Medicine in Buddhist and Jaina Traditions
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Buddhism and Responses to Disability, Mental Disorders and Deafness in Asia
Buddhism and Responses to Disability, Mental Disorders and Deafness in Asia. A bibliography of historical and modern texts with introduction and partial annotation, and some echoes in Western countries. [This annotated bibliography of 220 items suggests the range and major themes of how Buddhism and people influenced by Buddhism have responded to disability in Asia through two millennia, with cultural background. Titles of the materials may be skimmed through in an hour, or the titles and annotations read in a day. The works listed might take half a year to find and read.] M. Miles (compiler and annotator) West Midlands, UK. November 2013 Available at: http://www.independentliving.org/miles2014a and http://cirrie.buffalo.edu/bibliography/buddhism/index.php Some terms used in this bibliography Buddhist terms and people. Buddhism, Bouddhisme, Buddhismus, suffering, compassion, caring response, loving kindness, dharma, dukkha, evil, heaven, hell, ignorance, impermanence, kamma, karma, karuna, metta, noble truths, eightfold path, rebirth, reincarnation, soul, spirit, spirituality, transcendent, self, attachment, clinging, delusion, grasping, buddha, bodhisatta, nirvana; bhikkhu, bhikksu, bhikkhuni, samgha, sangha, monastery, refuge, sutra, sutta, bonze, friar, biwa hoshi, priest, monk, nun, alms, begging; healing, therapy, mindfulness, meditation, Gautama, Gotama, Maitreya, Shakyamuni, Siddhartha, Tathagata, Amida, Amita, Amitabha, Atisha, Avalokiteshvara, Guanyin, Kannon, Kuan-yin, Kukai, Samantabhadra, Santideva, Asoka, Bhaddiya, Khujjuttara, -
Historical Buddhist Kesa Robes As Inspiration for Contemporary Fiber Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2002 Historical Buddhist Kesa Robes as Inspiration for Contemporary Fiber Art Betsy Sterling Benjamin Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Benjamin, Betsy Sterling, "Historical Buddhist Kesa Robes as Inspiration for Contemporary Fiber Art" (2002). Textile Society of America Symposium Proceedings. 503. https://digitalcommons.unl.edu/tsaconf/503 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Historical Buddhist Kesa Robes as Inspiration for Contemporary Fiber Art by Betsy Sterling Benjamin The Japanese kesa or kasaya in Sanskrit, originated in India in 4th century BC as a robe for the devotees of Buddha Sakyamuni. Created in the brick-like pattern of the Asian rice-field, the original kasaya were constructed of discarded fabric that was cleansed, ( redyed and stitched together with prayers as a devotional act. When Buddhism came to ( Japan in the 6th century AD the kesa followed, a treasured manifestation of the Buddhist dharma. One of the earliest extant Japanese kesa, composed of seven layers of silk, in nine vibrant colors, bound together with tiny stitches belonged to Emperor Shomu (701 - 756 AD, and is still housed in the Nara Shoso-in Repository. ( While kesa are unfamiliar to many outside of the Buddhist community, they are in the collections of many museums outside of Japan. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui 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 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style
The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style Liu Fengjun Keywords: late Northern Dynasties Qingzhou area Buddhist statues Qingzhou style In recent years fragmentary Buddhist statues have been Northern Qi period. (3) In the winter of 1979, 40 small frequently unearthed in large numbers in Qingzhou 青州 and large fragmentary statues and some lotus socles were and the surrounding area, including Boxing 博兴, discovered at the Xingguo Temple 兴国寺 site in Gaoqing 高青, Wudi 无棣, Linqu 临朐, Zhucheng 诸 Qingzhou, mainly produced between the end of North- 城, and Qingdao 青岛. Especially notable are the large ern Wei and Northern Qi period. There were also two quantities of statues at the site of the Longxing Temple Buddha head sculptures of the Sui and Tang periods. (4) 龙兴寺 at Qingzhou. The discovery of these statues drew In the 1970s, seven stone statues were discovered at great attention from academic circles. The significance He’an 何庵 Village, Wudi County. Four of them bear of these statues is manifold. I merely intend to under take Northern Qi dates. (5) In November 1987, one single a tentative study of the causes and date of the destruction round Bodhisattva stone sculpture of the Eastern Wei of the Buddhist statues and of the artistic features of the period and one round Buddhist stone sculpture of the Qingzhou style statues. Northern Qi period were discovered on the South Road of Qingzhou. Both works were painted colorfully and I. Fragmentary Buddhist Statues of the Late partly gilt. They were preserved intact and remained Northern Dynasties Unearthed in the Qingzhou Area colorful. -
The Prajna Paramita Heart Sutra (2Nd Edition)
TheThe PrajnaPrajna ParamitaParamita HeartHeart SutraSutra Translated by Tripitaka Master Hsuan Tsang Commentary by Grand Master T'an Hsu English Translation by Ven. Master Lok To Second Edition 2000 HAN DD ET U 'S B B O RY eOK LIBRA E-mail: [email protected] Web site: www.buddhanet.net Buddha Dharma Education Association Inc. The Prajna Paramita Heart Sutra Translated from Sanskrit into Chinese By Tripitaka Master Hsuan Tsang Commentary By Grand Master T’an Hsu Translated Into English By Venerable Dharma Master Lok To Edited by K’un Li, Shih and Dr. Frank G. French Sutra Translation Committee of the United States and Canada New York – San Francisco – Toronto 2000 First published 1995 Second Edition 2000 Sutra Translation Committee of the United States and Canada Dharma Master Lok To, Director 2611 Davidson Ave. Bronx, New York 10468 (USA) Tel. (718) 584-0621 2 Other Works by the Committee: 1. The Buddhist Liturgy 2. The Sutra of Bodhisattva Ksitigarbha’s Fundamental Vows 3. The Dharma of Mind Transmission 4. The Practice of Bodhisattva Dharma 5. An Exhortation to Be Alert to the Dharma 6. A Composition Urging the Generation of the Bodhi Mind 7. Practice and Attain Sudden Enlightenment 8. Pure Land Buddhism: Dialogues with Ancient Masters 9. Pure-Land Zen, Zen Pure-Land 10. Pure Land of the Patriarchs 11. Horizontal Escape: Pure Land Buddhism in Theory & Practice. 12. Mind Transmission Seals 13. The Prajna Paramita Heart Sutra 14. Pure Land, Pure Mind 15. Bouddhisme, Sagesse et Foi 16. Entering the Tao of Sudden Enlightenment 17. The Direct Approach to Buddhadharma 18. -
ON the CHRONOLOGY of the TATTVÓRTHA SÚTRA and SOME EARLY COMMENTARIES* (Published In: Wiener Zeitschrift Für Die Kunde Südasiens 29 (1985), Pp
THE CHRONOLOGY OF THE TATTVÓRTHA SÚTRA 1 JOHANNES BRONKHORST ON THE CHRONOLOGY OF THE TATTVÓRTHA SÚTRA AND SOME EARLY COMMENTARIES* (published in: Wiener Zeitschrift für die Kunde Südasiens 29 (1985), pp. 155-184) I. Siddhasena Gaˆi’s È¥kå 1. Of the commentaries to be studied this is by far the most recent one. It comments on the Tattvårtha SËtra and the Tattvårthådhigama Bhå∑ya, and therefore postdates both. More helpful information for determining its date consists in the mention of Dharmak¥rti and his Pramåˆavinißcaya in the commentary on TS 5.31 (I, p. 397). Dharmak¥rti lived in the seventh century at the latest (about 600-660 A.D. according to Frauwallner 1961: 137f.; Lindtner 1980 argues for ca. 530-600). Siddhasena Gaˆi lived after this. He appears to be referred to under the name ‘Gandhahastin’ in Í¥lå∫ka’s commentary on the Ócårå∫ga SËtra (p. 1 and 55 [82]), because ‘Gandhahastin’ is used as a name of Siddhasena Gaˆi in several works (Sukhlal 1974: Intr. p. 55 f.). Í¥lå∫ka wrote in the middle of the 9th century or soon after that (Kapadia 1941: 197). Siddhasena Gaˆi wrote before this. A further specification of Siddhasena Gaˆi’s date is possible, as follows. The Tattvårthådhigama Bhå∑ya on sËtra 9.22 explains the word pråyaßcitta ‘atonement’ and makes in that connection the following observation (II, p. 254): cit¥ sañjñånavißuddhyo˙ dhåtu˙ | tasya cittam iti bhavati ni∑†håntam auˆådikaµ ca | “The root is ‘citÁ in [the senses] “ideation” and “purification”’. Citta is its [derivative], ending in the suffix of the past participle (viz., -ta) and belonging to the words derived with an Uˆådi suffix”. -
Distinguishing the Two Siddhasenas
Journal of Indian and Buddhist Studies, Vol. 48, No. 1, December 1999 Distinguishing the Two Siddhasenas FUJINAGA Sin Sometimes different philosophers in the same traditiion share the same name. For example, Dr. E. Frauwallner points out that there are two Buddhist philosophers who bear the name Vasubandu." Both of these philosophers are believed to have written important works that are attributed to that name. A similar situation can sometimes be found in the Jaina tradition, and sometimes the situation arises even when the philosophers are in different traditions. For exam- ple, there are two Indian philosophers who are called Haribhadra, one in the Jain tradition, and one in the Buddhist tradition. This paper will argue that one philosopher named Siddhasena, the author of the famous Jaina work, the Sammatitarka, should be distinguished from another philosopher with the same name, the author of the Nvavavatara, a work which occupies an equally important position in Jaina philosophy- 2) One reason to argue that the authors of these works are two different persons is that the works are written in two different languages : the Sammatitarka in Prakrit ; the Nvavavatara in Sanskrit. In the Jaina tradition, it is extremely unusual for the same author to write philosophical works in different languages, the usual languages being either Prakrit or Sanskrit, but not both. Of course, the possibility of one author using two languages cannot be completely eliminated. For example, the Jaina philosopher Haribhadra uses both Prakrit and Sanskrit. But even Haribhadra limits himself to one language when writing a philosophical .work : his philosophical works are all written in Sanskrit, and he uses Prakrit for all of his non-philosophical works. -
Encounter with a Tiger Traveling West
SINO-PLATONIC PAPERS Number 231 October, 2012 Encounter with a Tiger Traveling West by Heleanor Feltham Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. We do, however, strongly recommend that prospective authors consult our style guidelines at www.sino-platonic.org/stylesheet.doc. -
Isjs - Transactions
ISSN : 2457-0583 ISJS - TRANSACTIONS A Quarterly Refereed Online Research Journal on Jainism VOL.2 No. 1 January - March, 2018 HOOL FO SC R L J A A I N International School for Jain Studies N O I S T T A U D-28, Panchsheel Enclave D N I R E E S T New Delhi - 110 017, India SELF STUDY IS THE N SUPREME AUSTERITY I www.isjs.in ISSN: 2457-0583 ISJS – TRANSACTIONS A Quarterly Refereed Online Research Journal on Jainism VOL.2 No.1 January - March, 2018 CHIEF EDITOR Prof. Prakash C Jain Former Professor School for International Studies Jawaharlal Nehru University, New Delhi Email: [email protected] EDITOR Dr. Shrinetra Pandey Joint Director International School for Jain Studies New Delhi Email: [email protected] International School for Jain Studies D-28, Panchsheel Enclave New Delhi – 110017, India Ph: +91-11-4079 3387 Email: [email protected] Website: www.isjs.in ADVISORY BOARD Dr. Shugan Chand Jain, Chairman, International School for Jain Studies, New Delhi. Email: [email protected] Prof. Kamal Chand Sogani, Director, Jain Vidya Sansthan, Jaipur. Email: [email protected] Prof. Kusum Jain, Former Director, Center for Advance Philosophical Research, University of Rajasthan, Jaipur. Email: [email protected] Dr. Sulekh Chand Jain, Former President, JAINA, USA. Email: [email protected] EDITORIAL BOARD Prof. Viney Kumar Jain, Emeritus Professor, Dept. of Yoga and Science of Living, Jain Vishva Bharati Institute, Ladnun-341306, Dist. Nagaur, Rajasthan, India. Email: [email protected] Prof. Christopher Key Chapple, Director, Master of Arts in Yoga Studies, University Hall, Room 3763, Loyola Marymount University, Los Angeles, California-90045, USA. -
Painting & Calligraphy Room 6: Textiles
Room 6: Painting & Calligraphy The Illustrated Biography of Prince Shōtoku and Folding Screen with Sutra Transcriptions N-2: Illustrated Biography of Prince Shōtoku; Important Cultural Property; By Kōzuke no Hokkyō and Tajima no Bō Prince Shōtoku (574–622) is one of the most celebrated figures in Japanese history, mainly for his role in promoting Buddhism after its introduction from Korea in the 6th century. This work depicts approximately seventy events from the prince’s life in a flowing composition across four panels, grouping the events by season. The seasons are discernable through natural scenery , including plum and cherry blossoms, wisteria, autumn foliage, and snow - capped mountains. When this work was being repaired, an inscription was discovered on the backing paper stating that the painters Kōzuke no Hokkyō and Tajima no Bō created this work in the year 1305. In 2010, it was designated as an Important Cultural Property. N-3-3: Folding Screen with Sutra Transcriptions These sutra transcriptions (copies of Buddhist scripture) were originally attached to a set of folding screens that also included Buddhist paintings. Some of these transcriptions and paintings have been remounted on individual pieces of backing paper, though one of these screens is preserved in its original form. The transcriptions are mainly from the Large Perfection of Wisdom Sutra, with some particularly notable ones dating back to the Nara period (710–794). Room 6: Textiles Monks’ Robes Associated with Prince Shōtoku This gallery is currently exhibiting two kasaya, a type of robe worn by Buddhist monks across Asia. The first is a “robe of rags,” called funzō-e in Japanese, with the first character, fun, literally meaning “excrement.” This is meant to indicate that the rags used to make the robe were so tattered and soiled, they may as well have been thrown away at the latrine before they were cleaned and sewn together. -
Ayucare Vol 1
Journal of Ayurveda Case Reports TABLE OF CONTENTS EDITORIAL Researches in Traditional systems of Medicine 1-2 – Tanuja Manoj Nesari CASE REPORTS 1. Ayurvedic Management of Diabetic Retinopathy 3-9 – Krishna Kumar V, Manjusha R, Vaghela DB, Deepak K Pawar 2. Picchabasti and Nilotpaladi yoga in the management of Ulcerative colitis 10-15 – Ravi Dabas, Sunil Gupta, AC Kar 3. Management of Bicytopenia Using Metal based Ayurvedic Formulations 16-21 – Balendu Prakash, Anish Maru, Shikha Prakash, Sneha Tiwari 4. Management of Cerebrovascular Accident (CVA) through Ayurveda 22-29 – Jintender Kumar Dhiman, Prasanth.D, M. Arun Kumar, Santosh Kumar Bhatted 5. Management of Alcoholic Liver Disease through Ayurveda 30-35 – Kiran Kumar V Mutnali, Rashmi Patil 6. Ayurvedic treatment of Chronic Scleritis (Sirajala) 36-42 – Pundareekaksha Rao Punna, Prem Sankar EDITORIAL BOARD Patron Co-Patron Editor in Chief Sh. Shripad Yesso Naik Vd. Rajesh Kotecha Prof. Tanuja Manoj Nesari Minister of State (Independent Charge), Secretary, Director, Ministry of AYUSH Ministry of AYUSH All India Institute of Ayurveda New Delhi New Delhi New Delhi International Advisory Board Dr. Jeffrey D White Dr. Pirag Valdis Dr. Antonio Morandi Dr. Christian S Kessler Director, Office of Director, Centre of Director, School of Research Coordinator Cancer Complementary Complementary Medicine, Ayurvedic Medicine, Charitie Medical University and Alternative Medicine University of Latvia, Italy Berlin National Cancer Institute Latvia NIH, USA Dr. Madan Thangavelu Dr. Jeorge Berra Dr. Rajendra Badgaiyan Dr. Amala Guha Research Director, Director, Professor, President, European Ayurveda Foundation De Salud Boonshoft School of Medicine International Society Association, Germany Ayurveda Prema, Wright State University, of Ayurveda & Health, Argentina USA USA National Advisory Board Dr. -
Shobogenzo Zuimonki
Shobogenzo Zuimonki http://global.sotozen-net.or.jp/eng/library/Zuimonki/index.html Introduction 1.Zen Master Eihei Dogen and Koun Ejo Shobogenzo Zuimonki consists of the dharma talks of Eihei Dogen Zenji (1200–1253) who transmitted Soto Zen from China to Japan. These talks were originally recorded by Koun Ejo Zenji, Dogen’s dharma successor, and probably edited by his disciples after Ejo’s death. In this introduction, I’d like to briefly introduce Ejo Zenji since he is not as well known in the West as Dogen Zenji. Ejo was born of a noble family, the Fujiwara, in Kyoto, in 1198. In 1215, at eighteen years of age, he was ordained as a Tendai monk under Master Enno at Yokawa on Mt. Hiei. He studied the fundamental philosophy of Buddhism; the Kusha (Abhidharmakosa-bhasya) Jojitsu (Satyasidhi-sastra), and Tendai teachings etc. However, he realized that studying for fame and profit or for high position in the Buddhist order was meaningless. Arousing bodhi-mind, he wanted to leave the monastery just as many other Buddhist leaders did in that age. According to the Denkoroku (The Record of Transmitting the Light) of Keizan Jokin, who received ordination from Ejo and later became the successor of Tettsu Gikai, Ejo once visited his mother. His mother said; “I allowed you to become a monk not because I wanted you to rise to a high position and associate with the upper class. Just do not study or practice for fame and profit. I hope only that you will practice in poverty, wear black robes, hang a bamboo hat on your back, and walk on your own feet [instead of riding in palanquins].” Upon hearing this, Ejo changed his robes and never went back to Mt.