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This book is an anthology of seventeen cerebral articles from well-known Buddhist scholars associated with major universities across the globe deliberating many a topic associated with Buddhist religion and its philosophies as part of our constant striving to understand the fundamental nature of what the Buddha wanted us to realize.
There have been serious attempts to understand the Buddha and his teachings since the inception of Buddhism some 2,600 years ago. All through the history of Buddhism, scholars were constantly striving to understand the fundamental nature of what the Buddha wanted us to realize. This book is an anthology of seventeen cerebral articles from well-known Buddhist scholars associated with major universities across the globe. In four parts – Meditation; Personality and Position; Dharmakirti and Persons; and Principles, History and Grammar – it highlights some pertinent topics associated with Buddhism and its legacy.
Part I discusses the diverse dimensions of meditation, dedicating itself to the kiriya (action) aspects of Buddhism. Part II is an attempt to delineate and study the major branches of Buddhism. Part III deliberates on the contributions of Dharmakirti and Rahula Sankrtyayana to the Buddhist philosophy along with the concept manusa-panatipata and how the revelation of reality of human experience by analysis helps a person to achieve wisdom in the light of Majjhima Nikaya Anathapindikovadasutta. Part IV has papers on different philosophical and applied concepts of Buddhism.
This volume thus should benefit one in understanding many an aspect of Buddhism vis-à-vis its enormous corpus of literature and teachings. It should highly benefit the students of Buddhism and for those who are keen to fathom deep into the myriad topics of Buddhist philosophy and teachings.
This Dictionary attempts to reveal the divine paradoxes of Buddhist-Hindu iconography by even interpreting the nuances of their iconic language. It explains, vividly, thousands of iconic representations (visual, conceptual symbols, images, objects, concepts, rites).
Man has, from times immemorial, exhibited a striking predilection for symbols. Which, through written words, drawings, sculptures or other visual/iconographic representations, seem to have shaped much of mankinds culture. From the simplest, yet eloquent, drawings on the walls of the prehistoric caves, through the sophistication of Egyptian imagery, the sculptural embroidered wealth of a Khajuraho, or the convoluted elegance of a Mannerist painting all interweave iconographic imagery so inextricably into their very core that, without its visual/didactic richness, these would be a mere shell, a hollow vanity! Veritably, our cultural scenograph will lose much of its aesthetic charm and meaning, once it is bereft of iconography. Over the centuries, Buddhisn and Hinduism (Brahmanical) have built up pantheon after pantheon, with a bewildering number of divinities, in varying forms and emanations and, significantly, with myriad iconographic attributes. Which, for both their definable precision and complex multi-interpretationality, not merely seem paradoxical, but may baffle even the specialists and the initiated as well. Here is just the Dictionary trying, for the first time, to help you see into the divine paradoxesof Buddhist-and-Hindu iconography and, simultaneously, interpret the very nuances of their iconic language. Painstakingly compiled by a distinguished scholar of Oriental/Buddhist Art, it is a Buddhist-and-Hindu Iconologia par excellence, spelling out vividly thousands of iconic representations, which these two of the worlds oldest, sustained faiths have left for all times to come. In its monumental effort to explain/interpret Buddhist-and-Hindu visual/conceptual symbols, images, objects, concepts and rites, the Dictionary extends the definition of iconography to embrace numerous peripheral/other terms, which either have immediate relevance to iconographic principles or are hard to dispense with in visualizing the true import of different icons. Dr. Bunces work has, at its base, his own first-hand observation of various temples in India, Nepal and several Southeast Asian countries; besides a number of authentic sources: both illustrated and verbal. Flawlessly illustrated: from cover to cover, it includes a compellingly readable introduction, an easy-to-understand Users Guide, extensive bibliographic references, and two well-planned lists to facilitate location of its each headword, each entry. Which all reinforce the Dictionarys indispensability to the specialists and the non-specialists who have often to grope for the essentials of Buddhist/Hindu iconographic complexities.
This dictionary provides meaning of Pali words in Sanskrit, Hindi and English. It will certainly prove useful to the learners of Pali language, students, scholars and researchers of Buddhist Studies, Pali Canons, and to those whose work is based on Pali.
As the teachings of the Buddha and the main Buddhist literature in original, as well as in translation, are contained mainly in Pali and Sanskrit languages, apart from Tibetan and Chinese as well, knowledge of Pali and Sanskrit is always essential to study the core of Buddhism — its basic teachings — and understand its basic concepts and perceptions. This voluminous edition has been offered in order to aid in the knowledge of the Pali and Sanskrit languages. Simple to comprehend and laying stress on clarity of meaning, the dictionary presents the Pali word at the beginning of each entry and gives its synonym in Sanskrit within bracket. It then proceeds to furnish the meaning of the word in both Hindi and English. The attempt is to make the dictionary useful to learners of the language and as a guide to those who are researching Buddhist works.
The book is meant to be a study companion to students and scholars of Buddhist Studies. It will be an indispensable aid to the readers and researchers of Pali Canons and works based on Pali and Sanskrit languages.
This work serves as a useful companion for the scholars and researchers who are seriously interested in the history of Buddhist literature; who wish to probe into Buddhist Textual Studies and who desire to have a lucid understanding of the philosophy of the two major Buddhist traditions of Theravada and Mahayana.
Discourses in Buddhist Classics is primarily designed with twofold objective viz., (a) to serve as the tool for post-graduate teaching of the Course in Philosophy of the Buddha; and (b) to sustain the interest of the enterprising student by providing comprehensive understanding of Theravada and Mahayana schools of Buddhism. Divided into six chapters, the first chapter gives an account of the missionary life and object of Buddha’s teachings from Pali and Sanskrit sources; the second surveys the evolution of Pali language and its significant contribution; the third and fourth provide a brief sketch of Pali Tripitakas, the salient features as well as the Philosophical doctrines of Theravada and Mahayana Buddhism by comparison and contrast. The last two chapters discuss the historiography of the two representative Buddhist Classics each from Thervada and Mahayana philosophical schools of Buddhism viz., Dhammapada, Sutta-Nipata, Vajracchedika Prajnaparamita and Saddharma Punóarika Sutra while throwing light on their central teachings. This work serves as a useful companion for the scholars and researchers who are seriously interested in the history of Buddhist literature; who wish to probe into Buddhist Textual Studies and who desire to have a lucid understanding of the philosophy of the two major Buddhist traditions of Theravada and Mahayana
The book presents a detailed comparison of process philosophy and Màdhyamika Buddhism, analysing the similarities and differences between the two. It attempts a creative integration between the two and introduces a new philosophy, Process Buddhism.
The book presents a detailed comparison of process philosophy and Madhyamika Buddhism, analysing the similarities and differences between the two. It attempts a creative integration between the two and introduces a new philosophy, Process Buddhism. Process thought underscores the view that reality is a cumulative process of perspectival and experiential events. Peter Kakols work, in a remarkable foray into this area of philosophy, shows that the Madhyamika teaching, which essentially stresses the emptiness of emptiness, and process theory of worldviews are not incompatible with each other but are rather complementary aspects of the same theory.
In this meticulous work where the analysis involves careful exposition of both sides, Kakol notes that the fundamental compatibility between them is that both views become contradictory if seen as independent and so must be constantly transcended in a process of gradual purification and de-reification (or nominalisation). Kakol reveals an ability to situate process philosophy and Madhyamika Buddhism in the context of larger movements, both in their times of origin and now. He examines the views of not just Buddhist scholars and process philosophers but a range of social and political thought too.
The work will fascinate scholars and students of Process Philosophy and Madhyamika Buddhism.
With about 8,000 articles, this Encyclopaedia presents a panorama of Buddhist deities, demigods, godlings, demons the whole range of good and evil forces with the spotlight on the concretized, recognizable forms and their subtle symbolism.
Beginning with a few aniconic symbols, like foot prints, a throne, the Bo tree or stupas, in the prechristian Indian art, Buddhism came to evolve a variety of picturesque representations of a Self-Existent, Superimmanent Principle: in myriad forms and emanations that range from the superbly magnificent to sheerly grotesque. Endowed with diverse iconographic attributes, Buddhist deities/saints/demons have grown, over the rolling centuries, into bewildering numbers, legions. Which all, leave alone the neophytes, not even the best of scholars can recognize! The names of the divinities and their cultural/regional perceptions owing largely to the plurality of Buddhist pantheons, have only gone on to further complicate their identification. Unveiled, for the first time, in the pages of this Encyclopaedia, is a panorama of Buddhist deities, demigods, godlings, saints and demons, with spotlight on the concretized, recognizable forms and the subtle symbolism they involve. In its nearly 8000 alphabetically arranged articles of varying lengths, it mixes gods and demons, bhiksus and btsans, the aesthetic and the grotesque in fact, nearly the whole range of good and evil forces which the inspired among the adherents of the Buddhist faith conceived so ingeniously! Professor Bunce has painstakingly marshalled a wealth of data from authoritative language sources, notably, Sanskrit, Pali, Tibetan, Newari/Nepalese, Chinese, Mongolian, Japanese, Siamese/Thai, Annamese/Viet Namese, Javanese, and Sinhalese, in his effort to capture almost the entire framework of Buddhist divinities: a multi-pantheonic framework, together with its classes, groups and hierarchies, ranging from Adi-Buddha to Arhats and yet beyond. Himself a distinguished scholar of Oriental/Buddhist Art, Dr. Bunce incorporates, in scrupulous detail, the iconographic attributes of deities: like colours, heads/eyes, hands, objects held, body, feet, asanas, mudras, ornaments, vahanas, emanations, and whether calm or wrathful which, with a generous supplement of illustrations: about 300 elegant line-drawings and several colour plates, highlight the distinctiveness of each individual figure. Also included in the Encyclopaedia are users guide, glossaries (of asanas, mudras and attributes), identification charts, a hierarchic table, and bibliographic references. Growing from years of Professor Bunces persevered research and study, this compilation is certainly the first ever to draw together most of the Buddhist divinities/mythological characters, in their distinctly recognizable forms. And is, therefore, indispensable to both the specialists and non-specialists trying to identify each from a whole host of these figural representations.
This is an analytical study of faith (saddha), devotion (bhatti) and worship (puja) in the Theravada school of Buddhism. It elucidates these concepts and deals with their objects, viz., gods in general and Buddha in particular as described in the Pali canonical, post-canonical and comment arial literature.
This is an analytical study of faith (saddha), devotion (bhatti) and worship (puja) in the Theravada school of Buddhism. It elucidates these concepts and deals with their objects, viz., gods in general, and Buddha in particular, as described in the Pali canonical, post-canonical and commentarial literature. The first chapter of this book examines the conception of the the Deities and the supernatural; the attributes, knowledge, powers and functions of Buddhist deities; their role as objects of meditation; how Theravada Buddhism is non-theistic and how its basic concepts are incompatible to the conception of Creator God. The second chapter discusses the special attributes, knowledge, powers and functions of the Buddha in the Theravada literature which establishes His supramundane character and spiritual eminence over gods, arhants and pratyekabuddhas. It throws light on the origins of Buddhas deification, his docetic conception and other Buddhological speculations which led him to become an object of highest reverence, adoration and devotion. The third chapter outlines the origin, nature and scope of faith and devotion for the Buddha in Theravada literature; how and why he has been regarded as the object of absolute confidence (saddha), recollection and contemplation (buddhanussati), devotion (bhatti) and worship (puja) and thereby viewed as Bhagavan and compassionate Saviour. The book provides an authentic and comprehensive account of faith (saddha) and devotion (bhatti) in Pali canonical and post-canonical literature of Theravada Buddhist School. This work is an invaluable aid to students, teachers and researchers of Pali literature and Buddhist philosophy.
Marshalling facts from the oldest preserved texts, this work studies the Teacher (the Buddha), the Teaching (Dhamma) and the Taught (Samgha) throughout Buddhisms history. It makes a comparative study of Buddhas original teachings and later Buddhist traditions.
Today, when political ideologies/ isms are crashing down and when, at the other end, the great monotheistic religions are trying to survive by turning their backs on logical thinking and intellectual consistency, it might be worthwhile taking a look at the alternatives that by-pass the lopsided views of both materialism and idealism the alternatives that do not have to explain how an omnipotent and all-benvolent God can permit evil, nor how human barbarism can persist doggedly in a progressing world society. And among these alternatives, Gunnar Gallmo rediscovers the oldest existing world religion: the first historically documented case of international (or perhaps non-national) thinking, a teaching that may, more or less, directly or indirectly, positively or negatively, have influenced all later religious, philosophical and political teachings: Buddhism. From the vast corpus of the oldest preserved texts, Gunnar Gallmo marshals facts around Buddhism quintessentially, authentically. His book is a well-knit, at once compelling presentation of the Teacher (the Buddha), the Teaching (Dhamma/Dharma), and the Taught (the Samgha/the Community) throughout the 2500-year-long history of Buddhism: first in India, then in Asia and, finally, today in the world. And since Buddhism is a religion with an actual historical personage as its founder, the author tries to explore how the Enlightened Masters original teaching underwent a change in later tradition, and how the differences between the two have cropped up. With a glossary of Pali/Sanskrit terms and highly significant bibliographic references, this treasury of facts about Buddhism is bound to fascinate scholars and general readers alike.
The book discusses the introduction of Buddhism in Japan and its gradual transformation in esoteric doctrines. It also describes Fudo’s iconography, symbolic instruments, mudras, attendants, etc. This work describes the remarkable sculptures, paintings and woodblock prints of Fudo from Heian period.
Shingon Buddhism — esoteric Buddhism brought to Japan from China during the early ninth century — inspired a new spiritual energy that found expression in varied forms, especially in art and iconography. A radical change occurred with the introduction of new deities, among them the Five Great Kings, the most important of them being Fudo Myo-o, the conqueror of all disasters and evil. This book is a study of the concept, iconography and decoction of Fudo in art.
Beginning with a detailed account of the origin of Buddhism and its introduction into Japan, the book focuses on development of esoteric Buddhism in the country. It delves into the uniqueness of Shingon Buddhism rituals which try to evoke the vitality of the three mysteries in the body, speech and thought, the mysteries being transmitted orally from the master to the disciple. Describing Fudo Myo-o as discussed in Buddhist literary sources from India, it takes up his visual representation in painting and sculpture. It discusses the representation of his attendants in art and iconography, symbolic instruments associated with the god in his depiction and interpretations of the mudras (hand gestures, postures, emblems) carried by Fudo. It explains the esoteric meaning attached to various ideas and concepts represented in the visual images.
Supported by numerous illustrations, this detailed and thorough study would enthral students and scholars of Buddhist art and iconography.
The book highlights the historical evolution of different phases of Maitreya iconography in various regions of the Indian subcontinent. Dr. Kim combines extensive field-work with diverse literary sources to thoroughly explore some problematic issues.
Maitreya is not just one of the myriad divinities of the Buddhist pantheon; he is revered by the devout as the Buddha of the fifth world cycle, the Ultimate Buddha, the Much-Awaited Deliverer, who (like Kalki a would-be incarnation of Visnu in Hinduism) will descend on the earth, in human form, sometime in the distant future and lead people to both enlightenment and the final nirvana. The cult of Maitreya, however, goes as far back as to the second century bc, and even beyond, when perhaps, his images, in varying anthropomorphic forms, came to be chiselled alongside the earliest sculptural representations of the Buddha and Boddhisattvas. Here is the first iconological study to exclusively focus on the Maitreya phenomenon in almost the whole range of Buddhist sculptural art. Exploring the historical evolution of the Maitreya cult, the book admirably highlights the different phases of Maitreya iconography with an in-depth analysis of the images from various regions of the Indian subcontinent Gandhara, Kashmir, Mathura, Sarnath, Nalanda, Orissa, Western Deccan and South India. Dr. Inchang Kim has skilfully combined his extensive fieldwork with diverse literary sources to contextually explore some of the problematic issues to their last thread like, for instance, the genesis of Maitreya cult, its nature in the pre-Christian era, and its role in Hinayana, Mahayana and Yogacara Buddhism. Also spelling out the symbolism of Maitreya iconography, the study specially underscores the iconographic attributes that help not only identify Maitreya, but also distinguish the Buddha of the Future from other Bodhisattvas. Together with a generous supplement of visual material comprising over 240 photographic reproductions with an extensive bibliography and index, the book is invaluable to art historians, connoisseurs/specialists of Buddhist sculptural art and scholars of Buddhist studies.
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