-hop culture. Bernardo Bertolucci’s film, The Little Buddha, follows a young Seattle boy who is seen as the reincarnation of a Tibetan lama. It is clear that a celebrity embrace of Buddhism has played a role in the public perception of Buddhism. As writers such as bell hooks and Sallie Tisdale, politicians such as Jerry Brown, movie stars such as Richard Gere and Uma Thurman, and singers such as Jerry Garcia and John Mellencamp talked about their identity as Buddhists or their sympathies with Buddhism, the mass media began presenting a “pop” form of Buddhism to a wider American audience. Building on this interest and on a growing interest in Buddhist meditation practice, a national Buddhist magazine, Tricycle: The Buddhist Review, was successfully launched in 1991 by the Tricycle Foundation.