The Jewel in the Lotus

Amazing video about Buddhist temple in India, great music

White Tara and Green Tara

Due to our European mentality we have a stable view regarding religious, mythological or fairy- tale female images. We know for sure that a Kind Fairy coming to the aid of the unhappy and giving a piece of advice to the inexperienced must be beautiful, golden-haired and blue-eyed, but a Bad Witch, even pretending to be a beautiful stranger, sooner or later will show her real repulsive appearance with off-kilter nose and buck-teeth under the cover. Though we admit that unattractive women possess some wisdom, for example Tsarevitch Ivan (of Russian fairy tales) went to take some advice of Baba-Yaga (a witch in Russian folk tales).
So we decided to investigate this connection between the beauty canon and good intentions. In order to find answers to our questions we looked around. Buddhism drew our attention.


White Tara – only one mention of her name can safe the life of a human being from many misfortunes and troubles.

Are you interested in Buddhism? If yes, do you know Green or White Tara or ferocious Dakini? No? It is unfair. They are loved and estimated by Buddhists of Tibet, Mongolia, Nepal as well as Buryat- Lamaists.
Tara (“saviour”) personifies total and absolute compassion. Her cult is very popular. Tara is known under 21 of names. Visually Tara is distinguished by position of her hands as well as clothes. The most famous images are White Tara and Green Tara. They are gracious hypostasis of Goddess. Tibetan people believed that just one mention of their names can save from any troubles. By the way, do you know that Catherine the Great had been announced incarnation of White Tara by Buryat- Lamaists, and who knows, may be due to this fact Catherine obtained this rank of Great ruler.
Scientists cannot say exactly when and why Tara image was appeared, but under one of the sources we find a nice legend. It says that many, many kalpas ago (one kalpa lasts millions of years) a princess lived and she reached the lucid moment. She was told by monks that she had to born a man next life. But princess rejected this offer, arguing that there were many people who wanted to reach Nirvana in a male image and only a few – who wished to turn femininity into a way of achieving this very Enlightenment. Said and done. After she continued her perfection, finally she appeared before Buddha and swore to deliver all beings from samsara tortures. Samsara – is a closed chain of countless and constant reincarnations. Some of possible reincarnations might seem really alluring to an unenlightened man. For instance, reincarnation in God body seems very attractive, but even it does not stop this chain of sufferings.

White Tara grants us longevity. Are you amazed at seven eyes of Tara? These eyes are eyes of wisdom, projecting stages of cognition and knowledge. She has two usual eyes, one in the middle of the forehead, two in her hands and two in her feet. You may call on her for health, strength, and longevity. Her white colour symbolizes purity as well as the absolute Truth. Green Tara symbolizes Divine energy. She appears as young girl with green skin. Whereas Green Tara is a young girl and has a playful character, White Tara is a mature, wise and full- breasted woman. White Tara seems to help more with longer-term issues, while Green Tara – fast and quick reaction and help. One Green Tara’s leg is still in lotus pose, another one – is getting down off the throne that is signifies Tara’s intention to help people in physical sphere as well as spiritual one. You may ask Tara for all you want and be sure if you believe in it – you get it sooner or later.

Women in the early Buddhism

Patriarchal Indian society pointed the advantage of a man towards a woman during the process of Pali canon establishment (4-2 B.C.). Humiliated status of woman was confirmed in Brahmanic literature. Is enough to recall a famous Manu `s saying: “Day and night a woman must depend on her men… Father guards her in the childhood, husband – during her youth, sons- in her old age. A woman is not able to be independent and self-sufficient (Manu, 9. 2-3). Religious necessities of a woman in orthodox Brahmanism were not taking into account too. Women on a level with Shudras were prohibited from listening and studying Vedas, performing rites, fasts or vows on their own. The main religious duty of the woman consisted in service to her husband. “Husband, even alien to virtue, dissipated or lacking of positive character qualities must be worshiped as God. “ (Manu, 5. 154).

Early Buddhism demonstrates rather different approach towards a woman. Buddha declared that there was no any difference between a man and a woman to achieve lucid moment provided that they take the monastic vow or take the veil. In compliance with it Buddha established female monastic society. Mahapradjapati was the head of this society, Buddha’s aunt - she was like a mother to him. However joining sangha a woman should follow several additional conditions. They are known as “Eight rules” (garu-dhamma) and are as follows:

1. A nun being in monasticism for 100 years must show her respect to a monk even if he has just got monastic vow.

2. Nuns are prohibited to hold “summer suspension” during rain season in the place without monks.

3. Every two weeks nuns must visit monks commune to hold uposatha ceremony (general monk meeting) as well as get instructions and perceptions from them.

4. Once the “summer suspension” is over – nuns should take part into a special meeting of both communes devoted to the discussions about monks as well as nuns behaviour.

5. A nun that breached her duty (a heavy mistake) must be punished during two weeks in both communities: male community and female one. (Monk’s term of punishment lasts for 6 days and is performed only in male community.)

6. Before taking the veil a woman has to go through the probation period for 2 years and only after that the initiation takes place in the both communities. For a monk no need in any trial period and the consecration is held only in the male community.

7. A nun ought not to insult or reproach a monk, even indirectly.

8. A monk has the right to teach a nun, but a nun should not give any piece of advice to a monk.

The 10^th Chulavagga chapter contains this story about the foundation of the woman’s sangha as well as these 8 supplementary rules. These rules are formulated rather categorical: “these rules must be respected, followed and not broken”. Though, we must take the notice that all those rules are included in the ordinary nuns` laws (Bhikkhuni-Patimokkha). And there they are treated as slight violations that are atoned by a simple admission of guilt. Nunneries were really under the protection of male monasteries, because this patronage was necessary for defending from robbers and violators (such cases are often mentioned in the canon).

Buddhist Blessing

This is a Universal Buddhist Blessing offered by Ven Bhikkhuni Sudhamma, Abess, Carolina Buddhist Vihara

The City of 10,000 Buddhas - Introduction to Buddhism

Buddhists do not believe that death is the end of life. When one dies, one's consciousness leaves and enters one of the six paths of rebirth.

• Heavenly Beings
• Humans
• Asuras are beings who have many good things in life, but still like to fight. They appear in the heavens or on earth as people or animals.
• Hungry ghosts are beings who suffer from constant hunger.
• Hell-beings

These are the six states on the wheel of life. At the top are the heavens, where everyone is happy. Below are the hells where the suffering is unbearable. Beings can rise or fall from one path to another. If one does good deeds, one will be born into the paths of gods, humans, or asuras. If one does evil deeds, one will be born into the paths of animals, hungry ghosts, or hell-beings. From one life to the next one can suddenly change from an human to an animal or from a ghost to a hell-being, according to the things one has done.
The City of 10,000 Buddhas - Introduction to Buddhism

Buddhism

The real Buddhism video, from India

The Treasure Vase (Skt. nidhana kumbha; Tib. gter gyi bum pa):

The vase is a fat-bellied vessel with a short, slim neck. On top, at the opening, there is a large jewel indicating that it is a treasure vase.

Its symbolic meaning was almost always associated with the ideas of storage and the satisfaction of material desires. In the sagas and fairytales of many different cultures, for example, there is the recurring idea of an inexhaustible vessel.

Physically, the 'vase of inexhaustible treasures' is modelled on the traditional Indian clay water pot or kumbha with a flat base, round body, narrow neck and fluted upper rim. However much is removed from it, this vase remains perpetually full. Wealth vases, sealed with precious and sacred substances, are commonly placed upon altars and on mountain passes, or buried at water springs, where their presence is believed to attract wealth and bring harmony to the environment. In relation to Buddhism it specifically means the spiritual abundance of the Buddha, a treasure that did not diminish, however much of it he gave away.

The question still remains of the association of these eight symbols with the Buddha's actual physical body. An ancient text called the Heap of Good Fortune Sutra (Aryamangalakutanama-mahayanasutra), while addressing the Buddha, has this to say on the issue:

Veneration to you with your head like a protecting parasol,
With eyes like the precious golden fishes (even today a woman with beautiful eyes is known as 'minakshi,' meaning one with fish-like eyes)
With neck like a precious, adorned vase of good fortune,
With speech like a right-turning Dharma shell,
With a mind infinite with wisdom like the never ending knot,
With a tongue open like the auspicious pink lotus,
With a body proclaiming triumph over the attacking armies of Mara,
With feet that tread the path of dharma like the auspicious wheel.

Artistically, these motifs may be depicted individually, in pairs, in fours, or as a composite group of eight. Designs of these eight symbols adorn all manner of sacred and secular Buddhist objects, such as carved wooden furniture, metalwork, wall panels, carpets and silk brocades.

They are also frequently drawn on the ground in sprinkled flour or colored powders to welcome visiting religious dignitaries. Indeed, no Tibetan ceremony, be it religious or secular (for e.g. a marriage), is complete without some depiction of the eight auspicious symbols of Buddhism, which are believed to propitiate the environment and grant protection to the activity being undertaken.

This article by Nitin Kumar
Editor
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The Victory Banner (Skt. dhvaja; Tib. rgyal mtshan):

In Sanskrit, the banner or sign of victory is known as the dhvaja, meaning standard, flag or ensign. Originally, the victory banner was a military standard carried in ancient Indian warfare, and bore the specific insignia of its champion. For example in the Mahabharata, Krishna's chariot was adorned with a banner showing the image of the monkey-god Hanuman.

The victory banner was adopted by early Buddhism as an emblem of the Buddha's enlightenment, heralding the triumph of knowledge over ignorance. It is said to have been placed on the summit of Mt. Meru by Buddha himself, symbolizing his victory over the entire universe. Again, Mount Meru here is believed to be the central axis supporting the world.

The flag of victory also denotes Buddha's triumph over Mara, who personifies hindrances on the path to spiritual realization. Specifically, there are said to be four types of Maras, each one representing an individual hurdle on the path to spiritual progress. These are:

1). The Mara of Emotional Defilement

2). Mara of Passion

3). Mara of the Fear of Death

4). Mara of Pride and Lust

It was only after conquering these four negative traits that Buddha could proclaim victory over ignorance, and achieve nirvana.

Cylindrical victory banners made of beaten copper are traditionally placed at the four corners of monastery and temple roofs. These signify the Buddha's victorious dharma radiating to the four directions and also his triumph over the four Maras mentioned above.

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Editor
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The Golden Fishes (Skt. suvarnamatsya; Tib. gser nya):

This symbol consists of two fishes, which usually appear standing vertically with heads turned inwards towards each other.

The pair of fishes originated as an ancient pre-Buddhist symbol of the two sacred rivers of India, Ganga and Yamuna. Symbolically, these two rivers represent the lunar and solar channels, which originate in the nostrils and carry the alternating rhythms of breath or prana. In Buddhism, the golden fishes symbolize happiness, as they have complete freedom in water. They represent fertility and abundance as they multiply very rapidly. Fish often swim in pairs, and in China they represented conjugal unity and fidelity, where a pair of fishes would often be given as a wedding present.

Both Jesus Christ and Buddha are known as 'fisher of men,' because they save mortals from the ocean of suffering.

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Editor
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The Endless Knot (Skt. shrivatsa; Tib. dpal be'u):

The endless knot is a closed, graphic ornament composed of right-angled, intertwined lines. It is conjectured that it may have evolved from an ancient naga symbol with two stylized snakes.



















This latter image signifies the dramatic interplay and interaction of the opposing forces in the dualistic world of manifestation, leading to their union, and ultimately to harmony in the universe. This fact is amply reflected in the symmetrical and regular form of the endless knot.

The intertwining of lines reminds us how all phenomena are conjoined and yoked together as a closed cycle of cause and effect. Thus the whole composition is a pattern that is closed on in itself with no gaps, leading to a representational form of great simplicity and fully balanced harmony.

Since all phenomena are interrelated, the placing of the endless knot on a gift or greeting card is understood to establish an auspicious connection between the giver and the recipient. At the same time, the recipient is goaded to righteous karma, being reminded that future positive effects have their roots in the causes of the present. This is because the knot represents a connection, a link with our fates, binding us to our karmic destiny. Not surprisingly, this is one of the most favorite symbols in Tibetan Buddhism, and often occurs independently on its own.

Since the knot has no beginning or end it also symbolizes the infinite wisdom of the Buddha.

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Editor
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The Parasol (Skt. chattra; Tib. gdugs):

Above the mountain is the dome of the sky. This is symbolized by the umbrella, whose important function is to cast a shadow, the shadow of protection. The dictionary defines a parasol as an umbrella used for protection from the sun. Thus its function is to protect exclusively from the heat rather than the rain - as the word 'parasol,' meaning 'to hold off the sun,' and 'umbrella,' meaning 'little shade,' similarly imply. The Sanskrit term 'chattra,' also means 'mushroom,' in an obvious reference to its shape.

The parasol or umbrella is a traditional Indian symbol of both protection and royalty. The ability to protect oneself against inclement weather has always, in all cultures, been a status symbol. In Europe, until a few decades ago, a sunshade was a status symbol for society ladies. In Oriental thought, the fact that it protected the bearer from the scorching heat of the sun was transferred into the religious sphere as a "protection against the heat of defilements." Thus the coolness of its shade symbolizes protection from the heat of suffering, desire, and other spiritually harmful forces.

The dome of the umbrella is held aloft by a vertical handle (just like the mountain upholds the sky), which is identified with the 'axis mundi,' or the central axis upholding the world. The umbrella is carried above an important dignitary or the image of a deity, to indicate that the person or symbol below the umbrella is in fact the center of the universe, and also its spiritual support. Umbrellas seem to be especially important in processional rites, being like mobile temples. Thus, depictions of the Buddha often display an elaborate and large umbrella above his head.

As it is held above the head it naturally symbolizes honor and respect. In Vajrayana Buddhism, this large umbrella (atapatra) was even deified into the thousand-armed, -footed goddess Sitapatra, whose name literally means 'the white umbrella.'

In Tibet, depending on their status, various dignitaries were entitled to different parasols, with religious heads being entitled to a silk one and secular rulers to a parasol with embroidered peacock feathers. Exalted personalities such as the Dalai Lama are entitled to both, and in processions, first a peacock parasol and then a silk one is carried after him.

The Tibetan version of the parasol was adopted from its royal Indian and Chinese prototypes, and fashioned from a wooden, spoked frame with a domed silk cover and hanging silk pendants making up an overhanging skirt.

The dome symbolizes wisdom, and the hanging skirt, compassion. Thus the composite form of the parasol signifies the union of these dual elements.

Octagonal and square parasols are also common, representing the Noble Eightfold Path and the four directional quarters respectively.

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Editor
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The Wheel (Skt. chakra; Tib. 'khor lo):

The wheel consists of three basic parts: the hub, the rim, and spokes (generally eight in number). Its underlying form is that of a circle, which is recognized across all traditions as a shape that is complete and perfect in itself, qualities which inform the teachings of the Buddha too.

Individually, the rim represents the element of limitation, the hub is the axis of the world, and the eight spokes denote the Eightfold Path set down by the Buddha, which leads to the cessation of all suffering.

A further esoteric interpretation makes reference to the three trainings which form an integral part of Buddhist meditative practice, associating each of the three parts of the wheel with one such practice. This symbolism is as follows:

a). The hub stands for training in moral discipline. Through this practise the mind is supported and stabilized. Thus it is the practise of moral discipline that upholds our meditation, just like the supporting axis of the world.

b). The spokes stand for the correct application of wisdom, which cuts off ignorance and ends suffering.

c). The rim denotes concentration, which holds the entire meditative practise together, just as the wheel of life is held together by its rim.

The wheel evolved as a symbol of the Buddha's teachings and as an emblem of the Chakravartin or 'wheel turner,' identifying the wheel as the Dharmachakra or 'wheel of law.' The Tibetan term for Dharmachakra (chos kyi'khor lo) literally means 'the wheel of transformation.' The wheel's swift motion serves as an apt metaphor for the rapid spiritual change engendered by the teachings of the Buddha. Hence, Buddha's first discourse at the Deer Park in Sarnath is known as the 'first turning of the wheel of dharma.' Likewise, his subsequent discourses at Rajgir and Shravasti are known as the 'second and third turnings of the wheel of dharma.'

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Editor
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The Lotus (Skt. padma; Tib. pad ma):

The lotus does not grow in Tibet and so Tibetan art has only stylized versions of it. Nevertheless, it is one of Buddhism's best recognized motifs since every important deity is associated in some manner with the lotus, either being seated upon it or holding one in their hands.

The roots of a lotus are in the mud, the stem grows up through the water, and the heavily scented flower lies above the water, basking in the sunlight. This pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment. Though there are other water plants that bloom above the water, it is only the lotus which, owing to the strength of its stem, regularly rises eight to twelve inches above the surface.

Thus says the Lalitavistara, 'the spirit of the best of men is spotless, like the lotus in the muddy water which does not adhere to it.' According to another scholar, 'in esoteric Buddhism, the heart of the beings is like an unopened lotus: when the virtues of the Buddha develop therein, the lotus blossoms; that is why the Buddha sits on a lotus bloom.'

Significantly, the color of the lotus too has an important bearing on the symbology associated with it:

1). White Lotus (Skt. pundarika; Tib. pad ma dkar po): This represents the state of spiritual perfection and total mental purity (bodhi). It is associated with the White Tara and proclaims her perfect nature, a quality which is reinforced by the color of her body.

2). Red Lotus (Skt. kamala; Tib: pad ma chu skyes): This signifies the original nature and purity of the heart (hrdya). It is the lotus of love, compassion, passion and all other qualities of the heart. It is the flower of Avalokiteshvara, the bodhisattva of compassion.

3). Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of the spirit over the senses, and signifies the wisdom of knowledge. Not surprisingly, it is the preferred flower of Manjushri, the bodhisattva of wisdom.

4). Pink Lotus (Skt. padma; Tib. pad ma dmar po): This the supreme lotus, generally reserved for the highest deity. Thus naturally it is associated with the Great Buddha himself.

This article by Nitin Kumar
Editor
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The Eight Auspicious Symbols of Buddhism

A constant intriguing factor in the imagery of the Great Buddha is the group of three curving conch-like lines on his neck. In the varied world of Buddhist art this is one common characteristic that shines across all aesthetic traditions. Like other Buddhist motifs, it too is soaked in rich spiritual symbolism. It is said to represent Buddha's deep and resonant voice, through which he introduced his followers to the path of dharma.

The association of the conch shell with Buddha's melodious voice, sweet with the tenor of his uplifting message, has both an archetypal simplicity and universal appeal. It is a hard-hitting symbol which associates a primordial object (deemed sacred in all ancient traditions) with the actual physical body of the Buddha. Indeed, though much of Buddhist philosophy is esoteric, when it comes to aesthetics, Buddhist art is justly famous for giving a physical, easily recognizable representation to abstract philosophical truths.

Buddhism has evolved over the centuries a complex, yet discernable scheme of symbolism which has found adequate expression in Buddhist art. Undoubtedly, the most popular of such symbols is the group of eight, known in Sanskrit as 'Ashtamangala,' ashta meaning eight and mangala meaning auspicious. Each of these symbols is also individually associated with the physical form of the Buddha.

These eight auspicious symbols of Buddhism (Tib. bkra shis rtags brgyad) are:

1). A Conch Shell

2). A Lotus

3). A Wheel

4). A Parasol (Umbrella)

5). An Endless Knot

6). A Pair of Golden Fishes

7). A Banner Proclaiming Victory

8). A Treasure Vase

This article by Nitin Kumar
Editor
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